ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/zorn-list/archive/zorn-list.199903

Internet Message Format | 1999-03-31 | 680KB

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Charming Hostess
Date: 01 Mar 1999 02:13:03 -0800 (PST)

On Sun, 28 Feb 1999, sasanborn wrote:

> Has anyone on the list heard the group Charming Hostess? Very unique mixture
> of styles, with some
> Klezmer thrown in. Was wondering if anybody has any of their full length
> releases? Thanx for any info.

yes! Charming Hostess hail from
Oakland, California. they are a
sextet consisting of an a capella
women's trio and three-fourths
of the now-defunct Idiot Flesh.
they have one record, a CD titled
"Eat!" on Vaccination Records.
i've seen them a number of times
live and am never disappointed.
the CD is excellent too.

you can find out more about Charming Hostess at:

    www.vacrec.com/hostess/hostess.html

and through their own website:

    www.sirius.com/~lenny/ch/

their vocalist/violinist, Carla Kihlstedt,
is also a member of Tin Hat Trio.
their debut CD was just released
(or is about to be any day now).
they've been playing around locally
quite a bit since september last year.

hasta.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


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From: "Douglas Clarke" <[e-mail]>
Subject: Re: Charming Hostess
Date: 01 Mar 1999 05:02:34 PST


>From: SUGAR in their vitamins? <[e-mail]>

>i've seen them a number of times
>live and am never disappointed.
>the CD is excellent too.

I second that. I've been a fan of both idiot Flesh and charming hostess
for quite a while. And, to make this all relevant to the zorn list,
Carla Kihlstedt, Nils Frykdahl (sp?), and Jenny Shineman (sp?), all from
charming hostess, (although Jenny doesn't play with them live) have all
played Zorn's Cobra in San Francisco a couple of times. Also, William
Winant plays percussion on one song on Idiot Flesh's first record,
"Tales of...." I forgot its name.


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From: "BLA BLA BLA" <[e-mail]>
Subject: Re: Charming Hostess
Date: 02 Mar 1999 00:06:54 +1030

>
>I second that. I've been a fan of both idiot Flesh and charming hostess
>for quite a while. And, to make this all relevant to the zorn list,
>Carla Kihlstedt, Nils Frykdahl (sp?), and Jenny Shineman (sp?), all from


I have heard Idiot Flesh many a times, but have never actually ehaerd them.
What do they sound like? Where can i get there CD(s) from?

cheers.




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From: "Douglas Clarke" <[e-mail]>
Subject: Re: Idiot Flesh
Date: 01 Mar 1999 06:45:24 PST

>From: "BLA BLA BLA" <[e-mail]>

>I have heard Idiot Flesh many a times, but have never actually ehaerd
them.
>What do they sound like? Where can i get there CD(s) from?

Idiot Flesh were (they broke up a few months ago) a very dense,
rhythmic, creative, complex band and founders of the rock against rock
movement. They would create amazing sounds always through acoustic means
(no synthesizers) mostly percussive (percussive guitar, contact mikes on
metal, buzzsaw blades etc.) When they played live, they were accompanied
by their own circus, and a lot of their music has dark carnival
overtones. I highly recommend trying them out. They have 3 releases, the
first "Tales of instant knowledge and sure death"(?) is only released on
record. Their other two cds "The Nothing Show" and "Fancy" can be
found/ordered through vaccination records in Oakland:
http://www.vacrec.com/
I've also found a good source for vaccination records in Europe and that
is a record store in Germany called flight 13 records who fill orders by
phone or e-mail and deliver quickly throughout Europe:
http://www.flight13.de
I would recommend "Fancy" to start off, and they should be releasing
their last ep, an interactive cd, any day now.
-Dug

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From: "Heather and Jeff" <[e-mail]>
Subject: Classical Pulse!
Date: 01 Mar 1999 10:05:11 -0500

FYI -

Both Zorn and Tzadik artist Teiji Ito are featured in the Classical section
of this month's Pulse! magazine.

JK
[e-mail]



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From: [e-mail]
Subject: Pulse magazine article
Date: 01 Mar 1999 10:28:21 -0500




The March issue of Tower Records' Pulse has a "Classical 101" article on
Zorn, written by Art Lange.
You can get it at Tower (Lauryn Hill cover) or read it here:

http://www.towerrecords.com/pulse/99/mar/classical/zorn.html




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From: "Mary Ho" <[e-mail]>
Subject: japan
Date: 01 Mar 1999 07:42:43 PST

I'm moving to Japan (an hour away from Tokyo and Nagoya) in a couple of
months and was wondering if anyone on this list lives there and can give
me the inside scoop on shows and whatnot.  Since I don't speak or read a
lick of Japanese, I'll need the extra help on whose coming to town.

E-mail me privately.
Thanks,
Mary

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From: [e-mail]
Subject: Re: Pulse magazine article
Date: 01 Mar 1999 11:42:30 EST

In a message dated 3/1/99 11:00:38 AM Eastern Standard Time,
[e-mail] writes:

> http://www.towerrecords.com/pulse/99/mar/classical/zorn.html
 <A HREF="http://www.towerrecords.com/pulse/99/mar/classical/zorn.html">Tower
Records - Classical - Pulse - March 1999</A>

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From: Ken Waxman <[e-mail]>
Subject: NYT music coverage
Date: 01 Mar 1999 12:47:22 -0500 (EST)

As an outsider (i.e. non-New Yorker and non-American), who has been
reading the so-called jazz coverage in the Times since the days of John
S. Wilson, I can't say that I'm surprised by any recent articles. Jon P.
and the others are just reflecting what has always been the policy of the
Times and any other major media outlet: puff the establishment.

Thus over the past few years the NYT has served as unpaid pr flak for
Wynton Marsalisand his retro-friends. Bebop has finally become the safe,
straight music of the elite, replacing swing and the NYT must pay fealty
to the top. Marsalis (and to a lesser degree) Jon Faddis are supported
because they're now the figureheads of the sort of large architectural
structures that exist in which the monied class can show they're cultured.
Jazz is now "America's classical music" because it has the temples to go
with it-- Lincoln Center and Carnegie Hall.

Besides that, music writing in the mainstream media is filtered through
major label releases, many of which are owned by the same conglomerates
which own the media outlet. Thus "trends" to take the most obvious, the
bogus Young Lions phenomenon, are recognized by those media outlets because
the pre-recorded software division of the same conglomerate have decided
to maximize profit by pushing X number of young players. That phenomenon
disappears, when the so-called "music" division drops those players to
make money with soundtracks or uptown country or whatever.

In short, outside of mere repetition of facts, don't expect anything
regarding serious criticism from those sorts of outlets. The parallel
situation exists in reportage on cinema (blockbuster numbers are
important, plots aren't); theatre (Broadway mega musicals are important,
regional dramas aren't) ad infinitum.

In other words the only way we can fight back is to support independent
publications like CODA and Cadence and independent labels.

Ken Waxman
[e-mail]

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From: [e-mail]
Subject: Re: Idiot Flesh
Date: 01 Mar 1999 13:28:50 EST

aren't these the guys that arranged rite of spring for rock band? i hope i'm
not confusing them w/some1 else

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From: "Douglas Clarke" <[e-mail]>
Subject: Re: Idiot Flesh
Date: 01 Mar 1999 10:50:55 PST

>From: [e-mail]
>
>aren't these the guys that arranged rite of spring for rock band? i
hope i'm
>not confusing them w/some1 else

Yeah, I forgot about that. They released it as their (first?) demo tape.
That was quite a while ago though.

-Dug

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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From: [e-mail]
Subject: Re: NYT music coverage
Date: 01 Mar 1999 13:53:59 -0500


     Ken wrote:

>As an outsider (i.e. non-New Yorker and non-American), who has been
>reading the so-called jazz coverage in the Times since the days of John
>S. Wilson, I can't say that I'm surprised by any recent articles. Jon P.
>and the others are just reflecting what has always been the policy of
>the Times and any other major media outlet: puff the establishment.

Far be it from me to defend major news media, and someone with more
inside info may well correct me, but I doubt things are quite that
conspiratorial at the Times. Depending on the tastes of whoever the Arts
editor is at the time, more or fewer "official" events may get covered
and, given the small likelihood that said editor is a free music fan,
it's not surprising if, when it comes to jazz coverage, Marsalis and his
ilk receive most of the ink. Pareles, Watrous et al _do_ occasionally
review borderline events and clearly have a knowledge base of that music
to work off. The problem is, for me, that they rarely, if ever, write
anything penetrating or passionate about it, unlike Palmer in years past.
(BTW, it was nice, in the same Sunday section, to see Gregory Sandow back
in an NYC paper again; he and Tom Johnson having been two of my favorite
new music critics). As I implied in my previous post, whatever one thinks
of his tastes or politics, Stanley Crouch at least has a certain passion
for his subject (and he wrote some extremely fine pieces during his
Village Voice tenure; one on Betty Carter sticks in mind). In any case, I
lay blame for the low standards as much on the critics involved as on the
editorship or owners.

>In short, outside of mere repetition of facts, don't expect anything
>regarding serious criticism from those sorts of outlets. The parallel
>situation exists in reportage on cinema (blockbuster numbers are
>important, plots aren't); theatre (Broadway mega musicals are important,
>regional dramas aren't) ad infinitum.

Hey, as lackluster as the new music criticism there might be, don't even
start about the film critics! What a shallow, miserable bunch, whether
they're reviewing the latest schlock from Spielberg or a 16mm student
work. One yearns for the "elitism" of Vincent Canby, if only to cleanse
one's palate.

Brian Olewnick



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From: "Vanheumen, Robert" <[e-mail]>
Subject: RE: new Shea (another two cents)
Date: 01 Mar 1999 15:37:18 -0500


what's this new shea album compared to tower of mirrors? i only own this
one and prisoner, but i like tower of mirrors far far more...

thanks
robert


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From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Idiot Flesh
Date: 01 Mar 1999 19:16:50 -0500

At 10:50 AM 3/1/99 PST, Douglas Clarke wrote:
>>
>>aren't these the guys that arranged rite of spring for rock band? i
>hope i'm
>>not confusing them w/some1 else
>
>Yeah, I forgot about that. They released it as their (first?) demo tape.
>That was quite a while ago though.

Rite of Spring was also done by Birdsongs of the Mezozoic, a Boston-based
band with Roger Miller (not the country star), Erik Lindgren, Martin Swope
and Rick Scott.  I think some of their albums are still available from
Wayside.


--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

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From: Steve Smith <[e-mail]>
Subject: Re: Zorn List Digest V2 #603
Date: 01 Mar 1999 20:25:43 -0500

David Newgarden wrote:

> I found the accompanying 'pop/art' article by (below Pareles' article)
> the normally stodgy (cabaret/singer-songwriter/film specialist) Stephen
> Holden a far more interesting and relevant take on the 'state of music'.

Seconded.

Steve Smith
[e-mail]
NP - (The Artist Formerly Known as Tim) Hagans, "Slo-Mo,"
_Animation-Imagination_


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From: Steve Smith <[e-mail]>
Subject: Horace Tapscott RIP
Date: 01 Mar 1999 20:51:32 -0500

From rec.music.bluenote circa this afternoon:

Horace Tapscott, trombonist, pianist, composer, arranger, founder of the
Pan
Afrikan Peoples Arkestra, and community activist died Sunday morning
February,
28th only hours before a concert in tribute to his life was held that
afternoon
at Washington High School in Los Angeles.  Even though suffering from
inoperable cancer Horace remained hopeful and in good spirits to the
very end.
On Friday afternoon he told well wishers that he would be performing at
the
tribute concert.  Unfortunately that was not to be.

The tribute concert performers included Pharoah Sanders, Dr. Art Davis,
Billy
Higgins, Billy Childs, Teddy Edwards, Clora Bryant, George Bohannon,
Bobby
Bradford, Roberto Miranda, Michael Sessions, the Watts Prophets, a trio
led by
Horace's grandson teenage drummer Labell Tapscott, and the Pan Afrikan
Peoples
Arkestra among many others. More than 800 people attended.  The Los
Angeles
Times, the area's only major newspaper, did not consider the tribute to
be of
significant enough interest to its readers to cover the event.

Anyone wanting information about  the Horace Tapscott Memorial Fund
should call
[phone] or [phone].

Mac Black

===================================================

Man, is it me, or is this turning out to be a bitch of a year for great
jazz pianists young and old?

Steve Smith
[e-mail]
NP - Tim Hagans, "Hud Doyle," _Animation-Imagination_


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From: Tom Pratt <[e-mail]>
Subject: Kosugi?
Date: 28 Feb 1999 21:03:09 -0500

I've recently gotten acquired quite a hankerin' for Japanese
composer/violinist/etc. Takehisa Kosugi, and I'm wondering what
recordings of his there may be that I don't know of. I already have or
know of the following:

Takehisa Kosugi - Violin Improvisations (Lovely)
Takehisa Kosugi - Violin Solo 1980 N.Y.C. (P-Vine)
Taj Mahal Travellers - August 1974 (P-Vine)
Group Ongaku - Music Of (HEAR sound art library)
Moto Yoshizawa / Takehisa Kosugi / Haruna Mayake - Angels Have Passed
(PSF)

...and his playing on David Tudor's '3 Works For Live Electronics' and
David Behrman's 'Leapday Friday Night' (both on Lovely) as well as John
Cage's 'Music For Merce Cunningham' (Mode). I understand there's also a
video of a Kosugi performance put out by HEAR sound art library.

So what am I missing?

Also, does the Scratch Orchestra have any recordings available?

Thanks!

                                -Tom Pratt


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From: Circle9 <[e-mail]>
Subject: Re: Idiot Flesh (plus Iceburn, now)
Date: 02 Mar 1999 00:22:40 -0500

Idiot Flesh might have done it, but you might also be thinking of Iceburn- who
do a phenomenal rave-up on it, in my opinion (perhaps "rave-up" isn't quite the
proper term...). Very King Crimson-y, but looser- reminded me alot of KC's
"Larks Tongues in Aspic" and "Providence" in particular. Very unlike anything
else from them. It's a split CD w/ a group called "Engine Kid" who I've never
heard anything else by. Anyone familiar w/ these cats, have any recommendations?

[e-mail] wrote:

> aren't these the guys that arranged rite of spring for rock band? i hope i'm
> not confusing them w/some1 else


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From: [e-mail]
Subject: Re: Idiot Flesh (plus Iceburn, now)
Date: 02 Mar 1999 00:29:20 EST

In a message dated 3/2/99 12:27:41 AM Eastern Standard Time, [e-mail]
writes:

> you might also be thinking of Iceburn

nope. never heard of em. sound like they would b cool tho

i think idiot flesh also used 2 blow up tofu on stage. or that might have been
acid rain (kinda the same band sort of, i think)

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From: "Julian" <[e-mail]>
Subject: morricone
Date: 02 Mar 1999 17:35:51 +1100

Does anybody have the Morricone collection "Mondo Morricone", and if so is
it good?

How about the soundtracks to "Citta Violenta" and "La Lucertola"? Are these
consistently good, or are the themes (found on "best of" collections)
enough?


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From: "Julian" <[e-mail]>
Subject: trovaioli
Date: 02 Mar 1999 17:44:14 +1100

Actually, while I'm on the subject of soundtracks, does anyone know of a
good cd (or 2) of Armando Trovaioli's music?


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From: "Julian" <[e-mail]>
Subject: cobra
Date: 02 Mar 1999 18:06:10 +1100

Sorry for multiple posts, but this is my last for today...

Which Cobra cd has the rules printed in its booklet?


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From: Gene Natalia <[e-mail]>
Subject: Morricone & Trovaioli & Cobra
Date: 01 Mar 1999 23:28:23 -0800

    You're obviously questing after songs that Mr. Bungle has covered, seeking
after those Morricone pieces and Trovaioli, but why limit yourself to just
those glimpses of these two great artists?  I suggest you just buy a whole
bunch of their stuff.  Incidentally, "Una Lucertola con la Pelle di Donna"
means "a lizard with the skin of woman," which is a title of a track on
Patton's Adult Themes for Voice.
    I suggest the "Ennio Morricone Anthology: A Fistful of Film Music" as a
good starting point.  This has Citta Violenta's theme on it, but the entire
two cd's worth of Morricone are wonderful.  THEN, find the cd called "La
Paura secondo Ennio Morricone" which means "Horror according to Morricone":
 a great compilation of his music for horror films, which includes "La
Lucertola," and lots of other neat horror tunes.  I wouldn't worry too much
about tracking down the entire soundtracks to Una Lucertola con la Pelle di
Donna and Citta Violenta.  They're a pain to track down, and most Morricone
soundtracks are little more than a single, albeit delightful theme
elaborated upon in different variations.  So, if you have the theme itself,
you can probably do without the variations, unless you become a Morricone
completist...which would be an awful fate for your bank account.
    As for Armando Trovaioli, I suggest you pick up one of the Right Tempo
label's Easy Tempo compilations.  They all feature great Italian cinematic
music, and almost every volume has a Trovaioli track or two on it, and they
often have a Morricone track to boot.  In addition, they will introduce you
to tons of other greats of Italian film music like Umiliani, etc.  I think
one of the volumes actually has the Trovaioli tune that Bungle covered,
"Cassanova 70," I believe it was called.  Maybe it was on Volume 3...I
forget which.
    Finally, as for which Cobra cd "has the rules printed in its booklet," I
think you mean the 2 cd one on Hat Art, which has a kind of chart of the
cards that Zorn uses, and provides SOME information, but I sure as hell
don't know the rules after looking at it.  I don't think there is a printed
list of the rules, although it's possible someone here might have some such
thing...

                            -Ethan


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From: FJG_Lamerikx <[e-mail]>
Subject: Re: morricone
Date: 02 Mar 1999 08:46:11 +0100 (MET)

Julian,

You seem to come from a Mr. Bungle background, given the specifics of your
questions below...

> Does anybody have the Morricone collection "Mondo Morricone", and if so is
> it good?

It is VERY good, and so is its follow-up, "More Mondo Morricone". Unfortunately,
the series stopped after these two gems. Another very good Morricone sampler
that concentrates on the erotic/cheesy material (it even has some overlap with
the Mondo Morricone records) is "Morricone A Go! Go!". Unfortunately, this
is only available in Japan, and will set you back a few bucks if you want to
order it from there.

> How about the soundtracks to "Citta Violenta" and "La Lucertola"? Are these
> consistently good, or are the themes (found on "best of" collections)
> enough?

Don't know about the full "Citta Violenta", but the two tracks I know are
excellent. "La Lucertola" is good throughout, but the title track is by far
the best piece. A Morricone soundtrack that is consistently brilliant is
"Violenza: Quinto Potere". This might also interest you, because Mike Patton
named that "Violence5" track of his first solo album after this one. Another
very good one is "Holocausto 2000". Another recommendation, although it only
consists of three tracks, is Morricone's soundtrack for Pier Paolo Pasolini's
amazing movie "Teorema". This can be found on a CD in conjunction with two
other Pasolini soundtracks, viz. "Uccelacci e Uccelini" and "Le Streghe".

Trovaioli - his stuff is pretty much hit-or-miss. The one to get would
probably be "Casanova '70", but that one is extremely hard to find. The vinyl
version changes hands for $100. I've never seen a CD version of it (which
does not mean it doesn't exist, I'm just saying I never saw one).

I would also recommend Piero Picioni's "La Decima Vittima" ("The Tenth Victim").
Pretty cheesy, with some cool organ playing and wordless vocals throughout.
It has recently been re-released by the Italian Easy Tempo label, both on CD
and vinyl. The new sleeve sucks though, and is no comparison to the original
1965 sleeve.

And now get some Peter Thomas stuff...

Frankco.


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From: "Julian" <[e-mail]>
Subject: Re: Morricone & Trovaioli & Cobra
Date: 02 Mar 1999 18:50:04 +1100

>     You're obviously questing after songs that Mr. Bungle has covered,
seeking
> after those Morricone pieces and Trovaioli, but why limit yourself to
just
> those glimpses of these two great artists?  I suggest you just buy a
whole
> bunch of their stuff.
>     I suggest the "Ennio Morricone Anthology: A Fistful of Film Music" as a
> good starting point.  This has Citta Violenta's theme on it, but the
entire
> two cd's worth of Morricone are wonderful.  THEN, find the cd called "La
> Paura secondo Ennio Morricone" which means "Horror according to
Morricone":
>  a great compilation of his music for horror films, which includes "La
> Lucertola," and lots of other neat horror tunes.  I wouldn't worry too
much
> about tracking down the entire soundtracks to Una Lucertola con la Pelle
di
> Donna and Citta Violenta.  They're a pain to track down, and most
Morricone
> soundtracks are little more than a single, albeit delightful theme
> elaborated upon in different variations.

Well no, you actually have me a bit wrong. I do know of Mr Bungle covering
those themes, but I actually found those 2 cds and was wondering whether
they were worth getting since I like the themes so much - I wondered
whether they were as you say "a single, albeit delight theme elaborated
upon in different variations" or whether they were brilliant from start to
finish. Incidentally I already own the anthology you speak of, plus about 8
other Morricone discs. I am aware that there are over 300 Morricone cds
around, and don't want all of them. I just wanted to know whether it was
more advisable to settle for one track on an anthology, or to get either of
the complete Lucertola or Citta Violenta soundtracks.

In terms of Trovaioli, there you've got me - I've heard a few samples of
his stuff and wasn't too impressed, but it could have been a one-off thing.
However, I really love the Mr Bungle track... Any chance you could tell me
for sure which cd contains it?


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From: "Douglas Clarke" <[e-mail]>
Subject: Re: Idiot Flesh (plus Iceburn, now)
Date: 02 Mar 1999 01:52:22 PST


>i think idiot flesh also used 2 blow up tofu on stage. or that might
have been
>acid rain (kinda the same band sort of, i think)

Yeah, Acid Rain and Idiot Flesh are one in the same. Actually, I think
that the rite of spring was recorded when they were acid rain.

-Dug

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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From: "Douglas Clarke" <[e-mail]>
Subject: Re: cobra
Date: 02 Mar 1999 01:54:52 PST

>Which Cobra cd has the rules printed in its booklet?

The yellow double cd (studio/live) with cartoons of children playing on
the cover. It also includes a neat postcard!

-Dug

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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From: [e-mail]
Subject: Tim Hagans
Date: 02 Mar 1999 08:20:49 -0300

On March 1st Steve Smith wrote:

>NP- (The Artist Formerly Known as Tim) Hagans, "Slo-Mo"
>_Animation-Imagination

Is this just a kind of ironic comment on Hagans' Animation-Imagination?
Or ironic comments on Hagans' playing on Animation-Imagination? Are you
meaning Hagans same as Prince (Nelson)?
I listened a couple of tracks from Animation-Imagination and seemed
rather interesting. Any thoughts?

Hugo

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From: Paul Audino <[e-mail]>
Subject: Re: Tim Hagans
Date: 02 Mar 1999 08:32:25 -0600 (CST)


On Tue, 2 Mar 1999 [e-mail] wrote:

> On March 1st Steve Smith wrote:
>
> >NP- (The Artist Formerly Known as Tim) Hagans, "Slo-Mo"
> >_Animation-Imagination
>
> Is this just a kind of ironic comment on Hagans' Animation-Imagination?
> Or ironic comments on Hagans' playing on Animation-Imagination? Are you
> meaning Hagans same as Prince (Nelson)?

The album is credited to "Hagans," not "Tim Hagans"

Out 2 Lunch With Lunchmeat,

Paul
[e-mail]


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From: Ken Waxman <[e-mail]>
Subject: Re: Horace Tapscott RIP
Date: 02 Mar 1999 10:37:23 -0500 (EST)


Not to mention bassists, saxophonists and the like. After all, all deaths
are untimely.

Ken Waxman
[e-mail]

N.P. Local (Toronto) community radio station jazz program tribute to
Tapscott, skedded after I altered them of the death. We're father away,
but we try.





On Mon, 1 Mar 1999, Steve Smith wrote:

>
>  ===================================================
>
> Man, is it me, or is this turning out to be a bitch of a year for great
> jazz pianists young and old?
>
> Steve Smith
> [e-mail]
> NP - Tim Hagans, "Hud Doyle," _Animation-Imagination_
>
>
> -
>
>

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From: DR S WILKIE <[e-mail]>
Subject:       Re: Sex Mob / Herbie Nichols
Date: 02 Mar 1999 15:19:37 GMT0BST

has anyone out there heard Sex Mob?  Your opinions would be helpful.

Also; does anyone know offhand how many tracks Herbie Nichols
recorded for (?) Savoy in 1952?  I've found SWonderful and three
originals: are there more?

Sean Wilkie.

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From: Jason Tors <[e-mail]>
Subject: Re: Sex Mob
Date: 02 Mar 1999 11:45:45 -0800

Sex Mob runs hot and cold for me. Steve Bernstein can have off nights and
brings down the whole band. It can be frustrating because the other players
are so hot, he can be a bit controlling. When it works, it really works.
Sex Mob live is real entertainment, Berstein can be really humorous and
wail his ass off. Their album has some real high points, then some of the
tracks drag for me.

>has anyone out there heard Sex Mob?  Your opinions would be helpful.
>
>Also; does anyone know offhand how many tracks Herbie Nichols
>recorded for (?) Savoy in 1952?  I've found SWonderful and three
>originals: are there more?
>
>Sean Wilkie.
>
>-


-



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

From: [e-mail]
Subject: cobra rules (was Re: Morricone & Trovaioli & Cobra)
Date: 02 Mar 1999 12:15:19 EST

In a message dated 3/2/99 2:26:07 AM Eastern Standard Time,
[e-mail] writes:

>  I don't think there is a printed
>  list of the rules, although it's possible someone here might have some such
>  thing...

funnily enough, i do. i have sitting in front of me a copy of the rules that i
got from the man himself (very generous, i think). they r far more xtensive
than that little postcard in the cobra hat art cd. lemme know if i should post
it as an attachment. i know peole might b hesitant about d/ling something when
they r unsure of the source.

-



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

From: [e-mail]
Subject: Sex Mob
Date: 02 Mar 1999 14:50:53 -0300

>Sean Wilkie asked:

>has anyone out there heard Sex Mob?

Well, I did, and it's highly recommended; very energetic, very groovy
and funny. Highlights include covers from Prince, Beatles, and more fun
with Macarena alla Berstein. There's an outstanding blues I can't recall
the name.
Also great playing from Briggan Krauss on alto sax and John Medeski on a
couple of tunes.
No tracks drag for me.

Happy listening!

Hugo



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Sex Mob
Date: 02 Mar 1999 10:04:54 -0800


On Tue, 2 Mar 99 14:50:53 -0300  [e-mail] wrote:
>
> >has anyone out there heard Sex Mob?

Saw them last night and they were a lot of fun. Briggan is getting better
and better and it was really a pleasure to see them being able to mix
free blowing on top of a fairly mainstream base. As a result, they caught
both types of audiences: the (supposed) demanding one, and the regular one
which just came to have a good time.

The first set was more challenging, with more free playing and less
predictable moments.

They ended up to do mainly covers during the second set (and it was becoming
a little bit boring to my taste), but the public was so enthousiastic that I
could not blame them for switching to more accessible material (and trying
to please the public that was really reacting to their music).

They had a great success and they deserve it.

    Patrice.


-



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

From: "Scott" <[e-mail]>
Subject: New Naked City?
Date: 02 Mar 1999 18:51:59 +0000

Someone forwarded m ethe folloding info, reputedly from a forthcoming Naked
City disc. Anybody got any ideas? (sorry about format)

"Radio V.1". Track listing:

                         1.
                            Asylum
                         2.
                            Sunset Surfer
                         3.
                            Party Girl
                         4.
                            Outsider
                         5.
                            Triggerfingers
                         6.
                            Terkmani Teepee
                         7.
                            Sex Fiend
                         8.
                            Razorwire
                         9.
                            Bitter And The Sweet

                                                      10.
                                                         Krazy Kat
                                                      11.
                                                         Vault
                                                      12.
                                                         Metaltov
                                                      13.
                                                         Poisonhead
                                                      14.
                                                         Bone Orchard
                                                      15.
                                                         I Die Screaming
                                                      16.
                                                         Pistol Whipping
                                                      17.
                                                         Skatekey
                                                      18.
                                                         American Psycho

-



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

From: [e-mail]
Subject: Re: New Naked City?
Date: 02 Mar 1999 13:56:18 EST

In a message dated 3/2/99 1:53:45 PM Eastern Standard Time,
[e-mail] writes:

> "Radio V.1". Track listing:

this album was already released

naked city - radio - avant 003

although yr listing seems 2 b missing the track called shock corridor

-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: cobra rules (was Re: Morricone & Trovaioli & Cobra)
Date: 02 Mar 1999 13:02:39 -0600 (CST)

On Tue, 2 Mar 1999 [e-mail] wrote:

> funnily enough, i do. i have sitting in front of me a copy of the rules that i
> got from the man himself (very generous, i think). they r far more xtensive
> than that little postcard in the cobra hat art cd. lemme know if i should post
> it as an attachment. i know peole might b hesitant about d/ling something when
> they r unsure of the source.

While many of us are drooling at the prospect of seeing this, it might be
good form to check with The Man Himself before posting -- often an
author/composer/etc will give something to someone (or let that person
copy/tape/etc it) without intending it to be disseminated more widely.
Since Zorn tends to be keenly aware of these things, he may or may not
allow it, but will almost certainly have a relevant opinion.

Also: sending attachments to a mailing list is often a problem, since many
people use mail readers that cannot handle them. It would be more useful
(and consume a lot less bandwidth) to put the file somewhere
Web-accessible and email the URL to the list.

- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: [e-mail]
Subject: Re: cobra rules (was Re: Morricone & Trovaioli & Cobra)
Date: 02 Mar 1999 14:08:07 EST

In a message dated 3/2/99 2:04:46 PM Eastern Standard Time,
[e-mail] writes:

> While many of us are drooling at the prospect of seeing this, it might be
>  good form to check with The Man Himself before posting -- often an
>  author/composer/etc will give something to someone (or let that person
>  copy/tape/etc it) without intending it to be disseminated more widely.
>  Since Zorn tends to be keenly aware of these things, he may or may not
>  allow it, but will almost certainly have a relevant opinion.

good point. hadn't really considered that. don't wanna step on any toes,
that's 4 sure.

>  Also: sending attachments to a mailing list is often a problem, since many
>  people use mail readers that cannot handle them. It would be more useful
>  (and consume a lot less bandwidth) to put the file somewhere
>  Web-accessible and email the URL to the list

i'll c what i can do

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Sex Mob
Date: 02 Mar 1999 16:29:14 -0500 (EST)

I had the opposite experience the one time I saw Sex Mob at Tonic last
October. The groupo was in essence a pick-up band with peter
Apfelbaum (reeds), Tom Rainey (d) and a bassist who shall remain
nameless. Anyways the bassist seemed to be a frsh-outa-school kid who
wasn't too sure of himself, but Bernstein lead him and the other members
through the somewhat-unfamiliar material in such a way that the overall
impression was of a fine show.

Roger McGuinn & whomever = The Byrds
Steve Bernstein & whomsever = Sex Mob

Ken Waxman
[e-mail]





On Tue, 2 Mar 1999, Jason Tors wrote:

> Sex Mob runs hot and cold for me. Steve Bernstein can have off nights and
> brings down the whole band. It can be frustrating because the other players
> are so hot, he can be a bit controlling. When it works, it really works.
> Sex Mob live is real entertainment, Berstein can be really humorous and
> wail his ass off. Their album has some real high points, then some of the
> tracks drag for me.
>
> >has anyone out there heard Sex Mob?  Your opinions would be helpful.
> >
> >Also; does anyone know offhand how many tracks Herbie Nichols
> >recorded for (?) Savoy in 1952?  I've found SWonderful and three
> >originals: are there more?
> >
> >Sean Wilkie.
> >
> >-
>
>
> -
>
>

-



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

From: "Scott" <[e-mail]>
Subject: Re: New Naked City?
Date: 02 Mar 1999 21:58:55 +0000


>Someone forwarded m ethe folloding info, reputedly from a forthcoming Naked
>City disc. Anybody got any ideas? (sorry about format)
>
>"Radio V.1". Track listing:
>
>Scott,
>
>Those are the tracks from the original disc. Supposedly a Vol. 2 was planned
>but, I think according to Patrice's discography, it's never been recorded.


I know these titles match the original release and I also know Patrice has
another volume listed, just wondered if anyone knew of an actual release?
Seems to me we should have heard it here first...

Scott

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: New Naked City?
Date: 02 Mar 1999 14:01:02 -0800


On Tue, 02 Mar 1999 21:58:55 +0000  "Scott" wrote:
>
>
> I know these titles match the original release and I also know Patrice has
> another volume listed, just wondered if anyone knew of an actual release?
> Seems to me we should have heard it here first...

According to Wayne Horvitz, the music of RADIO, VOL. 2 was never recorded.


*** - RADIO, VOL. 2: Naked City

  This record was supposed to contain John Zorn's arrangements of compositions
  by Jerry Goldsmith, Ornette Coleman, Brian Wilson, Igor Stravinsky, Duke
  Ellington, Tushima Toshiaki, William Orbit, George Clinton, etc.

    19?? - Avant (Japan), Avan 005 (CD)

  Note: not released; in fact it has never been recorded.



-



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

From: "Julian" <[e-mail]>
Subject: Re: New Naked City?
Date: 03 Mar 1999 10:50:15 +1100

>   Tushima Toshiaki

Who is this? I can only guess it is the guy who wrote that Graveyard of
Honour piece, but surely someone out there knows for certain...

And while on the subject of T.T. names, I went to a concert a little while
ago which featured a work by Toru Takemitsu. It was kind of slow and quiet,
not what you would expect considering he was listed on Radio as an
influence for Terkmani Teepee. Does anyone know of any of his works that
more fit this role?


-



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

From: Perfect Sound Forever <[e-mail]>
Subject: Re: NYT music coverage
Date: 02 Mar 1999 21:54:45 -0500

>In other words the only way we can fight back is to support independent
>publications like CODA and Cadence and independent labels.
>
>Ken Waxman

Of course Ken is right.  We should support these publications so that
they'll stay around and continue to do good work.

But.  Let me suggest something a little unhip also.  Why not petition the
larger publications to cover more interesting artists than whoever's in the
top 40 this week?  If there were enough people to write in, they would have
to take some kind of notice that there was a hunger for this.

Jason



Perfect Sound Forever
online music magazine
[e-mail]
http://www.furious.com/perfect

-



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

From: "Dave Egan" <[e-mail]>
Subject: Re: Sex Mob
Date: 02 Mar 1999 19:00:15 -0800

The Sex Mob CD is great!  I bought it unheard, because of the local
connection (Briggan Krause).  I put it on, and the band nearly jumped out of
the stereo, going for my neck.  They REALLY wanted me to listen to what they
were doing!  I nearly jumped out of my chair.  I was really looking forward
to their Seattle appearance last Sunday.  The music was both substantial and
fun.  Patrice, you're right - Briggan just sounds better and better.  It was
a great show, and everyone on the scene was there.  There was one thing I
was dissapointed about though.  Zony Mash was to open the show, but Wayne
Horvitz was sick and couldn't make it.  I was looking forward to Wayne
sitting in with Sex Mob, which certainly would have happened.  Also, Sex Mob
only did one set.

I can see why Sex Mob might have an off night if Steven is not really on.
He really dominates, "conducting" the band pretty closely.  He encouraged
people on a lot, but a couple of times he told Kenny to shut up pretty
abruptly.  Everyone seemed to have a lot of fun on the bandstand Sunday
night, but I could easily see it going the other way if Steven were pissed
off or something.

- Dave

----- Original Message -----
Sent: Tuesday, March 02, 1999 7:19 AM


>has anyone out there heard Sex Mob?  Your opinions would be helpful.
>
>Also; does anyone know offhand how many tracks Herbie Nichols
>recorded for (?) Savoy in 1952?  I've found SWonderful and three
>originals: are there more?
>
>Sean Wilkie.
>
>-


-



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

From: "toddlike" <[e-mail]>
Subject: Re: cobra rules (was Re: Morricone & Trovaioli & Cobra)
Date: 02 Mar 1999 20:00:43 -0800

If we (Zorn list members) get permission to post the cobra rules, I've got a
ton of unused web space to post it. Since Zorn has just signed with a music
publishing outfit (I heard this from the folks at Tzadik), this is probably
an unlikely event.

Todd
-----Original Message-----
Cc: [e-mail] <[e-mail]>


>On Tue, 2 Mar 1999 [e-mail] wrote:
>
>> funnily enough, i do. i have sitting in front of me a copy of the rules
that i
>> got from the man himself (very generous, i think). they r far more
xtensive
>> than that little postcard in the cobra hat art cd. lemme know if i should
post
>> it as an attachment. i know peole might b hesitant about d/ling something
when
>> they r unsure of the source.
>
>While many of us are drooling at the prospect of seeing this, it might be
>good form to check with The Man Himself before posting -- often an
>author/composer/etc will give something to someone (or let that person
>copy/tape/etc it) without intending it to be disseminated more widely.
>Since Zorn tends to be keenly aware of these things, he may or may not
>allow it, but will almost certainly have a relevant opinion.
>
>Also: sending attachments to a mailing list is often a problem, since many
>people use mail readers that cannot handle them. It would be more useful
>(and consume a lot less bandwidth) to put the file somewhere
>Web-accessible and email the URL to the list.
>
>- ---------1---------1---------1---------1---------1---------1----------
>|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
>||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
>|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|
>
>
>-
>
>


-



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

From: William York <[e-mail]>
Subject: "Hagans"/sex Mob
Date: 03 Mar 1999 01:41:04 -0500 (EST)

About "Hagans"
> Is this just a kind of ironic comment on Hagans' Animation-Imagination?
> Or ironic comments on Hagans' playing on Animation-Imagination? Are you
> meaning Hagans same as Prince (Nelson)?
> I listened a couple of tracks from Animation-Imagination and seemed
> rather interesting. Any thoughts?

Hmm, not to offend anyone, but I heard the promo of this and thought it
was a pretty lame attempt at doing warmed-over 90s hard-bop trumpeting
over "drum and bass".  The liner notes made it seem like the folks at Blue
Note had really made a discovery with this, like they were really being
rebellious.  But then I only picked it up b/c I saw Human Feel gtrst. Kurt
Rosenwinkel's name on it, and I don't really know anything about the
others.

About Sex Mob, Patrice R. wrote:>
> They ended up to do mainly covers during the second set (and it was becoming
> a little bit boring to my taste), but the public was so enthousiastic that I
> could not blame them for switching to more accessible material (and trying
> to please the public that was really reacting to their music).
>
> They had a great success and they deserve it.

This was my exact impression of the show they did here in NC; they
definitely knew who the audience was and played to it, for better and for
worse, depending on what you were wanting to hear.  Bernstein was yet
another of my recent radio interview victims, although it was more like
him interviewing me! He's definitely outgoing, to put it mildly.  They all
ame, unexpectedly, to the station and played into one microphone (muted
sax and trumpet, travel guitar, and snare drum) during the interview.
They played 'New Orleans', 'Ruby Tuesday', and 'Happy Birthday', which I
thought was kind of an unusual combination.

WY


-



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

From: [e-mail]
Subject: piano music
Date: 03 Mar 1999 02:19:24 EST

does anybody know where i could get some of zorns piano music?

rodrigo

-



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

From: "J.T. de Boer" <[e-mail]>
Subject: Fred Frith concert
Date: 03 Mar 1999 10:42:28 +0200

Hi all,

Fred Frith will give a solo-performance in the USVA-Theatre in
Groningen, The Netherlands on sunday,March 21.
The admission is fl 12,50 and the concert starts at 21.30.

USVA-Theatre
Munnekeholm 10
9711JA Groningen
The Netherlands
[e-mail]
031 (0)50 3634670

Thanks,

Jeroen de Boer
music director USVA-Theatre
[e-mail]
[e-mail]
Jeroen de Boer
student Arts & Arts Policy
University of Groningen, The Netherlands
[e-mail]

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: NYT music coverage
Date: 03 Mar 1999 08:22:05 -0800


On Tue, 02 Mar 1999 21:54:45 -0500  Perfect Sound Forever wrote:
>
> >In other words the only way we can fight back is to support independent
> >publications like CODA and Cadence and independent labels.
>
> Of course Ken is right.  We should support these publications so that
> they'll stay around and continue to do good work.
>
> But.  Let me suggest something a little unhip also.  Why not petition the
> larger publications to cover more interesting artists than whoever's in the
> top 40 this week?  If there were enough people to write in, they would have
> to take some kind of notice that there was a hunger for this.

What larger publications do you have in mind? JAZZIZ, which used to be the
bible for ultra-lite jazz, has always a couple of articles on non-mainstream
players (Briggan Krauss in the last issue, for example). DOWN BEAT does a
fairly good job also.

In fact, based on the interest that this music produces, I have the impression
that the coverage is well above the reader's interest. When JAZZIZ started (a
couple years ago) to cover jazz outside the "jaccuzzi" genre, I almost thought
that they were commiting suicide. We are just lucky that big fans of the genre
are writing for all these magazines (Lange, Corbett, etc).

I would have a hard time to ask for more.

    Patrice.

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: "Hagans"/sex Mob
Date: 03 Mar 1999 11:30:47 -0500 (EST)

I don't know, maybe Steve just gets off on "Happy Birthday". Speaking to
him after the set at Tonic last October, I mentioned I was in town because
it was my birthday. "You should have told me during the set," he said.
"We could have played Happy Birthday."

Ken Waxman
[e-mail]



On Wed, 3 Mar 1999, William York wrote:.

  Bernstein was yet
> another of my recent radio interview victims, although it was more like
> him interviewing me! He's definitely outgoing, to put it mildly.  They all
> ame, unexpectedly, to the station and played into one microphone (muted
> sax and trumpet, travel guitar, and snare drum) during the interview.
> They played 'New Orleans', 'Ruby Tuesday', and 'Happy Birthday', which I
> thought was kind of an unusual combination.
>
> WY
>
>
> -
>
>

-



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

From: [e-mail]
Subject: cd halflife
Date: 03 Mar 1999 12:33:35 -0500


Among all the CD buyers on this list, there's got to be a tekkie that can help
me. Remember about a decade ago, when CDs were new and the naysayers were saying
that they would undigitize and become unplayable. I've heard that that was true
for early discs, but the problem was resolved. Well, it seems like my copy of
Tom Waits' Frank's Wild Years, one of my first purchases, is beginning to
develop skips that can't be cleaned away. I feared the same was true of
"Spillaine," but that one I managed to clean, even though there was no visible
dust or scratches. Can anyone school me on care and love for your aging CDs?

And new ones, while I'm at it. I just bought "Tri-Danielson" by the Danielson
(extended) Famile (any fans?), and it plays on my CD-Rom, but not on my stereo.
What can I do?

Thanks. Respond privately, if you prefer:[e-mail]



-



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

From: BJOERN <[e-mail]>
Subject: Re: cd halflife
Date: 03 Mar 1999 18:47:50 +0100 (MET)

> Tom Waits' Frank's Wild Years, one of my first purchases, is beginning to
> develop skips that can't be cleaned away. I feared the same was true of
> "Spillaine," but that one I managed to clean, even though there was no visible
> dust or scratches. Can anyone school me on care and love for your aging CDs?

only way to avoid this completely is probably to get your turntable back
from the attic....
buy all the nice unpayable originals of the best records of all time and
you'll have fun with them until you are dead and gone


BJOERN


-



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

From: "Heather and Jeff" <[e-mail]>
Subject: Either/Orchestra Tour Dates
Date: 03 Mar 1999 12:54:07 -0500

One of the greatest working groups in America:  The Either/Orchestra!!

3/10 Ann Arbor
3/11 Grand Rapids
3/12 & 13 Chicago
3/14 Des Moines
3/15 Sumner
3/16 Madison
3/25 Somerville, MA
3/28 Waltham, MA

For more detailed info www.accuraterecords.com

JK
[e-mail]




-



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

From: "Scott" <[e-mail]>
Subject: New Naked City
Date: 03 Mar 1999 18:00:43 +0000

OK. For the unbelievers, Music Boulevard has a listing for Naked City's
Radio V.1, an Avant Release due 28th Feb.

Check it out at
http://www.musicblvd.com/cgi-bin/tw/0704094038920483599_43_430859

Scott

-



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

From: Dan Hewins <[e-mail]>
Subject: Re: New Naked City
Date: 03 Mar 1999 12:13:58 -0600

Oh, and how did MusicBlvd become "in the know" on this subject?  All I'm
trying to say is that when I want to get reliable CD information
(especially on Avant etc. discs) I don't go to MusicBlvd or CDNow...

Dan Hewins


At 6:00 PM +0000 3/3/99, Scott wrote:
>OK. For the unbelievers, Music Boulevard has a listing for Naked City's
>Radio V.1, an Avant Release due 28th Feb.
>
>Check it out at
>http://www.musicblvd.com/cgi-bin/tw/0704094038920483599_43_430859
>
>Scott
>
>-




-



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

From: [e-mail]
Subject: Re[2]: NYT music coverage
Date: 03 Mar 1999 12:27:26 -0500


     Patrice wrote:

>I would have a hard time to ask for more.

As usual, Patrice knifes to the heart of the matter.

Though one may complain, as I have, about the critical standards employed by
writers for the Times or elsewhere, it's probably appropriate to stand back a
bit and consider how fortunate it is to have ANY written criticism in major
outlets of, for purposes of this discussion, new music.

An example I've been thinking about lately: The Brotzmann tentet put out by
Okkadisk in a limited edition of 1000. Here we have a almost universally
acclaimed release, appearing on numerous critical 10 best lists, possibly a
unique one-time-only event. I picked up my copy shortly after its release and
felt lucky to get my hands on ol' #168. A couple of weeks ago, a friend
mentioned that he had picked it up. Hmmmm, I thought. Let's assume he didn't get
the very last copy in existence. Let's say 750 copies have been...sold (leaving
out distribution copies). Now, that's not a lot of people; probably a good
portion are on this list. Yet, if that same Tentet were playing at the Knit this
weekend, I'd "expect" the Times to run a review! For who? The 100 people in
attendance and the other 100 who couldn't make it?

Do you ever get the feeling, as I do, that there are more writers covering new
music than there are fans of it? In that sense, whatever I consider their
shortcomings to be, I have to be thankful (even surprised) that they're out
there in whatever publication, providing air-time for this fairly private
obsession of ours.

End of sermon.

Brian Olewnick






-



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

From: "Dave Egan" <[e-mail]>
Subject: Re: cd halflife
Date: 03 Mar 1999 10:26:14 -0800

This sounds to me like the first sign that your CD player is worn out.  Try
playing the discs on someone else's CD player.  I'll bet they'll be fine.

- Dave

----- Original Message -----
Sent: Wednesday, March 03, 1999 9:33 AM


>
>Among all the CD buyers on this list, there's got to be a tekkie that can
help
>me. Remember about a decade ago, when CDs were new and the naysayers were
saying
>that they would undigitize and become unplayable. I've heard that that was
true
>for early discs, but the problem was resolved. Well, it seems like my copy
of
>Tom Waits' Frank's Wild Years, one of my first purchases, is beginning to
>develop skips that can't be cleaned away. I feared the same was true of
>"Spillaine," but that one I managed to clean, even though there was no
visible
>dust or scratches. Can anyone school me on care and love for your aging
CDs?
>
>And new ones, while I'm at it. I just bought "Tri-Danielson" by the
Danielson
>(extended) Famile (any fans?), and it plays on my CD-Rom, but not on my
stereo.
>What can I do?
>
>Thanks. Respond privately, if you prefer:[e-mail]
>
>
>
>-


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: New Naked City
Date: 03 Mar 1999 10:28:20 -0800


On Wed, 03 Mar 1999 18:00:43 +0000  "Scott" wrote:
>
> OK. For the unbelievers, Music Boulevard has a listing for Naked City's
> Radio V.1, an Avant Release due 28th Feb.

And so what? Since when annoucements from record distributors are supposed
to be taken without a grain of salt?

Many Avant records were recently put on the American market, and I can't
remember the number of times they were presented as if being new
releases (when in fact they had been release 4-5 years ago).

This Naked City has been unavailable on the American market for a while.
Nice to see it available again.

    Patrice.

-



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

From: "Heather and Jeff" <[e-mail]>
Subject: RE(2): NYT music coverage
Date: 03 Mar 1999 13:34:51 -0500

Let's face it, the word of mouth that this generates is much more
significant than anything written in the NY Times.  I haven't been in retail
for a while, but when I was an article on Charlie Haden in the Sunday Times
boosted Charlie's sales for months.  A similar article on Zorn (I'm thinking
of a Bar Kokhba review I think) did little or nothing to increase sales.
Let's take what we can get and not worry about what others think.  Plus a
big review would cause Ltd. Ed. CD's to sell out and we'd be mad that the
"real" fans couldn't get 'em.

Just my opinion

JK
[e-mail]



-



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

From: James Hale <[e-mail]>
Subject: Re: NYT music coverage
Date: 03 Mar 1999 15:41:09 -0500

Patrice L. Roussel wrote:
> JAZZIZ, which used to be the
> bible for ultra-lite jazz <snip> We are just lucky that big fans of the genre
> are writing for all these magazines (Lange, Corbett, etc).

In the case of Jazziz, the increase of coverage (and covers even!) of
David S. Ware, Matt Shipp et.al., is due to the presence of Larry
Blumenfeld as editor. Larry has the respect of many writers who see
beyond the commercial association with the Jazziz name, and also has big
ears himself.

Lange, Corbett and numerous other writers (myself included) are
particularly passionate about music outside the mainstream, but if
editors and publishers weren't open to alternatives it wouldn't run.

Just compare the amount of non-mainstream coverage in Jazziz or (to a
lesser extent) Down Beat to what JazzTimes does and you'll see what
difference leadership makes.

When it comes down to it, there are only about a dozen or so of us out
there pitching alternative stories and reviews to the major
publications. The openness of the editors make all the difference.

Right now, Jazziz seems to be the most adventurous of the majors, but
remember, wasn't that long ago that Art Lange had DB wide open. It all
moves in cycles.

James Hale


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: NYT music coverage
Date: 03 Mar 1999 13:38:53 -0800


On Wed, 03 Mar 1999 15:41:09 -0500  James Hale wrote:
>
> In the case of Jazziz, the increase of coverage (and covers even!) of
> David S. Ware, Matt Shipp et.al., is due to the presence of Larry
> Blumenfeld as editor. Larry has the respect of many writers who see
> beyond the commercial association with the Jazziz name, and also has big
> ears himself.

Thanks for clarifying and putting back the role of the editor in the
opening (and quality) of some publications. This is something kind of
hard to assess (the role of the editor) from the outside (not knowing
the mechanism at work).

    Patrice (fast to blame the editor when the quality is low, but
        who fails to thank him when the quality is up).

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: RE: new Shea (another two cents)
Date: 03 Mar 1999 19:32:48 -0500

At 03:37 PM 3/1/99 -0500, Vanheumen, Robert wrote:
>
>what's this new shea album compared to tower of mirrors? i only own this
>one and prisoner, but i like tower of mirrors far far more...

His later work (also including Satyricon) is much more focused, and has
many fewer samples from movies and other cultural detritus.  The new album
includes duets, for example, which sample the other artist and only work
with those samples (e.g., the Dave Douglas pieces).  I had another listen
to Tower of Mirrors and had forgotten all the 1984 quotes (just saw that
movie for the first time, I'll probably be hearing samples from it all over
the place now) and other atmospherics.  The new one is also a collection of
individual pieces, not a slowly evolving whole, as was ToM.

HTH.


--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: new Shea (another two cents)
Date: 03 Mar 1999 16:51:44 -0800


Any news about a Russ Meyer project by David Shea?

    Patrice.

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: new Shea (another two cents)
Date: 03 Mar 1999 20:08:29 -0500

At 04:51 PM 3/3/99 -0800, Patrice L. Roussel wrote:
>
>Any news about a Russ Meyer project by David Shea?

Not around here.  Sounds interesting though.

--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: Lang Thompson <[e-mail]>
Subject: Zorn-scored films on tape
Date: 03 Mar 1999 22:14:14 -0500

Does anybody have any of the films that Zorn has scored on videotape?
Preferably NTSC with subs but I'd take anything.  If so I've got plenty of
rare and hard-to-find films to trade.

LT
Lang Thompson
http://www.tcf.ua.edu/wlt4

World Cinema Review
http://www.tcf.ua.edu/wlt4/wcr.htm

-



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

From: Steve Smith <[e-mail]>
Subject: Re: Tim Hagans
Date: 04 Mar 1999 01:19:24 -0500

[e-mail] wrote:

> On March 1st Steve Smith wrote:
>
> >NP- (The Artist Formerly Known as Tim) Hagans, "Slo-Mo"
> >_Animation-Imagination
>
> Is this just a kind of ironic comment on Hagans' Animation-Imagination?

Oh, no, not at all!  I quite like the disc, very unironically.  It's
actually one of the better jazz/drum'n'bass things I've heard, especially
for one originating from the jazz side of the fence.  (There's actually a
healthy young "live" drum'n'bass scene swelling up on the lower east side
at clubs like Izzy Bar and Shine, with drummers playing tiny little cymbals
and super tightened drums at massive BPM to get that sped-up sound!)

No, I was merely riffing on the fact that, if you look carefully, the disc
is in fact credited to "Hagans," not "*Tim* Hagans," thus my not-so-clear
joke.  The disc is well worth hearing.

Steve Smith
[e-mail]
NP - Jussi Bjoerling, "Celeste Aida" (Verdi), _Great Recordings of the
Century: Jussi Bjoerling_


-



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

From: Steve Smith <[e-mail]>
Subject: Jazziz [was Re: NYT music coverage]
Date: 04 Mar 1999 01:49:29 -0500

James Hale wrote:

> In the case of Jazziz, the increase of coverage (and covers even!) of
> David S. Ware, Matt Shipp et.al., is due to the presence of Larry
> Blumenfeld as editor. Larry has the respect of many writers who see
> beyond the commercial association with the Jazziz name, and also has big
> ears himself.

Agreed.  Props are also due his assistant editor Dante Sawyer, who not only loves
this music but is willingly based in Gainesville, FL, where he gets to hear
precious little of it live, in order to work on the magazine while Larry lives in
Brooklyn!  I salute his fortitude.

The other thing is that Larry often takes an interesting tack on the articles about
the music to I'd never choose to listen.  The Rachel Z. article in the February
issue was a case in point - I'd not choose to listen to her smooth jazz stuff or
her flat out pop stuff, but the article in which she discussed her reasonsing for
her personal journey from opera training to jazz to smooth jazz to pop was actually
fairly interesting.

(Plus, in the swinishly shameless self-promotion department, I've just started
doing some writing for Jazziz.  Look for a piece about free improvisers
circumventing the recording industry by starting microlabels with their CD-R
burners in the May issue, and a Horace Tapscott remembrance and an article on the
video "Rising Tones Cross" in the June issue.)

> Right now, Jazziz seems to be the most adventurous of the majors, but
> remember, wasn't that long ago that Art Lange had DB wide open. It all
> moves in cycles.

Lange still writes on some fairly adventurous stuff for Pulse! but seems lately to
have taken a more serious interest in the producing he's been doing for hatOLOGY -
not a bad thing.

Steve Smith
[e-mail]
NP - Jussi Bjoerling, "E la solita storia" (Cilea), _Great Recordings of the
Century: Jussi Bjoerling_


-



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

From: Perfect Sound Forever <[e-mail]>
Subject: Re: NYT Music Coverage
Date: 04 Mar 1999 09:14:19 -0500

Brian Olewnick sed:

> Do you ever get the feeling, as I do, that there are more writers covering new
> music than there are fans of it?
>

Lord almighty- that's probably the most best insight I've seen online in a while!
Something tells me that if this list hired out Forrester to research this, Brian would
be proven right.


> In that sense, whatever I consider their
>   shortcomings to be, I have to be thankful (even surprised) that they're out
>   there in whatever publication, providing air-time for this fairly private
>   obsession of ours.
>

Amen.  Support these publications.  I still say that it's also worth it to petition the
bigger ones to be more broad-minded.

Jason
--
Perfect Sound Forever
online music magazine
[e-mail]
http://www.furious.com/perfect



-



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

From: Mark Saleski <[e-mail]>
Subject: Re: cd halflife
Date: 04 Mar 1999 10:08:44 -0500


i've wondered about this myself.

my copy of Marc Ribot's 'Rootless Cosmopolitans' has become almost
unplayable.

if you hold it up to the light there are fairly large and irregular
holes in it.

--
Mark Saleski - [e-mail]    "Everything you can imagine is
real."  -- Picasso



-



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

From: "Heather and Jeff" <[e-mail]>
Subject: Re:  cd halflife
Date: 04 Mar 1999 11:11:22 -0500

I've never had any problem with the CD's themselves and I've got some that
are 12 years old.  I have however been through 3 CD players in that long.
The tracking mechanism wears out and since that costs about $100 by itself I
just buy cheap CD players and replace 'em when they die.

JK
[e-mail]



-



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

From: Jason Caulfield Bivins <[e-mail]>
Subject: Brotzmann/10tet
Date: 04 Mar 1999 11:25:50 -0500 (EST)

Hi all,

Riffing on Brian's mini-sermon here. But as most of you probably already
know, big Brotz is doing some shows with the 10tet in May. I know that
they're playing Victoriaville and also Chicago's Empty Bottle Fest (where
he's also playing with Die Like A Dog). I'm pretty sure the lineup is the
same, the one exception being that Toshinori Kondo is taking McPhee's
spot.

I can't wait to take my private obsession into the public sphere, as it
were.

Jason Bivins


-



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

From: dennis summers <[e-mail]>
Subject: Bad CDs
Date: 04 Mar 1999 09:46:53 -0700

Well, as you're likely to hear from others, there's nothing you can do. The
actual media within the plastic coating is deteriorating, and you're out of
luck. I'm one of those that believe that the problem hasn't really been
solved only postponed. I buy vinyl whenever I can. As far as I'm concerned
it's all part of the corporate scam which makes us pay more for a product
that costs them less. And if they get us to buy the same thing over and over
again, all the better for the economy. Theirs at least.

yours in zornocity --ds
***Quantum Dance Works***
****http://ic.net/~denniss****


-



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

From: Blind <[e-mail]>
Subject: Laswell new album - ?
Date: 04 Mar 1999 17:19:33 +0200

Some extra information about the upcoming Laswell album on Tzadik?


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Materiali Sonori compilation?
Date: 04 Mar 1999 09:30:05 -0800


    Just heard about the following compilation:


050 - ALTERNATIVE MEDITATIONS VOL.2: various artists

  This record features Bill Laswell, Jah Wobble, Brian Eno, Hector Zazou,
  David Shea, etc.

    1999 - Materiali Sonori (Italy), ??? (CD)


Does anybody have it?

    Thanks,

    Patrice (looking for the David Shea info).

-



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

From: [e-mail] (Martin Wisckol)
Subject: Cd playing troubles
Date: 04 Mar 1999 08:46:26 -0800

RE: Frank's Wild Years problems etal....
I'm having the damnedest time remembering where I read this, some
auidophile article and not being an audiophile I just drew in the basic
concepts. Somebody else can probably provide the specifics. The story
explained that there is a "new" technology for CDs used occasionally
and to take advantage of it you need a player with that technology.
However, this special player will play all CDs and the CDs will play on
standard players EXCEPT OLDER MODELS. Sorry to be so vague. ... Hope
"Cold Cold Ground" finds its way back to your earhole soon! (Although I
don't think this CD is one of those recorded with this technology --
they're marked on the back. I know I'm being real helpful here -- I
don't even remember what the technology is called.)

My problem, which seems to have occured only while in the humidity of
Florida, is that several discs I had flaked. Literally, a piece of that
silver stuff came off. The discs play until they hit that spot. Of
course this happened on a couple of out of print CDs, including a
beloved Nana Vasconcelos.... Anybody else have this problem? Now I'm
back in California and, I hope, my CDs are safe.

Martin

"Logic is the lowest form of magic" -- Cecil Taylor

-



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

From: BJOERN <[e-mail]>
Subject: Re: Bad CDs
Date: 04 Mar 1999 19:35:57 +0100 (MET)

> Well, as you're likely to hear from others, there's nothing you can do. The
> actual media within the plastic coating is deteriorating, and you're out of
> luck. I'm one of those that believe that the problem hasn't really been
> solved only postponed. I buy vinyl whenever I can. As far as I'm concerned
> it's all part of the corporate scam which makes us pay more for a product
> that costs them less. And if they get us to buy the same thing over and over
> again, all the better for the economy. Theirs at least.

well, finally this happens. i knew it. PATRICE, you asked me why i pressed
my recent release on vinyl? that is of course one of the reasons.
plus: pressing errors are alot worse when it comes to digital media.
i got a cd today which has a pressing error, so it just clicks there and
stops....
people get your old turntables in your living rooms again, that is the
only chance......

BJOERN
www.cityinfonetz.de/homepages/bjoern.eichstaedt/index.html





-



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

From: BJOERN <[e-mail]>
Subject: Re: Bad CDs (fwd)
Date: 04 Mar 1999 19:43:57 +0100 (MET)

> I'm one of those that believe that the problem hasn't really been
> solved only postponed. I buy vinyl whenever I can. As far as I'm concerned
> it's all part of the corporate scam which makes us pay more for a product
> that costs them less. And if they get us to buy the same thing over and over
> again, all the better for the economy. Theirs at least.

well, finally this happens. i knew it. PATRICE, you asked me why i pressed
my recent release on vinyl? that is of course one of the reasons.
plus: pressing errors are alot worse when it comes to digital media.
i got a cd today which has a pressing error, so it just clicks there and
stops....
people get your old turntables in your living rooms again, that is the
only chance......

BJOERN
www.cityinfonetz.de/homepages/bjoern.eichstaedt/index.html






-



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

From: Ken Waxman <[e-mail]>
Subject: Re: new Shea (another two cents)
Date: 04 Mar 1999 13:55:42 -0500 (EST)

Shouldn't that be part of Zorn's "Great Jewish Music" project?

Ken Waxman
[e-mail]





On Wed, 3 Mar 1999, Patrice L. Roussel wrote:

>
> Any news about a Russ Meyer project by David Shea?
>
>     Patrice.
>
> -
>
>

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Bad CDs
Date: 04 Mar 1999 11:23:42 -0800


On Thu, 4 Mar 1999 19:35:57 +0100 (MET)  BJOERN wrote:
>
> > Well, as you're likely to hear from others, there's nothing you can do. The
> > actual media within the plastic coating is deteriorating, and you're out of
> > luck. I'm one of those that believe that the problem hasn't really been
> > solved only postponed. I buy vinyl whenever I can. As far as I'm concerned
> > it's all part of the corporate scam which makes us pay more for a product
> > that costs them less. And if they get us to buy the same thing over and over
> > again, all the better for the economy. Theirs at least.
>
> well, finally this happens. i knew it. PATRICE, you asked me why i pressed
> my recent release on vinyl? that is of course one of the reasons.

If you want to go this path, you should have tried 78RPM with the deep
groove. And, why not even trying to restore the wax cylinder technology?

I grew up with vinyls and I am happy to get rid of them (as soon as I find
the CD reissue). Yes I miss the larger sleeves, but I have no romantic
feelings about vinyls.

> plus: pressing errors are alot worse when it comes to digital media.
> i got a cd today which has a pressing error, so it just clicks there and
> stops....

You know, it is called manufacturing errors and it happens once in a
while. Buying a brand new (and expansive) LP import and realizing that
by playing it in store it was already scratched, this never happened to
you? And wobbly records, never seen one? And distorsion (specially in
the region closer to the center) after only 10 listenings, never
experienced it?

Yes, digital technology has some imperfections, but you will have a
hard time to convince somebody that vinyl is the answer...

> people get your old turntables in your living rooms again, that is the
> only chance......

Until nobody will be able to afford one...

    Patrice.

-



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

From: "Heather and Jeff" <[e-mail]>
Subject: Re: cd halflife...
Date: 04 Mar 1999 14:40:30 -0500

It occurs to me that as we continue to find fault in all forms of music
media the only thing left is the musicians themselves.  Go out and hear it
LIVE!

JK
[e-mail]



-



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

From: [e-mail]
Subject: Re: live drum'n'bass (was Tim Hagans)
Date: 04 Mar 1999 14:47:44 EST

In a message dated 3/4/99 1:22:00 AM Eastern Standard Time,
[e-mail] writes:

>
>  Oh, no, not at all!  I quite like the disc, very unironically.  It's
>  actually one of the better jazz/drum'n'bass things I've heard, especially
>  for one originating from the jazz side of the fence.  (There's actually a
>  healthy young "live" drum'n'bass scene swelling up on the lower east side
>  at clubs like Izzy Bar and Shine, with drummers playing tiny little cymbals
>  and super tightened drums at massive BPM to get that sped-up sound!)

It seems to have caught on, in a big way. A lot of drummers are into it now.
A band to check out is drummer Zach Danziger and bassist Tim LeFevbre, who
have a thing they call "Boomish". They play regularly at the Izzy Bar. The
drums are smaller, the cymbals are smaller, but the bass sound is huge.  Some
guys use an upright bass, with something under the strings near the scroll, to
get a sort of muted, faster-decay kind of sound.  Some guys use an electric
with alot of effect pedals, volume pedals, delays, etc, and the reulst sounds
pretty fresh to my ears.  JoJo Mayer also has a regular gig with his group
"Nerve".  I've seen Ben Perowsky incorporate d'n'b with some groups he's
played with (not his own though).  I'm forgetting some, and if theres someone
doing this worth checking out, let me know.
-Jody

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: cd halflife...
Date: 04 Mar 1999 11:50:22 -0800


On Thu, 4 Mar 1999 14:40:30 -0500  "Heather and Jeff" wrote:
>
> It occurs to me that as we continue to find fault in all forms of music
> media the only thing left is the musicians themselves.  Go out and hear it
> LIVE!

Not sure about that. For example, I never go to concerts of classical music
because I don't see the point for a local orchestra to try so hard to deliver
a decent performance of Symphony X by composer Y, when so many fantastic
performances are available. As a result of that, I consider CDs as a perfect
replacement to live performance.

    Patrice.

-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: cd halflife...
Date: 04 Mar 1999 14:46:02 -0600 (CST)

On Thu, 4 Mar 1999, Heather and Jeff wrote:

> It occurs to me that as we continue to find fault in all forms of music
> media the only thing left is the musicians themselves.  Go out and hear it
> LIVE!

Hmm... let's compare how a CD and a saxophonist, both created today, sound
in 200 years :-)

("I would like to return this tobacconist. She is scratched.")

- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: [e-mail] (Martin Wisckol)
Subject: CD troubles
Date: 04 Mar 1999 15:12:00 -0800

Here's an excerpt from the article I alluded to about "special" CDs.
It's from a column called the Vinyl Anachronist @ ezine Perfect Music
Forever. www.furious.com/perfect (click on articles ... note there are
also archives)

Elsewhere in the column, he talks about other exceptional sounding CDs
(sound quality, not artistic quality) and who makes them, including
gold discs and other stuff I've never heard of....

excerpt:

...HDCD is not an actual label, but a process. HDCD (High Definition
Compact Discs) are specially-recorded titles that work in conjunction
with an HDCD chip that is available on most high-end CD players. You
can listen to an HDCD disc on a non-HDCD player, and it will sound
better than a regular disc. You can listen to a regular disc on an HDCD
player, and again it will sound better. If you listen to an
HDCD-encoded disc on a CD player with an HDCD chip... look out! This is
considered the best that the CD format has to offer, almost as good as
the best analog.

I do not have a chip in my Naim CD player (Naim is an idiosyncratic
audio company and didn't believe in HDCD until a few months ago), but I
do have several HDCD discs and they all sound really good. One
stand-out is Paula Cole's This Fire. Tony Levin's Chapman stick bass on
the opening cut "Tiger" is downright subterranean- perhaps the deepest
bass I've heard yet from CD. If you go through your current CD
collection right now you may find you already have several HDCD-encoded
discs. And you may say to yourself, "Hey, this is one of the
best-sounding CD's I've ever heard!"

Buying a CD player with an HDCD chip might prove a little more
difficult, however. The cheapest players with this feature hover just
under the $1000 mark. But like many new technologies, the price is
coming down, so hold on.

-



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

From: [e-mail]
Subject: Re: Cd playing troubles
Date: 04 Mar 1999 19:39:18 EST

In a message dated 3/4/99 12:54:34 PM Eastern Standard Time,
[e-mail] writes:

<< My problem, which seems to have occured only while in the humidity of
 Florida, is that several discs I had flaked. Literally, a piece of that
 silver stuff came off. The discs play until they hit that spot. Of
 course this happened on a couple of out of print CDs, including a
 beloved Nana Vasconcelos.... Anybody else have this problem? Now I'm
 back in California and, I hope, my CDs are safe. >>

This is similar to a disk I bought used ( _The Tyranny of the Beat- Original
Soundtracks from the Grey Area_ on Mute.)   There are several places on this
CD where the metal has flaked off and other places were small holes and cracks
have appeared. The weird thing is, the CD plays all the way through- no skips
or dropouts.  And yes- the flaked areas are well into the playing area.
Darndest thing i've seen in a CD...

=dgasque=

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Brotzmann/10tet
Date: 04 Mar 1999 20:10:54 -0500

At 11:25 AM 3/4/99 -0500, Jason Caulfield Bivins wrote:

>Brotz is doing some shows with the 10tet in May. I know that
>they're playing Victoriaville and also Chicago's Empty Bottle Fest (where
>he's also playing with Die Like A Dog). I'm pretty sure the lineup is the
>same, the one exception being that Toshinori Kondo is taking McPhee's
>spot.

Any online info (schedules, etc.) about the Empty Bottle Festival?

--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: [e-mail]
Subject: Re: Cd playing troubles
Date: 04 Mar 1999 21:20:48 EST

In a message dated 3/4/99 12:54:34 PM Eastern Standard Time,
[e-mail] writes:

> My problem, which seems to have occured only while in the humidity of
>  Florida, is that several discs I had flaked. Literally, a piece of that
>  silver stuff came off. The discs play until they hit that spot. Of
>  course this happened on a couple of out of print CDs, including a
>  beloved Nana Vasconcelos.... Anybody else have this problem? Now I'm
>  back in California and, I hope, my CDs are safe.
>

i have never had this problem w/cds. when they 1st came out i heard that cds
were good 4 about 10 yrs. i have plenty of cds that r older than that and they
play just fine. i recently read that cd-rs can last between 75-200 years. i
don't know where they came up w/this figure, cuz obviously the technology
hasn't been around that long. a problem w/some poorly manufactured (read:
sony) laserdiscs called "laser rot" arises when the glue holding the plastic
in place starts to give way, allowing air to get in and i think oxidize the
metal in the disc. on a laserdisc, this results in fuzzy picture and static-
laden sound. sony-pressed laserdiscs are notorious 4 this. maybe this
condition u describe is some kind of "cd rot". like i said, i have never
xperienced it personally, but that doesn't mean anything. i think i'm through
being pedantic 4 the day


criterion info
http://www.geocities.com/sunsetstrip/vine/9374


"i am beyond their petty, lying morality..."

-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Cd playing troubles
Date: 04 Mar 1999 18:46:29 -0800 (PST)

On Thu, 4 Mar 1999 [e-mail] wrote:

> i have never had this problem w/cds. when they 1st came out i heard that cds
> were good 4 about 10 yrs. i have plenty of cds that r older than that and they
> play just fine.

ditto.

i only have one CD (out of hundreds)
that is causing me trouble and it's kind
of strange. the Carl Stalling Project
disc (volume 1) has been really troublesome
lately. i can reproduce it on two different
CD players and the CD ROM on my computer.
the first track plays ok, no problems,
but the rest are overcome by a clicking
sound that gets louder with each track.
and, i can't seem to thumb through tracks.
the CD player won't let me select track N
or even ff. it just sort of "hangs" there
(i can actually hear the disc stop spinning)
and won't play. the only way is to just
let it play straight through. it's really
very curious. the disc itself looks fine.
no scratches, no pin holes, no oxidization,
nothing. so i'm at a loss as to understand
why this is happening. anyone else have
the same experience with this disc?

as an aside, i remember when this disc
came out apparently the promo edition
(nicer looking disc label art) got into the
market. i suspect mine might be one of
those, but never really looked into it.

> i recently read that cd-rs can last between 75-200 years. i

i've heard much less than that.
the CDR media (esp those cheapie green
discs) doesn't seem to be as stable.
not sure why that is.

> sony) laserdiscs called "laser rot" arises when the glue holding the plastic
> in place starts to give way, allowing air to get in and i think oxidize the

there is also a "disc rot" problem with
CDs. BUT... it is limited to only discs
manufactured by PDO in the UK during a certain
time period. for more details, see

www.soleilmoon.com/catalog/rot.html

and there are probably other websites
with additional information.

hasta.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


-



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

From: zoyd <[e-mail]>
Subject: Re: Bad CDs
Date: 04 Mar 1999 20:16:05 -0800

Patrice sez:

I grew up with vinyls and I am happy to get rid of them (as soon as I
find
the CD reissue). Yes I miss the larger sleeves, but I have no romantic
feelings about vinyls.

I sez:

I agree Patrice. I, too grew up with vinyl and good riddance. Back in
those days it seemed every tenth album i bought i was returning for one
reason or another...it was warped, too much surface noise, the grooves
weren't centered (check out the second side of the first roxy music
album for this fine defect....). Not to mention the quick deterioation
of the inner tracks.....
I've bought over 1500 cds so far over 12 something years, both new and
used and have yet to return one....

it's disconcerting about this PDO stuff (i have about a $1000 worth of
PDO discs) but only one shows any signs of "bronzing". And so far no
deteriotion in sound qualitiy on that one. It's nice that Philips is
offering to replace these discs....but i bet they dont have an easy time
finding a new copy of "Live at Bar Maldoror" by Current
93....sigh....not that they are gonna look that hard....

zoyd

-



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

From: [e-mail] (Jonathan Mooneyham)
Subject: Re: Cd playing troubles
Date: 04 Mar 1999 22:36:10 -0600

>On Thu, 4 Mar 1999  SUGAR in their vitamins? <[e-mail]>
>
>> i have never had this problem w/cds. when they 1st came out i heard that cds
>> were good 4 about 10 yrs. i have plenty of cds that r older than that
>>and they
>> play just fine.
>
>ditto.
>
>i only have one CD (out of hundreds)
>that is causing me trouble and it's kind
>of strange. the Carl Stalling Project
>disc (volume 1) has been really troublesome
>lately. i can reproduce it on two different
>CD players and the CD ROM on my computer.
>the first track plays ok, no problems,
>but the rest are overcome by a clicking
>sound that gets louder with each track.
>and, i can't seem to thumb through tracks.
>the CD player won't let me select track N
>or even ff. it just sort of "hangs" there
>(i can actually hear the disc stop spinning)
>and won't play. the only way is to just
>let it play straight through. it's really
>very curious. the disc itself looks fine.
>no scratches, no pin holes, no oxidization,
>nothing. so i'm at a loss as to understand
>why this is happening. anyone else have
>the same experience with this disc?

Yep, exactly the same problem (gorgeous 1st pressing Looney Tunes disc
label), but it had it from the git-go - wouldn't play on certain machines.
I think it's due to the running length of the cd - 77:53, a pretty stuffed
disc, particularly for early '90s cd technology...
>
>as an aside, i remember when this disc
>came out apparently the promo edition
>(nicer looking disc label art) got into the
>market. i suspect mine might be one of
>those, but never really looked into it.
>
The snazzy disc label was first pressings only, AFAIK - WTF.

I like how this thread managed to worm its way into some weentsy Zorn
content (via JZ liner notes on CS cd)...

Jon M.
FATE, Discorporated



-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Bad CDs
Date: 04 Mar 1999 20:39:04 -0800 (PST)

On Thu, 4 Mar 1999, zoyd wrote:

> deteriotion in sound qualitiy on that one. It's nice that Philips is
> offering to replace these discs....but i bet they dont have an easy time
> finding a new copy of "Live at Bar Maldoror" by Current
> 93....sigh....not that they are gonna look that hard....

practically all Current 93 is in print,
including "Live at Bar Maldoror".
in fact, he has been re-issuing quite
a bit of the back catalog over the
last year.

there shouldn't be a problem in replacing
that disc.

hasta.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


-



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

From: Zorn <[e-mail]>
Subject: cd troubles-Carl Stalling
Date: 04 Mar 1999 23:28:59 -0800

regarding the carl stalling project...
i have the exact same problem with this disc.....also the only one out of
hundreds.......

odd..


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Cd playing troubles
Date: 04 Mar 1999 22:04:29 -0800 (PST)

On Thu, 4 Mar 1999, Jonathan Mooneyham wrote:

> Yep, exactly the same problem (gorgeous 1st pressing Looney Tunes disc
> label), but it had it from the git-go - wouldn't play on certain machines.
> I think it's due to the running length of the cd - 77:53, a pretty stuffed
> disc, particularly for early '90s cd technology...

hmm, but Ryko's Mission of Burma
collection (from 1988, this is before
all those re-issues) disc is 80 minutes
and have had no trouble with it.
in fact i'm listening to it right now.

> The snazzy disc label was first pressings only, AFAIK - WTF.

it's such a shame about this clicking
thing, because it is such a beautiful design.
and, of course, the music is excellent
too. this disc did play just fine
when i first bought it all those years
ago.

hasta.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


-



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

From: [e-mail] (Martin Wisckol)
Subject: CD troubles -- CD players
Date: 04 Mar 1999 21:16:48 -0800

I'm not a gearhead and have only a passing interest in these things.

But the comment about getting cheap CD players and replacing them
caught my eye because I've mostly just used CD walkmans on my system
(currently low-end Nakamichi receiver and tape player, Infinity
reference series speakers, and, the oldest component, my Pioneer
turntable from 1977).

This was because I read a long time ago that Cd players basically all
sound the same.

Most of you may know this already, but it's not true. I just bought a
Harman/Kardon 5-CD changer (FL 8350) with 16-bit digital to analog
technology. This is not high end, $280 on sale at Circuit City, but a
step above the basic item. The difference is not minute, in certain
places. It is dramatic from start to finish. Broader dynamic range,
more dynamic bass and highs, better imagining. Much more lush and a
real delight. (Although the loading mechanism is noisy.)

And not only that. Prompted by another post on the subject of CD
troubles, I just pulled out my Vasconcelos "Bush Dance" and popped it
in. On my CD walkman, it stopped almost immediately since the missing
flake was on the first cut -- it could not skip past that track
(actually the first three tracks, it turns out). But with the
Harman/Kardon, it never actually stops. It skips intolerably where the
flakes are but I can punch it forward to the fourth track and then it
plays just fine. Hurray! I've got two-thirds of this out-of-print disc
back! I suspect I'll find the same with the other two (including a
beloved Frank Lowe).

Otherwise, I've had no problems with my 1,200 or so CDs (I had a stoned
late-night freak out in Florida that they were all going to start
flaking). No other aging problems. I have another 1,000 or so LPs, from
pre- to early-CD era. And aside from the affection for the LP sleeves,
I largely agree with PATRICE. LPs wear out and they have surface noise.
The same gremlins that steal the odd sock and add to the pile of dirty
dishes while I'm out sneak scratches onto my LPs -- last time I played
LP X, it was beautiful through that quiet section. I carefully returned
it to the inner sleeve and then the outer sleeve. Next time I slide it
on the Pioneer, there's a big TCHK! ... TCHK!... TCHK!...

I love my LPs but eagerly replace the most played ones with CDs when
available. I know I should get a new turntable, there would be a
dramatic difference, but for now I'd rather spend the money on CDs. ...
As for the live music argument -- this ain't no argument. It's like
comparing movies and live theater. Different mediums, different
experiences, different functions. If John Zorn is in town, I'm not
going to sit home and listen to one of his CDs. Recorded music is for
those times there's no gig worth checking out, which accounts for more
of the time. Recorded music is for your convenience. Always on hand.
I'll sit (or dance) to live music I would never purchase. And the best
live music, given the reasonable location for sound, tops the best
recording of it beyond pure audio quality. For me, any way.

Martin

-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: CD troubles -- CD players
Date: 04 Mar 1999 22:36:23 -0800 (PST)

On Thu, 4 Mar 1999, Martin Wisckol wrote:

> Most of you may know this already, but it's not true. I just bought a
> Harman/Kardon 5-CD changer (FL 8350) with 16-bit digital to analog
> technology. This is not high end, $280 on sale at Circuit City, but a
> step above the basic item. The difference is not minute, in certain
> places. It is dramatic from start to finish. Broader dynamic range,
> more dynamic bass and highs, better imagining. Much more lush and a
> real delight. (Although the loading mechanism is noisy.)

the interesting thing about this is
i have a number of CD players --a cheapie
portable and two deck units. both are
considered in the mid-range for "audiophile".
one is a Sony ES model and the other
is a NAD. very nice players. both have
trouble with this Stalling disc. it's
a real mystery.

but it's also true that some discs
the portable flakes out on can be played
with no troubel on these other players.

vinyl vs. CD is a strange argument as
they are practically apples and oranges.
each has their own place and i like
both. people who take an either-or
stance generally give me the impression
they view it like religion. whatEVER,
it's just a medium. the MUSIC is what
counts!

hasta.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


-



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

From: FJG_Lamerikx <[e-mail]>
Subject: Re: Bad CDs
Date: 05 Mar 1999 08:34:59 +0100 (MET)

Patrice wrote in reply to Bjoern:

> I grew up with vinyls and I am happy to get rid of them (as soon as I find
> the CD reissue). Yes I miss the larger sleeves, but I have no romantic
> feelings about vinyls.

[...]

> You know, it is called manufacturing errors and it happens once in a
> while. Buying a brand new (and expansive) LP import and realizing that
> by playing it in store it was already scratched, this never happened to
> you? And wobbly records, never seen one? And distorsion (specially in
> the region closer to the center) after only 10 listenings, never
> experienced it?
>
> Yes, digital technology has some imperfections, but you will have a
> hard time to convince somebody that vinyl is the answer...
>
> > people get your old turntables in your living rooms again, that is the
> > only chance......
>
> Until nobody will be able to afford one...

There are a number of reasons why I will favor vinyl:

1. I don't have any high-end equipment, and my Technics SL1200 turntable is
   easily the best piece of equipment I have - this means that vinyl in general
   sounds better on my equipment than CDs.
2. Some of the music I'm into is not available on CD, or only at a much later
   stage. Where are you going to find CD releases of all the techno, drum'n'bass
   and other dance-related 12"-es, for example? Besides, I think the CDS format
   is rather silly, so I'd prefer to buy vinyl 12"-es any day.
3. Some of the old music I'm trying to find has not been re-issued on CD. Ever
   saw a CD release of Les Baxter's "The Dunwich Horror" (I'm hoping that
   someone now gives me the catalogue number for the CD re-issue...)? Record
   labels are catching up, but this has only started a few years ago.
4. A lot of CD re-issues sound terrible, especially when compared to the vinyl
   originals. This is especially true of the late 80s - early 90s re-issues.
   Re-issues of the old James Bond soundtracks, for example, are horrible, both
   in sound and in packaging. What greater delight than to track down an
   original James Bond soundtrack from the 1960s?
5. Some of the artists I'm interested in (Diskono, V/Vm, audio.nl) won't release
   anything on CD. So if I got rid of my turntable I wouldn't be able at all
   to enjoy their music.
6. In general, vinyl is cheaper than CDs (at least here in Holland it is).
7. The esthetics of vinyl and all that surrounds it are far more attractive
   than the non-existing esthetics of CDs.
8. I'm a DJ every now and then, and I would have a hard time if I had to stick
   to CDs for this. For example, I can find all these old disco records which
   I use as DJ tools very cheaply on flea markets - now, I could also just put
   on a CD sampler of disco music, but where's the creativity in that?

The interest in vinyl is increasing again. This explains why Columbia releases
all the Miles Davis and Herbie Hancock stuff on excellent and very cheap vinyl
editions, and Blue Note does the same for their 60s catalogue. The bins in the
dance department of my local record store are bursting with new vinyl every
week. I'll stick to it as long as I can!

Frankco.


-



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

From: [e-mail]
Subject: Re: Bad CDs
Date: 05 Mar 1999 02:58:39 EST

In a message dated 3/5/99 2:37:40 AM Eastern Standard Time,
[e-mail] writes:

> A lot of CD re-issues sound terrible, especially when compared to the vinyl
>     originals. This is especially true of the late 80s - early 90s re-
issues.

this is most likely due 2 the mastering techniques used on the recording. back
in the day when vinyl was king, mastering was an artform. track order had 2 b
planned out carefully and eq was regarded in terms of the fidelity of the
systems of the day. now the sources 4 mastering r primarily digital (although
i know @ least 1 dinosaur jr record was mastered from cassette) and for eq its
basically "boost @ 100 hz, boost @ 10khz, next!" so if something was mastered
for vinyl, it makes sense that as a cd it would not sound as good as a cd that
was matered 2 b a cd. most of this doesn't really matter tho cuz we all know
john zorn kicks ass (token zorn content).

-



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

From: BJOERN <[e-mail]>
Subject: Re: Bad CDs
Date: 05 Mar 1999 10:41:43 +0100 (MET)

PATRICE wrote:
> I grew up with vinyls and I am happy to get rid of them (as soon as I find
> the CD reissue). Yes I miss the larger sleeves, but I have no romantic
> feelings about vinyls.

well, this is a discussion i had with alot of "older" people who grew up
with vinyl. BUT: nowadays there are lots of better turntables than 20
years ago. nowadays people know alot more about how to handle an LP to
have it for a lifetime. there is still the easy technology of washing your
vinyl which in most cases shows excellent results.
there are alot of LPs i would never ever replace by a cd. for example the
new rerelease of ERIC DOLPHY`s OUT TO LUNCH sounds so much better than the
cd version......you will never ever listen to that cd again when you heard
this new LP-version.
i think this "i have no romantic feelings about vinyl" thing is just an
aspect of what you call "blind believing in new technologies", even if in
the end there are enough reasons not to believe in that technology...
do not misunderstand me. i am far from saying that cd sucks and lp is
heaven...but: i dont believe in the idea of replacing all the lps by cds
whenever releases are available. i think it has to be judged from case to
case... there are alot of old lps that sound way better than the new
rereleases, so sure i buy the lps. there are also cds that sound better
than the lps (not many but quite a few) and sure i buy these on cd, also
there is alot of stuff you will never ever get as an lp or that has never
been out on lp (tzadik stuff, just as an example)..sure i get these on
cd.... i think that a mixed system of media is the best problem to solve
the problem. at least in the end (in 15 years) after all the cds you
bought nowadays are dead and gone, you will have some nice, maybe a bit
noisy vinyls left.


BJOERN


-



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

From: Ronald Martin Carrier <[e-mail]>
Subject: Re: Brotzmann/10tet
Date: 05 Mar 1999 07:49:37 -0600 (CST)

Caleb Deupree inquired:
> At 11:25 AM 3/4/99 -0500, Jason Caulfield Bivins wrote:
> >Brotz is doing some shows with the 10tet in May. I know that they're
> >playing Victoriaville and also Chicago's Empty Bottle Fest (where he's
> >also playing with Die Like A Dog). I'm pretty sure the lineup is the
> >same, the one exception being that Toshinori Kondo is taking McPhee's
> >spot.
>
> Any online info (schedules, etc.) about the Empty Bottle Festival?

http://www.emptybottle.com/jazz/jfest99.html

Later...

--
         Ronald M. Carrier -- rcarrier@{suba.com,hecky.acns.nwu.edu}
                       http://www.suba.com/~rcarrier/
              "If one does nothing but listen to the new music,
        everything else drifts, goes away, frays."--Donald Barthelme


-



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

From: dennis summers <[e-mail]>
Subject: Re: Bad CDs
Date: 05 Mar 1999 08:03:12 -0700


>You know, it is called manufacturing errors and it happens once in a
>while. Buying a brand new (and expansive) LP import and realizing that
>by playing it in store it was already scratched, this never happened to
>you? And wobbly records, never seen one? And distorsion (specially in
>the region closer to the center) after only 10 listenings, never
>experienced it?
>
>Yes, digital technology has some imperfections, but you will have a
>hard time to convince somebody that vinyl is the answer...
>
>> people get your old turntables in your living rooms again, that is the
>> only chance......
>
>Until nobody will be able to afford one...
>
>    Patrice.

Look, by no means am I saying that vinyl is not without it's own set of
problems. I recently bought one of the Coltrane re-releases on "special"
vinyl only to find it filled with pops, and unable to return as I bought it
on an out of town trip. And I'd have to say that in general I have less
problems with new CDs. However, that given, I have done blind sound
comparisons between the same disc as both CD and vinyl, only and
consistently to find that the vinyl sounds better. Furthermore, as someone
who spends far too much money on music, (and having done so for many, many
years) I want to know that I'll be able to listen to the purchase 10, 20
years down the road. And I'm sceptical  that I'm going to be able to do
this. The original poster to this thread (whose name I seem to have
misplaced, sorry) is by no means the only person with this problem. I have
more than one friend who now has bad CDs. I think the only reason I've
lucked out as much as I have, is that I held on to buying vinyl, until
literally, I had no choice. I even went to Landmark records offices in
Berkely once on a trip there to pick up a vinyl Charlie Rouse record, a
decision I don't regret. (I also got to chat with Orrin Keepnews which was
kind of cool). And as I mentioned in the previous post, the whole "cost
scam" has me incensed. Has anyone heard what happened to that suit that
somebody started against the industry a few years back alleging price-fixing?

yours in zornocity --ds
***Quantum Dance Works***
****http://ic.net/~denniss****


-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Bad CDs
Date: 05 Mar 1999 10:09:37 -0600 (CST)

On Fri, 5 Mar 1999, dennis summers wrote:

> kind of cool). And as I mentioned in the previous post, the whole "cost
> scam" has me incensed. Has anyone heard what happened to that suit that
> somebody started against the industry a few years back alleging price-fixing?

As I understand it, the "cost scam" has benefitted artists with small
audiences in an odd way: with people being willing to pay high prices for
CDs that cost little to produce, the break-even point on creating and
selling a CD has dropped quite low. This is why there are so many
wonderful reissues of recordings that were extremely hard to find in their
earlier vinyl releases, as well as an explosion of CD releases of
relatively obscure artists.

Metatron Press was able to put out the first Comma CD for a little over
$2000 for a 500 copy run. For our next one, for which we didn't use a
studio and are mastering ourselves and using simpler packaging, we're
hoping to come in at about half that. Selling our CDs at about $10 apiece
for the most part, this is quite affordable. If we had to deal with vinyl
(not to mention the adding problems and costs of warping, breaking,
shipping, additional packaging material, larger art, etc), this just
wouldn't work. (And no, just going with 7" releases is not an option --
it's a continuous 45 minute performance.)

- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: [e-mail]
Subject: Re: Bad CDs
Date: 05 Mar 1999 11:08:46 EST

Another solution is to buy a CD burner and make copies of your CD's before the
bad happens.  Same with tapes, they will definitely lose quality over a 10-20
year period.

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Bad CDs
Date: 05 Mar 1999 08:51:34 -0800


On Fri, 5 Mar 1999 08:34:59 +0100 (MET)  FJG_Lamerikx wrote:
>
> There are a number of reasons why I will favor vinyl:
>
> 1. I don't have any high-end equipment, and my Technics SL1200 turntable is
>    easily the best piece of equipment I have - this means that vinyl in general
>    sounds better on my equipment than CDs.

Except that putting price on a CD player has almost no return. Even the cheapest
CD player has almost the same quality than the most expansive one (they are
likely to use the same ICs). Like somebody else, I buy the cheapest CD players
(the ones -- harder and harder to find -- without any bells and whistles).

Also, knowing that (and by far) the weakest element of an audio equipement are
the speakers, I have a hard time to understand what an high quality turntable
can bring (if the other parts are not high-end)? If really your turntable is
so good (and I assume that you mean the cartridge), you can go fairly high
in the price of speakers until you can see what your turntable is worth.

> 3. Some of the old music I'm trying to find has not been re-issued on CD. Ever
>    saw a CD release of Les Baxter's "The Dunwich Horror" (I'm hoping that
>    someone now gives me the catalogue number for the CD re-issue...)? Record
>    labels are catching up, but this has only started a few years ago.

I doubt it won't take long until it is available one day. I am totally
puzzled by what has been reissued recently (even the most obscure), to the point
that I am pretty convinced that it is just a matter of time to see everything
reissued on CD.

> 4. A lot of CD re-issues sound terrible, especially when compared to the vinyl
>    originals. This is especially true of the late 80s - early 90s re-issues.
>    Re-issues of the old James Bond soundtracks, for example, are horrible, both
>    in sound and in packaging. What greater delight than to track down an
>    original James Bond soundtrack from the 1960s?

You should ask the movie theaters to play the vinyl instead :-).

But it is true that until you can add a scratch capability to a CD player (though
David Weinstein and Nicolas Collins have been doing great things with CDs),
there is still a major advantage to vinyl over CD (at least from a DJ/artist
point of view).

    Patrice.

-



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

From: s~Z <[e-mail]>
Subject: Golia Septet In Ventura CA
Date: 05 Mar 1999 08:58:46 -0800

Ventura New Music Concert Series Continues

Vinny Golia Septet

Live at Ventura City Hall

Saturday =95 March 6 =95 8 pm

Admission $7 =95 Tickets at the door only

Corner of Poli and California Streets in the heart of downtown Ventura

Vinny Golia, woodwinds =95 Guinevere Mischam, cello
Wayne Peet, keyboards =95 John Fumo, trumpet and flugelhorn
Eric Barber, clarinet, soprano and tenor saxophones
Alex Cline, drums and percussion =95 Steuart Liebig, bass

-



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

From: [e-mail]
Subject: good cds
Date: 05 Mar 1999 12:02:25 -0500


What hath I wrought? A whole issue (save 1 post) on my little gripe. And all
more interesting than most magazines would manage on a subject that has been
talked to death. I'm glad I'm back on the list after a 2-year hiatus. It's an
interesting group of people here.

OK, so a few reactions. I've grown to live with the art (except, that is, for
the Pablo Bell Funkadelic covers, which cannot exist on a flimsy piece of paper,
even if it does fold out to almost album-cover size, with creases). And I think
Zorn has been at the forefront of releasing CDs with interesting booklet designs
-- at least going back to the "Elegy" and "Radio" days. I love Ikue's designs,
but now that I think about it, maybe the booklets have become somewhat
standardized in recent years. But that's another story.

I fully agree that neither vinyl nor digital sounds anything like live music.
While I prefer the detailed reproduction of cds, I also fall into the camp that
believes digital is too separated. It doesn't dissolve into the same wash that
live and analog can (especially on ECM discs, which sound so cavernous they
scare me).

If I have to listen to a damaged recording, however, give me vinyl anyday. I can
still remember skips on "Message to You, Rudy" or "(Just Like) Starting Over." I
was a kid and couldn't afford to replace records, and I hated the imperfections.
But at the same time, they were kind of mine. You knew where they were, and the
music went on. And when you were at a friends, they got the honor of performing
a little conductor-baton move to signal their memorized skip. So much more
palatable than the "whee-[silence]-dit-dit-ditditdit-[silence]" that you have to
manually override on discs.

I think my Yasaone Tone cd is deteriorating, too. But then, I could be wrong.

kg



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Bad CDs
Date: 05 Mar 1999 09:16:28 -0800


On Fri, 5 Mar 1999 10:41:43 +0100 (MET)  BJOERN wrote:
>
> PATRICE wrote:
> > I grew up with vinyls and I am happy to get rid of them (as soon as I find
> > the CD reissue). Yes I miss the larger sleeves, but I have no romantic
> > feelings about vinyls.
>
> well, this is a discussion i had with alot of "older" people who grew up
> with vinyl. BUT: nowadays there are lots of better turntables than 20

I am tempted to say that turntable making is becoming a lost art... I don't
understand based on what you can say that they are better now.

> years ago. nowadays people know alot more about how to handle an LP to
                    ^^^^^^^^^^^^^^^^^^^^^^^

What are you saying? Records collectors have always been maniac about the
way to handle vinyls. Can you give just *ONE EXAMPLE* of what people are
doing these days that we did not know twenty years ago (about taking care
of vinyls)?

> have it for a lifetime. there is still the easy technology of washing your
> vinyl which in most cases shows excellent results.
> there are alot of LPs i would never ever replace by a cd. for example the
> new rerelease of ERIC DOLPHY`s OUT TO LUNCH sounds so much better than the
> cd version......you will never ever listen to that cd again when you heard
> this new LP-version.

I agree that some CD reissues have been very disappointing, and pale in
comparison to the vinyl (flat sound, no punch at all).

> i think this "i have no romantic feelings about vinyl" thing is just an
> aspect of what you call "blind believing in new technologies", even if in
            ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

I won't comment on that ;-).

What about the following problem (for vinyl addicts):

    How do you feel about all the new records that will never
    beneficiate a vinyl pressing?

    Patrice.

-



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

From: David Keffer <[e-mail]>
Subject: Re:caring for bad cds
Date: 05 Mar 1999 12:41:18 -0500


Hello folks on the Zorn-list,

I thought I would add my 2 cents to the discussion
on how to care for cds:
My main complaint with cds is that you can't lick
them to clean them.  Now, I can lick my eye-glasses
clean to optical perfection but I can't lick cds
clean at all.  Licking a cd leaves an unbecoming
and streaky saliva residue that really increases the
esthetically displeasing characterisitics commonly
associated with cds.  Mother cats can lick
baby kittens to clean them, but even if you love your cds
as much as a mother cat loves her kittens, you will only
hurt your cds if you let your cat lick them.  Feline saliva
is no more beneficial to the cd than is human saliva.
At least this has been my experience.

Licking vinyl I have no comment on.  I use
the standard iso-propyl alcohol and felt
combination for vinyl and iso-propyl alcohol
and mascara brush for the stylus.

Now, on to using your vinyl iso-propyl alcohol kit
to clean your cds, because your cd cleaning kit is
out of fluid and you have been too lazy to go out
and purchase more fluid.  Not recommended.  If you smell
cd-cleaning fluid and record-cleaning fluid, they
smell the same.  They should because they are both
90+ percent propanol.  But there are varieties of
propanol (iso-propyl alcohol, n-propyl alcohol) and
there are grades of purity, where somebody might
let a good bit of ethanol or, heaven forbid, butanol
get in with your propanol.  The nose is apparently, not
as sensitive as that smooth transparent surface of
the compact disc.  Permanent streaking may result
when record-cleaning propanol is used in place
of cd-cleaning propanol on a cd.  However, rest assured,
both propanols are better than saliva from any
kind of mammal.

Now, if you are like me, you want a cheap cleaning
fluid.  If you go to your local turntable doctor, he
will try to sell you some real high-dollar unguent
for your records.  Now, believe me, if you smell the
propanol in that little vial of magic record-cleaning
fluid, you find that it smells just like standard
rubbing alcohol that you can buy by the quart in a
pharmacy for about one tenth of the price.  Naturally,
you think to yourself, "Mercy me, I will try to clean
my records with rubbing alcohol," which, by the way,
is also (mostly) propanol.

After many years of using cheap-ass rubbing alcohol on
vinyl, I find no noticeable deterioration of the vinyl.
However, I recommend that you do not use it to clean cds,
for the reasons given above.

Hope this advice helps.

David K.


-



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

From: "Scott Handley" <[e-mail]>
Subject: Recomm?: V. Golia & Jean Derome/live drum n' bass
Date: 05 Mar 1999 09:49:25 PST

For those of you who know Jean Derome's and Vinny Golia's respective
works pretty well, could I get some recommendations?  For those with
time, short descriptions or a links to such would be most appreciated.
I have Derome's LA BETE (?), which I think was written for modern dance.
I love it.  If this atypical of his other work----can this even be
said?----what's the other stuff like?

The scope and ambition of Golia's music, and the personal humility he
seems to project in his interviews, intrigues me.  But o hell: where to
start?


A side note:  there was brief but sincere praise of the first-rate
guitar hero Wayne Krantz amonth or two ago, and recent mention of the
live drum-n'-bass purveyor Zach Danzinger.  Everybody knows that Zach's
top-notch subdivisions can also be heard on two or three Krantz
releases, right?  Good stuff!  (Esp. 2 DRINK MINIMUM, a live record on
Enja).

----scott, who went to high school with a fourth-rate guitar hero,
Kenny Wayne SHepherd.  (Alas, Nietzsche would call me a little
man....)


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Recomm?: V. Golia & Jean Derome/live drum n' bass
Date: 05 Mar 1999 13:25:42 -0500 (EST)

I've always been partial to Derome's "Carnets de Voyage", which if I'm
not mistaken has been put together with two other similiar "travel" CDs
on Ambiance Magnetic in a 3-CD boxed set. I'd go for the single CD first,
since Derome's mixture of jazz, rock etc. can be a bit overpowering. I
saw his "Hommage A George Perc" at Victo and it seemed quite impressive
there, but like many live, large orchestra pieces, it may lose something
in the translation to CD (I haven't heard the disc). Speaking of drums &
bass, the only other Derome I have is his trio (Pierre Cartier [b];
Pierree Tanguay [d],Evidence, playing Thelonious Monk's music. It's a
good, minimal interpretation, but it seems overly dry.

Ken Waxman
[e-mail]

-



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

From: Craig Rath <[e-mail]>
Subject: Re: Bad CDs
Date: 05 Mar 1999 12:56:12 -0600

At 08:51 AM 3/5/99 -0800, Patrice wrote:

>Also, knowing that (and by far) the weakest element of an audio equipement
are
>the speakers, I have a hard time to understand what an high quality
turntable
>can bring (if the other parts are not high-end)? If really your turntable is
>so good (and I assume that you mean the cartridge), you can go fairly high
>in the price of speakers until you can see what your turntable is worth.
>

The main difference I've noticed in turntable quality (independent of the
quality of the other components) is how it handles surface noise and
damage.  The turntable I've had at home for many years is pretty low-end by
most standards, but I haven't been able to justify the price of an upgrade
yet.  Most vinyl that I bought brand new would have irritating clicks and
pops the first time through.  While I was in college, I would take these
same albums and play them on the turntables at the college radio station,
and these clicks and pops were not present there.  I know that the stylus
has a lot to do with the quality of the sound, but the internal workings of
the turntable's drive system, shock absorbtion, etc. has a very large part
as well.

I will still buy vinyl if it is something that is otherwise unavailable on
CD.  I currently have my turntable hooked up through a pre-amp into my
computer and am in the process of turning many of these old non-CD albums
into CD's, a long and painful process.  It takes about an hour per minute
to clean up the clicks and pops from the wav files before they can be
burned onto a CD, but for some albums it's worth the effort.  Vinyl seems
to wear out, whereas I've never had any problem with even my oldest CDs
ever crapping out on me.  I guess the main reason I have for preferring CDs
over vinyl or tapes is the consistent quality, and convenience of CDs.  I
have nothing against vinyl, I just don't have the extra cash to justify a
higher-end turntable.  I do have plenty against tapes, however.

The only CDs I've ever had any major problems with have been a couple of
King Missle reissue discs on Shimmy Disc (whose quality of CDs has
definitely improved over time - compare the Boredoms' Soul Discharge
release with the Ruins' Burning Stone to see how much they improved).  The
King Missle Discs would start getting an annoying popping noise about
halfway through and it would get worse the closer to the end of the disc.
This problem is better or worse depending on the quality of the CD player
involved.



-



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

From: [e-mail]
Subject: gtr oblq
Date: 06 Mar 1999 03:09:43 EST

does any1 know anything about this knitting factory cd release featuring
vernon reid, david torn, and elliot sharp? i'm thinkin, w/this lineup how can
u go wrong?


criterion info
http://www.geocities.com/sunsetstrip/vine/9374


"i am beyond their petty, lying morality..."

-



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

From: [e-mail]
Subject: Caring for vinyl (was caring for bad cds)
Date: 06 Mar 1999 05:05:53 EST

In a message dated 3/5/99 12:42:27 PM Eastern Standard Time,
[e-mail] writes:

<< Licking vinyl I have no comment on.  I use
 the standard iso-propyl alcohol and felt
 combination for vinyl and iso-propyl alcohol
 and mascara brush for the stylus.
  >>

I've always heard that using non-diluted isopropyl alcohol on vinyl is not a
recommended cleaning method.  It eventually breaks down the polymers that aid
in "groove recovery" on vinyl, and in addition leaves a residue of its own
behind.  I've used a 1 to 1 solution of 100-proof vodka and de-
ionized/purified water with my Nitty Gritty (which admittedly, gets little use
nowdays) for 15+ years with no adverse results.

=dgasque=

-



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

From: BJOERN <[e-mail]>
Subject: Re: Bad CDs
Date: 06 Mar 1999 11:47:40 +0100 (MET)

>     How do you feel about all the new records that will never
>     beneficiate a vinyl pressing?

that is a very sad thing.... i buy these on cd of course...
but these records will be gone forever in at least 20 years.

BJOERN


-



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

From:    [e-mail] (Patrick Carey)
Subject: A Few Items FS ...
Date: 06 Mar 1999 08:35:40 -0500

Please pardon the intrusion and cross-posting.

I've got some itmes FS that some on this list may
be interested in.  First come, first served ...

Prices are in _US $_ and are POSTAGE PAID within North America.
Shipping on orders outside NA can be arranged.

New stuff/price change with a #
If you don't like the prices, make me an offer.


# C.C.C.C. - "Amplified Crystal" JAP LP (Endorphine Factory) 1993   $14
* C.C.C.C. - "Community Center Cyber Crash - Live In Pittsburgh" US LP
  (RRR/SSS) 1993   $7
# Caspar Br=F6tzmann/F.M. Einheit - "Merry Christmas" GER CD
  (Rough Trade/Our Choice) 1994   $10
# Caspar Br=F6tzmann/Page Hamilton - "Zulutime" AUS CD
  (Rough Trade/Our Choice/Blast First/Sub Rosa - Subsonic) 1996   $10
# David Tudor - "Neural Synthesis Nos. 6-9" US 2CD (Lovely) 1995   $18
# Disinformation - "R & D" UK CD (Ash International) 1996   $10
# Gerogerigegege - "Life Documents" UK 7" (4th Dimension) 1994   $7
# Naked City - "Torture Garden" US CD (Shimmy Disc) 1990   $11
# Naked City - "Leng Tch'e" JAP CD (Toy's Factory) 1992   $14
* Nimrod - "The Mighty Hunter/Lab 36B" CAN picdisc LP (Scratch) 1994   =
$5
* Nimrod - "Nimrod" CAN CD (Scratch) 1996   $7
# Otomo Yoshihide - "Sound Factory '97 - Memory Disorder Vol. 3" US CD
  (Gentle Giant) 1997   $10
# Painkiller - "Execution Ground" JAP 3CD (Toy's Factory) 1995
  $40/make offer [2CD plus bonus "Live In Osaka" disc feat. Eye.  Mint.=
]
# V/A - "Miaow!" UK promo sampler CD (Big Cat UK) 1995   $5
  [Feat. Sch=FCtze, Koner, E.A.R., Oliveros, Nijiumu, Dirty Three etc.]


Thanks for looking.


-Patrick
[e-mail]
http://www.astro.utoronto.ca/~carey/sofa/sale.html



-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: first cobra
Date: 06 Mar 1999 08:51:56 -0500

Wow, I feel like I've been initiated.  Last night I saw my first Cobra,
performed by the very capable Cincinnati Cobra Ensemble, a group of varying
number (last night 10) musicians who get together periodically to perform
the piece.  All of a sudden the music on the CDs makes a lot more sense.
We loved the way the piece was competitive and cooperative all at the same
time, the quick changes that the group pulled off, and the wide range of
sounds, from extreme delicacy to a wall of sound.  I strongly encourage
everyone on the list who hasn't seen a live Cobra to take any opportunity.
It's great fun.

The Cincinnati Cobra Ensemble plays again next week.  If there's anyone in
the area who wants more info, email me privately.


--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: gtr oblq
Date: 06 Mar 1999 10:04:52 -0500

At 03:09 AM 3/6/99 EST, [e-mail] wrote:
>does any1 know anything about this knitting factory cd release featuring
>vernon reid, david torn, and elliot sharp? i'm thinkin, w/this lineup how can
>u go wrong?

The first piece has a plodding drum beat which leaves a very bad first
impression, but after that it's pretty interesting, lots of guitar
atmospheres, less 'rock' than one might expect.  IMHO, the pieces with drum
machines work least well, but I'm coming mostly from the Torn fan side; I
can take or leave a lot of Sharp's work, and I'm mostly unfamiliar with
Reid, having only heard a CD with him and Frisell a long time ago and not
being very impressed.  The CD is from a concert recording, and although the
audience noise is mostly edited out, it is not a polished product like a
studio recording and has its share of misses as well as hits.  You can
probably tell, overall I was a tad disappointed.


--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: s~Z <[e-mail]>
Subject: Video Installation in Ventura CA
Date: 06 Mar 1999 07:37:39 -0800

Ganz Andere

April 23-May 1

a multi-screen video and music installation on the
third floor (the old women's prison) of Ventura
City Hall featuring music by Jeff Kaiser with
Vinny Golia and electronics (soon to be released
on CD!), words and video by Phil Taggart and
Clay Chaplin. More to come...soon...

http://www.jetlink.net/~pfmentum/pfm_3_99.pdf

-



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

From: nils <[e-mail]>
Subject: Re: Bad CDs
Date: 06 Mar 1999 11:26:34 +0000

[e-mail] wrote:

> Another solution is to buy a CD burner and make copies of your CD's before the
> bad happens.

This is really a method of last resort.  I have a
decent CD burner, and I've spent quite a bit of
time playing with it, but the copies are
frighteningly distant from the originals, in terms
of sound quality.  Copied CDs lose a lot of detail
and clarity.  I've noticed that the track lengths
can even differ from copy to copy.  There's quite
a bit of study of this on the internet, comparing
different media and whatnot.  (My personal
experience: Maxell discs are better than Sony,
which are better than Fuji.  Burn things at 2x
instead of higher speeds and they will sound
better.)  The idea that a digital copy is perfect
clearly does not apply to music.  Maybe some
electrical engineers can point out why, I would
imagine it has to do with check bits and error control.

I would say you only should be burning copies of
things where you can tolerate bad sound.  Of
course you might not hear the difference, if
you're listening to this stuff through a boombox
or something, but I can definitely tell an
annoying difference on my bottom of the line Sony
CD player.  On my friend's Rotel/Krell/Snell
system, it's enough to make me want to throw the
burner away.

-Nils

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: recent goodies
Date: 06 Mar 1999 13:29:16 -0500

I've been bingeing on new CDs lately, and these are some of the more
interesting items I've picked up.

Supersilent 4 (Runegrammophon)
Supersilent is the group hailed as the new Norwegian jazz, and there really
is nothing in common between this and the old Norwegian jazz characterized
by ECM.  Fans of noisy improv with electronics will love it.  The band, a
quartet including drums and trumpet in addition to electronics and
synthesizer, really cooks on this album.  You can read more about them in
the Feb issue of the Wire (with Thaemlitz on the cover), but it's great
stuff, highly recommended.  The drumming is as close as I've ever heard to
breakbeat, and with the complete craziness going on around it, it is
completely wonderful.  Their first album is a 3-cd set (called Supersilent
1-3, go figure), and I'm really looking forward to picking it up.  This is
the best high energy music I've heard in a long time.

Jacques Tremblay, Alibi (Empreintes Digitales)
Continuing my forays into electroacoustic, the Montreal-based Empreintes
Digitales label can usually be counted on for excellent offerings overall.
Even with such fine company, this one excels.  Starting with a 21-minute
piece entitled Heresy, or the Bas-reliefs of dogma, a scary look at all
forms of religious practitioners whose only real religion is themselves,
and continuing through six more pieces for a 78 minute recital, this is a
superb album, which I would highly recommend to anyone wanting to hear
what's new in the field.

Arnold Dreyblatt, The Sound of One String (Table of the Elements)
My first introduction to Dreyblatt, whose name is usually dropped with
Lamonte Young and Tony Conrad as early minimalists who haven't been as well
accepted as Glass and Reich.  I've also been listening to a lot of drone
music lately, and expected this to be in more or less the same category.
Well, it's not, mostly because Dreyblatt's primary explorations took place
on a modified cello which struck with the bow to create overtones.  The
overtones are very interesting, but the continuous pulse underlying almost
all the pieces on this disk is a bit disconcerting.  The album is an
overview of his work from 1979 to 1991, and the best pieces for me are the
most recent, because he's moved away from his cello to a larger group, and
the pulse is gone, leaving a shimmering glow where the harmonics really
come through.

Franz Koglmann & Lee Konitz, We thought about Duke (Hat)
I don't buy much traditional jazz any more, but I've always like Koglmann's
larger ensembles, so I thought I'd try this one.  To my surprise, it's a
smaller ensemble, quartet and quintet, both drummerless.  The quintet
includes Tony Coe (clarinet), Burkhard Stangl (guitar), and Klaus Koch
(bass), and the quartet includes Rudolf Rischel (trombone) and Raoul Herget
(tuba).  The closest comparison for me is the Wheeler-Frisell date Angel
Song on ECM, in that the drummerless groups are more relaxed, more
intimate.  Stangl is more traditional on this album than Frisell (and also
much more traditional than Polwechsel, the only other place I've heard
him).  The sound is superb, and Duke's music is great.  Very nice effort as
well.

THU20, Derde Schijf (Staalplaat)
A five-person electroacoustic improv group including Roel Meelkop and Ios
Smolders (the only two names previously known to me) with a collection of
pieces, some of which were recorded live.  Quiet listening for the most
part, with enough unsettling sounds to keep it from being sleep music.
This is al album where I wonder what everyone does.  It doesn't really
sound like five guys, and other than some treated percussion I haven't
heard anything yet that I could call an instrument.  Much more subtle than,
say, Morphogenesis (the only possible comparison that I could make), but I
find it fascinating.

Justin Bennett, The Mosques of Tanger (Staalplaat)
To explain my fascination with this album I have to confess a certain lack
of worldliness.  Having spent most of my life so far in the American
midwest, I've never heard a call to prayer from a mosque, though I've read
that in many parts of the world this is a natural part of the sonic
environment.  Bennett's 3-inch CD is all field recordings (the opening and
closing quite literally) with very little modification (or at least still
very recognizable).  I was very excited when I got this, and put it on
almost immediately.  We settled back during the opening sounds of birds and
nature at dawn.  But when the calls started, deep voiced, loud, and
multitracked, it got unsettling in a hurry.  One of the more interesting
environmental recordings I've come across.




--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: Matthew Ross Davis <[e-mail]>
Subject: Bad CDs
Date: 06 Mar 1999 13:44:03 -0500


It's also important to remember that recordable CDs are not protected the same
way that commercially made CDs are. Essentially with a recordable CD, you've
got even MORE room for error and damage, because essentially there is no
protective coating on the business-side of the CD. This could also account for
the reported poor quality of 'copying' commercial CDs to recordable CDs.

If you want to 'back up' your LPs and CDs, I recommend MiniDisc.

--
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| | m - a - t - t - h - e - w | r - o - s - s | d - a - v - i - s | |
| | http://www.artswire.org/mrd | | | | | | | | | | | | | | | | | | |
| | m-e-t-a-t-r-o-n p-r-e-s-s | | | http://www.artswire.org/comma | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |

-



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

From: [e-mail]
Subject: re: bad cds
Date: 06 Mar 1999 14:22:38 EST

In a message dated 3/6/99 1:37:05 PM Eastern Standard Time, [e-mail]
writes:

> If you want to 'back up' your LPs and CDs, I recommend MiniDisc

i do not. minidisc technology provides a "clearer" recording because it
removes duplicate frequencies. if 2 things sound @ the same freq, 1 gets
removed to save space. they sound "clearer", but only because there is less
information.


criterion info
http://www.geocities.com/sunsetstrip/vine/9374


"i am beyond their petty, lying morality..."

-



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

From: [e-mail] (David J. Polak)
Subject: San Francisco record shops
Date: 06 Mar 1999 14:50:09 -0500 (EST)

Sorry for the off topic post, but I will be in Frisco March 17-22 and need
the names of good record stores. Both CDs and vinyl, jazz and classic rock.
You can e-mail me if you feel this is too off-topic. Thanks in advance.


-



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

From: Rich Williams <[e-mail]>
Subject: Re: gtr oblq
Date: 06 Mar 1999 14:13:17 -0500

> At 03:09 AM 3/6/99 EST, [e-mail] wrote:
>>does any1 know anything about this knitting factory cd release featuring
>>vernon reid, david torn, and elliot sharp? i'm thinkin, w/this lineup how can
>>u go wrong?
>
> I'm mostly unfamiliar with
> Reid, having only heard a CD with him and Frisell a long time ago and not
> being very impressed.


    Run do not walk, to your nearest cut-out bin and find
Mandance or Barbecue Dog by Ronald shannon Jackson and the Decoding
Society. Electric jazz with a strong harmolodic bent.  Vernons' solo
album "Mistaken Identity is also very good, sort of heavy-metal meets
hip-hop.

-



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

From: Rich Williams <[e-mail]>
Subject: Re: Bad CDs
Date: 06 Mar 1999 14:47:30 -0500

> [e-mail] wrote:
>
>> Another solution is to buy a CD burner and make copies of your
>> CD's before the
>> bad happens.
>
> This is really a method of last resort.  I have a
> decent CD burner, and I've spent quite a bit of
> time playing with it, but the copies are
> frighteningly distant from the originals, in terms
> of sound quality.  Copied CDs lose a lot of detail
> and clarity.  I've noticed that the track lengths
> can even differ from copy to copy.  There's quite
> a bit of study of this on the internet, comparing
> different media and whatnot.  (My personal
> experience: Maxell discs are better than Sony,
> which are better than Fuji.  Burn things at 2x
> instead of higher speeds and they will sound
> better.)  The idea that a digital copy is perfect
> clearly does not apply to music.  Maybe some
> electrical engineers can point out why, I would
> imagine it has to do with check bits and error control.

    My personal experience is that the media you use is
irrelevant. I use only bulk no-name discs, after having tried the
branded stuff, and have never noticed a difference.
    The BIG issue, is how you get your analog audio to your
digital medium. If you use a consumer grade PC Soundcard as your
input, then dont expect pro sound. The A/D converters tend to be very
low quality, and since the thing is mounted inside the relatively
hostile environment of your PC, its prone to pick up lots of junk
along the way. A good way around this, if your card has digital
inputs, is to use the converters on an outboard  DAT or minidisc
deck.  Even Macintosh's, which are much better suited than PC's for
this kind of thing, have  serious I/O issues.
    Once the signal is on your Hard Drive(hopefully a fast SCSI
drive), Its important to maximize the signal levels. The best tool
ive found for this is the WAVES Ultra-maximizer, This is a very
important part of the digital mastering process that is oft-times
overlooked by the home-recordist. The difference between maximized
and un-maximized CD's is really startling.
    The burn speed isn't that important(though Ive yet to try the
new 8x machines) as long as your HD is fast enough to deliver the
neccesary transfer rate without hiccupping. That means turning off
any kind of error correction and thermal recalibration options for
your HD.
    To get a back to more on-topic concerns, I'm more than happy
with the way that my vinyl-CD transfers sound, the ability to remove
scratches and pops(laborious, though it is), has enabled me to enjoy
things that I otherwise would never take off the shelf......Now if I
can only find a 12" X 12" jewel case.......


-



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

From: dennis summers <[e-mail]>
Subject: Tiny Bell Trio
Date: 06 Mar 1999 15:06:07 -0700

Just a quick note. I saw Dave Douglas' Tiny Bell Trio last nite in Ann
Arbor. This was the 2nd time. As always Jim Black was supercool. Douglas was
fine. My memory though tells me that I liked them better a year ago, but I
couldn't articulate why. My big comment is on Brad Shepik. My wife disagrees
with me, but I thought that while his guitar work was fine, he didn't really
add anything to the mix (except occassionally) and mostly just seemed to
fill in the empty space. Now maybe that's all he's supposed to do, but I
would've prefered some interesting and unexpected musical bits. It is jazz
after all. Anyone have any feelings on Shepik?

yours in zornocity --ds
***Quantum Dance Works***
****http://ic.net/~denniss****


-



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

From: [e-mail]
Subject: Re: recent goodies - XTC
Date: 06 Mar 1999 17:44:20 EST

The new Xtc album  - Apple Venus Vol. 1 is an acoustic/orchestral album of
most interesting pop music.  The first piece, River of Orchids, was used by
Harold Budd to teach cyclical song Budd was lecturing in Arizona. He had a
post at a university in Arizona and he was using it as an example of modern
composing.  Anyway, an excellent album.

-



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

From: "Rob Allaert" <[e-mail]>
Subject: What about John ?
Date: 07 Mar 1999 00:57:18 +0100

Hi JazZorns,

What happened to John Zorn? Isn't it unimaginable that he would take a
break. I'm sure he's busy doing something? Is he once again into jazz or
into classical music? Is he recording? I'm convinced someone on this list
must have a clue. It's been too long since "the man himself" was discussed
on this list! Agreed? And what about Joey Baron, Erik Friedlander, Dave
Douglas, Marc Ribot, Anthony Coleman or Greg Cohen, what are they up to?

Rob, Belgium


-



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

From: [e-mail]
Subject: Re: Bad CDs/ CD-r recording
Date: 06 Mar 1999 19:26:37 EST

In a message dated 3/6/99 3:56:27 PM Eastern Standard Time, [e-mail]
writes:

> > [e-mail] wrote:
>  >
>  >> Another solution is to buy a CD burner and make copies of your
>  >> CD's before the
>  >> bad happens.
>  >
>  > This is really a method of last resort.  I have a
>  > decent CD burner, and I've spent quite a bit of
>  > time playing with it, but the copies are
>  > frighteningly distant from the originals, in terms
>  > of sound quality.  Copied CDs lose a lot of detail
>  > and clarity.  I've noticed that the track lengths
>  > can even differ from copy to copy.

This is not possible.  My guess is that you have some software problems.  I
would assume you are using a well known "ripper" or other type of software
with extracting capabilities. Whatever you do, you cannot try and make copies
in "real time"- you will definitely get glitches and skewed track times.  You
must copy it to your hard drive first.  You didnt mention the process you use,
so I'll stop right here.

>  > There's quite
>  > a bit of study of this on the internet, comparing
>  > different media and whatnot.  (My personal
>  > experience: Maxell discs are better than Sony,
>  > which are better than Fuji.  Burn things at 2x
>  > instead of higher speeds and they will sound
>  > better.)

Some people have argued that the laser burns more accurately while burning at
higher speeds.  I have not noticed any difference between 1, 2 or 4x.  As far
is different types of media, the only difference I've ever noticed is that
some brands wont play in some CD players or CD rom drives, and some of the
older brands- such as the gold surface ones- are very prone to flaking.  I've
had excellent results with Mitsui silvers.

>  > The idea that a digital copy is perfect
>  > clearly does not apply to music.  Maybe some
>  > electrical engineers can point out why, I would
>  > imagine it has to do with check bits and error control.

Copying music digitally is just like copying anything else digitally-- youre
just copying bits.  You either copy them accurately or you dont.  If you dont
for some reason, the result will most likely not be something you could
describe as duller, brighter, etc, but you will hear obvious "glitches" or
other digital-related noise, that does not happen in the analog domain.

>      The BIG issue, is how you get your analog audio to your
>  digital medium. If you use a consumer grade PC Soundcard as your
>  input, then dont expect pro sound. The A/D converters tend to be very
>  low quality, and since the thing is mounted inside the relatively
>  hostile environment of your PC, its prone to pick up lots of junk
>  along the way. A good way around this, if your card has digital
>  inputs, is to use the converters on an outboard  DAT or minidisc
>  deck.  Even Macintosh's, which are much better suited than PC's for
>  this kind of thing, have  serious I/O issues.


Definitely dont use a factory soundcard!  Another option, if you dont have a
soundcard with a digital input (the good ones start at around $425), is the
new Opcode DATport, which is a USB interface.  Its around $199, and they also
have another model which has digital and analog inputs, and I dont know anyone
whos used that model, but I would guess that the A>D converters are pretty
good.

>      Once the signal is on your Hard Drive(hopefully a fast SCSI
>  drive), Its important to maximize the signal levels. The best tool
>  ive found for this is the WAVES Ultra-maximizer, This is a very
>  important part of the digital mastering process that is oft-times
>  overlooked by the home-recordist. The difference between maximized
>  and un-maximized CD's is really startling.

I have an IDE drive, and have not yet had any problems burning.  I just cant
have any other programs running at the same time...  As far as maximizing, I
take it you mean "normalizing"?  You are changing the bits here, and I would
say only do it if your wave file is severely low in level.  It should never be
necessary when copying a cd.   Some software I use/recommend: Sonic Foundry's
SoundForge, has excellent editing/processing features, and I've had lots of
luck extracting and burning using their CD Achitect plug in.  Another good
program for extracting (ripping) or only doing cd copies is Goldenhawk's
CDRWin (freeware).
Sorry to go on and on, but Ive taken a serious interest in this.  Feel free to
email me to discuss it further.
-Jody

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: What about John ?
Date: 06 Mar 1999 20:33:42 -0500

At 12:57 AM 3/7/99 +0100, Rob Allaert wrote:
>Hi JazZorns,
>
>And what about ... Erik Friedlander

The new Cadence mentions in their news column that Yoshi's will present
Erik Friedlander's Topaz (Satoshi Takeishi, perc; Stomu Takeishi, b; Andy
Laster, sax) on March 31.  Stomu Takeishi is the phenomenal bass player on
Henry Threadgill's most recent outing, and I hope this group makes a
recording sometime soon, they sound great.

As for JZ himself, he will be playing Victoriaville with Milford Graves.


--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: madden <[e-mail]>
Subject: what are they up to?
Date: 06 Mar 1999 22:29:34 -0500

HeLLo,

In regards to whoever asked about what Erik Friedlander is up to...
he is now beginning a tour of the USA and Canada to support the release
of his latest album _Topaz_ (on Siam records) which is a really fabulous
disc.  I also saw him a little over a week ago with John Zorn, Ikue Mori
and Jim Pugliese at Tonic in NYC.
He has a rather nice website:  www.erikfriedlander.com  --all his
current projects and info are avaliable on this site.
Dave Douglas is on tour with his Tiny Bell Trio project, but he was also
playing at Tonic a week ago with Sean Lennon, Yoko Ono, Dougie Bowne and
the girls of Cibo Matto (among and others)... as he was curating Tonic
for the month of February.
Marc Ribot is playing gigs often in NYC, last week he played at the Knit
with John Zorn and Jamaaladeen Tacuma.
Anthony Coleman?  Greg Cohen?  Good question.  Does anyone know??

michelle

-



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

From: Nils Jacobson <[e-mail]>
Subject: Re: CDr recording
Date: 06 Mar 1999 23:47:41 +0100

[e-mail] wrote:

>>I've noticed that the track lengths can even differ from copy to copy.
>
> This is not possible.  My guess is that you have some software problems.

Excuse me, I don't think it's your place to tell me that my experience is
not possible.  The professional software I used was Charismac's Discribe,
which works by first establishing a hard disc image, then transferring it
to the burner.  My burner is a 6X Yamaha (don't remember the model number
off hand) and my computer is a 292 MHz G3 Mac.  The difference was about a
second or so.  I never tracked down exactly where it occurred.

> Copying music digitally is just like copying anything else digitally--
> youre just copying bits.  You either copy them accurately or you dont.
> If you dont for some reason, the result will most likely not be
> something you could describe as duller, brighter, etc, but you will
> hear obvious "glitches" or other digital-related noise, that does not
> happen in the analog domain.

I don't think this is accurate.  The hypothesis I've been working with
here is that CD audio data utilizes less check bits than regular software
data (so more music can be crammed onto a disc).  So when an error arises,
it is less subject to correction by the software en route.  I don't know
this to be true, but my observations tell me that the music loses detail.
And it's not just my setup, either.  I can improve the clarity of the
music by changing the write speed, for example.  Perhaps a different
mechanism?  Again, please don't tell me my experience is impossible.

Try a net search for CDr media comparisons, and you will find a site
(which I have, subsequent to my search, lost) that documents in great
detail how every CDr music copy has a significant number of errors which
distinguish it from the original.

The point is, I have been unable to make a "perfect" CD copy, and I've
tried pretty hard.  For those people who think they can archive their
collections using a CD burner, this is an important consideration.
Perhaps we can continue the details of this discussion via email.

-Nils

-



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

From: alissa bader <[e-mail]>
Subject: interesting stuff to do in the dc area?
Date: 07 Mar 1999 00:44:58 -0500 (EST)


hi there, sorry if this is way off-topic...

I've recently moved to the dc area (from nyc, yet) and I must say...I'm at
a loss for cultural stuff to do here.  Where are all the decent record
shops?  What about venues and stuff?

I must say, sometimes it's depressing no longer living a 15-minute walk
from the knitting factory.

you can send replys to me at [e-mail], if you wish, and I
again apologize for any off-topicness here.

--alissa


-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: interesting stuff to do in the dc area?
Date: 07 Mar 1999 00:34:13 -0600 (CST)

On Sun, 7 Mar 1999, alissa bader wrote:

>
> hi there, sorry if this is way off-topic...
>
> I've recently moved to the dc area (from nyc, yet) and I must say...I'm at
> a loss for cultural stuff to do here.  Where are all the decent record
> shops?  What about venues and stuff?

Culture here tends to consist of the big ticket stuff that corporations
get tax credits for supporting, so we have orchestras, operas, ballets,
and more huge art museums than supermarkets, but little on the grass-roots
levels. Coming here after living in Austin and NYC was a definite change.
Some of us have taken it on ourselves to get the music going.

Decent record shops are hard to find here in DC. I've found some good
stuff at DCCD, and I hear favorable word about Flying Saucer. I tend to
wait until I'm in NYC or Texas to do my CD binges.

To find the Zorn-list-like music, get on the dc-improv mailing list,
hosted at wnur.org
There's a good array of info about gigs at
http://www.pressroom.com/~lartis/transparent/AllSched.html
Transparent Productions, who host the site, do a good job of getting what
new-jazz-related-music down as they can.

Your first mission is to appear at the Tiny Bell Trio gig at State of the
Union Monday night. See the aforementioned Web page for details. Once
there, ask around.

- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|



-



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

From: [e-mail]
Subject: Re: CDr recording
Date: 07 Mar 1999 02:38:22 EST

In a message dated 3/6/99 11:47:47 PM Eastern Standard Time,
[e-mail] writes:

> [e-mail] wrote:
>
>  >>I've noticed that the track lengths can even differ from copy to copy.
>  >
>  > This is not possible.  My guess is that you have some software problems.
>
>  Excuse me, I don't think it's your place to tell me that my experience is
>  not possible.

My comment "this is not possible" was not in reference to track lengths
differing on CDr copies. (That is very possible.) It was in reference to other
things I said, which you left out of the quote.  When copying things
(anything) digitally, it is a lossless medium.  If your copies arent like the
originals, then there is a problem.  Rest of discussion taken up via email.
-Jody

-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: CDr recording
Date: 07 Mar 1999 00:03:59 -0800 (PST)

On Sun, 7 Mar 1999 [e-mail] wrote:

> (anything) digitally, it is a lossless medium.  If your copies arent like the
> originals, then there is a problem.  Rest of discussion taken up via email.

while i'm sure this thread has probably
veered off-topic for this list, i am really
interested in the tech details.
can someone keep me in the loop of
these discussions or point me to websites
with more info?

i am aware of the CDR FAQ, but any
additional info would be great.

www.fadden.com/cdrfaq

thanks.

hasta.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


-



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

From: "BLA BLA BLA" <[e-mail]>
Subject: TRACK ID please.....
Date: 07 Mar 1999 18:53:02 +1030

I'm sure someone here is bound to know.....

I'm looking for a song called Congruences......I believe its on a french
label, its ccontemporary classical.....

can't tell you much more than that.......

.diz.



-



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

From: Stephen Fruitman <[e-mail]>
Subject: Re: Jean Derome
Date: 07 Mar 1999 13:59:09 +0200

>For those of you who know Jean Derome's and Vinny Golia's respective
>works pretty well, could I get some recommendations?

Not my area of expertise at all, but Jean Derome=B4s _Hommage =E0 Georges
Perec_ is a wonderful piece. He filled the studio with Montreal musicians
of various stripes and played a medley of 50s & 60s pop songs mentioned by
Perec in one of his novels. Both structured and extremely informal,
tongue-in-cheeky and very respectful of the power of pop culture, it works
both as a piece in itself and as a nice complement to the aesthetic to
which the late, great French novelist subscribed. On Ambiances Magn=E9tiques=
=2E

Stephen Fruitman
Dept of the History of Ideas
Umea University
S-901 87 Umea Sweden



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

Bj=F6rn Olsson,
Inst. f=F6r id=E9historia,
Ume=E5 universitet
901 87 Ume=E5
tel. [phone] fax 143374



-



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

From: Brian Olewnick <[e-mail]>
Subject: I'm almost afraid to ask, but....
Date: 07 Mar 1999 09:31:51 -0500

...has anyone heard the Dion McGregor album?

Brian Olewnick

-



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

From: Brian Olewnick <[e-mail]>
Subject: Kaiser/Oswald/Goodman at Roulette
Date: 07 Mar 1999 09:45:20 -0500

Henry Kaiser made a rare NYC appearance last night along with pianist
(and story teller) Greg Goodman (first ever NYC concert) and John Oswald
on alto. Appropriately for two left-coasters and a Canadian, a
pleasantly laid-back atmosphere was in effect, with Goodman warming up
the audience by reading humorously bizarre news items from a file he
keeps at hand (he made this a practice seveal times through the evening;
on one occasion, Kaiser took over, telling a funny/scary shark story.)
The music, yes there was music, was quite good, free improv staying in
large part in the quieter sector, but flaring up when necessary, Kaiser,
was predominantly in Bailey-mode, only rarely, on electric, summoning up
vaguely rockish licks. He had a nice habit of walking over to the player
whose sounds were intriguing him at the moment, as if having a
particularly intimate conversation. Oswald fluttered away on alto,
providing the rudest noises and squawks; he was especially impressive
during the high energy points. The unexpected highlight, for me, was
Goodman, who proved to be a very adept _listener_, consistently picking
up on what the others were playing and elaborating on it. I'd like to
hear more from him, on his own (wouldn't surprise me to learn he's spent
a good portion of his career as an accompanist). Roulette
owner/trombonist Jim Staley sat in for one lovely, long piece which
concentrated on subtle, ghostly drones. A fine show, and nice to see the
space packed for once.

Brian Olewnick

-



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

From: alissa bader <[e-mail]>
Subject: Re: interesting stuff to do in the dc area?
Date: 07 Mar 1999 10:35:35 -0500 (EST)


On Sun, 7 Mar 1999, Joseph S. Zitt wrote:

> To find the Zorn-list-like music, get on the dc-improv mailing list,
> hosted at wnur.org

wow, and I know many a wnur alumnist (alumna?)  so, an extra reason to
check out that list...

> Your first mission is to appear at the Tiny Bell Trio gig at State of the
> Union Monday night. See the aforementioned Web page for details. Once
> there, ask around.

thanks for all the info!  --alissa


-



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

From: [e-mail]
Subject: Re: CDr recording
Date: 07 Mar 1999 11:13:18 EST

<< > (anything) digitally, it is a lossless medium.  If your copies arent like
the
 > originals, then there is a problem.  Rest of discussion taken up via email.

quoted yol:
 while i'm sure this thread has probably
 veered off-topic for this list, i am really
 interested in the tech details.
 can someone keep me in the loop of
 these discussions or point me to websites
 with more info? >>

Include me too, please.  I'm a newbie at this CD-R thing, owning a unit for
about a month.  I'm very open to this area of discussion.

=dgasque=

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: CDr recording
Date: 07 Mar 1999 11:39:41 -0500

At 11:47 PM 3/6/99 +0100, Nils Jacobson wrote:
>
>Perhaps we can continue the details of this discussion via email.

I'm not a gearhead either, but I also am trying to dump some of my old
vinyl to CD, and as I've already made three or four coasters and no
successes, I really appreciate this discussion.  I think we're probably
reaching the tail end, but here's another plea to keep it public.  With as
many subjects as we discuss on this list, somebody's always hitting the
delete key on something.  If we must take it offline, please keep me in the
loop too.

Thanks.


--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: Craig Rath <[e-mail]>
Subject: Re: CDr recording
Date: 07 Mar 1999 12:58:26 -0600

At 11:39 AM 3/7/99 -0500, "Caleb T. Deupree" wrote:

>
>I'm not a gearhead either, but I also am trying to dump some of my old
>vinyl to CD, and as I've already made three or four coasters and no
>successes, I really appreciate this discussion.  I think we're probably
>reaching the tail end, but here's another plea to keep it public.  With as
>many subjects as we discuss on this list, somebody's always hitting the
>delete key on something.  If we must take it offline, please keep me in the
>loop too.
>

The FAQ that 'SUGAR in their vitamins' mentioned is a good place to start
(http://www.fadden.com/cdrfaq/).  It contains answers to most questions you
might have on general CDR recording.  Another one (which I think is
referenced within the Fadden FAQ) is
http://homepages.nildram.co.uk/~abcomp/lp-cdr.htm - this one is specific to
the vinyl transfer process.

A couple of shareware packages that help in the process as well are
WaveRepair (which makes removing clicks and pops much easier) -
http://homepages.nildram.co.uk/~abcomp/wavrep.htm - and CDWAV, which aids
in cutting your recorded album sides into individual tracks of the proper
number of bytes (if they aren't, you can get an annoying click in between
tracks, especially if the two tracks merge together sound-wise) -
http://resource.simplenet.com/files/files.htm - this site also has a bunch
of other interesting and useful CDR related files.

I see no problem with continuing this discussion here as long as there are
enough people interested.



-



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

From: eric ong <[e-mail]>
Subject: Martin Tetreault
Date: 07 Mar 1999 15:54:16 -0500 (EST)

Hello,

I was wondering if I could get some opinions on the 3 Tetreault-involved
discs off Ambiances Magnetiques.  I almost picked up the trio disc with
Mori and Labrosse today, but thought I'd better ask first.  I have his
solo Audioview disc and like it quite a bit.

Thanks for any help.
Sincerely,
eric.


-



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

From: [e-mail]
Subject: Re: Martin Tetreault
Date: 07 Mar 1999 17:01:23 EST


In a message dated 3/7/99 3:56:04 PM, [e-mail] writes:

<< I was wondering if I could get some opinions on the 3 Tetreault-involved
discs off Ambiances Magnetiques.  I almost picked up the trio disc with
Mori and Labrosse today, but thought I'd better ask first.  I have his
solo Audioview disc and like it quite a bit. >>

I'm a big Tetreault fan. the wild thing about that Audioview disc is that it
was done in one take with no overdubs, which just amazes me.

all three of the AM Tetreault records are very good. it just depends on what
your taste is as to the other musicians, and in the case of the Callas
tribute, how you feel about a lot of Callas samples. I personally prefer the
trio with Mori and Labrosse, but I also love the duet record with Rene Lussier
(Art Lange's favorite record of 1998). the Callas record isn't to my taste as
much, but I've heard more than one opinion that this is the best of the three.
I don't think you can go too wrong with these, especially if you're already a
fan. just pick the combo you think will appeal to you the most.

the Cristoph Heemann show last night was very good. I had had my expectations
severely lowered by seeing a night and a half of David Tibet's pretentious
emoting, and the Heemann opening set Friday consisted of him playing a 20
minute CD-R from offstage, which was a fairly bland dronescape. with Tibet
scheduled to open again last night, I almost decided to bag the whole thing,
but I'm glad I didn't.

this time Heemann was actually out on stage, thankfully. it was hard to get
close enough to tell exactly what he was doing, but he seemed to be mixing in
sounds from various CD-Rs, tone generators, and gradually tweaking the whole
thing. he created a really nice, languid soundfield with a fair amount of
interesting ideas floating around. the performance lasted more than an hour,
and he definitely had stretches where he was out of ideas, but most of it was
very well done. all in all, nothing too revolutionary, but pretty satisfying.

the crowd seemed pretty split between Current 93 disciples who were too dazed
to leave, and HNAS fans hoping to get a chance to see their hero, even if he
hasn't made much interesting music in the last five years. everyone loved it,
though, and he got thunderous applause at the end, and did a 15 or 20 minute
encore.

Jon

-



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

From: James Hale <[e-mail]>
Subject: Re: Martin Tetreault
Date: 07 Mar 1999 19:26:04 -0500

eric ong wrote:

> I was wondering if I could get some opinions on the 3 Tetreault-involved
> discs off Ambiances Magnetiques.

I just finished reviewing the latest AM recordings for Coda, and
Tetrault is all over the compilation called Inedits -- recordings by AM
artists that were never released. He shows up with Jean Derome (8
tracks), Diane Labrosse, Rene Lussier and a track of his own.

It's AM050 for anyone who's interested in it.

James Hale


-



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

From: [e-mail] (Martin Wisckol)
Subject: CDr tech talk
Date: 07 Mar 1999 19:36:05 -0800

Another vote to keep the CDr tech talk public, on this list....

-



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

From: Todd Bramy <[e-mail]>
Subject: Re: CDr recording
Date: 07 Mar 1999 22:51:22 -0800

>I see no problem with continuing this discussion here as long as there are
>enough people interested.

Count me in, too.


Todd



-



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

From: <[e-mail]>
Subject: Re: CDr tech talk
Date: 08 Mar 1999 00:24:38 -0800

there has to be a better place to discuss such matters.  im sure it
is an intersting subject to many people on the list, however so is
sex and we do not talk about it here.  there must be some CD-R
newsgroup somewhere.  the scope of subject matter on this newsgroup
is already fairly generous.  therefore lets try to keep things at
least somewhat associated with John Zorn (and the NYC scene).
just my 2 cents....
patrick in portland

Martin Wisckol wrote:

> Another vote to keep the CDr tech talk public, on this list....
>
> -




-



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

From: Gene Natalia <[e-mail]>
Subject: CDR, schmDr
Date: 08 Mar 1999 00:47:46 -0800

I have an idea!  Instead of wasting even more bandwith on a huge thread
about whether we should discuss CDR's or not, why not just discuss CDR's?
We have already received more posts of people saying, "I vote for talking
about CDR's" and "Count me in!" than there were actual posts about CDR's.
Why not just go ahead and discuss the damned CDR's, get it out of your
systems, and then move on, rather than us getting in a foolish
argument/discussion that exceeds the scope of the actual issue?  Unless,
you CDR posters intend to drag it out as long as the "BAD CD'S" thread...

                            -Ethan

P.S.  Please do not respond to this.  I don't want to ironically start
another unneccessary thread.


-



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

From: "Douglas Clarke" <[e-mail]>
Subject: Re: San Francisco record shops
Date: 08 Mar 1999 02:59:22 PST


>the names of good record stores. Both CDs and vinyl, jazz and classic
rock.
>You can e-mail me if you feel this is too off-topic. Thanks in advance.

Aquarius Records is my favorite

-dug

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: Brent Burton <[e-mail]>
Subject: quiet sun "mainstream"
Date: 08 Mar 1999 09:59:52 -0500 (EST)

does anyone know if this record is still in print anywhere?

b

-



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

From: Jeni Dahmus <[e-mail]>
Subject: Re: interesting stuff to do in the dc area?
Date: 08 Mar 1999 10:09:11 -0500 (EST)

On Sun, 7 Mar 1999, alissa bader wrote:
>
> I've recently moved to the dc area (from nyc, yet) and I must say...I'm at
> a loss for cultural stuff to do here.  Where are all the decent record
> shops?  What about venues and stuff?

To start, come to the Masada Trio concert at the Library of Congress on
April 9.  Zorn's new commission will be premiered.  The show is free but
you need tickets, which can be purchased through Ticketmaster, or you
can show up around 6:30 and get a standby ticket.

DC has a lot to offer musically, the problem is you can't always tell by
looking at the Washington Post.  There are many free new music concerts at
museums, galleries, and colleges.  Check out the City Paper.

In addition to DCCD, Vinyl Ink is a good record store.

Jeni






-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Bad CDs
Date: 08 Mar 1999 08:12:04 -0800


On Sat, 6 Mar 1999 11:47:40 +0100 (MET)  BJOERN wrote:
>
> >     How do you feel about all the new records that will never
> >     beneficiate a vinyl pressing?
>
> that is a very sad thing.... i buy these on cd of course...
> but these records will be gone forever in at least 20 years.
                ^^^^^^^^^^^^^^^^^^^^^^^^^^

Like everything good in life...

    Patrice.

-



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

From: [e-mail]
Subject: Recent Swag (longish)
Date: 08 Mar 1999 11:04:26 -0500


     Not all ultra-new things, but it's tough to catch up....

     Aaly Trio w/KV             Hidden In the Stomach           Silkheart

     Recorded prior to last year's fine release on Wobbly Rail and
     featuring some of the same material, I like this one even more. Good,
     muscular free jazz. I find that Vandermark and Gustafson provide nice
     foils for each other, KV reining in some of Mats' tendencies towards
     extended-technique for its own sake and MG getting Ken to stretch out
     more. The real standout, though, is bassist Janson; a monster! Would
     love to know about other recordings of his, perhaps as leader?

     Derek Bailey               Playbacks                       Bingo

     I admit to not being a huge fan of drum 'n' bass and am also not too
     crazy about the general idea of roping DB into projects like this but,
     given all that, most of the material here works pretty well.
     Highlights for me were the collaboration with Ko Sinh Thay (I'm sure I
     have that name wrong, but I don't have the disc at hand), the mild
     plunderphonia of John Oswald and, above all, the wonderful piece with
     backdrop by O'Rourke and Connors over which Bailey tells a story of
     his love for the name 'George'. Beautiful.

     John Duncan/Bernhard Gunter  Home, Unspeakable         Trente Oiseaux

     Tough to say why I like this as much as I do, but...A half-hour of the
     quietest sounds you're likely to hear, quiet enough that it's often
     hard to say whether the sounds you're picking up are from the disc or
     ambient in your neighborhood. Often, one is not aware whether sounds
     are issuing or not, until the track drops out entirely and you realize
     all that _had_ been there. Very intriguing stuff.

     John Fahey         Georgia Stomps, Atlanta Struts    T of Elements

     What can one say? More lovely, ruminative, obsessive solo guitar from
     a 1997 live Chicago show. If you enjoy Fahey, this strikes me as the
     best of his recent work, though lacking the electronic experimentation
     of 'Womblife'. Covers 'Mood Indigo' here!

     Fushitsusha                Gold Blood              Charnel House

     Fushitsusha                Withdrawe, ....         Victo

     I'd give the Victo the slight edge, but both are decent additions to
     the ever-growing canon. Not noticeably different from his previous
     output or as fine as the best from this band (for me, 'Pathetique'),
     but enjoyable as usual. I think everyone on this list knows what to
     expect by now.

     Godspeed You Black Emperor!        f#a#(infinity symbol)   Kranky

     Here's a group with potential, a nine piece Canadian band featuring,
     in addition to guitars, basses and standard percussion, strings and
     glockenspiels. Three long compositions, the first, and best, a
     Badalamenti-ish descent into a noirish landscape which sustains the
     eerie mood wonderfully. The other two are a little more staticly
     episodic, varying from narrated voice-overs to washes of electronic
     sound to Branca-inspired crescendos which are tightly played, a bit
     too tight perhaps; I'd like to hear them "lose it" a bit more. Looking
     forward to hearing them at Victoriaville.

     Barry Guy          Double Trouble Two              Intakt

     The pick of this here litter and, simply, one of the finest recordings
     I've heard in years, even better than Guy's 'Theoria'. I've said it
     before, but if you love the Mantler/JCOA recording from 1968 (and how
     could anyone not?) this is as close as _anyone_ is coming to that
     zeitgeist these days. A monumental piece featuring Crispell, Schweizer
     and Pierre Favre, in five movements ranging from all-but-free to
     anthemic (imagine Centipede multiplied in quality tenfold). A special
     highlight is Evan Parker's incendiary twittering solo in the third
     movement, but it's Guy's compositional drive and direction that makes
     the day. Absolutely A+. Get it.

     Rajesh Mehta w/Lovens          Orka            hatOLOGY

     Back to earth. Mehta plays trumpet, bass trumpet and two trumpets
     looped together by tubing. Unfortunately, the pieces here tend to be
     merely expositions of this or that technique and are short on musical
     content. Lovens, on 8 out of 11 tracks, does his best to liven up the
     proceedings but, for the most part, one is left mildly intrigued by
     how Mehta's getting a certain sound, but that's it.

     Orchester 33 1/3           Orchester 33 1/3               Rhiz

     Another band that bears watching, a German (or is it Austrian?) large
     group that mixes free jazz with d 'n' b and anything else that's
     handy. Coincidentally, given my association of his work with Guy's,
     they do not one, but two versions of Mantler's great 'Preview' (here
     called 'Review') one with Brotzmann (in a guest appearance) in the
     Sanders role the other with (male, I take it) vocalist Didi Bruckmayr
     taking the duties. That they both work is testament to the band's
     abilities. Other pieces rise or fall depending somewhat on one's
     affinity for the style being adopted (a reggae-ish number doesn't work
     too well for me). Definitely worth keeping an eye on.

     David Shea                 An Eastern Western              Sub Rosa

     I'm not quite as crazy about this as a few other posters have been. It
     starts very strongly with the propulsive 'Dangerous Ground' and
     continues in fine fashion with the delicately percussive 'A Spiral'.
     After that, I find it fluctuates a bit, with some pieces, again,
     basically evincing a certain technique (jaw's harps, overtone singing)
     or, like the final dedication to Mario Bava, beginning with a nice
     idea, but going on far too long. The pieces with Douglas are
     interesting, but strike me more as sketches than finished work. A
     mixed bag, overall.

     Just one lister's two cents.

     Brian Olewnick

     PS. C'mon, _nobody's_ gotten the Dion McGregor disc yet??



-



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

From: Craig Rath <[e-mail]>
Subject: Re: cue sheets
Date: 08 Mar 1999 12:46:23 -0600

At 07:31 AM 3/8/99 -0500, you wrote:
>
>Second choice would be a wave editor that reads cue sheets and would let me
>manipulate large wave files, either separate the file into several smaller
>files or maybe merge several files into one gigantic one.  CoolEdit doesn't
>read cue sheets written by other software.
>

Don't know much regarding the Cue Sheet issue, but CDWAV can read in large
wav files and split them into smaller files quite well.  It can be found
somewhere on this page:  http://resource.simplenet.com/files/files.htm



-



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

From: Michelle <[e-mail]>
Subject: new music from Ostertag, Yoshihide & Bond
Date: 08 Mar 1999 16:56:44 -0500

Hey everyone,


sorry for the spam... but I thought some folks on the list may be
interested.

-m

-->Seeland is proud to announce the advance release of the new CD:

PANTYCHRIST

PANTYCHRIST is -- =20
=95  Tokyo's premiere noise DJ Otomo Yoshihide
=95  San Francisco's sampling genius Bob Ostertag=20
=95  and NYC's neo-punk goddess Justin Bond=20
-- all under one wonderous roof.

If the all-star line-up seems weird and unexpected, wait till you hear
the music! =20
Absolutely queer in every dimension -- including some we didn't know
existed!

Noise meets Noise meets Cabaret =20
Tokyo meets San Francisco meets NYC meets Venus
Godzilla meets John Cage meets Princess Grace

This CD will not be released to the stores until May 9, 1999.  But you
can get an advance copy directly sent to you from the Seeland on-line
store at www.negativland.com. =20

Watch for the sister project House of Discipline, with Ostertag,
Yoshihide, and Mike Patton.

Post-modern, post-drag, post-performance, and leaking glamour like an
overheated radiator, Justin Bond is a drag legend in NYC and San
Francisco.  Most notorious for fighting with Madonna at her own birthday
party, Andy Warhol's Interview describes Justin's work as "cabaret
performed as urban warfare."  The Village Voice says, "You haven't
learned the true meaning of intimidation until (Justin) has crawled on
your table and stuck her bony, pantyhosed knee under your noise
shrieking 'Lick my leg, I'm on fire!'  She's going to the seventh circle
of showbiz hell, and she's taking you with her."

Otomo Yoshihide has spent years at the cutting edge of Tokyo's noise
underground -- collaborating with Yamatsuka Eye, the Boredoms, leading
his own groups Ground Zero and ISO, and composing sound tracks for Hong
Kong kung fu films on the side.

Bob Ostertag has been at the forefront of electronic sound since the
late 1970s, releasing more than a dozen cd's and records. His previous
collaborators include avant garders John Zorn and Fred Frith, dyke punk
star Lynn Breedlove, rock star Mike Patton, the KronosQuartet, Anthony
Braxton and more.  Bob has a solo CD available on Seeland.

PANTYCHRIST will be touring Europe and doing select dates in the US in
support of this release.  At press time, dates include:   =95   Gent,
Belgium (March 23),   =95   Ulm, Germany, (March 24)   =95   Basel (March
25),  =95   Z=FCrich, March 26.

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: new music from Ostertag, Yoshihide & Bond
Date: 08 Mar 1999 14:08:15 -0800


On Mon, 08 Mar 1999 16:56:44 -0500  Michelle wrote:
>
> Noise meets Noise meets Cabaret
> Tokyo meets San Francisco meets NYC meets Venus
> Godzilla meets John Cage meets Princess Grace

Yuk :-(

When you are so lucky to have smart artists like these ones on your label,
you could try to find a more original way to describe their music... Aren't
we all tired of these kind of comparisons (X meets Y meets Z)?

Anyway, that looks like a very exciting record and I am looking forward to
get it.

    Patrice
.

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Recent Swag (longish)
Date: 07 Mar 1999 20:50:16 -0500

[e-mail] wrote:

>      Not all ultra-new things, but it's tough to catch up....

Thanks for posting these Brian! I find this sort of thing very useful...

>      Aaly Trio w/KV             Hidden In the Stomach           Silkheart

Is there anyone else out there who really doesn't like Ken Vandermark's
playing? I love Mats Gustafsson most of the time but I find his more
"Chicago-oriented" records like FJF's 'Blow Horn' to be pretty boring... (same
goes for the recent 'Background Music' with Guillermo Gregorio and Kjell
Nordeson). Perhaps Brian would call me a sucker for the extended techniques but
for Gustafsson I much prefer the spastic intensity of discs like 'Frogging'
(w/Barry Guy) or 'You Forget To Answer' (w/Guy and Raymond Strid) to the more
standard "free jazz" blowouts. Gustafsson can certainly be an incredible
player.

>      John Duncan/Bernhard Gunter  Home, Unspeakable         Trente Oiseaux

Can you tell what exactly its connection is to Morton Feldman's 'Neither'? I
know it was inspired by a line of Beckett's from 'Neither' but is there any
musical connection as well? I assume not... Has anyone heard Duncan's porn
soundtracks?

>      Barry Guy          Double Trouble Two              Intakt

This sounds great. I'm assuming it's another LJCO disc... I've really liked
both 'Portraits' and 'Theoria' and will probably pick this up soon. Thanks for
letting us know about it!

>      Orchester 33 1/3           Orchester 33 1/3               Rhiz

I really like this disc a lot. I picked it up after Jon Abbey's recommendation
(listen to this guys recs!) and had it playing non-stop for a little while. A
really eclectic disc but remarkably cohesive (I even have trouble listening to
a track without the conext of the others). Come on, how could you resist a
13-piece band with a DJ/conga/octopad player and a guy labeled as playing
"sound" in addition to a Peter Brotzmann guest spot? A great disc.

This label, Plag Dich Nicht, also released an interesting disc by the somewhat
slick experimental rock/funk group Shabotinski (with Eugene Chadbourne as
guest) and a fun disc of pop/dance music all performed on KORG synths by MK MS
20. I could totally see the guys in black leotards on SNL's "Sprocket" dancing
to this one! Dutch East India is the distributor for Plag Dich Nicht recordings
btw.

I've picked up a lot of things recently which I will comment on soon.

Thanks again Brian!

                            -Tom Pratt


-



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

From: "johnnnnn schuller" <[e-mail]>
Subject: subject:Looking for Seattle area musicians
Date: 09 Mar 1999 05:29:52 GMT



Hello, I am getting ready to move to the Seattle area soon. New
job...anyway, I am an experimental guitarist/bassist looking for
musicians to do either free improv stuff or bad ass tight numbers, I am
flexible either way. I should have a cd of my latest project done  very
soon. It is a guitar duo thing. It's very disturbing.

Also just looking for people to hang out with up there that like good
music.

Johnnnnnnnn


______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: Steve Smith <[e-mail]>
Subject: Recent Swag (no Zorn content whatsoever)
Date: 09 Mar 1999 01:17:20 -0500

Inspired by Brian, I hasten to mention the tasty items I purchased this
everning, all at quite reduced rates (and sealed!) at Academy:

Meat Puppets: Meat Puppets II & Up on the Sun (Rykodisc)

Two turning points for AZ-bred '80s SST band.  The repackaging is nice,
very nice, with new notes by Derek Bostrom (on the recordings) and
contemporary critics to put it all into perspective, plus lyrics and
live reviews of the period.  Each CD is enhanced with video, though I've
not yet checked out this feature.  I'd quite forgotten both how special
these albums were, as well how different from one another: the first
drops the trio's early and ersatz hardcore pose for a more spacious and
country-influenced if more than a little ramshackle sound, while the
latter displays both a new instrumental prowess and songcraft far beyond
the more influential predecessor.  Each comes packed with demos - the
"Meat Puppets II" demos actually sound a bit more polished than the
final takes, while the "Up on the Sun" demos are far weirder, wilder and
more ornately arranged, with marimba, synthesizer and spoken word
flourishes.

Low Fidelity All Stars: How to Operate with a Blown Mind (Columbia)

Not exactly sure what to make of this on one listen... enjoyable hip hop
beats and oddball texts from a claque of young Brit po-mos, as well as
dubby textures that led nicely to...

Various Artists: Dubwise & otherwise: A Blood and Fire Audio Catalogue
(Blood and Fire)

Exactly what it says it is, a sampler of the first 17 releases from the
mightiest dub reissue label in the world, according to Jon Abbey.  Who
am I to disagree?  It's brilliant, the first thing I've heard from the
label but surely not the last.

Caifanes: El Silencio (BMG Latin)

If this band sang in English, it most likely would have enjoyed
worldwide video hits, as their impassioned '80s style hard-edged yet
sensuous pop hooks were delivered by a singer with the drop dead good
looks of, say, Michael Hutchence (no pun intended whatsoever).  That
they didn't was a testament to their passionate nationalism, which also
included little touches like Latin percussion and dance rhythms and the
occasional Mariachi horn chart.  Leaders in the rock en Espanol scene, I
once saw Los Caifanes play to an immense crowd of young Latin kids in
Houston - an underground I hadn't even guessed to exist.  They had Stu
Hamm on bass at that gig, I recall.  They certainly had chops to match
their songcraft, and Adrian Belew's production gave this record an
altogether high-class sound and feel.  I once owned all four of their
albums as well as the debut by the singer's next band, Jaguares, but
misguidedly got rid of them at some point in the past.  Tonight I got to
make up for it at least a bit.  Somehow this ended up ranked at #2 on
Chuck Eddy's list of the 100 best "metal albums" of the '90s in the
newly updated edition of "Stairway to Hell," even though it ain't
remotely metal...

(And one from last Saturday night's visit to Lethal Records in the East
Village:)

Meshuggah: Destroy Erase Improve (Nuclear Blast)

The reigning kings of complexity metal, this band very nearly convinced
me to haul my ass out to Asbury Park, NJ for a 35-40 minute set towards
the end of a two-day death metal fest this weekend, but they bailed out
over this past weekend and will open for Slayer at Roseland instead.
Can't wait.  Jagged, intricate and incredibly fast riffage wedded to a
fierce shouter of a vocalist.  This album is at least as good as the
newer "Chaosphere," and. with its greater variety of tempo and texture,
maybe even a bit better.

My two cents (or roughly sixty dollars) worth,
Steve Smith
[e-mail]
NP - Caifanes, "Tortuga," _El Silencio_


-



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

From: [e-mail]
Subject: Dragibus
Date: 08 Mar 1999 22:30:21 -0800

I've been meaning to post about this band for ages.  As some of you may
have figured out from my infrequent posts here, I spend more time with
"pop" (even I don't know what that term means anymore) than with the music
that this list usually concerns itself with.  I visited some friends in
Paris last spring who run an indiepop mailorder service, and they turned me
onto this band, whose records they had been thinking about carrying, but
ultimately (I think) decided not to, as it seemed it might be a bit too
much for the popkids.

What am I talking about?  Dragibus, of course.  A small French collective
who do what might be loosely described as avant garde music for children.
I'm really not sure whose idea of children's music it is, and unfortunately
(?) I don't have any kids handy to test it out on.  The songs are often
based on nursery rhymes (in quite a few languages, French and English being
predominant), but the interpretations get pretty manic.  The female vocals
tend to sound like they're coming from a three year old (probably the case
for the "guest" vocalists, but I suspect that the main singer is more or
less fully grown), and here and there you'll hear some male vocals which
sound like they must be coming from Daddy.  Instrumentation, when it's
there, is predominantly very heavy drumming and bass guitar.  A lot of toys
and samples turn up too.  There's actually a hell of a lot of variety, if
not schizophrenia.  Which figures, for a band which puts 48 tracks on a CD
and 7 tracks on a 7".  It's all potentially very annoying, but if you're in
the mood for some very abrasive kiddie pop, it's fabulous.  If you liked
Andr=E9 Popp...just imagine it being done by five-year olds.

The first CD is called "Barbapoux".  The 7" (all exclusive tracks) is "O
Draga=F5 M=E3gico" (yes, the title track is a psycho Portuguese version of
"Puff the Magic Dragon").  Both are released in France as part of the PoPo
Classic Collection, and feature some very colorful packaging.  There's a
new album, "Papriko" out in Japan on Uplink, but I haven't heard it yet.
According to the band, it'll soon be released in France as well.  And
they've been commisioned for a modern dance performance for children, as
well as doing music and voices for an animated series for French TV (60
films of one minute each).

If this sounds interesting to you, and you don't live in Paris (where you
could get these records in a tiny shop around the corner from where Rough
Trade used to be), try telling my friends at Cowly Owl that they should
carry these records after all, popkids be darned:  [e-mail]

Alexander
Radio Khartoum      http://www.sirius.com/~xander/rk

-



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

From: William York <[e-mail]>
Subject: Brian O's reviews
Date: 09 Mar 1999 01:52:57 -0500 (EST)

> >      Aaly Trio w/KV             Hidden In the Stomach           Silkheart
>
> Is there anyone else out there who really doesn't like Ken Vandermark's
> playing? I love Mats Gustafsson most of the time but I find his more
> "Chicago-oriented" records like FJF's 'Blow Horn' to be pretty boring... (same

I didn't like FJF either but it wasn't really b/c of Vandermark.  I really
do like Vandermark's playing b/c like most of my fav. players (Ornette,
Tim Berne, Hemphill, Roland Kirk, etc.) he has an R & B (in the old sense)
element in his playing.  Actually, I thought there was one point on this
where Gustaffson tried some tongueing on a ballad and I didn't feel like
it worked, but overall I liked that one (the one on Wobbly Rail, that is)

> >      Orchester 33 1/3           Orchester 33 1/3               Rhiz
>
> I really like this disc a lot. I picked it up after Jon Abbey's recommendation
> (listen to this guys recs!) and had it playing non-stop for a little while. A
> really eclectic disc but remarkably cohesive (I even have trouble listening to
> a track without the conext of the others). Come on, how could you resist a

Ditto on all of that.  I got them to send this to our station and get the
feeling that a lot of people can't tell the difference between that and a
lot of that second-string post-rock from Chicago, which is too bad.  I
also heard the Shabotinski disc, and liked that too.  When I had a chance
to talk to Dr. Chadbourne at the show in Winston-Salem, NC, a couple of
weeks ago, he mentioned something by the guitarist (last name is something
like "Stanghl") that he was really impressed with.  I'm not sure what
label this is on though.

In the latest Chadbourne news, I have his "Worms with Strings" CD on Leo
which is actually dedicated to/about fecal worms and cockroaches, played
on mostly acoustic string instruments with a lot of hazy southern folky
and jazzy tinges.  The sound quality is beyond bedroom quality -very
distant.  If you couldn't say this before, you can definitely now say that
he has created a world of his own.  The next one on Leo is going to have
Ellery Eskelin among others.  Should be coming soon (along with that
interview I promised about 10 people...)

WY


-



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

From: "Julian" <[e-mail]>
Subject: intergalactic maiden ballet
Date: 09 Mar 1999 21:06:54 +1100

Can someone comment on their album Square Dance (which features Zorn on a
few tracks)?


-



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

From: [e-mail]
Subject: Re: Recent Swag (no Zorn content whatsoever)
Date: 09 Mar 1999 06:14:12 EST

In a message dated 3/9/99 1:41:16 AM Eastern Standard Time,
[e-mail] writes:

<< Meshuggah: Destroy Erase Improve (Nuclear Blast)

 The reigning kings of complexity metal, this band very nearly convinced
 me to haul my ass out to Asbury Park, NJ for a 35-40 minute set towards
 the end of a two-day death metal fest this weekend, but they bailed out
 over this past weekend and will open for Slayer at Roseland instead.
 Can't wait.  Jagged, intricate and incredibly fast riffage wedded to a
 fierce shouter of a vocalist.  This album is at least as good as the
 newer "Chaosphere," and. with its greater variety of tempo and texture,
 maybe even a bit better.
  >>

Agreed to an extent.  Those complex riffs of _Chaosphere_ playing off of one
another throughout the life of the CD is a heart-stopper, but _DEI_ does offer
a lot more "variety", as you put it.  Overall, I tend to gravitate more toward
_Chaosphere_'s, uh, chaos.

In line with _Chaosphere_ is Fredrik Thordenal's (Meshuggah's axeman) solo
project- Special Effects, and the recently reissued CD _Sol Niger Within
Version 3.33_ on Relapse.  This is one insanely weird CD- better than all of
the Meshuggah discs i've heard.

=dgasque+

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Brian O's reviews
Date: 08 Mar 1999 07:52:30 -0500

> When I had a chance to talk to Dr. Chadbourne at the show in Winston-Salem, NC, a
> couple of weeks ago, he mentioned something by the guitarist (last name is
> something
> like "Stanghl") that he was really impressed with.  I'm not sure what label this
> is on though.

That would be Burkhard Stangl who plays on three tracks of the Shabotinski. He's got
a CD on Random Acoustics called 'Ereignislose Musik - Loose Music' which I've wanted
to get for a while but haven't. There's another disc on RA with Radu Malfatti,
Burkhard Stangl, Michael Moser and Werner Dafeldecker called 'Polwechsel' which also
looks interesting. Can anyone comment on these or offer up any other Stangl recs?
Thanks.

                            -Tom Pratt



-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Brian O's reviews
Date: 09 Mar 1999 08:38:29 -0500

At 07:52 AM 3/8/99 -0500, Tom Pratt wrote:
>
>That would be Burkhard Stangl who plays on three tracks of the
Shabotinski. He's got
>a CD on Random Acoustics called 'Ereignislose Musik - Loose Music' which
I've wanted
>to get for a while but haven't. There's another disc on RA with Radu
Malfatti,
>Burkhard Stangl, Michael Moser and Werner Dafeldecker called 'Polwechsel'
which also
>looks interesting. Can anyone comment on these or offer up any other
Stangl recs?

Polwechsel is textured, non-virtuosic improvisation, sort of in the same
league as King Ubu Orchestra (although only a quartet).  I think it's been
reissued on Hat, and would like some confirmation that the Hat and RA
release are indeed the same.  Stangl is also on the Koglmann/Konitz
Ellington release which I commented on earlier this week, where he plays in
a much more traditional style.

--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: "Stephane Vuilleumier" <[e-mail]>
Subject: Re: Stangl
Date: 09 Mar 1999 14:55:32 +0100

There's a unique(?) (and sadly, now irreproducible) free improv encounter
which came out on Knitting factory:

095 - HOR-FEST: Under Cover Collection Band

    Recorded at Culturcentrum Wolkenstein, Austria on October 10, 1994

  Burkhard Stangl: guitar; Tom Cora: cello; Max Nagl: reeds; Samm Bennett=
:
  precussion; Thomas Chapin: reeds.

    1995 - Knitting Factory Works (USA), no number (CD)


Stephane

-----Original Message-----
<[e-mail]>


Can anyone comment on these or offer up any other Stangl recs?
:Thanks.



-



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

From: [e-mail]
Subject: Quiet Sun "Mainstream"
Date: 09 Mar 1999 09:04:10 EST

 Brent Burton <[e-mail]> asked

>does anyone know if this record is still in print anywhere?

The brief answer is no.

It was in print as a Japanese import in the early 90's, which is how I have my
copy. Sound is pretty good.

It was then quasi-legally reissued by Voiceprint in '96 [Phil Manzanera gave
his permission, but E.G. Records did *not* give permission] & it sold out
pretty quickly.

Sound is apparently somewhat brittle, but not totally awful.

You *might* get lucky & turn up a copy in a shop that hasn't sold their stock,
but other than that, you'll have to wait for Virgin [owner of E.G.] to decide
it's worth their while to reissue.

Don't believe Zorn, Mike Patton, or even Y. Eye play on it tho....

-



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

From: John Howard <[e-mail]>
Subject: Vandermark
Date: 09 Mar 1999 08:08:08 -0600

>Is there anyone else out there who really doesn't like >Ken
Vandermark's
>playing?

I can't say I dislike his playing, but I rate a lot of people above him.
He isn't a particularly inspiring soloist, it seems like he would be a
decent second horn in a group, instead he leads a bunch of groups and
seems to put out a new record every fifteen minutes. I don't understand
the level of attention he gets while people like, say, Marc Whitecage,
Mack Goldsbury (where the hell is he?) or Rob Brown seem to wallow in
obscurity.  That's not really his fault, though.  john

-



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

From: [e-mail]
Subject: Whitecage; was Re: Vandermark
Date: 09 Mar 1999 09:14:13 -0500


>I can't say I dislike his playing, but I rate a lot of people above him.
>He isn't a particularly inspiring soloist, it seems like he would be a
>decent second horn in a group, instead he leads a bunch of groups and
>seems to put out a new record every fifteen minutes. I don't understand
>the level of attention he gets while people like, say, Marc Whitecage,
>Mack Goldsbury (where the hell is he?) or Rob Brown seem to wallow in
>obscurity.  That's not really his fault, though.  john

Any pointers towards Whitecage's recent work? I used to hear him all the
time in the late 70's with people like Perry Robinson and John Fischer
and usually enjoyed his playing, though he always seemed to have a
certain shyness and lack of assertion (not one of KV's problems) that
caused his sound to tend to be subsumed by the group with whom he was
playing--not necessarily a bad quality by any means.

I've seen his name popping up on album listings more and more in the last
year or so, but haven't actually heard anything. Any recs would be
welcomed.

Brian Olewnick







-



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

From: John Howard <[e-mail]>
Subject: RE: Whitecage; was Re: Vandermark
Date: 09 Mar 1999 08:38:58 -0600



> -----Original Message-----
> From: [e-mail]
>
> Any pointers towards Whitecage's recent work? I used to hear
> him all the
> time in the late 70's with people like Perry Robinson and
> John Fischer
> and usually enjoyed his playing, though he always seemed to have a
> certain shyness and lack of assertion (not one of KV's problems) that
> caused his sound to tend to be subsumed by the group with whom he was
> playing--not necessarily a bad quality by any means.
>
> I've seen his name popping up on album listings more and more
> in the last
> year or so, but haven't actually heard anything. Any recs would be
> welcomed.
>
The most recent thing I have is called 3+4=5 on CIMP. Great Cecil
Taylor-ish stuff. I also like his playing on an old Bobby Noughton
record that also features Mario Pavone on bass. he is on a bunch of the
CIMP stuff. You're right, he is less aggressive and more in the
"wandering" style. But I like that. Also recommended on CIMP is the
Bruce Eisenbeil 9 Wings CD with Rob Brown (speaking of...)  As far as
Mack Goldsbury, the last time I heard anything by him was 1992-3(?) and
the Herb Robertson Certified album (GREAT album)  I repeat my question
to anyone who can answer...where is he now?  john

-



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

From: Telly O'Logical <[e-mail]>
Subject: opinion on Ambarchi/Avenaim on Tzadik?
Date: 09 Mar 1999 16:55:56 +0200

Hello,

Does anyone have an opinion on Ambarchi/Avenaim's "Alter Rebbe's Nigun"
on Tzadik?




-



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

From: Brent Burton <[e-mail]>
Subject: Re: Quiet Sun "Mainstream"
Date: 09 Mar 1999 10:10:18 -0500 (EST)

On Tue, 9 Mar 1999 [e-mail] wrote:

> Don't believe Zorn, Mike Patton, or even Y. Eye play on it tho....

thanks for the info.  none of those guys play on the record, but charles
hayward (this heat) does.  he also plays on the new massacre cd on tzadik.

b

-



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

From: [e-mail]
Subject: Caifanes/Ribot
Date: 09 Mar 1999 12:45:28 -0300

Steve Smith wrote:

>If this band sang in English, it most likely would have enjoyed
>worldwide video hits, as their impassioned '80s style hard-edged yet

I'm not quite sure about this, nevertheless I ask myself why any group
would sing their lyrics in English instead people try to learn the
language that group sings.
I always enjoyed English spoken bands or any German singer because of
their quality, not because they sing in any particular language; anyway
I appreciate your interest on all music as well, specially if Latin.
But don't worry Steve; this is not nothing personal, naturally.

On the other hand, and speaking on Latin performers I have to say that
yesterday in a friend's home I listened to an Argentine pop singer
Andres Calamaro ("Alta Suciedad"- I can't recall the label) and the
line-up included Marc Ribot on guitar on several tracks (my friend was
really surprised as it is a cd that belongs to his wife!).
Just a comment.

Hugo (who thinks that some Americans are rather lazy to learn other
languages)

-



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

From: "Scott Handley" <[e-mail]>
Subject: gettin' off topic: how to do it
Date: 09 Mar 1999 07:48:45 PST

I've taken some pretty good hints on music and books on this site, so
what about other mailing lists?  I'm on MICC, which is for the time
pretty inactive.  And chi-improv and its cousins.  Are there any mailing
lists out there, about music or not, that are really, really worthwhile
uses of time and space?  I, myself, am interested in literature, art/art
history, "critical" "theory", pomo (argh..), nonacademic scholarship
(ZOne Books, Semiotexte, etc), and cultural theory, as well as politics,
current events, philosophy, and the like. I only list these interests
because it seems that they are all present on this list.  (Is this
rare?)  I'd love to get with some sites and/or lists that might not
exactly be Yahoo-advertised (read: annexed into the kingdom).

Thanks, and pardon the digression.

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: gettin' off topic: how to do it
Date: 09 Mar 1999 11:43:31 -0500

At 07:48 AM 3/9/99 PST, Scott Handley wrote:
>I've taken some pretty good hints on music and books on this site, so
>what about other mailing lists?  I'm on MICC, which is for the time
>pretty inactive.  And chi-improv and its cousins.  Are there any mailing
>lists out there, about music or not, that are really, really worthwhile
>uses of time and space?  I, myself, am interested in literature, art/art
>history, "critical" "theory", pomo (argh..), nonacademic scholarship
>(ZOne Books, Semiotexte, etc), and cultural theory, as well as politics,
>current events, philosophy, and the like. I only list these interests
>because it seems that they are all present on this list.  (Is this
>rare?)  I'd love to get with some sites and/or lists that might not
>exactly be Yahoo-advertised (read: annexed into the kingdom).

For crit theory, try the Theory Out Of Bounds list, which just started a
discussion of . To subscribe to the TOOB list, email
[e-mail] with the word "subscribe" (without quotes) in the
subject line.  After being offline for a while, the moderator's trying to
start a discussion of Jose Gil's Metamorphoses of the Body, and has
distributed a review and some quotes.



--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: [e-mail]
Subject: Re: Brian O's reviews
Date: 09 Mar 1999 11:43:23 EST


In a message dated 3/9/99 8:36:30 AM, [e-mail] writes:

<< Polwechsel is textured, non-virtuosic improvisation, sort of in the same
league as King Ubu Orchestra (although only a quartet). >>

not a bad comparison, although I think it's important to point out that King
Ubu has a major electronic component, while Polwechsel (at least on this
record) are all acoustic.

<<I think it's been reissued on Hat, and would like some confirmation that the
Hat and RA release are indeed the same. >>

yup, they're the same. I guess Random Acoustics is defunct; I've heard Gerry
Hemingway is trying to buy back his masters from them also. anyone know more
about this? Hat Now has a Polwechsel 2 on their upcoming schedule which I'm
looking forward to, along with a new Clusone Trio and a double disc of
Cornelius Cardew.

Jon

-



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

From: David Keffer <[e-mail]>
Subject: Recent Goodies
Date: 09 Mar 1999 13:30:05 -0500


Hello Folks on the Zorn list,

Here are a couple of reviews of things I picked up lately.

Dock Boggs - "His Folkways Years" - (Smithsonian/Folkways, 1998) - 2cd
Dock Boggs - "Complete Early Recordings" - (Revenant, 1997) - cd

Well we have, if I remember correctly, discussed Dock Boggs on
this list before but it took me a while to pick up the discs.
Anyway, having given them a listen, I am delighted.  The Folkways
release dates to 1963-1968 and the Revenant release dates to
1927-1929.  For all listeners who are comforted by the reassuring
sound of analog hiss emanating from their cd players, the latter
is for you.  Actually, there is surprisingly little hiss on the
recordings seeing as they are over 70 years old.
Still, the music is just a very fine thing.  The blurb on the
Revenant disc describes Dock Boggs by saying (I paraphrase),
"everytime he opened his mouth to sing, it sounded like his
bones were going to break through his skin."  As a matter of
fact, this is a very good description of the record.  Pick up
the Folkways release first.

Jim O'Rourke - Eureka - (Drag City, 1999) - lp

Follow up to "Bad Timing", which I liked a lot.  "Bad Timing" was O'Rourke's
step toward a combination of avant structure and sound-scape with
quirky Bacharachesque pop tunes, leaning much more toward
the latter contribution than the former.  (It was instrumental too.)
That record was great.  One of my favorites of the year.
This new O'Rourke record "Eureka" takes the process one step
farther...much more poppy, much more retro-70's cheesy-sax Bacharach
pop.  Too much for me.  Some songs make longer excursions into
the soundscape direction and bore me (partly because
one wants the instant gratification of pop music from a pop album
and partly because the soundscapes just aren't anything special
on Eureka).   Then it turns out that this record has a vocalist,
don't know who, actually several vocalists, a male lead, subpar
in effect to David Grubbs, and a collection of female 60s-era
back-up singers.  That would be all right ,I suppose, or at least
tolerable, were it not for the excrutiatingly bad lyrics.
Get a Dock Boggs cd instead.

Richard Youngs - House Music - (Meme, 1998) - cd

Did I ever mention on this list that this cd is great?  It is.
From what I understand, different than other Youngs releases,
more musical, more volume.  "House Music" here means music made
from things you could find in a house, like pipes.

David K.


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: brotzman 3CD set
Date: 09 Mar 1999 13:33:48 -0500

FWIW, I just received a new shipment from Cadence which included the
Brotzman Chicago Octet/Tentet.  Last week or so there was a discussion
about how its edition was limited to 1000.  I got number 1445, so
apparently they've done a second pressing.  Guess I'll start seeing it on
the Billboard charts any day now.

--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: Brent Burton <[e-mail]>
Subject: Re: Recent Goodies
Date: 09 Mar 1999 13:41:25 -0500 (EST)

On Tue, 9 Mar 1999, David Keffer wrote:

> Jim O'Rourke - Eureka - (Drag City, 1999) - lp
>
> Follow up to "Bad Timing", which I liked a lot.  "Bad Timing" was O'Rourke's
> step toward a combination of avant structure and sound-scape with
> quirky Bacharachesque pop tunes, leaning much more toward
> the latter contribution than the former.  (It was instrumental too.)
> That record was great.  One of my favorites of the year.
> This new O'Rourke record "Eureka" takes the process one step
> farther...much more poppy, much more retro-70's cheesy-sax Bacharach
> pop.  Too much for me.  Some songs make longer excursions into
> the soundscape direction and bore me (partly because
> one wants the instant gratification of pop music from a pop album
> and partly because the soundscapes just aren't anything special
> on Eureka).   Then it turns out that this record has a vocalist,
> don't know who, actually several vocalists, a male lead, subpar
> in effect to David Grubbs, and a collection of female 60s-era
> back-up singers.  That would be all right ,I suppose, or at least
> tolerable, were it not for the excrutiatingly bad lyrics.

i like "eureka" (easily the funniest artwork to grace an album in quite
awhile), but yeah it's syrupy and he lays it on thick.  it's as if he
focused in on the most poppy extremes of "bad timing" (particularly the
horn flourish at the end) and blew them up into a full-length record.
i imagine that it's probably too eclectic and disparate to appeal to anyone
but a hard-core o'rourke fan.

b


-



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

From: Michael Witt <[e-mail]>
Subject: RE: Ken Vandermark
Date: 09 Mar 1999 14:15:53 -0500


Tom Pratt sed:

> Is there anyone else out there who really doesn't like Ken Vandermark's
> playing? I love Mats Gustafsson most of the time but I find his more
> "Chicago-oriented" records like FJF's 'Blow Horn' to be pretty boring...
> (same
> goes for the recent 'Background Music' with Guillermo Gregorio and Kjell
> Nordeson). Perhaps Brian would call me a sucker for the extended
> techniques but
> for Gustafsson I much prefer the spastic intensity of discs like
> 'Frogging'
> (w/Barry Guy) or 'You Forget To Answer' (w/Guy and Raymond Strid) to the
> more
> standard "free jazz" blowouts. Gustafsson can certainly be an incredible
> player.
>
I'm a long-time reader but a first-time poster.  I live outside of Chicago,
and I have only been listening to avant garde / free jazz for a year or two.
My progression went from a passion for improvised music in general and the
Grateful Dead to Miles Davis to John Coltrane to Ornette Coleman to artists
like John Zorn and the Kronos Quartet.  I lurk on this mailing list because
I enjoy reading the opinions of folks like yourself and Brian Olewnick who
have gone down many of these roads ahead of me.  I haven't heard anything by
at least 50% of the artists who are often mentioned here, but I'm gaining
ground album by album and with the occasional concert.  Thanks for posting
your opinions and recommendations.

I might go down in flames for saying this, but I think that Ken Vandermark
is the most important musician in Chicago right now.  Some people might
argue that he is simply the most prolific, but I would disagree.  Each one
of his bands (and there are many!) exhibits a unique and interesting view.
He is very similar to John Zorn in the sense that he has pulled together the
scene in Chicago by sitting in with many other talented, local musicians and
initiating projects with almost all of them.  If you look at the monthly
listing in Chicago Now, you will see his name at least three times a week,
and it is rarely with the same groups from day to day.  As a player and
improviser, I think he is incredible.  Depending on who you hear him with,
his playing can be intense and subtle, noisy and beautiful, and intellectual
and sentimental.  One of his greatest strengths lies in his diversity, but
like any artist some configurations and styles are better than others.  At
the very least, he sustains my interest across his many different influences
which include funk, R&B, and bebop, as well as free jazz.  I admit my bias,
though.  I'm from Chicago, and I'm a big Vandermark fan.  I saw him a few
months ago with Paul Lytton, Hamid Drake, and Mars Williams, and they rocked
my world.

--Mike


-



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

From: David Layman <[e-mail]>
Subject: COBRA
Date: 09 Mar 1999 14:45:17 -0600


Hello,

My name is David Layman.  I am new to the Zorn list.  I play with the Cobra
Ensemble Cincinnati and am looking for the following recording.  Can anyone
help me out??

Thanks,

David
[e-mail]



023 - BAD ALCHEMY MAGAZINE + TAPE: various artists

  This magazine/tape features music by John Zorn "Cobra", Tenko, David Moss
  Dense Band, Lindsey Cooper, Dr. Nerve, Half Japanese, The Lo Yo Yo,
  Christian Marclay "Tower Of Babel", Lurex 4/Elliott Sharp.

  John Zorn plays on two tracks, one with John Zorn "Cobra":

    1/ Exercise Nr. 1                           (Zorn)                   5:50

    Recorded live at Moers festival, on May 24, 1985

  John Zorn: reeds; Carol Emanuel: harp; Zeena Parkins: harp; Arto Lindsay:
  guitar; Elliott Sharp: guitar; Bill Frisell: guitar; Wayne Horvitz: key-
  boards; Anthony Coleman: keyboards; Christian Marclay: turntables; Bob
  James: tapes; Jim Staley: trombone, French horn; Guy Klucevsek: accordion;
  Bobby Previte: conductor.

  and one in duo with Tenko:

    2/ Improvisation                            (Zorn, Tenko)            0:45

    Recorded live at the Moers festival, on May 1985

  John Zorn: alto; Tenko: vocals.

    1985 - Bad Alchemy (Germany), No. 3 (magazine+CT)


-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: COBRA
Date: 09 Mar 1999 13:54:46 -0600 (CST)

On Tue, 9 Mar 1999, David Layman wrote:

> My name is David Layman.  I am new to the Zorn list.  I play with the Cobra
> Ensemble Cincinnati and am looking for the following recording.  Can anyone
> help me out??

I'm intrigued by the existence of a Cobra Ensemble out there. How large is
the group? Do you get together regularly, or only for occasional events?
Do you do other material?


- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: [e-mail]
Subject: Momentum Space?
Date: 09 Mar 1999 15:55:39 -0500


     Just saw a reference to a disc with this title by a trio consisting of
     Dewey Redman, Cecil Taylor and Elvin Jones (!!!!). Is this correct?
     Anyone else heard of it?

     Droolingly,

     Brian Olewnick



-



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

From: Ken Waxman <[e-mail]>
Subject: RE: Ken Vandermark
Date: 09 Mar 1999 16:20:39 -0500 (EST)



Michael:

If KV is the most important musician in Chicago because of his many
influences and many bands, where does that leave Kahil El'Zabar and/or Ed
Wilkerson?

Kahil has (at least) three bands that I know of: The Ritual Trio, Bright
Momements and The Ethnic heritage Ensemble

Ed has his quartet, 8 Bold Souls and the 23-piece Shadow Vingettes.

Do I sense some North side verses South side rivalry here, or have you
not had a chance to hear these other (AACM) bands?

If you'd like CD recommendations, I'll be happy to oblige. And since you
live much closer to Chi-town (or get to visit there more often) than my
once a year trip from Toronto, you have an even better chance to see these
groups live.

Ken Waxman
[e-mail]

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Momentum Space?
Date: 09 Mar 1999 16:30:07 -0500 (EST)

Which disc is this and on what label? I saw a squib on Joel Criss &
Associates Web site offering that same band for bookings.

To be honest, I don't think it will work. Elvin's most radical playing
was with Trane and since then he's pretty much kept to post bop modern
mainstream (or what would have been mainstream if the neocons hadn't
come along). Dewey, again, was more radical in the 1970s. I've seen him live
and find that he, like Archie Shepp, is as much interested in revisiting
melodies and "jazz classics" as playing "out". CT , of course, is CT.
He abandoned standards long ago and I can't see him returning to them.

But I'm prepared to hear the disc and be convinced. (Sure wish they had a
bass player though -- how 'bout Mal Favors, Barry Guy, William Parker or
R. Workman?

Ken Waxman
[e-mail]

On Tue, 9 Mar 1999 [e-mail] wrote:

>
>      Just saw a reference to a disc with this title by a trio consisting of
>      Dewey Redman, Cecil Taylor and Elvin Jones (!!!!). Is this correct?
>      Anyone else heard of it?
>
>      Droolingly,
>
>      Brian Olewnick
>
>
>
> -
>
>

-



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

From: [e-mail]
Subject: Re[2]: Momentum Space?
Date: 09 Mar 1999 16:38:38 -0500


>Which disc is this and on what label? I saw a squib on Joel Criss &
>Associates Web site offering that same band for bookings.

Don't know and don't know. I only saw a coupla references on the jazz
central station bbs. But one was from someone who had just purchased it,
so apparently it's out there. I'll be checking this evening.

>To be honest, I don't think it will work. Elvin's most radical playing
>was with Trane and since then he's pretty much kept to post bop modern
>mainstream (or what would have been mainstream if the neocons hadn't
>come along). Dewey, again, was more radical in the 1970s. I've seen him live
>and find that he, like Archie Shepp, is as much interested in revisiting
>melodies and "jazz classics" as playing "out". CT , of course, is CT.
>He abandoned standards long ago and I can't see him returning to them.

You could turn out right, of course, but I'd be willing to bank on both Redman's
and Jones' inherent musicality to carry the day and, as you said, it's tough to
imagine CT playing _too_ straight.

>But I'm prepared to hear the disc and be convinced. (Sure wish they had
>a bass player though -- how 'bout Mal Favors, Barry Guy, William Parker
>or R. Workman?

     Mmmmmm.....Favors...

     Brian Olewnick



-



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

From: Rich Williams <[e-mail]>
Subject: Re: intergalactic maiden ballet
Date: 09 Mar 1999 16:35:19 -0500

> Can someone comment on their album Square Dance (which features Zorn on a
> few tracks)?
>
>
> -

    Jazz/Rock/Funk fusion, well recorded, Some of the heads have
a definite Ornette influence, but IMO, the tunes aren't that strong.
Zorn's  playing is more "in" than usual (not that that's a bad thing
in and of itself)  If you like some of the more riff-dominated
material by Curlew,or The Decoding Society it may be up your alley,
others(myself included) may find it a bit formulaic.

-



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

From: [e-mail]
Subject: Derek Bailey southern US dates
Date: 09 Mar 1999 17:52:44 EST


I came across these on the European Free improv page, so I thought I'd post
them for the benefit of the list. See, not everyone just comes to New York. :)


*     March 12: St. Petersburg, Florida, hosted by the Salvador Dali Museum;
solo
*    March 13: Winter Park (Orlando area) Rogers Room, Keene Hall at Rollins
College: solo & in duo with percussionist Michael Welch
*    20 March: solo at Subtropics New Music Festival, Miami Beach Community
Church-Hice Hall, Lincoln Road Mall at Drexel Avenue, Miami Beach
*    March 24: Chattanooga, TN with Dennis Palmer/Bob Stagner; for info:
423-265-6820 or [e-mail]
*    March 27: Atlanta, GA with Dennis Palmer/Bob Stagner; for info: 404-622-3355
or [e-mail]

Jon

-



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

From: Michael Witt <[e-mail]>
Subject: RE: Ken Vandermark
Date: 09 Mar 1999 18:02:34 -0500

Ken sed:

> If KV is the most important musician in Chicago because of his many
> influences and many bands, where does that leave Kahil El'Zabar and/or Ed
> Wilkerson?
>
> Kahil has (at least) three bands that I know of: The Ritual Trio, Bright
> Momements and The Ethnic heritage Ensemble
>
> Ed has his quartet, 8 Bold Souls and the 23-piece Shadow Vingettes.
>
> Do I sense some North side verses South side rivalry here, or have you
> not had a chance to hear these other (AACM) bands?
>
Hi Ken!  I enjoy reading your posts.  I saw the Rituals Trio perform, and
they were excellent.  I plead ignorance on the others although the names are
all familiar.  In my posted opinion, I said that Vandermark is the most
important musician in Chicago at this present moment in time.  The AACM were
certainly more important in the sixties.  You might hold a different
opinion, but it's kind of a cheap shot to liquidate my argument to "because
of his many influences and many bands" when that clearly was not my only
point.  No harm done, though I refer you to the Chicago Now homepage to see
how many people Vandermark works with in a typical month:

http://www.cs.nwu.edu/~tisue/chicagonow/concerts.html

I live in Indiana, where the only rivalries exist in NASCAR and college
basketball.  :-)

It's truly a great deal to sit in the Velvet Lounge, drink a beer, and
listen to Fred Anderson unwind a long solo.  Ari Brown plays there every
Thursday with Malachi Favors, too.  It looks like Lester Bowie is going to
sit in with Kahil El'Zabar's experimental orchestra in June, and that looks
good - all of these are AACM guys, right?  I do not know them from their
albums as much as hearing them live, and I'm not old enough to have known
about them from the sixties when they were in their heyday.

> If you'd like CD recommendations, I'll be happy to oblige. And since you
> live much closer to Chi-town (or get to visit there more often) than my
> once a year trip from Toronto, you have an even better chance to see these
>
> groups live.
>
Please do!  I spent about three weeks in a Toronto jail (just visiting) but
was too busy to venture out to hear music there.  I'm sorry if this isn't
sufficiently Zorn-related.

--Mike


-



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

From: [e-mail] (Chris Genzel)
Subject: Elliott Sharp
Date: 10 Mar 1999 00:52:44 +0100


 Hi,

 I saw two new Elliott Sharp releases in the shop which were in a kind of sealed
 envelope. (Unfortunately, I forgot the titles.) They're obviously part of
 some limited edition. Can anyone tell me anything about these CDs?

 Also, I really enjoy Sharp's "Field & Stream" disc. Does anyone know something
 about Frank Rothkamm, whether he appeared on other albums etc.?

 Kind regards,
 - Chris.

 ----------------------------------------------------
 Chris Genzel -- [e-mail]
 ----------------------------------------------------
 Discographies of
 Herbie Hancock, Michael Beinhorn & Bennie Maupin at:
 http://home.t-online.de/home/stamil/
 ----------------------------------------------------


-



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

From: [e-mail] (Martin Wisckol)
Subject: CT/Dewey/Elvin
Date: 09 Mar 1999 15:16:53 -0800

I swear I saw an ad for this album -- talk about double takes -- in
Downbeat. I'll check when I get home tonight and post the details if
somebody doesn't beat me to it.

Martin

np. Latin Playboys -- Dose

-



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

From: Push <[e-mail]>
Subject: Wow 2
Date: 09 Mar 1999 22:28:23 -0500

I've got quite a few Tzadik and Avant discs and all are notable for
their generally superior quality in packaging and sound.  However, one
of my favorites, Boredoms' Wow 2 on Avant, sounds like it was recorded
through a mud filter; this is all the more baffling considering that
Zorn was actually at the helm at these sessions.

My question:  Do all copies sound like this, or did I get a bad pressing
or something?  I know Boredoms often indulge in deliberate lofi
recording tech, but none of their other full length albums sound this
murky (though Super Roots 3 comes close).


thanks in advance,

-push


-



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

From: Craig Rath <[e-mail]>
Subject: Re: Wow 2
Date: 09 Mar 1999 21:38:55 -0600

At 10:28 PM 3/9/99 -0500, you wrote:
>My question:  Do all copies sound like this, or did I get a bad pressing
>or something?  I know Boredoms often indulge in deliberate lofi
>recording tech, but none of their other full length albums sound this
>murky (though Super Roots 3 comes close).
>

Actually, my copy sounds rather good.  I think you either have a bad
pressing or what you refer to as muddy production is exactly what they were
going for.  Considering the personnel that were involved in the production
and engineering of the album, I can't imagine they would accidentally make
something sound muddy.  Compared to some of their older albums (and other
albums from around the same time) it's remarkably clear sounding.  The
distortion and haze seems intentional.

Or it could be that my eardrums are fried enough that I can't tell anymore.
 A steady course of Fushitsusha can do that to you.




-



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

From: [e-mail]
Subject:  Avant links
Date: 09 Mar 1999 22:46:34 EST

 <A HREF="http://wfmu.org/~kennyg/links.html">kenny g's avant links</A>

-



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

From: [e-mail] (Martin Wisckol)
Subject: CT/Dewey/Elvin confirmed; ghosts in the CD changer
Date: 09 Mar 1999 20:02:43 -0800

Page 15 of the April 1999 Downbeat
Ad is titled: Dance of the Titans
DR, CT, EJ Momentum Space/Verve (!)
"A powerful program of trios, duets and solos, this 1998 studio session
beautifully documents the landmark collaboration between these three
giants of improvised music." www.verveinteractive.com

Meanwhile ... my CD changer at home, when set on random, will play each
cut on each of the five discs, once before repeating any cut. But my
JVC car changer is closer to a true random play -- and it gets into
grooves (and ruts) where it likes two or three of the six CDs more than
the others, and even likes certain cuts better than others. I had the
thing fully loaded today yet in an hour and a half on the road, heard
cut five (Inspiration of Silence) from Horace Tapscott's aiee! The
Phantom three times! I still don't think it's one of the strongest
cuts, but my JVC thinks otherwise.

-



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

From: Steve Smith <[e-mail]>
Subject: Mack Goldsbury [Re: Vandermark]
Date: 10 Mar 1999 01:03:38 -0500

John Howard wrote:

> Mack Goldsbury (where the hell is he?)

I don't think I'd come across Goldsbury's name since Berne's "Songs and
Rituals in Real Time."  But there's a new disc on the VKJK label pairing him
with pipe organist Andreas Bottcher, "Sunday's Symphonies," that is fairly
positively reviewed in the March issue of Cadence, pg. 131.  (The label does
not appear to be carried be North Country, however, leading to the question
of ready availability...)

Steve Smith
[e-mail]
NP - nothing... starting to save up my pennies for "Sol Niger Within," which
I saw at Lethal last weekend...  thanks, Dgasque...


-



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

From: Steve Smith <[e-mail]>
Subject: Re: Recent Goodies
Date: 10 Mar 1999 01:23:32 -0500

David Keffer wrote:

> Dock Boggs - "Complete Early Recordings" - (Revenant, 1997) - cd

This is currently out of print and it sometimes takes Revenant a while to get
things back into print (especially since right now all of their resources are
plugged into the expensive upcoming Beefheart box), so if anyone's interested in
the Dock Boggs, grab it soon.

Steve Smith
[e-mail]
NP - Oh my dear Lord, it's none other than TONY OXLEY on the "BET on Jazz"
channel!!!  Wonder if that means the soprano player is John Surman?  The
flugelhornist has to be Kenny Wheeler...  that would make the most sense.  Don't
recognize the pianist or bassist, but this is very mainstream music.  Anyway,
it's kinda neat watching Tony bash away Elvin Jones style on his kooky little
kit.


-



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

From: Steve Smith <[e-mail]>
Subject: Re: Momentum Space?
Date: 10 Mar 1999 01:29:03 -0500

[e-mail] wrote:

>      Just saw a reference to a disc with this title by a trio consisting of
>      Dewey Redman, Cecil Taylor and Elvin Jones (!!!!). Is this correct?
>      Anyone else heard of it?

Yes, and yes.  As Ken Waxman pointed out, there was a mention of this project
on booking agent Joel Chriss's website as a potential act to be booked this
summer, and I had to phone immediately for more details when I saw this about
two weeks ago.  (The tour's NOT happening, but Joel still hopes to possibly
send the Taylor/Jones duo out to some festivals... still, don't hold your
breath).

The session was conceived and produced by John Snyder, maestro of A&M Horizon,
A&M Jazz Modern Masters, and other notable and extremely short-lived
avant-garde series on American major labels.  The record was made for the
French Gitanes label, a branch of once-Polygram/now-Universal.  I'd been told
by Joel that it was unlikely to be released in the U.S. and thought that just
had to be wrong.

And lo and behold, not only was there an ad in Down Beat as mentioned here by
Martin Wisckol, but on another mailing list I'm on, WNUR's Seth Tisue asked if
anyone had heard the new Taylor/Redman/Jones disc "issued today" by Verve.

Guess I'll be going shopping again tomorrow...

Steve Smith
[e-mail]
NP - still watching that Kenny Wheeler thing with Tony Oxley on "BET on Jazz,"
much to my continued disbelief... not disbelief that I'm watching, of course,
but disbelief that Tony's on my TV and it's not "Burning Poles"...


-



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

From: Steve Smith <[e-mail]>
Subject: Re: Caifanes/Ribot
Date: 10 Mar 1999 01:52:25 -0500

[e-mail] wrote:

> Steve Smith wrote:
>
> >If this band sang in English, it most likely would have enjoyed
> >worldwide video hits, as their impassioned '80s style hard-edged yet
>
> I'm not quite sure about this, nevertheless I ask myself why any group
> would sing their lyrics in English instead people try to learn the
> language that group sings.

Hugo, your points are well taken, but while it's one thing to expect a
single listener or a small group of enthusiasts to consider learning a
foreign language to better enjoy a performance or recording in that
language (though Lord knows I'm way too lazy and would just as soon follow
a libretto), it's quite something else to expect the lazy American masses
to do so.

Thus, my point was that if Caifanes had *chosen* to sing in English,
certainly the common tongue in the U.S. and increasingly a worldwide
language, they would have had Big Hits on MTV and the like because they
played Cool Songs that were not Overtly World Music and also they Looked
Really Cute (especially the singer), and many more thousands of people
would likely have flocked to them if given an easy way to do so.  But those
incentives were not enough for the band to give up its fierce dedication to
its native tongue and culture, and that I actually consider to be quite
admirable.  I suppose they were quite happy with the many thousands of fans
they enjoyed in the Spanish speaking world (including in the U.S.A.), and
slackers like me were just along for the ride and the tunes.

But hey, it doesn't bother me that I don't know what Nusrat or the Ruins
are singing, either, and my Schubert lieder sets all come with
translations...

> But don't worry Steve; this is not nothing personal, naturally.

Naturally.  No offense taken, and besides, as I've already admitted, I *am*
lazy.  I won't speak for my countrymen, however... my girlfriend speaks
three or four languages, but she's way smarter and more industrious than me
in *most* ways.

Speaking of Ribot turning up in odd places, has anyone yet heard the new
David Sylvian album?

Steve Smith
[e-mail]
NP - Tony Oxley making like Art Blakey on his wacky mutant drum kit...
"BET on Jazz," where good things come to those who surf...


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Caifanes/Ribot
Date: 09 Mar 1999 22:59:29 -0800 (PST)

On Wed, 10 Mar 1999, Steve Smith wrote:

> and besides, as I've already admitted, I *am*
> lazy.  I won't speak for my countrymen, however... my girlfriend speaks
> three or four languages, but she's way smarter and more industrious than me
> in *most* ways.

the mind boggles at such a thought!

hasta.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


-



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

From: Steve Smith <[e-mail]>
Subject: The solution to my Tony Oxley mystery
Date: 10 Mar 1999 02:01:22 -0500

If you haven't been following the little NP messages at the end of my
posts tonight, you can delete this now.

For those who were curious, the band I'd been watching tonight on "BET
on Jazz," taped "Live at the Brewhouse," was:  pianist Gordon Beck,
trumpeter/flugelhornist Kenny Wheeler, saxophonist/flutist Stan
Sultzman, bassist Dieter Ilg and (yes!) percussionist Tony Oxley.

I can sleep better now.

Steve Smith
[e-mail]
NP - nothing... why spoil what I just heard? :-)


-



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

From: "Douglas Clarke" <[e-mail]>
Subject: Re: Wow 2
Date: 10 Mar 1999 02:06:20 PST




>From: Push <[e-mail]>
>To: [e-mail]
>Subject: Wow 2

>I've got quite a few Tzadik and Avant discs and all are notable for
>their generally superior quality in packaging and sound.  However, one
>of my favorites, Boredoms' Wow 2 on Avant, sounds like it was recorded
>through a mud filter; this is all the more baffling considering that
>Zorn was actually at the helm at these sessions.
>
>My question:  Do all copies sound like this, or did I get a bad
pressing
>or something?  I know Boredoms often indulge in deliberate lofi
>recording tech, but none of their other full length albums sound this
>murky (though Super Roots 3 comes close).

Well, mine sounds pretty unusual as well, but that's what makes it so
amazing! I think Zorn really found the best way to deliver the punch
that the boredoms are capable of on this album.

-Doug



Get Your Private, Free Email at http://www.hotmail.com

-



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

From: Gene Natalia <[e-mail]>
Subject: Supersilent 1-3
Date: 10 Mar 1999 03:38:52 -0800

Someone posted something about Supersilent's newest, 4-6, so I figured I'd
finally get around to picking up that 1-3 I've had my eye on.  I'd heard
about them before, and I really like the remix project that Deathprod
shared with Biosphere of Arne Nordheim's Electric, so I shelled out my
$20.99 and took the 3cd's home and now I'm all happy.  Imagine Sun Ra in at
his noisiest, with plenty of electronics thrown in, and maybe that
describes it inadequately, but at least somewhat.  Parts of it remind me a
lot of Radian, but whereas Radian was kind of funky, rockish and dubbish,
Supersilent stems from improv-jazz.  I guess parts of it remind me of some
of Mr. Bungle's noisier electronics on Disco Volante as well.  In fact, if
someone told me these were 3 discs of members of Bungle improvising, I
would nearly fall for it.  In any case, I just wanted to let the person who
mentioned the 4-6 know that 1-3 is also quite good.

                            -Ethan


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Avant links
Date: 10 Mar 1999 07:30:33 -0500

At 10:46 PM 3/9/99 EST, [e-mail] wrote:
> <A HREF="http://wfmu.org/~kennyg/links.html">kenny g's avant links</A>

Amazing, there's actually some very interesting stuff here.

--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: Jan-wen Lu <[e-mail]>
Subject: "The Improvisation Meeting in Chicago" CD
Date: 10 Mar 1999 20:36:53 +0800

Hi,


Anyone know where I can get the "The Improvisation Meeting in Chicago" CD(Radio
Off Duty, LFQR 779 CD) from online distributor? It features a lot of great
players such as Jim O'Rourke, Taku Sugimoto, David Grubbs, Fred Lonberg-Holm,
Kevin Drumm, etc. Also, how to order the new Zeena Parkins CD?



Jan-wen Lu

-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Dewey Redman
Date: 10 Mar 1999 13:04:23 GMT0BST

When I saw Dewey Redman in the mid-to-late 80s, he seemed interested
in starting "in" and then going "way way out" (this, over a concert,
rather than in the course of each and every tune).  This struck me as
a thoroughly good strategy (one COULD take it to be a compromise
between setting the agenda and giving the audience what they want),
for it seemed as though he was able to take all the audience all the
way out with him.

Incidentally, did anyone pick up the Impulse reissue of Ear Of The
Behearer?  I was impressed by their willingness to include, as bonus
material, HALF of his subsequent album, Coincide.  Then again, that
may be down to my view that they picked the RIGHT half and dispensed
with the drivelly zither playing and (as if I haven't stuck my neck
out enough) one or two half-baked improvs.

Sean Wilkie

NP (ie not playing) "Somnaficient"

-



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

From: Peter Risser <[e-mail]>
Subject: Re: COBRA
Date: 10 Mar 1999 09:26:00 -0500

<<
Joe Zitt said:
I'm intrigued by the existence of a Cobra Ensemble out there. How large is
the group? Do you get together regularly, or only for occasional events?
Do you do other material?
>>


I'm curious too, since I live here and never heard of it before.
Do they all have a schedule?

I understand they are playing this Friday, but I can't make it.

Curiouser and Curiouser,
Peter

-



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

From: [e-mail]
Subject: Momentum Space--a review
Date: 10 Mar 1999 09:41:20 -0500


     Picked this up last night, got home too late to give it a spin, so
     this is based on a single, low-volume listen on the office boombox, a
     less than adequate sound system. With those caveats:

     I'll get my major peeve out of the way first. I find it a little
     annoying that you have a, presumably, one-time grouping of three
     talents like this and instead of an hour of trio playing you get half
     that, the rest devoted to solo and duo tracks. Given that...

     1) 'Nine' (Redman) is a very fine trio performance that sounded, to
     me, much in line with the Candid 1960 sessions that produced the 'Air'
     release. Redman, in fact, sounds uncannily like Shepp on those dates.
     It's a beautiful, roiling piece that boded well for the remainder of
     the disc.

     2) 'Bekai' (Jones) a 4-minute drum solo with a processional kind of
     feel. Not bad, but not what I was looking for.

     3) 'Spoonin'' (Redman) (Wasn't this recorded on one of Dewey's
     records?) A tenor/drums duet with Redman in fine form, getting into
     his breathy style towards the end. Not earth-shaking, but nice.

     4) 'Life As' (Taylor) A superb 8 1/2 minute Taylor solo, in his
     subdued mode. Gorgeous playing, reminding me of the more 'romantic'
     moments of 'Silent Tongues'.

     5) 'It' (Taylor) A piano/drums duet. Taylor is fine, Jones kind of
     just follows along; not a lot of exciting interplay.

     6) 'Is' (Taylor) A 20 minute trio piece, episodic in character, solos
     and duos formed along the way. Redman plays quite romantically here
     and the piece ends with another beautiful, quiet Taylor solo.

     7) 'Dew' (Redman) a 49 second Redman solo, basically a throway add-on;
     strange way to end the record.

     Overall, well worth owning, if not as rich as one might have hoped.
     The opening trio is probably as fine as any other trio of like
     instrumentalists could record today and Cecil's playing throughout,
     especially on that solo track is as great as we've come to expect.
     While not nearly as disappointing as his collaboration with the Art
     Ensemble a few years back, it still suffers from an similar odd
     production approach, a certain tentativeness in programming. Would've
     liked to have had simply a full trio set on the level of the first
     cut, but....

     Brian Olewnick

     PS: Due to monetary restrictions (potential angry wifely stares), I
     passed on the new Mitchell ECM release; anyone heard this yet?



-



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

From: eric ong <[e-mail]>
Subject: Roscoe Mitchell "Nine to Get Ready"
Date: 10 Mar 1999 10:22:16 -0500 (EST)

Hello,

The new Roscoe Mitchell got realeased stateside yesterday, and I managed
to pick myself up a copy.  Someone on the list mentioned that it had been
receiving rave reviews, so my expectations were rather high.  Overall, I'm
quite happy with most of the tracks.  Some are very reminiscent of AEC's
work on ECM (no surprise) and others have a swarming free improv feel,
evryone circular breathing like there's no tomorrow.  "Leola", the opener,
has the introspective sadness of Coltrane's "Alabama", and is truly a
stunner (albeit in the ECM variety).  The thick horn section gives the
whole record a bigger, richer sound, and when the whole band starts
jamming together your ear can wander among the different levels.
Characteristically, most of the horns are set slightly out of tune.  So
rest assured, some very good tunes in the spirit of collectivism that
animated the AEC.

eric.






-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: The solution to my Tony Oxley mystery
Date: 10 Mar 1999 09:28:12 -0600 (CST)

On Wed, 10 Mar 1999, Steve Smith wrote:

> For those who were curious, the band I'd been watching tonight on "BET
> on Jazz," taped "Live at the Brewhouse," was:  pianist Gordon Beck,
> trumpeter/flugelhornist Kenny Wheeler, saxophonist/flutist Stan
> Sultzman, bassist Dieter Ilg and (yes!) percussionist Tony Oxley.

Do you know if BET on Jazz publishes a detailed schedule? All I can seem
to find are show titles like "Classic Concerts" that don't tell a hell of
a lot...

- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: Vincent Kargatis <[e-mail]>
Subject: Re: Mack Goldsbury
Date: 10 Mar 1999 10:46:00 -0500

> From: Steve Smith <[e-mail]>
> John Howard wrote:
>
> > Mack Goldsbury (where the hell is he?)
>
> I don't think I'd come across Goldsbury's name since Berne's "Songs and
> Rituals in Real Time."

He does excellent work on Herb Robertson's CERTIFIED, which people should (try
to) grab if they don't have it.  May be oop, since it's on JMT.  That's the
last I've heard of him.

vince

-



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

From: Brent Burton <[e-mail]>
Subject: Re: Wow 2
Date: 10 Mar 1999 11:04:53 -0500 (EST)

On Tue, 9 Mar 1999, Craig Rath wrote:

> Actually, my copy sounds rather good.  I think you either have a bad
> pressing or what you refer to as muddy production is exactly what they were
> going for.  Considering the personnel that were involved in the production
> and engineering of the album, I can't imagine they would accidentally make
> something sound muddy.  Compared to some of their older albums (and other
> albums from around the same time) it's remarkably clear sounding.  The
> distortion and haze seems intentional.

i think "wow 2" sounds really nice too.  especially since the shimmy disc
version of "soul discharge" -- which is from the same era -- sounds so
terrible.  i keep meaning to check out the japanese version of "soul
discharge," but it's usually listed for about $25.

b

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Dewey Redman
Date: 10 Mar 1999 11:43:51 -0500 (EST)

I got it, even though I have the original "Ear Of The Beholder"
on Impulse in magnificant Quad stereo (never did get those extra two
speakers, though). The extra material makes the album even more
listenable, especially since Leroy Jenkins guests. Definitely worth a
purchase, especially now that Universal has bought Polygram and the money
guys are probably scheming how to fold Impulse into Verve and only put
out Johnny Hartman and Ella Fitzgerald records.

I'm waiting for Galaxy to reissue a Redman set from the 1970s with his
version of "Alone Again, Naturally".

Ken Waxman
[e-mail]


On Wed, 10 Mar 1999, DR S WILKIE wrote:
>
> Incidentally, did anyone pick up the Impulse reissue of Ear Of The
> Behearer?  I was impressed by their willingness to include, as bonus
> material, HALF of his subsequent album, Coincide.  Then again, that
> may be down to my view that they picked the RIGHT half and dispensed
> with the drivelly zither playing and (as if I haven't stuck my neck
> out enough) one or two half-baked improvs.
> >
> -
>
>

-



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

From: Push <[e-mail]>
Subject: Re: Wow 2
Date: 10 Mar 1999 12:12:56 -0500

> i think "wow 2" sounds really nice too.  especially since the shimmy disc
> version of "soul discharge" -- which is from the same era -- sounds so
> terrible.  i keep meaning to check out the japanese version of "soul
> discharge," but it's usually listed for about $25.

I'd say the sound of my copy of Wow 2 is comperable to that Shimmy Disc "Soul
Discharge."  I'm going to take a chance and see if another copy sounds different;
maybe it's just me...
Also, if you like "Soul Discharge" then it's probably worth it to get the
Japanese version.  The songs are on seperate tracks, the sound quality is far
superior, and there are about five extra songs.


-push


-



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

From: "johnnnnn schuller" <[e-mail]>
Subject: Musician resources?
Date: 10 Mar 1999 17:16:31 GMT

Does anyone know of any good internet resources for experimental
musicians? I am looking for musician classifieds, calendars, labels,
clubs, etc. I would like to put together a great site dedicated to this
type of information. A place where experimental and improv etc. etc.
people can find people to play with and places to play. I just need a
place to begin.

Johnnnnnnnnnn



Get Your Private, Free Email at http://www.hotmail.com

-



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

From: Brent Burton <[e-mail]>
Subject: Re: Wow 2
Date: 10 Mar 1999 12:23:51 -0500 (EST)

On Wed, 10 Mar 1999, Push wrote:

> I'd say the sound of my copy of Wow 2 is comperable to that Shimmy Disc "Soul
> Discharge."  I'm going to take a chance and see if another copy sounds different;
> maybe it's just me...
> Also, if you like "Soul Discharge" then it's probably worth it to get the
> Japanese version.  The songs are on seperate tracks, the sound quality is far
> superior, and there are about five extra songs.

there must be something wrong with your "wow 2" because there is a world
of difference between the copy i have and shimmy disc's crap pressing of
"soul discharge."  it's like kramer mastered it through a shoe.  i think
that my copy of "wow 2" sounds as good as "pop tatari."

b

-



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

From: [e-mail]
Subject: Sylvian/Ribot
Date: 10 Mar 1999 14:40:07 -0300

Steve Smith wrote:

>Speaking of Ribot turning up in odd places, has anyone yet heard the
>new David Sylvian album?

Label? Musicians? Title? Is it available?

Thanks,

Hugo

-



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

From: "Marks, Andy" <[e-mail]>
Subject: RE: Wow 2
Date: 10 Mar 1999 11:32:28 -0600

Wasn't WOW 2 recorded live in the studio?
I thought that is was supposed to document the
"live" sound of the Boredoms. I have always attributed
the lofi-ness of WOW 2 to this reason, but I think it
definitely sounds better than the Shimmy Disc
"Soul Discharge". I may have to look into getting the
Japanese version as I've probably only managed to sit
through the whole thing once because it was only 2 monster
tracks.

> -----Original Message-----
> From:    Brent Burton [SMTP:[e-mail]]
> Sent:    Wednesday, March 10, 1999 12:24 PM
> To:    Push
> Cc:    [e-mail]
> Subject:    Re: Wow 2
>
> On Wed, 10 Mar 1999, Push wrote:
>
> > I'd say the sound of my copy of Wow 2 is comperable to that Shimmy Disc
> "Soul
> > Discharge."  I'm going to take a chance and see if another copy sounds
> different;
> > maybe it's just me...
> > Also, if you like "Soul Discharge" then it's probably worth it to get
> the
> > Japanese version.  The songs are on seperate tracks, the sound quality
> is far
> > superior, and there are about five extra songs.
>
> there must be something wrong with your "wow 2" because there is a world
> of difference between the copy i have and shimmy disc's crap pressing of
> "soul discharge."  it's like kramer mastered it through a shoe.  i think
> that my copy of "wow 2" sounds as good as "pop tatari."
>
> b
>
> -

-



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

From: "Mary Ho" <[e-mail]>
Subject: tiny bell trio
Date: 10 Mar 1999 10:53:15 PST

I agree with you about Brad Sheppik.  I just saw them Monday night in
D.C. and though the show was great, I was a little disappointed in his
guitar work.  I also agree with enjoying them in their earlier years
better.  What I love about their first record (which was why I was
disappointed with Brad) was the charming counterpoint in their tunes
between Brad and Dave (and JIm as well).  At the show the other
night,there was very little counterpoint, answer and response, the
playing out and then all o' a sudden landing back in sync to the
original head - that charming interaction that was exhibited in their
first record.  But a great trio anyway and Jim Black rocks.


Reply to:

<[e-mail]>


Just a quick note. I saw Dave Douglas' Tiny Bell Trio last nite in Ann
Arbor. This was the 2nd time. As always Jim Black was supercool. Douglas
was
fine. My memory though tells me that I liked them better a year ago, but
I
couldn't articulate why. My big comment is on Brad Shepik. My wife
disagrees
with me, but I thought that while his guitar work was fine, he didn't
really
add anything to the mix (except occassionally) and mostly just seemed to
fill in the empty space. Now maybe that's all he's supposed to do, but I
would've prefered some interesting and unexpected musical bits. It is
jazz
after all. Anyone have any feelings on Shepik?

yours in zornocity --ds
***Quantum Dance Works*******http://ic.net/~denniss****
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: Craig Rath <[e-mail]>
Subject: Re: Sylvian/Ribot
Date: 10 Mar 1999 12:53:28 -0600

At 02:40 PM 3/10/99 -0300, Hugo wrote:
>Steve Smith wrote:
>
>>Speaking of Ribot turning up in odd places, has anyone yet heard the
>>new David Sylvian album?
>
>Label? Musicians? Title? Is it available?
>

"Dead Bees on a Cake" - on Virgin.  Supposedly released on Feb 14th, though
I haven't been able to find it yet.
Musicians (that I know of):  Ryuichi Sakamoto, Kenny Wheeler, Steve Jansen,
Tommy Barbarella, Talvin Singh, Deepak Ram, Bill Frisell, Steve Tibbetts,
Marc Ribot, Shree Maa, along with other session musicians.



-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Sylvian/Ribot
Date: 10 Mar 1999 13:34:48 -0600 (CST)

On Wed, 10 Mar 1999, Craig Rath wrote:

> "Dead Bees on a Cake" - on Virgin.  Supposedly released on Feb 14th, though
> I haven't been able to find it yet.
> Musicians (that I know of):  Ryuichi Sakamoto, Kenny Wheeler, Steve Jansen,
> Tommy Barbarella, Talvin Singh, Deepak Ram, Bill Frisell, Steve Tibbetts,
> Marc Ribot, Shree Maa, along with other session musicians.

Having Tommy Barbarella, Mark Ribot, and Ryichi Sakomoto on the same disc
is going to compress a whole lot of games of musical Six Degrees of Kevin
Bacon.

- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Elliott Sharp
Date: 09 Mar 1999 14:35:31 -0500

Chris Genzel wrote:

>  Hi,
>
>  I saw two new Elliott Sharp releases in the shop which were in a kind of sealed
>  envelope. (Unfortunately, I forgot the titles.) They're obviously part of
>  some limited edition. Can anyone tell me anything about these CDs?

Those would be 'Spring & Neap' and 'Rheo-Umbra' on the zOaR label. The former is a
noisy algorithmic composition for koto, two shamisen, harp, piano, two violins, two
cellos, two contrabasses and two percussionists. It's a very dynamic piece and
reminds me of Xenakis in a strange way. The latter is a piece for Orchestra Carbon
which is regular Carbon (Zeena Parkins, Marc Sloan, Joseph Trump, David Weinstein &
e#) plus the Soldier String Quartet and two bass clarinet players. It employs a
block structure like 'Larynx' but really shows that e# has become a much more mature
and interesting composer. I think definitely the best Orchestra Carbon disc thus
far.

They are sort of expensive but both of these rank up with 'Sferics' as my favorite
e# discs. Also, I'm sort of surprised that copies are still around since they're in
limited edition of 300 and released well over a year ago...

                                -Tom Pratt


-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Oxley
Date: 09 Mar 1999 14:53:56 -0500

Steve Smith wrote:

> If you haven't been following the little NP messages at the end of my
> posts tonight, you can delete this now.
>
> For those who were curious, the band I'd been watching tonight on "BET
> on Jazz," taped "Live at the Brewhouse," was:  pianist Gordon Beck,
> trumpeter/flugelhornist Kenny Wheeler, saxophonist/flutist Stan
> Sultzman, bassist Dieter Ilg and (yes!) percussionist Tony Oxley.

It's odd that this was on "BET on Jazz" but not that odd a group for Oxley
to be part of. A quick glance at the EFI site shows that Oxley's first
record was with Gordon Beck in a group that included John McLaughlin, and
he recorded 'Extrapolation' with McLaughlin's band a few years after.

Speaking of Oxley... I just picked up the 2-CD 'Soho Suites' (Incus) of
Bailey/Oxley duets. I think this is a fantastic set. It's strange to say
that these two really stretch out here (how could either stretch out
further?) but I think it's true... On some sections, I've never before
heard them play the way they do. I'm very excited by this one.

                                -Tom Pratt


-



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

From: Tom Pratt <[e-mail]>
Subject: e#
Date: 09 Mar 1999 15:03:24 -0500

Wait a minute. Maybe the new Elliott Sharp discs is 'SyndaKit' (there
are two versions being released). I didn't think it was out yet but
maybe I'm wrong...

btw, there's a 2-CD Tom Cora tribute coming out on Tzadik sometime.

                        -Tom Pratt


-



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

From: Brent Burton <[e-mail]>
Subject: Re: tiny bell trio
Date: 10 Mar 1999 15:29:07 -0500 (EST)

On Wed, 10 Mar 1999, Mary Ho wrote:

> I agree with you about Brad Sheppik.  I just saw them Monday night in
> D.C. and though the show was great, I was a little disappointed in his
> guitar work.  I also agree with enjoying them in their earlier years
> better.  What I love about their first record (which was why I was
> disappointed with Brad) was the charming counterpoint in their tunes
> between Brad and Dave (and JIm as well).  At the show the other
> night,there was very little counterpoint, answer and response, the
> playing out and then all o' a sudden landing back in sync to the
> original head - that charming interaction that was exhibited in their
> first record.  But a great trio anyway and Jim Black rocks.

i actually like sheppik's playing (the hat art cd i have lists him as
shoeppich or something like that).  i mean, he's not sonny sharrock and
if you have an aversion to kenny burrel-style guitar playing then he
might possibly rub you the wrong way, but i felt like he adds a nice
contrast to douglas' miles/cherryisms and black's full-on spastic
drumming (which sounds like han bennink trying to play like todd trainer
and failing for the most part).  i think he anchors the quartet in a way:
douglas is usually playing melodies and black is usually just being jim
black, so someone has to hold down the changes and i think sheppik (or
however it's spelled) does a nice job at that.  despite his blue note-era
guitar tone, he actually sounds fairly informed by sonic youth type punk,
evidenced by his occassional forays to the expanse of strings behind the
guitar's bridge.

so anyway, i saw the d.c. show at state of the union and i was impressed.

b

-



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

From: "Scott Handley" <[e-mail]>
Subject: BET on Jazz (was re:Oxley mystery)
Date: 10 Mar 1999 12:56:47 PST

One of these 'Classic Concerts' to watch out for is an indo-fusion
ensemble led by Trilok Gurtu, with Trilok on percussion and some kind of
sit-down electric/acoustic drum kit, a kaval player, a guy on
percussion/gtr/voice/Gnawa(?), Kai Eckhardt on bass, and a
sitar/bandoneon (?) player.  About a third of it is pretty tepid, to me,
but the rest is great.  SOme great moments: tape it!

---s

P.S. ANd I am no big fan of what I've heard of Trilok's recorded work.

>Do you know if BET on Jazz publishes a detailed schedule? All I can
seem
>to find are show titles like "Classic Concerts" that don't tell a hell
of
>a lot...
>
>-
---------1---------1---------1---------1---------1---------1----------
>|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
>||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
>|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|
>
>
>-
>
>

Get Your Private, Free Email at http://www.hotmail.com

-



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

From: [e-mail]
Subject: COBRA Ensemble-Cincinnati
Date: 10 Mar 1999 17:02:42 EST

In a message dated 3/10/99 10:32:15 AM Eastern Standard Time, owner-zorn-list-
[e-mail] writes:

<< I'm curious too, since I live here and never heard of it before.
 Do they all have a schedule?

 I understand they are playing this Friday, but I can't make it.

 Curiouser and Curiouser,
 Peter >>

Their dates are all usually in CityBeat and Everybody's News. When they got
started this past fall they seemed to be trying the waters out and playing all
over the place. Now it seems that they've settled at Southgate House and
Ripley's Alive. I think the people at Southgate want them to headline in the
ballroom next month, rather than continue playing in the cozy parlor upstairs.
I don't know what's next after this Friday's show, but you can get on their
mailing list at [e-mail].

~Joseph

-



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

From: <[e-mail]>
Subject: Re: Avant links
Date: 10 Mar 1999 14:32:03 -0800

just so everyone knows this is not THE Kenny G!! thank god.
patrick in portland

Caleb T. Deupree wrote:

> At 10:46 PM 3/9/99 EST, [e-mail] wrote:
> > <A HREF="http://wfmu.org/~kennyg/links.html">kenny g's avant links</A>
>
> Amazing, there's actually some very interesting stuff here.
>
> --
> Caleb Deupree
> [e-mail]
>
> Computers are useless; they can only give you answers
> -- Pablo Picasso
>
> -




-



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

From: Aaron Chee-Kean Chua <[e-mail]>
Subject: pachora
Date: 11 Mar 1999 12:16:22 +1100 (EST)

say, has anyone heard the new pachora on the knitting factory label yet?
BTW, how DO you pronounce pachora anyway?

regards,
aaron



-



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

From: Blind <[e-mail]>
Subject: Re: Sylvian/Ribot
Date: 10 Mar 1999 20:59:35 +0200

As far as I know, it's called 'Dead Bees on a cake' and the musicians
are:
Kenny Wheeler,  Marc Ribot, Talvin Singh, Bill Frisell. It's on Virgin,
don't know if it's  available already.

[e-mail] wrote:

> >Speaking of Ribot turning up in odd places, has anyone yet heard the
> >new David Sylvian album?
> Label? Musicians? Title? Is it available?



-



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

From: [e-mail]
Subject: Re:  Re: Sylvian/Ribot
Date: 11 Mar 1999 00:00:08 EST

>As far as I know, it's called 'Dead Bees on a cake' and the musicians
>are:
>Kenny Wheeler,  Marc Ribot, Talvin Singh, Bill Frisell. It's on Virgin,
>don't know if it's  available already.

last i heard, it was either the 23rd or 30th of this month in the us. i think
the 30th is the correct date, but don't quote me on that.

peace,
dave
___________________________________________________________
bill laswell, eraldo bernocchi, mick harris and lori carson discographies at :
http://www.geocities.com/SunsetStrip/Underground/7093
___________________________________________________________

-



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

From: pjm <[e-mail]>
Subject: VOG
Date: 10 Mar 1999 23:08:09 -0800

Does anyone know if the live VOG (Horvitz/Skerik/ etc..) cd was ever
released?  Have they released anything at all?

            Thanks

                pjm


-



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

From: [e-mail]
Subject: Re: pachora
Date: 11 Mar 1999 02:58:52 EST

In a message dated 3/10/99 8:41:03 PM Eastern Standard Time,
[e-mail] writes:

> say, has anyone heard the new pachora on the knitting factory label yet?

Yes, excellent recording!  If you liked the first release, you will certainly
like this one.

>  BTW, how DO you pronounce pachora anyway?
>

pa-chor'-a  (the "a"'s are schwas)

-Jody

-



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

From: picnic thisway <[e-mail]>
Subject: some gigs (recommended) in nyc
Date: 11 Mar 1999 05:17:36 +0000

hello. it's been sometime since i checked in.

i have some gigs to recommend again (if you're around nyc.)

1: Rashied Ali & Sonny Fortune duo
Arthur Doyle trio feat. Rashid Bakr & Wilber Morris
saturday, march 13th (door: 9 p.m.)=20
@the cooler, 416 w. 14th st. (bet. 9th & 10th aves.) 212.229.0785 or
http://www.thecooler.com
admission: $8 w/ flyer (avail. @various downtown record shops & clubs -
read: downtown music gallery, mondo kim's, other music, tonic, etc.)
or $10 w/o

2: Peter Scherer (remember?! he was a member of Arto Lindsay's
'ambitious lovers'!) with Skuli Sverrisson - duo
Michiyo Yagi (who just released new solo from Tzadik. very exciting koto
player) & Marc Sloan (E#'s original Carbon member) duo
plus DJ Olive (of 'we=99' - asphodel)=20
plus Badawi (who's new solo from asphodel is a great wacked dub
percussion!)
monday, march 15th (door: 8:45 p.m.)
@the cooler - see above for address etc.
admission: oh yes! it's a part of monday series!! so - FREE!

3: Michiyo Yagi (see above) & Ehran Elisha duo
saturday, march 13th (1:30 p.m.)
FREE SHOW @tonic, 107 norfolk st. (bet. delancey & rivington)
212.358.7503 or http://www.tonic107.com
this is another Yagi's free show. check her out while she's in town.

4: another Michiyo Yagi gig - w/ Aki Nakamura on shakuhachi
friday, march 12th=20
@Japan Society, 333 E. 47th st. nyc, 212.752.3015
call for admission etc.

-----
(sorry! i didn't list them in chronological order. i'm too sleepy & in a
hurry...;((
catch it while you can...
pt

-



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

From: BJOERN <[e-mail]>
Subject: looking for US-musicians for german free-improv festival
Date: 11 Mar 1999 13:26:35 +0100 (MET)

could someone from the zorn-list please forward this to other
free-improvisation lists:
we are looking for US-american musicians who are interested in taking part
in an international free-improv/experimental festival in Tuebingen (near
STuttgart)/germany, october 15 and 16.
we are working with the institute for german-american culture exchanges
and are able to offer:
payment for flight, hotel and food. we are NOT able to pay any extra money
for the performance.

everybody who is interested should send his/her material including:
recording of representative material on cd, vinyl or audio tape, info
material with references (played with XY live, took part in the recording
of cd XY etc.), press stuff and contact address,email and fax-number,plus
one black and white photo within the next ten days (sending deadline
should be march 25) to:

Bjoern Eichstaedt
Gechtstr.49
72074 Tuebingen
GERMANY

we will get in contact with the musicians we are interested in until the
end of april. all extra informations needed will be given then....

looking forward to your material

BJOERN EICHSTAEDT
www.cityinfonetz.de/homepages/bjoern.eichstaedt/index.html


-



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

From: "Marks, Andy" <[e-mail]>
Subject: ISO album
Date: 11 Mar 1999 07:30:46 -0600

Does anybody have that new ISO album with Otomo Yoshihide?
I've got the Filament album on Extreme and don't like it at all.
I was wondering how the ISO album compares to this.

-



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

From: Herb Levy <[e-mail]>
Subject: Re: Zorn List Digest V2 #617
Date: 11 Mar 1999 07:25:43 -0800

On the contrary, tKenny Goldsmith (who's Web site this is a URL) is THE
Kenny G.

The other one (my nominal home boy)'s not worth considering.

Bests,

Herb



just so everyone knows this is not THE Kenny G!! thank god.
patrick in portland

Caleb T. Deupree wrote:

> At 10:46 PM 3/9/99 EST, [e-mail] wrote:
> > <A HREF="http://wfmu.org/~kennyg/links.html">kenny g's avant links</A>
>
> Amazing, there's actually some very interesting stuff here.
>
> --
> Caleb Deupree
> [e-mail]
>
> Computers are useless; they can only give you answers
> -- Pablo Picasso
>
> -


Herb Levy
[e-mail]



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: VOG
Date: 11 Mar 1999 08:16:15 -0800


On Wed, 10 Mar 1999 23:08:09 -0800  pjm wrote:
>
> Does anyone know if the live VOG (Horvitz/Skerik/ etc..) cd was ever
> released?  Have they released anything at all?

Not to my knowledge.

    Patrice.

-



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

From: [e-mail]
Subject: Re: The solution to my Tony Oxley mystery
Date: 11 Mar 1999 12:41:15 EST

In a message dated 3/10/99 2:03:41 AM Eastern Standard Time,
[e-mail] writes:

>
>  For those who were curious, the band I'd been watching tonight on "BET
>  on Jazz," taped "Live at the Brewhouse," was:  pianist Gordon Beck,
>  trumpeter/flugelhornist Kenny Wheeler, saxophonist/flutist Stan
>  Sultzman, bassist Dieter Ilg and (yes!) percussionist Tony Oxley.

That concert was a tribute to pianist Bill Evans.  Recorded in '90 or '91--
I've had the laserdisc for a few years.  I think all the tunes were Evans'
except for one Gordon Beck tune.  A friend of mine has a great Gordon Beck
webpage at:
http://www.enter.net/~rainsong/gordonbeck.html

-Jody

-



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

From: Jason Tors <[e-mail]>
Subject: Edgard Varese
Date: 11 Mar 1999 12:54:47 -0800

I went through the links on http://wfmu.org/~kennyg/links.html

One that attracted me very much was the piece on Edgard Varese written by
FZ. Can someone recomend [and a brief personal opinion ] a good starter
album to pick up?

Thanks,

[respond privately if inappropriate for zornlist ]

JT

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Edgard Varese
Date: 11 Mar 1999 10:16:03 -0800


On Thu, 11 Mar 1999 12:54:47 -0800  Jason Tors wrote:
>
> I went through the links on http://wfmu.org/~kennyg/links.html
>
> One that attracted me very much was the piece on Edgard Varese written by
> FZ. Can someone recomend [and a brief personal opinion ] a good starter
> album to pick up?

The sad thing about Varese is that a full creative life barely amounts
for two hours of music :-(. The good thing is that you can have the Varese's
integrale (no pun intended) without taking the risk of ruining your savings.

If you find it, try to get the 2xCD set aptly named THE COMPLETE WORKS. If not
the following CD is fantastic (Kent Nagano keeps on putting great records with
an excellent selection of compositions -- look at the Messiaen one, for
another example).

Advices? With such a small production, I am not taking too many risks by
saying that they is really no mediocre compositions. I have my favorites, but
I would have a hard time at finding one that is not of prime importance. The
color of the orchestrations, the complexity of the harmony, and the heavy use
of percussion are the main characteristic of Varese. Like few mavericks of
this century, nobody really tried to build on his discoveries.

    Patrice (sad to know that there is nothing more to expect from
        Varese's production).


*** - L'OEUVRE DE EDGAR VARESE: Edgar Varese

    1/ Densite 21,5 (for solo flute)            (Varese)                 3:37
    2/ Ionisation                               (Varese)                 6:18
    3/ Ecuatorial                               (Varese)                10:58
    4/ Nocturnal                                (Varese)                11:12
    5/ Integrales                               (Varese)                10:37
    6/ Deserts                                  (Varese)                25:36

  Philippe Pierlot (1): flute; Phyllis Bryn-Julson (4): soprano; Nicholas
  Isherwood (3): bass-baritone; Male choir of Radio France directed by Richard
  Cook (4); Orchestre National de France directed by Kent Nagano (2-6).

    1996 - Erato (France), 0630-14332-2 (CD)


*** - THE COMPLETE WORKS: Edgar Varese

  Disc 1:
    1/ Tuning Up                                                         5:00
    2/ Ameriques (original version)                                     24:38
    3/ Poeme Electronique                                                8:02
    4/ Arcana                                                           18:22
    5/ Nocturnal                                                        10:25
    6/ Un Grand Sommeil Noir (orchestral version)                        4:08
  Disc 2:
    7/ Un Grand Sommeil Noir (original version)                          2:46
    8/ Offrandes
    9/ Hyperprism                                                        4:18
    10/ Octandre
    11/ Integrales                                                      10:18
    12/ Ecuatorial                                                      11:27
    13/ Ionisation                                                       5:51
    14/ Density 21.5                                                     4:05
    15/ Deserts
    16/ Dance For Burgess                                                1:48

  Royal Concertgebouw Orchestra (disc 1); ASKO Ensemble (disc 2); Richard
  Chailly: conductor.

    1998 - London/Decca (UK), 289 460 208-2 (2xCD)


-



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

From: [e-mail]
Subject: Re: ISO album
Date: 11 Mar 1999 13:19:24 EST


In a message dated 3/11/99 8:43:07 AM, [e-mail] writes:

<< Does anybody have that new ISO album with Otomo Yoshihide?
I've got the Filament album on Extreme and don't like it at all.
I was wondering how the ISO album compares to this. >>

the new ISO on Alcohol is much preferable to the Extreme Filament record.
imagine the bare-bones skeletal (and boring) structure of the Filament record
with a third musician added, which seems to be just enough to make it
infinitely more musical and interesting. Otomo seems to be bound and
determiend to explore this post-Ikeda direction of sine tones until he gets it
right, and this is easily the closest he's come yet, although I still don't
think it's a real strength for him.

so, all in all, I do like this one a lot, and it makes me way more excited
about seeing ISO at Victo this year, but if you don't have Ikeda's +/- (Touch)
yet, pick that one up first. I think it's one of the three most important
records of the decade so far, along with Portishead's Dummy and Olivia Tremor
Control's Dusk At Cubist Castle.

Jon

-



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

From: Keith McMullen <[e-mail]>
Subject: Re: ISO album
Date: 11 Mar 1999 10:29:12 -0800

> if you don't have Ikeda's +/- (Touch)
> yet, pick that one up first. I think it's one of the three most important
> records of the decade so far, along with Portishead's Dummy and Olivia Tremor
> Control's Dusk At Cubist Castle.

I can feel Zornlisters' hearts racing on this one.....now take a deep
breath and count to ten before responding.....it's going to be all
right......

-



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

From: [e-mail]
Subject: Coleman/ Trumpet
Date: 11 Mar 1999 15:40:26 -0300

Hello!

Just to ask:
- opinions on Anthony Coleman's Disco By Night and Lounge Lizards' Voice
of Chunk. What labels were both released? Worth listening to?

Thanks in advance.

Hugo





-



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

From: "Scott" <[e-mail]>
Subject: Re: Edgard Varese
Date: 11 Mar 1999 18:47:02 +0000

>>
>> One that attracted me very much was the piece on Edgard Varese written by
>> FZ. Can someone recomend [and a brief personal opinion ] a good starter
>> album to pick up?
>

>If you find it, try to get the 2xCD set aptly named THE COMPLETE WORKS.

All of Varese is amazing! Ionisations being the most (in)famous, featuring
klaxens, horns, rattling percussion and other not so 'musical' devices.

There supposedly exists recordings of the complete works of Varese by the
Ensemble Modern made under Zappa's guidance in his last years. The Zappa
site has been promising their release for ages but nothing seems to have
happened.

Scott

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Kenny G.
Date: 11 Mar 1999 14:29:48 -0500 (EST)


There was a time when Kenny Garrett was identifying himself at the end
of sets as "Kenny G." Considering his sets were then
half-electric-R&B-fusion and half mainstream jazz, it seemed appropriate
at the time.

I haven't heard anything since then that would change my opinion of him
as the second Kenny G.

Ken Waxman
[e-mail]


On Thu, 11 Mar 1999, Herb Levy wrote:

> On the contrary, tKenny Goldsmith (who's Web site this is a URL) is THE
> Kenny G.
>
> The other one (my nominal home boy)'s not worth considering.
>
> Bests,
>
> Herb
>
>
> Date: Wed, 10 Mar 1999 14:32:03 -0800
> From: <[e-mail]>
> Subject: Re: Avant links
>
> just so everyone knows this is not THE Kenny G!! thank god.
> patrick in portland
>
> Caleb T. Deupree wrote:
>
> > At 10:46 PM 3/9/99 EST, [e-mail] wrote:
> > > <A HREF="http://wfmu.org/~kennyg/links.html">kenny g's avant links</A>
> >
> > Amazing, there's actually some very interesting stuff here.
> >
> > --
> > Caleb Deupree
> > [e-mail]
> >
> > Computers are useless; they can only give you answers
> > -- Pablo Picasso
> >
> > -
>
>
> Herb Levy
> [e-mail]
>
>
>
> -
>
>

-



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

From: [e-mail]
Subject: Re: ISO album
Date: 11 Mar 1999 14:25:07 EST


In a message dated 3/11/99 1:37:34 PM, [e-mail] writes:

<< > if you don't have Ikeda's +/- (Touch)
> yet, pick that one up first. I think it's one of the three most important
> records of the decade so far, along with Portishead's Dummy and Olivia
Tremor
> Control's Dusk At Cubist Castle.

I can feel Zornlisters' hearts racing on this one.....now take a deep
breath and count to ten before responding.....it's going to be all
right...... >>

I'm not sure exactly what this response means. I didn't say best records of
the nineties, although these three would certainly make my list of those also.
each of these three basically singlehandedly spawned a new genre, although the
OTC offshoots aren't quite as clear-cut yet. if you can name a more Zorn-
oriented record from the nineties that's as important in the larger scheme of
things, I'd like to know what it is.

Jon

-



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

From: Keith McMullen <[e-mail]>
Subject: Re: ISO album
Date: 11 Mar 1999 11:33:53 -0800

> I can feel Zornlisters' hearts racing on this one.....now take a deep
> breath and count to ten before responding.....it's going to be all
> right...... >>
>
> I'm not sure exactly what this response means.

It means on a list of over 400 highly passionate and opinionated music
lovers, any assertion of the three most important of anything is going
to evoke wide disagreement.

-



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

From: "David J. Strauss" <[e-mail]>
Subject: Alone Again
Date: 11 Mar 1999 15:20:15 -0500 (EST)


> I'm waiting for Galaxy to reissue a Redman set from the 1970s with his
> version of "Alone Again, Naturally".
> Ken Waxman

Fantasy reissued this CD (MUSICS) a couple of years ago.

DS
[e-mail]


-



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

From: Tom Pratt <[e-mail]>
Subject: Re: ISO album
Date: 10 Mar 1999 15:22:10 -0500

> the new ISO on Alcohol is much preferable to the Extreme Filament recor=
d.
> imagine the bare-bones skeletal (and boring) structure of the Filament =
record
> with a third musician added, which seems to be just enough to make it
> infinitely more musical and interesting. Otomo seems to be bound and
> determiend to explore this post-Ikeda direction of sine tones until he =
gets it
> right, and this is easily the closest he's come yet, although I still d=
on't
> think it's a real strength for him.

I think this disc excites me more than it does Jon. I have Ikeda's '+/-' =
and there
are, of course, the obvious parallels but the I.S.O. is a pretty differen=
t ball of
wax. It seems much less of the headphonics type stuff I heard on 'Gravity=
 Clock'
and really is something quite its own. Well I think it's pretty great and=
 would
recommend it.

Here's what Forced Exposure has to say about it:

"Recorded and mixed by Xentos (aka Amos, aka L.Voag) in London 1998. Four
tracks (A, B, C, D) of deeply transparent music by Otomo Yoshihide (turnt=
ables),
Sachiko Matsubara (sine wave) and Ichiraku Yoshimitsu (percussion). New m=
usic
from the players behind Ground Zero and similarly radical. The future of =
techno or

something altogether new? The result is numinous, enigmatic, transparent =
-- by
turns violently disturbing and quizzically tranquil. Recorded and mixed i=
n real
time
by the mysterious Xentos, it moves at its own mind-boggling pace. Otomo s=
ays that
for him this is the most important record he's done: 'I am sure this CD w=
ill be my

most important work and I.S.O.'s best one; and it may be big milestone of=
 new
music history like first Derek Bailey solo 1970. I am so excited about it=
!'"

It seems as if Jon would give this credit to Ikeda... (I don't disagree)

Anyway, I came across some upcoming Otomo discs that look pretty interest=
ing:

Otomo, Yoshihide. Dear Derek. meme, to be released 1999.
Tetreault, Martin, and Yoshihide Otomo. Duo. Ambience Magnetic, to be rel=
eased
1999.
Marclay, Christian, and Yoshihide Otomo. Duo. Asphodel, to be released 19=
99.
Filament and G=FCnter M=FCller. AMOEBiC, to be released Summer 1999.
Ground Zero. (The final Ground Zero concert at Shibuya On-Air West, Tokyo=
 on March

       8, 1998). AMOEBiC, AMO-VA-02, to be released Spring 1999.
Microcosmos (duo w/Tenko). Pilgrimage. Tzadik, to be released January 199=
9.

> so, all in all, I do like this one a lot, and it makes me way more exci=
ted
> about seeing ISO at Victo this year, but if you don't have Ikeda's +/- =
(Touch)
> yet, pick that one up first.

And get Karuna Khyal's 'Alomoni 1985' and Brast Burn's 'Debon' too!

                            -Tom Pratt


-



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

From: Tom Pratt <[e-mail]>
Subject: Chris Cutler
Date: 10 Mar 1999 16:08:09 -0500

For all of you in the northern New England area, Chris Cutler will be
performing solo on March 25th at the Fine Arts Theater in Portland, ME.
The venue used to be a porn theater but is now doing some interesting
things. The other week I saw M.S.B.R., Gov't Alpha, Crank Sturgeon, and
that guy Ron with the 4-handle turntable among others take part in big
long noise-fest there which was pretty fun. I don't know ticket prices
but they should be pretty cheap. If anyone wants any more info about
this, feel free to ask me.

Also, The Fringe will be playing at the Free Street Taverna in Portland
on the 28th.

Anyone gonna go see Meredith Monk in Boston in April?

                        -Tom Pratt


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: question about Otomo
Date: 11 Mar 1999 13:36:56 -0800


    Talking about Otomo:

Any idea if the following 2xCD set ever came out?


*** - LOUD/QUIET: various artists

  This record features MSBR, Voice Crack, TV POW, Otomo Yoshihide, Shifts,
  Pita, Plotkin/Gutzeit, Kazumoto Endo, Akiyama/Sugimoto, Kevin Drumm, Kapotte
  Muziek, Wheaton Research : Lasse Marhaug.

    1998 - BOXmedia (USA), ??? (2xCD)


    Thanks,

    Patrice.


-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Chris Cutler
Date: 11 Mar 1999 16:11:52 -0600 (CST)

On Wed, 10 Mar 1999, Tom Pratt wrote:

> For all of you in the northern New England area, Chris Cutler will be
> performing solo on March 25th at the Fine Arts Theater in Portland, ME.

Is his whole tour itinerary posted anywhere? I've been seeing apparently
disconnected bits of it here and there. (I'm especially hoping that he's
playing in/near DC sometime.)

- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: "Dave Egan" <[e-mail]>
Subject: Re: VOG
Date: 11 Mar 1999 14:00:00 -0800

From the Loosegroove Records website:  The VOG project is now called "Ponga"
and the CD is to be out April 6th.

- Dave

-----Original Message-----


>Does anyone know if the live VOG (Horvitz/Skerik/ etc..) cd was ever
>released?  Have they released anything at all?
>
> Thanks
>
> pjm
>
>
>-


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: VOG
Date: 11 Mar 1999 14:19:20 -0800


On Thu, 11 Mar 1999 14:00:00 -0800  "Dave Egan" wrote:
>
> >From the Loosegroove Records website:  The VOG project is now called "Ponga"
> and the CD is to be out April 6th.

Strange. I thought that PONGA was Skerik's record (featuring Horvitz), and VOG
was Wayne's "noise" trio (with Skerik and Horvitz).

    Patrice.

-



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

From: Jan-wen Lu <[e-mail]>
Subject: Re: question about Otomo
Date: 12 Mar 1999 06:35:40 +0800


>         Talking about Otomo:
>
> Any idea if the following 2xCD set ever came out?
>
> ------------------------------------------------------------------------------
>
> *** - LOUD/QUIET: various artists
>
>   This record features MSBR, Voice Crack, TV POW, Otomo Yoshihide, Shifts,
>   Pita, Plotkin/Gutzeit, Kazumoto Endo, Akiyama/Sugimoto, Kevin Drumm, Kapotte
>   Muziek, Wheaton Research : Lasse Marhaug.
>
>     1998 - BOXmedia (USA), ??? (2xCD)
>
> ------------------------------------------------------------------------------
>
>         Thanks,
>
>         Patrice.
>

As I know, it's not available yet. By the way, the following is some recent
Otomo Yoshihide related titles:
1.VA-Orion Cup (CDLA 98020, Long Arms) CD
  -with Phil Minton, Jon Rose, Sahikho & Moscow Composers Orchestra,
Otomo         Yoshihide & Keshavan Maslak, etc.
2.VA-Shocking UFO Remix (TRS-25024, Transonic Records) CD
  -Otomo Yoshihide, Nasca Car, Hair Stylistics(Masaya Nakahara of VOG),
Tagomago    , etc.
3.ISO-Live (ZGV-023, Zero Gravity) CD
  -a live recording.
4.VA-Musiques Japonaises Independantes Des Annees 90 (Musea/Gazul Records,
GA        8621) Book+2CD
  -Filament, Ruins, Keiji Haino, Hoppy Kamiyaman, etc.
5.Martin Tetreault, Sachiko M, Yasuhiro Otani, Otomo Yoshihide-Four Focuses
  (AMO-SAT-02, Amoebic)
  -solo and duo recording of above artists.
6.Hoppy Kamiyama-Juice and Tremolo:The Works of Chamber Music (Sonore)
  -Otomo plays on one track.


Upcoming releases:
1.Kashavan Maslak & Otomo Yoshihide-Without/With Kuryokhin (Long Arms)
  -Due in late March.
2.VA-Turntable Solos (Amoebic)
  -Due in late May. With Otomo Yoshihide, Rik Rue, Christian Marclay, L?K?O?,
   Tsunoda Tsuguto, Frank Schulte, Merzbow, Crawling With Tarts, etc.



Jan-wen Lu

-



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

From: Michael Howes <[e-mail]>
Subject: Kakashi and Captian Trip Records?
Date: 11 Mar 1999 18:22:18 -0800


 I'm sitting here listening to a CD I picked up by Kakashi on the Japanese
Psych label Captain Trip.
There is no info on the disc except the track titles and band name. Anyone
wanna fill me in. Very early sounding psychedelic music with lots of solid
organ playing.

 I discovered Captain Trip a year or so ago when I was blown away by the
Space Explosion release but was a little let down by the Tiere Der Nacht
release which is the Mani Neumeier (Guru Guru), Luigi Archetti colaberation.

 Any info on other Captain Trip releases?

mike
[e-mail]



-



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

From: "Toby Dodds" <[e-mail]>
Subject: ZONY MASH TOUR!
Date: 11 Mar 1999 19:30:26 -0800

People of Zorn-List land ,

Zony Mash is heading out of town on a mini-tour of the West Coast.  For t=
he
past few months the band has been playing weekly shows at the now legenda=
ry
700 Club, in Seattle.  During this time a large amount of new material ha=
s
been written.  The band is playing at a peak level and should WOW audienc=
es
all year round.  Future plans include a trip to Europe this May/June and =
a
probable East Coast appearance at  the Knitting Factory's Festival series
this June.  The rest of the country can look forward to a nationwide tour
starting up in September.  If you haven't seen this Wayne Horvitz project
yet don't miss out!
Since a lot of you are probably scratching your heads, I've included a bi=
o
from the current 1999 promo kit below.  Excuse the promotional tone, this
doc is
generally used to excite promoters not concert-goers..

For further inspiration head over to www.zonymash.com where you can enjoy
some live audio and other fun!  Oh and yes they are taper friendly, thoug=
h
you'll have to trade with me.  ;-)

Cheers,
Toby

ZONY MASH
Toby Dodds =96 Representative
PO Box 85535
Seattle, WA 98145
[e-mail]
www.zonymash.com


ZONY MASH WEST COAST 1999!

3/18/99 - Rainbow Tavern, Seattle, WA
3/19/99 - Roseland Grill, Portland, OR
3/20/99 - Good Times, Eugene, OR
3/21/99 - Kat Wok, Ashland, OR
3/22/99 - Bruno's, San Francisco, CA
3/24/99 - Fuel, San Jose, CA
3/26/99 - NYM, Santa Barbara, CA
3/27/99 - McCabes Guitar Shop, Santa Monica, CA
3/28/99 - Blake's, Berkeley, CA
3/29/99 - Bruno's, San Francisco, CA
3/30/99 - Brick Works, Chico, CA

WHO IS ZONY MASH?

ZONY MASH FEATURES:
WAYNE HORVITZ: HAMMOND B3 ORGAN, KEYBOARDS
TIMOTHY YOUNG: GUITAR
KEITH LOWE: BASS
ANDY ROTH: DRUMS


WHAT IS ZONY MASH?

A truly far-out musical mix emerged when Wayne Horvitz=92s Zony Mash made=
 its
performing debut in late 1995 =96 and 1999 finds their soulful recipe hon=
ed to
near-perfection.  You=92ll encounter a myriad of familiar flavors, includ=
ing
sixties-styled psychedelic rock (Grateful Dead, Quicksilver Messenger
Service, Moby Grape), earthy blues-based grandeur (The Band, Captain
Beefheart, Bob Dylan) =96 and space-bound freedoms (Cecil Taylor, Sun Ra,=
 Art
Ensemble of Chicago) =96 but the resulting after-taste is wholly original.
Although Zony Mash draws heavy inspiration from the past, they never succ=
umb
to derivative nostalgia.  Imagine instead a uniquely modern, unpredictabl=
e
take on these timeless Fillmore-era grooves =96 and a bandleader bent on
pushing his music in new directions.  Zony Mash=92s funky musicianship al=
one
is cause for celebration =96 but it=92s Wayne=92s inimitable songwriting =
that has
set them apart.  He=92s got a razor sharp rhythmic sense, a knack for sly
melodies =96 and a band that=92s never out of step.  Like Wayne, Zony Mas=
h is
ultimately beyond comparison.

Back in the eighties, Wayne Horvitz cut his teeth among some of New York=92=
s
most adventurous musicians =96 such as Butch Morris, Bill Frisell, John Z=
orn
(Naked City, etc.), Fred Frith, William Parker, Bobby Previte, Elliot Sha=
rp,
Carla Bley, Billy Bang, Robin Holcomb, and Marty Erlich.  It is during th=
is
period that his talents as a composer and improviser began to emerge =96
whether writing and playing with his band =93The President=94, the New Yo=
rk
Composers Orchestra (which he co-founded) =96 or providing music for nume=
rous
theatre & dance productions, including Bill Irwin=92s =93Strictly N.Y.=94=
, a
Broadway show that toured nationwide.  More recent highlights include the
debut of his Four Plus One Ensemble (an electro-acoustic chamber group
featuring violin star Eyvind Kang and trombone giant Julian Priester), th=
e
live score for =93Death of a Salesman=94 (ACT, Seattle), the premiere of =
=93Otis
Spann=94 (a tribute in six movements) with the Seattle Chamber Players at
Seattle=92s new Benaroya Symphony Hall, sound design for Gus Van Sant=92s
=93Psycho=94 remake, and playing on the soundtrack to Gary Larson=92s upc=
oming Fox

TV special, =93Tales From the Farside II=94 (with Bill Frisell & Eyvind K=
ang).
Accolades continue to pile up for Pigpen, his now-defunct punk-jazz
quartet =96 and collaborations with Bobby Previte, John Zorn & Bill Frise=
ll
(whose upcoming Elektra Nonesuch release features Wayne on the Hammond B3
organ, alongside Victor Krauss & Jim Keltner) continue to keep him busy. =
 He
=92s also a highly regarded producer, having worked with artists as diver=
gent
as Fontella Bass, Eddie Palmieri, Bill Frisell, Robin Holcomb, and The Wo=
rld
Saxophone Quartet.

Wayne divides his time between composing, producing other artists, and
writing for film & TV.  When it comes to playing live, however, Zony Mash=
 is
his primary focus =96 and he brings the entirety of his diverse musical
experiences & influences to the music.  Consequently, the band has a
tremendously wide appeal.  They=92re capable of not only wowing sophistic=
ated
listeners at prestigious jazz festivals worldwide (1998 found them at the
Montreux, Vancouver, Pori & North Sea Festivals) =96 but also blowing awa=
y a
sweaty, twenty-somethin=92 mob at the many nightspots they=92ve packed.  =
Not
surprisingly, their two album releases (1996=92s Cold Spell & 1998=92s Br=
and
Spankin=92 New) have been critically acclaimed by both college-hipster
publications (such as CMJ) =96 and traditional hepcat magazines (such as
Downbeat).  Their wide-open grooves hark back to a day when superfluous
categories weren=92t so important to concert promoters, radio stations =96=
 or
record stores.  I=92d be hard-pressed to label =91em, but =93American Mus=
ic=94 seems
to best represent their spirited melting pot.  The music is all that
matters =96 and if you check these guys out live, you=92ll see a differen=
t show
every time.




-



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

From: [e-mail]
Subject: Zorn, Laswell, Frith, Lombardo
Date: 12 Mar 1999 00:49:38 EST

I heard it through the grapevine- these four are going to be playing June 9th
at the South St. Seaport Atrium as a part of the Knit's Texaco Jazz Fest.  The
Boredoms will open.

High ceiling... lots of glass... horrible sound.

-Jody

-



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

From: [e-mail]
Subject: correction RE: zorn, frith, laswell, lombardo
Date: 12 Mar 1999 00:55:20 EST

In my haste to spread news, I got my corporate conglomerates mixed up.  Its
the Bell Atlantic Jazz Fest!!


-



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

From: "Michael Berman" <[e-mail]>
Subject: Music in Rome?
Date: 12 Mar 1999 10:01:04 -0500

This is a multi-part message in MIME format.

------=_NextPart_000_0215_01BE6C6F.3DF3A560
Content-Type: text/plain;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

Folks-
I will be travelling to Rome for the rest of March and was wondering if =
anyone knew of any interesting clubs/scenes for music,good record stores =
or any tours passing that way.   Thanks in advance.... mike


[e-mail]

------=_NextPart_000_0215_01BE6C6F.3DF3A560
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    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

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<META content=3Dtext/html;charset=3Diso-8859-1 =
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<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>Folks-</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2>I will be travelling to Rome for the =
rest of=20
March and was wondering if anyone knew of any interesting clubs/scenes =
for=20
music,good record stores or any tours passing that way.   =
Thanks in=20
advance.... mike</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2><A=20
href=3D"mailto:[e-mail]">[e-mail]</A></FONT></DIV></BODY></=
HTML>

------=_NextPart_000_0215_01BE6C6F.3DF3A560--


-



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

From: "Julian" <[e-mail]>
Subject: klezmer
Date: 13 Mar 1999 01:47:17 +1100

Could someone give me some recommendations of albums to get if I want to
hear early traditional klezmer?


-



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

From: Martin Schmitz-Ohrndorf <[e-mail]>
Subject: Re: Coleman/ Trumpet
Date: 12 Mar 1999 16:04:10 +0100

>> Just to ask:
>> - - opinions on Anthony Coleman's Disco By Night and Lounge Lizards' Voice
>> of Chunk. What labels were both released? Worth listening to?
>>
>> Thanks in advance.
>>
>> Hugo

Anthony Colemans Disco By Night is on AVANT and is really good stuff. Although it's
very short (only about 30 minutes) it serves as an example that size doesn't matter
;-). It's really worth buying. Musically Anthony Coleman mixes his personal style
with influences from former-yuguslawian pop music. Very exciting.


-



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

From: Martin Schmitz-Ohrndorf <[e-mail]>
Subject: Tim Berne
Date: 12 Mar 1999 16:51:25 +0100

Hi,

I just picked up Tim Berne/Michael Formanek Ornery People and I like it
very well. Anyone else listened to it too? Any Opinions?
Also I noticed that T. Berne has put out a set of older recordings on
his screwgun label. What are they like, compared to Caos Totale or
Bloodcount?

Martin


-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: BET on Jazz
Date: 12 Mar 1999 15:45:36 GMT0BST

Do they still run that advert "It's alluring .... It's the best of
jazz ... with a Canadian flavour"??

We had it free for two weeks, tho' only from midnight to 4am.  I
couldn't find a detailed schedule anywhere, but quickly realised that
midnight to 2am was ALWAYS pop/soft-rap videos (is this REALLY called
R'n'B nowadays ???!!).  By assiduously videoing 26 or 28 hours worth,
I got two great studio concerts, with irritating fadeouts to adverts
in the middle of solos, and maybe another 2 hours of worthwhile stuff
(including a profile cut with performance of Don Pullen).

Did Tony Oxley used to drum in Seven Steps To Evans?  Certainly Beck,
wheeler and Sulzman were in that group?

Hot tip for Historians:

FREE FORM by the Joe Harriot Quintet, from 1960, recently reissued on
ReDial.  With Shake Keane on trumpet.  I'm rushing straight out to
buy ABSTRACT, reissued at the same time.

And a request:

Does anyone have the Mosaic complete candid recordings of Mingus and
a CD_R facility?  I had the set, but it was stolen after mosaic sold
out.  They were able to find me discs 2 and 3, and although I bought
"Mingus presents Mingus" when the insurance came through, i miss not
having Stormy Weather and the drum solo on the same set.  Plus, the
copy of Mingus Presents Mingus is on ZYX, and is one of the few CDs
where I'm a bit sniffy about the quality of transfer/mastering.
E-mail me for swap negotiations if you'd like to make someone happy!

Sean

-



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

From: [e-mail]
Subject: Re: Kakashi and Captian Trip Records?
Date: 12 Mar 1999 14:38:15 EST

In a message dated 3/11/99 9:25:52 PM Eastern Standard Time, [e-mail]
writes:

<< Any info on other Captain Trip releases? >>

I've got the 50 Foot Hose live CD on that label- which was pretty
disappointing, IMO.

=dgasque=

-



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

From: [e-mail]
Subject: re: Chris Cutler
Date: 12 Mar 1999 15:00:33 EST

Joseph wrote:

>Is his whole tour itinerary posted anywhere? I've been seeing apparently
>disconnected bits of it here and there. (I'm especially hoping that he's
>playing in/near DC sometime.)

I don't know the itinerary, but I do know that he is DEFINITELY NOT playing
any nearer to DC than NYC.

Steve F.

-



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

From: [e-mail]
Subject: Re: seeking  klezmer
Date: 12 Mar 1999 15:23:20 EST

a group (just played here in cincinnati) that i would highly recommend is
Brave Old World. I They're a quartet based in Europe, sorry i can't tell you
more. -joseph

-



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

From: pjm <[e-mail]>
Subject:
Date: 12 Mar 1999 12:30:45 -0800


>Strange. I thought that PONGA was Skerik's record (featuring Horvitz), and
>VOG was Wayne's "noise" trio (with Skerik and Horvitz).

>    Patrice.


    I have never heard of PONGA before this particular discussion, but when I
saw VOG up here in Bellingham it consisted of Skerik, Horvitz, Bobby
Previte, and Dave someone from MC 900 foot jesus.

    Based on the one appearance I saw, I don't think I would call it 'noise',
because when I think of noise i think of Metal Machine Music or KK Null. It
had some parts that weren't too musical, though.

    I'm definitely looking forward to the release and hoping some of the
Bellingham gig is on the disc. I was close enough to smell Dave's bubblegum
and several times when our eyes caught, he flicked sounds at my cerebrum...
or was that the Bellingham air?

                Pjm


-



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

From: "Patrice L. Roussel" <[e-mail]>
Date: 12 Mar 1999 12:47:35 -0800


On Fri, 12 Mar 1999 12:30:45 -0800  pjm wrote:
>
>     Based on the one appearance I saw, I don't think I would call it 'noise',
> because when I think of noise i think of Metal Machine Music or KK Null. It
> had some parts that weren't too musical, though.

I put noise between quotes, because it is the way that Wayne Horvitz described it
to me many years ago (1995?). This was as opposed to his other projects (Pigpen
at that time).

    Patrice.


-



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

From: [e-mail]
Subject: Re: klezmer
Date: 12 Mar 1999 16:14:59 EST

While a relatively a new album, I would recommend Don Byron plays the music of
Mickey Katz - (an early Klezmer dude)  - Also - Ck out Possessed by the
Klezmatics

-



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

From: "Michael Berman" <[e-mail]>
Subject: Re: klezmer
Date: 12 Mar 1999 16:52:29 -0500

the Klezmer Conservatory Band is a relativly modern group but pretty
traditonal in scope.  also starred Don Byron for a few albums.  mosly found
on rounder recs.
also Brave Old World is good.  theres also a mix album of Itzhak Perlman
playing w/ the klezmatics/brave old/klezmer conserv and andy statman.
Andy Statman has lots of good stuff including his qtet and a duo w/ David
Grisman called 'songs of our fathers'.
    ive found an italian group called Moni Ovadia/theater orchestra with an
album called 'Oylem Goylem' (fonit cetra rcds) thats great as well as a
french trio  on radio france called Chansons Yiddish 'Tenderness at Rage'
    also- Mickry Katz 'Simcha Time' music for weddings,bar mitzvahas and
brisses (and laughs).      ...mike


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Tim Berne
Date: 12 Mar 1999 17:17:17 -0500 (EST)

The CD works very well the same reason Berne-Formanek's duo live show
works --they've worked together long enough to figure out what each
should play  and what the other should do. Many duos, on the other hand,
seem reductive, like a couple of guys awaiting some others.

The funny thing is the fist time I saw Berne it was with his quartet; the
seond time Chris Speed was ill so it was a trio; the third time was the
duo. I guess the next time will be a Berne solo set.

Ken Waxman
[e-mail]




On Fri, 12 Mar 1999, Martin Schmitz-Ohrndorf wrote:

> Hi,
>
> I just picked up Tim Berne/Michael Formanek Ornery People and I like it
> very well. Anyone else listened to it too? Any Opinions?
> Also I noticed that T. Berne has put out a set of older recordings on
> his screwgun label. What are they like, compared to Caos Totale or
> Bloodcount?
>
> Martin
>
>
> -
>
>

-



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

From: Micheal O'Connor <[e-mail]>
Subject: re: Edgard Varese
Date: 12 Mar 1999 15:24:53 -0700

One of the last projects Zappa worked on was with the Ensemble Modern playing
the music of Edgard Varese. This was a finished project ( there were even some
sound files up on the Zappa site for a while), but was never released as
far as
I know. Anyone else know anything about this?

Michael
http://fab.cjb.net/


-



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

From: "Heather and Jeff" <[e-mail]>
Subject: RE:  Varese
Date: 12 Mar 1999 18:19:00 -0500

I saw the Ensemble Modern in NYC a coupla years ago(?) and they mentioned
the Zappa/Varese recordings, but I never heard anything else.  BTW, they
played G-Spot Tornado 3 times!  Amazing.

JK
[e-mail]



-



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

From: "Toby Dodds" <[e-mail]>
Subject: ZONY MASH TOUR (ENCORE)
Date: 12 Mar 1999 15:32:53 -0800

If you're like me than the last version of this important post was way out
of whack.
I hope this helps otherwise me and my computer will be looking real dumb.
_____________________________________

People of Zorn-List land,

Zony Mash is heading out of town on a mini-tour of the West Coast.  For the
past few months the band has been playing weekly shows at the now legendary
700 Club, in Seattle.  During this time a large amount of new material has
been written.  The band is playing at a peak level and should WOW audiences
all year round.  Future plans include a trip to Europe this May/June and a
probable East Coast appearance at  the Knitting Factory's Festival series
this June.  The rest of the country can look forward to a nationwide tour
starting up in September.  If you haven't seen this Wayne Horvitz project
yet don't miss out!

Since a lot of you are probably scratching your heads, I've included a bio
from the current 1999 promo kit below.  Excuse the promotional tone, this
doc is generally used to excite promoters not concert-goers..

For further inspiration head over to www.zonymash.com where you can enjoy
some live audio and other fun!  Oh and yes they are taper friendly, though
you'll have to trade with me.  ;-)

Cheers,
Toby

ZONY MASH
Toby Dodds - Representative
PO Box 85535
Seattle, WA 98145
[e-mail]
www.zonymash.com


ZONY MASH WEST COAST 1999!

3/18/99 - Rainbow Tavern, Seattle, WA
3/19/99 - Roseland Grill, Portland, OR
3/20/99 - Good Times, Eugene, OR
3/21/99 - Kat Wok, Ashland, OR
3/22/99 - Bruno's, San Francisco, CA
3/24/99 - Fuel, San Jose, CA
3/26/99 - NYM, Santa Barbara, CA
3/27/99 - McCabes Guitar Shop, Santa Monica, CA
3/28/99 - Blake's, Berkeley, CA
3/29/99 - Bruno's, San Francisco, CA
3/30/99 - Brick Works, Chico, CA

WHO IS ZONY MASH?

ZONY MASH FEATURES:
WAYNE HORVITZ: HAMMOND B3 ORGAN, KEYBOARDS
TIMOTHY YOUNG: GUITAR
KEITH LOWE: BASS
ANDY ROTH: DRUMS


WHAT IS ZONY MASH?

A truly far-out musical mix emerged when Wayne Horvitz's Zony Mash made
its performing debut in late 1995 and 1999 finds their soulful recipe
honed to near-perfection.  You'll encounter a myriad of familiar flavors,
including sixties-styled psychedelic rock (Grateful Dead, Quicksilver
Messenger Service, Moby Grape), earthy blues-based grandeur (The Band,
Captain Beefheart, Bob Dylan) and space-bound freedoms (Cecil Taylor, Sun
Ra, Art Ensemble of Chicago) but the resulting after-taste is wholly
original.  Although Zony Mash draws heavy inspiration from the past, they
never succumb to derivative nostalgia.  Imagine instead a uniquely modern,
unpredictable take on these timeless Fillmore-era grooves and a bandleader
bent on pushing his music in new directions.  Zony Mash's funky
musicianship alone is cause for celebration but it's Wayne's inimitable
songwriting that has set them apart.  He's got a razor sharp rhythmic
sense, a knack for sly melodies and a band that's never out of step.  Like
Wayne, Zony Mash is ultimately beyond comparison.

Back in the eighties, Wayne Horvitz cut his teeth among some of New York's
most adventurous musicians such as Butch Morris, Bill Frisell, John Zorn
(Naked City, etc.), Fred Frith, William Parker, Bobby Previte, Elliot
Sharp, Carla Bley, Billy Bang, Robin Holcomb, and Marty Erlich.  It is
during this period that his talents as a composer and improviser began to
emerge whether writing and playing with his band "The President", the New
York Composers Orchestra (which he co-founded) or providing music for
numerous theatre & dance productions, including Bill Irwin's "Strictly
N.Y.", a Broadway show that toured nationwide.  More recent highlights
include the debut of his Four Plus One Ensemble (an electro-acoustic
chamber group featuring violin star Eyvind Kang and trombone giant Julian
Priester), the live score for "Death of a Salesman" (ACT, Seattle), the
premiere of "Otis Spann" (a tribute in six movements) with the Seattle
Chamber Players at Seattle's new Benaroya Symphony Hall, sound design for
Gus Van Sant's "Psycho" remake, and playing on the soundtrack to Gary
Larson's upcoming Fox

TV special, "Tales From the Farside II" (with Bill Frisell & Eyvind Kang).
Accolades continue to pile up for Pigpen, his now-defunct punk-jazz
quartet and collaborations with Bobby Previte, John Zorn & Bill Frisell
(whose upcoming Elektra Nonesuch release features Wayne on the Hammond B3
organ, alongside Victor Krauss & Jim Keltner) continue to keep him busy.
He 's also a highly regarded producer, having worked with artists as
divergent as Fontella Bass, Eddie Palmieri, Bill Frisell, Robin Holcomb,
and The World Saxophone Quartet.

Wayne divides his time between composing, producing other artists, and
writing for film & TV.  When it comes to playing live, however, Zony Mash
is his primary focus and he brings the entirety of his diverse musical
experiences & influences to the music.  Consequently, the band has a
tremendously wide appeal.  They're capable of not only wowing
sophisticated listeners at prestigious jazz festivals worldwide (1998
found them at the Montreux, Vancouver, Pori & North Sea Festivals) but
also blowing away a sweaty, twenty-somethin' mob at the many nightspots
they've packed.  Not surprisingly, their two album releases (1996's Cold
Spell & 1998's Brand Spankin' New) have been critically acclaimed by both
college-hipster publications (such as CMJ) and traditional hepcat
magazines (such as Downbeat).  Their wide-open grooves hark back to a day
when superfluous categories weren't so important to concert promoters,
radio stations or record stores.  I'd be hard-pressed to label 'em, but
"American Music"  seems to best represent their spirited melting pot.  The
music is all that matters and if you check these guys out live, you'll see
a different show every time.






-



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

From: "Julian" <[e-mail]>
Subject: Re: klezmer
Date: 13 Mar 1999 11:14:58 +1100

I should probably have made myself more clear... I was actually after the
old stuff, the artists that Klezmatics, Andy Statman, etc. base their work
on... I just want to go right back to the roots.


-



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

From: "johnnnnn schuller" <[e-mail]>
Subject: Re: Zony Mash Tour
Date: 13 Mar 1999 01:37:37 GMT

I went to all the 700 club shows that Zony Mash played over Jan and Feb.
They are unbelievably hot now. Their new bassist Keith Lowe is adds a
ton of energy to this band. And Timothy Young just kicks ass, period. If
you ever get a chance to see his band Ver Special Forces, do so. You
will not be disappointed. I only wish I could drop everything and follow
them down the west coast. (that sounds so deadish...ewwwwww) Go see
them!!!!!

johnnnnnnnnnnnnnn
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: [e-mail]
Subject: Re: question about Otomo
Date: 12 Mar 1999 22:28:45 EST


In a message dated 3/11/99 4:41:41 PM, [e-mail] writes:

<< Any idea if the following 2xCD set ever came out?


*** - LOUD/QUIET: various artists

  This record features MSBR, Voice Crack, TV POW, Otomo Yoshihide, Shifts,
  Pita, Plotkin/Gutzeit, Kazumoto Endo, Akiyama/Sugimoto, Kevin Drumm, Kapotte
  Muziek, Wheaton Research : Lasse Marhaug.

    1998 - BOXmedia (USA), ??? (2xCD)
 >>

BOXmedia is a very poorly distributed Chicago-based label run by the guys from
TV Pow. until very recently, they had a web page at www.boxmedia.com, but that
seems to have disappeared. I don't think this release is actually out yet, but
if/when it is/does, Dusty Groove should stock it, www.dustygroove.com.

Jon

-



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

From: [e-mail]
Subject: Re: klezmer
Date: 12 Mar 1999 23:19:54 EST

 <A HREF="http://www.geocities.com/Broadway/Stage/2452/Klezmerring.htm">
Klezmerring</A>

-



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

From: [e-mail]
Subject: Re: Tim Berne
Date: 12 Mar 1999 23:42:25 EST

I've hear Ornery People, i was not overly enthralled with it, like i was when
I first heard Bloodcount..a lot of the same ideals, i guess. Except no Jim
Black or Speed, which add a lot to any group they're in, as far as i'm
concerned. Tim can play, of course, and it might've be a lot better if the
bass had been mixed a little louder
from,
matt

-



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

From: Steve Smith <[e-mail]>
Subject: Re: The solution to my Tony Oxley mystery
Date: 13 Mar 1999 02:17:47 -0500

Joseph S. Zitt wrote:

> Do you know if BET on Jazz publishes a detailed schedule? All I can seem
> to find are show titles like "Classic Concerts" that don't tell a hell of
> a lot...

To the best of my knowledge, no, and I think this was indeed billed as a
"Classic Concert."  It's all luck of the draw, near as I can tell.  My thanks
to all who subsequently shed further light on just what it was I'd seen.

Steve Smith
[e-mail]
... back after a few days away ...
NP - Rich Halley, "648," _Live at Beanbenders_


-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: Recomm?: V. Golia & Jean Derome/live drum n' bass
Date: 13 Mar 1999 09:11:51 -0800

At 9:49 AM 3/5/99, Scott Handley wrote:
>
>The scope and ambition of Golia's music, and the personal humility he
>seems to project in his interviews, intrigues me.  But o hell: where to
>start?
>
Sorry to take so long to respond on this. I've been catching Golia live for
the last 10 years or so, he comes to the NW fairly often, and is always
worth seeing, with whatever group he has currently.

On record, I think his stuff as a leader falls into 3 categories:

Semi-conventional small jazz ensembles, usually quartet or quintet: Of
these, a good place to start is 1993's Against The Grain, on 9-winds. This
quintet has Golia, Rob Blakeslee on trumpet, Nels Cline on guitar, Ken
Filiano on bass and Billy Mintz on drums. Great tunes, great playing by
all, and it's really cool to hear Cline in an out-jazz setting.

"Chamber" improvising ensembles: "haunting the spirits inside them...", on
Music and Arts, with Golia and both Joelle Leandre and Ken Filiano on bass
is very nice, as is "Triangulation", with George Lewis and Bertram
Turetzky. These really show Golia's multiple reeds ability well, he gets an
amazing range of textures.

Large ensembles: If you have a chance to see Golia's large ensembles live,
do not hesitate. I saw them twice on their, I believe only, NW tour a few
years ago, and they were among the best shows I've ever seen. That said,
most of his large ensemble CD's suffer from really bad recording quality,
and are really hard to enjoy, at least for me. Vinny's told me that it's
just too expensive to take his large bands into a decent studio, and the
CD's are concert recordings, and while I appreciate that he'd rather
document these rare performances in whatever way he can afford instead of
not at all, it does make it hard for me to enjoy the discs.

Golia's humility is for real, he's one of the nicest musicians I've met.

________________________________________________________
Dave Trenkel : [e-mail]  : www.peak.org/~improv/

"...there will come a day when you won't have to use
gasoline. You'd simply take a cassette and put it in
your car, let it run. You'd have to have the proper
type of music. Like you take two sticks, put 'em
together, make fire. You take some notes and rub 'em
together - dum, dum, dum, dum - fire, cosmic fire."
                                            -Sun Ra
________________________________________________________



-



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

From: Tom Pratt <[e-mail]>
Subject: Groult
Date: 12 Mar 1999 12:40:30 -0500

I just bought Christine Groult's 3" CD on Metamkine called L'HEURE ALORS
S'INCLINE and think it's fantastic. It's a beautiful 20-minute musique
concrete piece in homage to Luigi Nono. Does anyone know anything about
this woman and whether she has any other recordings available?

And while I'm at it, what are everyone's favorites of the Metamkine
series? I have a handful but maybe I'm missing out on something
essential...

listening to: Hank Williams 'Low Down Blues'

                    -Tom Pratt


-



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

From: Saidel Eric J <[e-mail]>
Subject: Re: klezmer
Date: 13 Mar 1999 12:10:34 -0600 (CST)

According to Julian:
>
> Could someone give me some recommendations of albums to get if I want to
> hear early traditional klezmer?
>

This is probably a misnomer - what we think of today as Klezmer music
is not really traditional.  A Klezmer musician was an itinerant musician
in eastern europe, generally jewish, playing for various religious and
secular celebrations.  The music was rooted in folk musics of the era
and jewish traditional music.  Klezmer predated jazz, so our associations
of klezmer with jazz - e.g., in the music that Don Byron (or the klezmatics,
or the klezmer conservatory orchestra) presents, or in the heavily
coltrane-influenced music of Andy Statman - is really an innovation.

Of course, this innovation is completely within the spirit of klezmer -
it's only natural that those musicians, on moving to the US, would incorporate
local music.

Okay, all that said, there are two basic people to hunt down.  One is
Dave Tarras.  There's a disc of a bunch of his work - most of it in
other people's bands - on Yazoo, I think.  It shouldn't be hard to find.
The music is great and the liner notes are an education.  Tarras was,
for what it's worth, Statman's teacher (on clarinet, not mandolin).
The other - a rival clarinetist - is Naftule Brandwein.  He's a bit
older than Tarras; he was well established here when Tarras arrived.
I don't know of any recent cds of his work, but I'm sure there are some.

Yazoo and Rounder also have other compilation cds with several klezmer
players from the early part of this century.

Also worth checking out, if you can find it, is a video called "A Tickle
in the Heart."  It's about a "contemporary" klezmer band - all in their
80s (or around there).  They talk a lot about what the music world was like
in the New York orthodox circles in the heyday of klezmer.

(The Tarras disc includes some radio broadcasts - national - with ads
for things such as Matzoh.  I can't even imagine hearing such a thing
on today's radio.)

- eric



-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Groult
Date: 13 Mar 1999 13:56:32 -0500

At 12:40 PM 3/12/99 -0500, Tom Pratt wrote:
>
>And while I'm at it, what are everyone's favorites of the Metamkine
>series? I have a handful but maybe I'm missing out on something
>essential...

I have a half dozen or so, including the Groult (which I also like very
much).  Michele Bokanowski's Tabou and Ralf Wehowsky's Nameless Victims are
both minimal, crunchy pieces.  The Wehowsky Nameless Victims got a whole CD
of remixes on the Tulpas set, which may alter one's opinion of its
essentialness.  Eliane Radigue's Biogenesis is one of her early pieces
(1973), very quiet, which utilizes her baby's heartbeat, occupying a lot of
the same sound world as her recent 3CD Trilogie de la Mort.  Christian
Zanesi's Grant Bruit is much more subtle than the title would suggest, and,
along with Alain De Filippis' Ton Dieu... is more along the lines of
'traditional' musique concrete, like the Groult.

I've also got a compilation on Vand'oeuvre which includes 8 'petites
compositions familiales' by Dominique Petitgand, and I think there is also
a larger collection of these on Metamkine.  The little compositions on this
compilation are *really* tedious, little more than crudely recorded
conversations in French, along with all of the typical background noise
(ringing phones, etc.) that accompanies a day.  Completely non-essential,
almost ruins an otherwise great comp.

--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: [e-mail]
Subject: Re: Groult
Date: 13 Mar 1999 14:17:07 EST


In a message dated 3/13/99 1:53:24 PM, [e-mail] writes:

<< Christian Zanesi's Grant Bruit is much more
subtle than the title would suggest >>

agreed. Zanesi is overlooked many times (by myself also) when listing the
essential musique concrete composers, but everything I've heard by him is
absolutely topnotch. I especially like his CD-EP from last year, Arkheion,
with one 16 minute tribute to Stockhausen, and one 16 minute tribute to Pierre
Schaefer.

some other Metamkines that I like are the ones by Jerome Noetinger (the label
head, I believe), Patrick Ascione, Bernard Fort and Alain De Filippis. I'm not
so keen on the Ferrari or Gunter ones.

the one full-length disc on Metamkine is very good also, although I haven't
played it in a while, Roger De La Frayssenet's Kitnabudja Town. here's the FE
description:

<<ROGER DE LA FRAYSSENET
Title: Kitnabudja Town
Label: METAMKINE (FRANCE)
Format: CD
Price: $19.00
Catalog Number: MKCD XXX
An unexplained sampling collage disc, made up of materials taken from the
music of literally dozens of credited sources: mostly avant composers such as
Henry, Artaud, Bayle, Xenakis, Feldman, Gunter, Schaeffer, Marclay, O'Rourke
etc., as well as figures such as Nusrat Fateh Ali Khan, E. Neubauten, Bob
Marley. Jarringly assembled into 2 long tracks; 70+ minutes total. >>


Jon

-



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

From: "Thomas Queins" <[e-mail]>
Subject: Klezmer link
Date: 13 Mar 1999 20:15:18 +0100

http://www.astrakan.hgs.se/~kryp/klezmer.htm



-



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

From: [e-mail]
Subject: Re: Varese
Date: 13 Mar 1999 16:48:05 -0500 (EST)

Here is the site for the Varese cd.

http://www.zappa.com/MUSIC/varese.html

Get free personalized email at http://four11.iname.com

-



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

From: "Matthew" <[e-mail]>
Subject: Sanctuary
Date: 14 Mar 1999 10:43:46 -0500

In anticipation/contemplation of going to see Sanctuary at the Knitting
Factory tom. evening (are there still tickets??), I am curious if anyone has
seen this work performed live before.  How was it? Did they do the 100+
straight, or play highlights, excerpts..  I saw the lineup at the Knitting
site and it says they played Europe - anyone catch these shows?

Also, I read the cd-insert and am somewhat puzzled by the last source of
inspiration listed.
I will include the whole paragraph for those who don't own this work.

"Main inspirations: John Coltrane's Ascension, Ornette Coleman's Free Jazz,
Pierre Boulez' Le Marteau sans Maitre, Arnold Schoenberg's Pierrot Lunaire,
Giovanni Bocaccio's The Decameron and the absurd story of the building of
the Santa Maria del Fiore Cathedral in Florence, Italy; The cathedral was
begun in 1294 with the sole intention of surpassing the Siennese and Pisans,
but its builders had no read idea how such an immense dome could be erected.
Nonetheless, work continued for 125 years until the problem of the dome
became critical and potentially embarrassing.  After much politicking and
many bizarre proposals the church and dome were finally completed by
Fillippo Brunelleschi, who found his solution while wandering amoung the
ancient ruins of Rome."

Does anyone know more about this last story?
What other works can claim the first 5 influences listed? the first four...?

Enjoy the day,
Mat


-



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

From: fretless6 <[e-mail]>
Subject: Re:Gig on 3/16
Date: 14 Mar 1999 10:52:18 -0500

Just wanted to let you know that Bob Musso and I will be performing in
NY on Tuesday March 16th atBaby Jupiter- 170 Orchard St corner of
Stanton
212-982-2229 9:30 PM Tickets $5

This group will preview material from Musso's upcoming CD release.

Charles Burnham-violin
Lance Carter-drums
David C Gross-6 string fretless bass, electronics
Toby Kasavan-keyboard
Byard Lancaster-sax
Elliott Levin-sax, flute
Robert Musso-guitar

Thanks!
David C Gross
www.geocities.com/SunsetStrip/Venue/7773?






-



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

From: sergio luque <[e-mail]>
Subject: f-m uitti & e#'s improvisations
Date: 27 Jun 1999 10:53:51 -0600

hello,

i've seen this cd at my local store, i've never heard anything by e#.

what are your opinions about this album?

thanks in advance

sergio luque


-



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

From: Steve Smith <[e-mail]>
Subject: Vision Festival 1999 - The Official Lineup
Date: 14 Mar 1999 16:20:41 -0500

The first full draft of the Fourth Annual Vision Festival, taking place
May 21-31, 1999.
A full 11 days (expansion)  this year, incorporating two weekends.

Also, New Location:
St. Nicholas Church
10th Street and Avenue A, East Village, NYC

Devoted  to the arts as a borderless, multi-disciplinary terrain where
all things are possible, the Arts for Art foundation presents the Fourth
Annual Vision Festival at St. Nicholas Church  on 10th St and Ave A in
New York City. The festival had been expanded to 11 days running from
May 21-31,1999.

With an expanded program, the festival has continued to grow and this
years lineup of musicians, artists and dancers is the largest and most
diverse to date. Rooted in New York City's Lower East Side community but
developed with a global outreach in mind, the festival will once again
feature unique collaborations between avant-garde jazz musicians,
dancers, poets and visual artists.

FRI  MAY 21
Joseph Jarman Opening Invocation
Sunny Murray Quartet w. Byard Lancaster, Louie Belogenis, Wilber Morris
Cooper-Moore Solo
Alan Silva w. Visions Orchestra
Rob Brown Sextet w. Joe Morris, Karen Borca, Mat Maneri, Roy Campbell,
Gary Joynes
Aleta Hayes dance w. Joelle Leandre

SAT MAY 22
Leroy Jenkins Solo
Marshall Allen and The Arkestra
Roy Campbell's Taz w. Zane Massey, Eugene Cooper, Patrick Polladian,
Reggie Nicholson
Maria Mitchell dance w. Craig Harris, Dean Bowman
Steve Dalachinsky poet

SUN MAY 23
Bill Cole & Joseph Daley
Andrew Lamb Quartet w. Eugene Cooper, Andre Strobert, Warren Smith
Joe Maneri Trio w. Mat Maneri, Randy Peterson + Christine Coppola dance
Rashied Ali Ensemble
Sarah Jones poet

MON MAY 24
David S. Ware Quartet
Mark Dresser Quartet w. Brandon Evans, Denman Maroney, Kevin Norton
Hammiet Bluett + Kidd Jordan
Joan Miller dance w. Cooper-Moore, Michael Wimberly

TUE MAY 25
Zeena Parkins Solo
Thurston Moore + William Hooker
Daniel Carter + Saturnalia w. Jonathan LaMaster, Vick Rowlands, Mike
Bullock, Matt Heyner
J.D. Parran Quartet w. Stephen Haynes, Vejay Iyer, Donald Robinson
Daniel Kinch theatre
Amiri Baraka poet

WED MAY 26
Marilyn Crispell + Mark Dresser + Gerry Hemingway
Thomas Buckner/Roscoe Mitchell/Borah Bergman/Thurman Barker
Joseph Jarman Sextet w. Myra Melford
Arthur Brooks Quartet w. Justin Perdue, Jeremey Harlos, Mathew Westin
Dance: Penny Campbell, Susan Sorbati, Peter Schmitz, Terry Creach

THU MAY 27
Peter Brotzmann Die Like a Dog Quartet
Joelle Leandre + Joe McPhee + Gerry Hemingway
Ori Kaplan Quartet w. Tom Abbs, Andy Bemkey, Geoff Mann
Chris Jonas
David Budbill poet w. William Parker

FRI MAY 28
Milford Graves + John Zorn
Fred Anderson + William Parker + Hamid Drake
Whit Dickey Trio w. Rob Brown, Chris Lightcap
John Blum w. Jackson Krall
Jennifer Muller dance
Daniel Berrigan SJ poet

SAT MAY 29
James Blood Ulmer's Odyssey w. Charles Burnham, Warren Benbow
Noah Howard Quartet w. Sonilius Smith, Wilber Morris, Calyer Duncan
William Parker + Alan Silva + Kidd Jordan
Raphe Malik w. Cody Moffett, Sabir Mateen, Larry Rolland
Louis Reyes Rivera poet

SUN MAY 30
Matthew Shipp + William Parker
David 'Fathead' Newman w. Bryan Carrott, John Menigan, Wenard Harper
Wilber Morris Quartet w. Herbie Morgan, Vincent Chancey, Reggie
Nicholson
Jim Staley w. Phoebe Legere, Ikue Mori
Gus Soloman dance w. Walter Thompson
Nadine Mozon poet

MON MAY 31
The Denis Charles Tribute Drum Choir led by Billy Higgins w. Andrew
Cyrille, Sunny Murray, Warren Smith, Rashied Ali
The Jazz Doctors w. Frank Lowe, Billy Bang, Abbie Radar,  Ed Schuller
Andrew Cyrille Quartet w. Mark Helias, Greg Tardy, Andy Bemkey
Patricia Nicholson dance

VISUAL ARTISTS
Jim Donohue               Jo Ann Wood
Jeff Schlanger            Glenn Ligon
Alain Kirili                  Yuko Otomo
Marcy Rosenberg          Marilyn Sontag
Christine Olshavsky       Robert Janz
Barbara Friedman            Emilio Cruz
Phyllis Lehrer


-



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

From: Mike Chamberlain <[e-mail]>
Subject: Re: Vision Festival 1999 - The Official Lineup
Date: 14 Mar 1999 16:55:09 -0500

Steve Smith wrote:
>
> The first full draft of the Fourth Annual Vision Festival, taking place
> May 21-31, 1999.
> A full 11 days (expansion)  this year, incorporating two weekends.
>
> Also, New Location:
> St. Nicholas Church
> 10th Street and Avenue A, East Village, NYC
>
Steve, what's the scoop on how/where to get tix for us non-NYCers and
approximate (or exact) prices?

--Mike

-



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

From: "robert ludington" <[e-mail]>
Subject: Radio
Date: 14 Mar 1999 18:00:34 PST

I just spotted Naked City's 'Radio' at a nearby Tower Records and
wondered what people's opinions of it were? (At least i think it is that
album, the one with a man in bondage gear on front, a naked woman curled
up on back?) I'm a bit hesitant after paying $20 each for Heretic &
Absinthe, both of which I enjoy, but don't get much play unlike the S/T
Naked City? Any thoughts would be apreciated.
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: "paul marconi" <[e-mail]>
Subject: Re: Radio
Date: 14 Mar 1999 22:20:49 -0500


-----Original Message-----


>I just spotted Naked City's 'Radio' at a nearby Tower Records and
>wondered what people's opinions of it were? (At least i think it is that
>album, the one with a man in bondage gear on front, a naked woman curled
>up on back?) I'm a bit hesitant after paying $20 each for Heretic &
>Absinthe, both of which I enjoy, but don't get much play unlike the S/T
>Naked City? Any thoughts would be apreciated.
>Get Your Private, Free Email at http://www.hotmail.com
>
i think radio is fantastic. i think the perfect primer 4 naked city is the
"self-titled" cd, closely followed by this. it has a little of every style,
and not all styles r crammed into every song. run, don't walk, u r buying it
now, correct?



-



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

From: William York <[e-mail]>
Subject: Naked City's Radio
Date: 15 Mar 1999 00:08:57 -0500 (EST)

This Thursday (3/18) from 9pm until 12pm I'm going to be doing a feature
on the album Radio, attempting to play songs by as many of the artists
mentioned in the "inspirations/refer" section of that album's liner notes.
I think there are 62 (+ 1 book) mentioned.  I think it would be impossible
to play something by every one of these groups, plus at the moment I only
have stuff by about 45 of them.  But I'm going to try to fit in as many as
possible, so if anyone wants to listen the address is www.wxyc.org/.

Also, if anyone could suggest where I might find stuff by any of the
following, I'd appreciate it (as in compilations they appear on, as the
station has tons of comp. albums but I could never did thru all of them)

Bob Demmon/Astronauts, Colin Wilson, Orchestra Baobab, E.M. Elanka,
Terauchi Takeshi (sp?), Septic Death, Hellfire, Abe Schwarz, Repulsion,
Akemi and Jagatera, Extreme Noise Terror, Seige, Sam Fuller, Jerry Reed,
Roger Williams, Chuck Brown, Yokuza Z. Hiroku

Also, any specific suggestions (as in stuff that is similar to what's on
Radio) from the following would help:

Carole King, Jan Hammer, Liberace, Paul Bley, and Morricone (I didn't pick
up where the reference was in that song, "Triggerfingers"

Thanks, and wish I'd asked sooner,

WY




-



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

From: "wetboy" <[e-mail]>
Subject: Re: Naked City's Radio
Date: 15 Mar 1999 00:18:27 -0500


-----Original Message-----


>This Thursday (3/18) from 9pm until 12pm I'm going to be doing a feature
>on the album Radio, attempting to play songs by as many of the artists
>mentioned in the "inspirations/refer" section of that album's liner notes.
>I think there are 62 (+ 1 book) mentioned.  I think it would be impossible
>to play something by every one of these groups, plus at the moment I only
>have stuff by about 45 of them.  But I'm going to try to fit in as many as
>possible, so if anyone wants to listen the address is www.wxyc.org/.
>
>Also, if anyone could suggest where I might find stuff by any of the
>following, I'd appreciate it (as in compilations they appear on, as the
>station has tons of comp. albums but I could never did thru all of them)
>
>Bob Demmon/Astronauts, Colin Wilson, Orchestra Baobab, E.M. Elanka,
>Terauchi Takeshi (sp?), Septic Death, Hellfire, Abe Schwarz,

Repulsion, - great film by roman polanski

>Akemi and Jagatera, Extreme Noise Terror, Seige,

Sam Fuller, - film maker extraordinaire. i recommend watching the steel
helmet and the naked kiss

Jerry Reed,
>Roger Williams, Chuck Brown, Yokuza Z. Hiroku
>
>Also, any specific suggestions (as in stuff that is similar to what's on
>Radio) from the following would help:
>
>Carole King,

Jan Hammer, - well, my favorite is jeff beck live w/the jan hammer group.
also, i guess u really can't ignore miami vice, cuz that's what made him a
household name. he also did the music 4 beyond the mind's eye, which was
done primarily w/a korg wavestation

Liberace, Paul Bley, and Morricone (I didn't pick
>up where the reference was in that song, "Triggerfingers"
>
>Thanks, and wish I'd asked sooner,
>
>WY
>
hope this helps. its all i know from the list


-



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

From: "Christian Heslop" <[e-mail]>
Subject: "gypsy music"
Date: 14 Mar 1999 22:38:48 -0800

    A question posted here because of it's small relationship to klezmer...I'm
on a quest in search of authentic Eastern Europe folk music...much like
Bartok, but I'm buying CD's so authenticity is a little bit more difficult
to verify.
    I heard a recording a few years ago of some Tzimbalone music. I have no
idea as to what it's origins were, but it was electrifying.
    Which Fred Frith recordings are essential? I own "Cheap at Half the
Price". I bought it a few years ago without having any idea then of who he
was. Only a few days before that incidentally was when I first heard of
John Zorn. A friend had played a tape of The Big Gundown. The next day I
sold all of my old cd's.


-



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

From: Gene Natalia <[e-mail]>
Subject: Re: "gypsy music"
Date: 14 Mar 1999 23:00:24 -0800

At 10:38 PM 3/14/99 -0800, you wrote:
>    A question posted here because of it's small relationship to klezmer...I'm
>on a quest in search of authentic Eastern Europe folk music...much like
>Bartok, but I'm buying CD's so authenticity is a little bit more difficult
>to verify.

I'm really enjoying the Taraf de Haidouks cd that I recently purchased.  It
seems that there are 3 cd's under this title, and they are all true
Romanian gypsie (tsiganes) music.  The music is sometimes uplifting,
sometimes somber, but all very good and virtuosically played.  I have the
second volume, but there is a more recent one, which I intend to pick up
soon.  Also of interest might be David Shea's cd, "The Poem de Nuestra
Signora," which is a project in which he plays with and samples legitimate
Eastern European folk players, all of whom seem to be excellent.  It is
certainly something different and exciting, especially bizarre when he
beatboxes along with one of the pieces making it... Gyp Hop!  oops

                            -Ethan


-



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

From: Julien Quint <[e-mail]>
Subject: Re: Metamkine
Date: 15 Mar 1999 09:09:29 +0100


Tom Pratt <[e-mail]> wrote:
> And while I'm at it, what are everyone's favorites of the Metamkine
> series? I have a handful but maybe I'm missing out on something
> essential...

I only have a few of them... I like Jim O'Rourke's "Rules of Reduction" a lot,
many of his sounds were recorded in France. There's "Unheimlich schoen" by Luc
Ferrari that I'm not too fond of (it revolves around a feminine voice and
whispers). "Nameless Victims" by Ralf Wehowsky is OK, but I haven't listened
to it to much. There's one by Bernhard Gunther that's great but the copy I
have skips badly after 15 minutes :( Also one that I don't have but really
like is Dominique Petitgand's "Petites pieces familiales" (or something like
that). Very beautiful.

Jerome Noetinger plans to revive the series -- the new batch will arrive soon
(I don't remember who's in it, except for Erik M.) You can contact him at
[e-mail] for more info.

Julien


-



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

From: Geert Buelens <[e-mail]>
Subject: Re: Sanctuary
Date: 15 Mar 1999 13:53:16 +0100 (MET)

I saw the Sanctuary-show in Antwerp (October). Highlights indeed, and some
new stuff (including a more than brilliant piece to end the show). Dave
Douglas said it's physically impossible to play the whole Sanctuary night
after night on tour. But very worthwhile, o, yes.

geert



-



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

From: Eric Martens <[e-mail]>
Subject: Frith (was Re: "gypsy music")
Date: 15 Mar 1999 05:03:20 -0800 (PST)






---Christian Heslop <[e-mail]> wrote:

>     Which Fred Frith recordings are essential?

"Guitar solos" is excellent, just for the virtuosity of it. I swear,
sometimes it sounds like he has about six hands. Also the first
Massacre album, "Killing Time," w/ Laswell and Maher.

Eric
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: [e-mail]
Subject: Re: Frith (was Re: "gypsy music")
Date: 15 Mar 1999 08:47:55 EST

I've also recommend by Frith "Gravity" and "Speechless" - I think they were on
Ralph records.  I'm not what lable they are on now

-



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

From: Brent Burton <[e-mail]>
Subject: Re: Naked City's Radio
Date: 15 Mar 1999 09:48:35 -0500 (EST)

On Mon, 15 Mar 1999, William York wrote:

> Bob Demmon/Astronauts, Colin Wilson, Orchestra Baobab, E.M. Elanka,
> Terauchi Takeshi (sp?), Septic Death, Hellfire, Abe Schwarz, Repulsion,
> Akemi and Jagatera, Extreme Noise Terror, Seige, Sam Fuller, Jerry Reed,
> Roger Williams, Chuck Brown, Yokuza Z. Hiroku

there's a legendary go-go musician from d.c. named chuck brown.

b

-



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

From: Herb Levy <[e-mail]>
Subject: Maryanne Amacher
Date: 15 Mar 1999 07:07:14 -0800

There was some discussion a few weeks back about Maryanne Amacher's Tzadik
CD Sound Characters.  This week's edition of my Antenna Radio show
<http://www.antennaradio.com/avant/mappings/index.htm> opens and closes
with tracks from the disc.

The CD is very good giving a pretty broad range of what her work is like,
without being able to present the full intensity of the Music for Sound
Joined Rooms, in which the the sounds & speaker placements interact with
the architecture of specifc spaces to create amazing, physical
reverberence. But, while they don't come across as well as they do in
concerts or installations, the  psycho-acoustic effects that she calls "ear
dances" do work over streaming audio (& are even better on the CD itself).

The rest of the show includes electronic pieces by Graciela Paraskevaidis,
Yuji Takahashi, and Beth Anderson.

Bests,

Herb


Herb Levy
[e-mail]



-



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

From: Eric Martens <[e-mail]>
Subject: Re: Naked City's Radio
Date: 15 Mar 1999 07:36:44 -0800 (PST)






---William York <[e-mail]> wrote:

> Bob Demmon/Astronauts, Colin Wilson, Orchestra Baobab, E.M. Elanka,
> Terauchi Takeshi (sp?), Septic Death, Hellfire, Abe Schwarz,
Repulsion,
> Akemi and Jagatera, Extreme Noise Terror, Seige, Sam Fuller, Jerry
Reed,
> Roger Williams, Chuck Brown, Yokuza Z. Hiroku

I believe the Astronauts were a surf-instrumental group from the 60's.
I saw a used CD reissue (just credited to The Astronauts) of some of
their stuff one time, I think on the same label that did the Ventures
reissues (same format anyway, 2-on-1, cover placement/design/&c looked
the same). I didn't buy it, so of course it was gone the next time I
looked for it.

Eric
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: about the Cathexis Records label
Date: 15 Mar 1999 08:32:02 -0800


    Found an add for a new label in the April issue of DOWN BEAT:

        Cathexis Records

Seven records were listed (already out?):

   Cathexis (www.cathexisrecords.com)

   SYZYGY: Jim Nolet
        Tim Hagans, Reggie Nicholson, etc
   KEEPING UP WITH THE JONES': Bill Ware
        Brad Jones, Victor Jones, etc
   MODERN MEMORY: Rez Abbasi
        Gary Thomas, Tim Hagans, Michael Formanek, Tony Moreno
   WITH EASE: Scott Lee
   CUMBIA DEL NORTE: Greg Ribot
        Francisco Navarro, Luis Lopez, Hector Zarzuela, Marc Ribot
   JAZZBLUES: Jeff Williams
   WHITE PAWS: Rob Henke Group

Does anybody know where this label is coming from (who is behind)?

    Thanks,

    Patrice.



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Recomm?: V. Golia & Jean Derome/live drum n' bass
Date: 15 Mar 1999 08:44:57 -0800


On Sat, 13 Mar 1999 09:11:51 -0800  Dave Trenkel wrote:
>
> Golia's humility is for real, he's one of the nicest musicians I've met.

Almost nothing to add to Dave's excellent list of recommendations.

Golia is also fantastic on (less adventurous for sure, but so enjoyable):


*** - REGARDS FROM NORMA DESMOND: Vinny Golia Quintet

  Vinny Golia: baritone saxophone; John Fumo: trumpet; Wayne Peet: piano; Ken
  Filiano: bass; Alex Cline: drums.

    1995 - Fresh Sound Records (Spain), ??? (CD)


He sticks to the baritone and produces one of the hottest hard-bop records!

    Patrice.

-



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

From: fiona somerset <[e-mail]>
Subject: Re: "gypsy music"
Date: 15 Mar 1999 11:46:12 -0500 (EST)


At 10:38 PM 3/14/99 -0800, you wrote:
>    A question posted here because of it's small relationship to klezmer...I'm
>on a quest in search of authentic Eastern Europe folk music...much like

and a reply:

I'm really enjoying the Taraf de Haidouks cd that I recently purchased.  It
seems that there are 3 cd's under this title, and they are all true
Romanian gypsie (tsiganes) music.  The music is sometimes uplifting,
sometimes somber, but all very good and virtuosically played.  I have the
second volume, but there is a more recent one, which I intend to pick up
soon.

and now me:  I've got the new one, and it's really good too:  more
environmental village noise included too (eg dog barking).  taraf de
haidouks and also various other eastern european gypsy groups (probably of
varying authenticity) are featured in the film _Latcho Drom_ -- that might
provide some leads.

fff


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Naked City's Radio
Date: 15 Mar 1999 11:54:02 -0500 (EST)

Willam:

I assume the *Roger Williams* you're looking for is the schlock piano
meister of the 1960s. He recorded for Kapp in the 1950s and 1960s,
turning out such masterworks as "Autumn Leaves" (1955); "Arrivederci
Roma" (1958); and "Lara's Theme" (1966). Kapp is part of Universal Music,
i.e. MCA (now Universal-Polygram) and it probably still has (shudder) some
Williams in its catalogue.

An easier route might be your local used record and tape store. Actually,
considering the sound, the Sally Ann thrift stores may work as well.

Yours in obscurity,

Ken Waxman
[e-mail]

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Naked City's Radio II
Date: 15 Mar 1999 11:59:21 -0500 (EST)

Ooops sent the reply off too soon.

Re: Jerry Reed. He was a country singer/songwriter of the 1960s and
1970s, whose style mixed rockabilly and novelty tunes. His big hits were
"Amos Moses" and "When You're Hot, You're Hot". He recorded for RCA. The
cavets I cited above for Roger Williams work for him as well.

obscurity forever

Ken Waxman
[e-mail]

-



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

From: [e-mail]
Subject: V. Golia
Date: 15 Mar 1999 14:26:37 -0300

At 2:12 PM 3/13/99, Dave Trenkel wrote:

>"Chamber" improvising ensembles: "haunting the spirits inside them...",
>on Music & Arts, with Golia and both Joelle Leandre and Ken Filliano on
>bass is very nice, as is "Triangulation", with George Lewis and Bertram

I didn't second this opinion. I found "haunting..." really boring and
weak; IMHO it looks as if nothing happens throughout the entire
recording. I couldn't get in it.
I'm not saying it's a bad cd and don't want to begin a thread with this,
but it's my feeling; anyway I listened to Golia in an American  movie in
a kind of Tarantino mood (can't recall the title now, but I wrote it
anywhere) and he sounded really great with a group; probably his
quintet. BTW, the movie was also fine.

Just my two pesos.

Hugo

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Naked City's Radio II
Date: 14 Mar 1999 12:14:37 -0500

Ken Waxman wrote:

> Re: Jerry Reed. He was a country singer/songwriter of the 1960s and
> 1970s, whose style mixed rockabilly and novelty tunes. His big hits were
> "Amos Moses" and "When You're Hot, You're Hot". He recorded for RCA. The
> cavets I cited above for Roger Williams work for him as well.

It sounds like Zorn's interest in him may have been Eugene Chadbourne's
fault...

listening to: Stefan Dill 'Sangre Del Rio' (Norumba): flamenco /
free-improv.

                        -Tom Pratt


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: great news for (old) Terry Riley lovers
Date: 15 Mar 1999 09:33:26 -0800


------- Forwarded Message

Path: news.or.intel.com!news-sea-20.sprintlink.net!news-west.sprintlink.net!news-peer1.sprintlink.net!news.sprintlink.net!newsfeed.berkeley.edu!news2.best.com!news3.best.com!nntp1.ba.best.com!not-for-mail
Newsgroups: rec.music.ambient
Message-ID: <[e-mail]>
Organization: cortical foundation
Lines: 59
NNTP-Posting-Host: cortical.vip.best.com
X-Trace: nntp1.ba.best.com 921492249 206 204.156.158.48




California Composer Terry Riley launched what is now known as the
Minimalist movement with his revolutionary classic IN C in 1964. This
seminal work provided a new concept in musical form based on interlocking
repetitive patterns. Furthermore, Riley's experimentation with tape-loops,
and improvisation based trance music is substantially relevant today.

Since 1992 Cortical Foundation has been restoring Terry Riley's Archive
with emphasis on recordings from the 1960's.


** New Releases Now Available **

Terry Riley Reed Streams / IN C (MANTRA)   (1964-1966 / 1964-1970)
organ of Corti 2

In New York City, 1966, Terry Riley was performing hypnotic keyboard
studies in his loft, and later, venues such as the Electric Circus.  REED
STREAMS, Riley's debut record, offers a rare glimpse into Riley's early
trance music for Keyboard and Solo soprano saxophone (respectively,
Keyboard Studies and Dorian Reeds).  These highly desirable early
minimalist recordings, unavailable since 1967, have been digitally
remastered from the original tapes.

In addition, a psychedelic big-band version of "In C" (MANTRA) under the
direction of Walter Boudreau recorded in 1970. "In C" can be heard here in
all it's electric, psychedelic glory.

Terry Riley Olson III (1967)
organ of Corti 3

While Riley was rehearsing his cyclic  composition "Olson III" with the
teenage students at Nacka School of Music (Sweden), both he and the
students were subjected to fierce musico-political blockading.  The final
concert which was held on April 27th at Nacka was absolutely tremendous
and the uproar at the end was a clear indication of the excitements that
the teenagers discovered in the music.  Says Riley "I don't stand in front
of the orchestra and keep them busy because that would be against the idea
of what I'm trying to do, because they are all supposed to be phasing.
The music is not conductable, everybody has to join in it themselves".
OLSON III for orchestra and chorus swings like hell.
First time available.

Terry Riley Poppy Nogood and the Phantom Band Volume 1   (1968)
organ of Corti 4

The live recording of Poppy Nogood taken from a 1968 all night concert
titled "Purple Modal Strobe Ecstacy with the Daughters of Destruction" is
the perfect trigger for what anthropologist Jean Rouch called "The Strange
Mechanism", the trance state which most of this decades electronic music
aspires to induce. The immediately and the spectral filigree - the
dervishes summoned during Riley's nocturnal concert - have been faithfully
preserved on this CD -- Richard Henderson, The Wire.
First time available.

For more information, consult:
http://www.cortical.org/spores.html

------- End of Forwarded Message


-



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

From: Diego Gruber <[e-mail]>
Subject: Re: "gypsy music"
Date: 15 Mar 1999 10:30:56 -0500

I'm also a big fan of gypsy music, particularly Balkan, gypsy music
varies from place
to place, being influenced by folk traditions of states such as
yugoslavia and
romania. i was attracted to this kind of music since i saw the
yugoslavian film
'underground', so this has taken me to notice two things: a band called
Fanfare
Ciocarlia (you can get their cd through the Web of Mimicry -the Gallery
of Essentials
section-  http://www.humboldt1.com/~mimicry/) and a composer named Goran
Bregovic who
writes the soundtracks for most of Kusturica's movies (underground, time
of gypsies,
arizona dream, etc.). Check out some Real Audios from his film music at:

http://www.komuna.co.yu/muzika/brega/index.html

and there's more yugoslavian music, some written by Bregovic too, at:

http://www.bison.com/zabe/notes1.html

I'm not sure to what extent this is 'real' gypsy music, but in any case,
i find it
trully beautiful. Hope this helped.

Diego


Christian Heslop wrote:

>         A question posted here because of it's small relationship to klezmer...I'm
> on a quest in search of authentic Eastern Europe folk music...much like
> Bartok, but I'm buying CD's so authenticity is a little bit more difficult
> to verify.
>         I heard a recording a few years ago of some Tzimbalone music. I have no
> idea as to what it's origins were, but it was electrifying.
>         Which Fred Frith recordings are essential? I own "Cheap at Half the
> Price". I bought it a few years ago without having any idea then of who he
> was. Only a few days before that incidentally was when I first heard of
> John Zorn. A friend had played a tape of The Big Gundown. The next day I
> sold all of my old cd's.
>
> -



-



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

From: "Dave Egan" <[e-mail]>
Subject: RE: VOG
Date: 15 Mar 1999 11:20:01 -0800

I checked with Toby, Zony Mash's manager and he told me that they had to
change the name from Vog to Ponga.  He thought maybe there was a copyright
violation with Vog, but he wasn't 100% sure about that.  Anyway, Ponga is
Vog.  I heard a pre-release CD and verified that it's the same music as on
the tape a friend made at the show in Seattle last April; you wouldn't know
it was a live album just by hearing it.  It's all improvised and fairly
noisy.  The lineup is Skerik, Wayne Horvitz, Dave Palmer and Bobby Previte.
I think it's pretty cool and will definitely buy a copy when it's released.
April 6th is the release date last I heard.

- Dave

-----Original Message-----
[mailto:[e-mail]]On Behalf Of pjm
Sent: Wednesday, March 10, 1999 11:08 PM


Does anyone know if the live VOG (Horvitz/Skerik/ etc..) cd was ever
released?  Have they released anything at all?

            Thanks

                pjm


-


-



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

From: "BLA BLA BLA" <[e-mail]>
Subject: Re: Naked City's Radio
Date: 16 Mar 1999 08:56:46 +1030

>
>Bob Demmon/Astronauts, Colin Wilson, Orchestra Baobab, E.M. Elanka,
>Terauchi Takeshi (sp?), Septic Death, Hellfire, Abe Schwarz, Repulsion,
>Akemi and Jagatera, Extreme Noise Terror, Seige, Sam Fuller, Jerry Reed,
>Roger Williams, Chuck Brown, Yokuza Z. Hiroku
>


Extreme Noise Terror, well, they were a metal/punk band from the 80's played
with the KLF at the Brit awards back in 89 (i think), they released a new
album a while ago on Earache called Retro-bution.

Septic Death are an old hardcore punk band, they are an inspiration to a lot
the current lot of "deathcore" bands ala, Integrity, Rancor, Congress. They
released a number of 7" which are no longer available.




-



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

From: Saidel Eric J <[e-mail]>
Subject: Re: Sanctuary
Date: 15 Mar 1999 17:44:26 -0600 (CST)


According to Matthew:

>
> "Main inspirations: John Coltrane's Ascension, Ornette Coleman's Free Jazz,
> Pierre Boulez' Le Marteau sans Maitre, Arnold Schoenberg's Pierrot Lunaire,
> Giovanni Bocaccio's The Decameron and the absurd story of the building of
> the Santa Maria del Fiore Cathedral in Florence, Italy; The cathedral was
> begun in 1294 with the sole intention of surpassing the Siennese and Pisans,
> but its builders had no read idea how such an immense dome could be erected.
> Nonetheless, work continued for 125 years until the problem of the dome
> became critical and potentially embarrassing.  After much politicking and
> many bizarre proposals the church and dome were finally completed by
> Fillippo Brunelleschi, who found his solution while wandering amoung the
> ancient ruins of Rome."
>
> Does anyone know more about this last story?

I haven't seen anyone else answer this, so I'll try a bit, although I'm
sure somebody out there knows a lot more about this than I do.  (Believe
it or not, what I know is a result of reading about biology.)  In any case,
the problem was as the liners say: how to erect and support such an immense
dome.  Brunelleschi travelled to Rome to view the ruins and there came
up with the idea of flying buttresses which allowed him to build the
dome, and gave the dome a system of support so that it wouldn't fall.
(yeah, I know, sketchy on the details, but I'm no architect, or student
of architeture; surely there must be one here?)  The flying buttresses
also resulted in spandrels - spaces (more or less) in the corners which
afforded room for paintings that were in addition to the main frescos,
and which are now famous in studies of evolution thanks to Stephen Jay
Gould.

- eric



-



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

From: [e-mail]
Subject: re:Naked City's Radio
Date: 15 Mar 1999 18:43:48 EST

>Extreme Noise Terror, well, they were a metal/punk band from the 80's played
>with the KLF at the Brit awards back in 89 (i think), they released a new
>album a while ago on Earache called Retro-bution.

they also released two peel sessions, the first with mick harris on drums.
both available on one disc from strange fruit/dutch east indies.

peace,
dave
___________________________________________________________
bill laswell, eraldo bernocchi, mick harris and lori carson discographies at :
http://www.geocities.com/SunsetStrip/Underground/7093
___________________________________________________________

-



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

From: [e-mail]
Subject: Re: Naked City's Radio
Date: 15 Mar 1999 20:11:57 EST

>  >Terauchi Takeshi (sp?), Septic Death, Hellfire, Abe Schwarz, Repulsion,
>  >Akemi and Jagatera, Extreme Noise Terror, Seige, Sam Fuller, Jerry Reed,
>  >
>  Extreme Noise Terror, well, they were a metal/punk band from the 80's
played
>  with the KLF at the Brit awards back in 89 (i think), they released a new
>  album a while ago on Earache called Retro-bution.

Heres my 2 cents on few of the artists.  Yes Extreme Noise Terror were/are a
punk/metal/hardcore or grindcore band.  "Retrobution" was a re-recording of
earlier material from their split with Chaos UK and thie own "Holocaust in
Your Head" and "Phonophobia".  As expected the originals are better than the
remakes but are hard to find.
Siege was a boston hardcore band that has 1 cd available on Relapse call "Drop
Dead".  It is an 8 song collection of material from 1984 that I believe was
self released on a 7".  The songs predate E.N.T. and Napalm Death and sound
like the origination of "grindcore". Well, except the the last song with the
saxophone.
Repulsion was mention earlier as an excellent film, I always assumed the notes
were referring to the metal band.  1 cd on relapse, again, "Horrorfied".
Recorded in the mid 80's I think, originators of Death Metal?
All three bands are highly recommended if you like the short Naked City tracks
with Eye or the "napalm bursts" that are dropped into songs occasionaly.

Jeff

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Fred Frith
Date: 15 Mar 1999 20:50:34 -0500

At 10:38 PM 3/14/99 -0800, Christian Heslop wrote:
>    Which Fred Frith recordings are essential? I own "Cheap at Half the
>Price". I bought it a few years ago without having any idea then of who he
>was.

Cheap is one of his more pop recordings, and Gravity and Speechless would
be decent followups if you like Cheap (all were originally released on
Ralph).  A nice sampler of his different styles is Step across the Border,
which is the soundtrack to a film about him, including many different
styles of music.  Among his work as a composer, I really like The Previous
Evening, which includes tributes to Cage, Feldman, and Brown, but does not
feature any guitar playing.  I second the opinion on the Massacre album
Killing Time (which I really like better than the more recent Funny
Valentine release) for his rock guitar work.  His improv is well documented
on the live recordings with Chris Cutler as well as the more well-known
guitar improv albums.  Seminal Frith work also includes the Henry Cow and
Art Bears albums, all of which are worth hearing; and the two Skeleton Crew
albums (one CD) with Tom Cora.

His web site, www.fredfrith.com, contains his selected discography and a
link a more comprehensive listing.

--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: Rick Lopez <[e-mail]>
Subject: Re: V. Golia
Date: 15 Mar 1999 21:43:56 -0500

[e-mail] wrote:
>
> At 2:12 PM 3/13/99, Dave Trenkel wrote:
>
> >"Chamber" improvising ensembles: "haunting the spirits inside them...",
> >on Music & Arts, with Golia and both Joelle Leandre

I've been swimming around in Parker/Leandre CONTRABASSES for a month or so
now. I love it. I particularly like the 2nd cut, when Leandre seems
*compelled* to sing. Great moments.

This is my first hearing of her.
Anyone suggest other recordings to check out?

Thanks,
RL
--
Marilyn Crispell, Susie Ibarra, Sam Rivers, Matthew Shipp, David S. Ware, and
Reggie Workman discographies--Samuel Beckett Eulogy--Baseball & the 10,000
Things--Time Stops--LOVETORN--HARD BOIL--etc.,  at:
http://www.velocity.net/~bb10k

***Very Various Music For Sale:
***http://www.velocity.net/~bb10k/4SALE.html

-



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

From: SG <[e-mail]>
Subject: Re: Fred Frith
Date: 15 Mar 1999 23:15:21 -0500

Personally, I think that almost anything by FF is worth checking out, but if I
had to choose starting points, they'd be:

Guitar work- "Guitar Solos" and "Sounds of a Distant Episode" (Split album w/
Ribot.  Thought Ribot's half was kinda weak but worth it the FF pieces- some of
his strongest work ever, IMO)

"Classical" works- "Pacifica" and "The Previous Evening", also "Lelekovice /
The As Usual Dance..." (Two pieces- one for string quartet, the other for
guitar quartet.). P is very laid back, quiet, kind of ambient. PE was written
for dance and consists of three pieces- each an homage to a different composer
(Cage, Feldman, and Earl Brown). The disc w/ two quartets (I can't remember
what it's called, but it might be "Two Quartets") is a bit more "traditional"
than the other two- both pieces are fairly consonant and rhythmic, and there's
an overall "folky" feel to them ("folky" more in Bartok way, than, say, a Pete
Seeger way...)

Henry Cow (his old band)- "Legend" and "Unrest" are my personal faves... L is
kind of Zappa-esque musically, but without the silly lyrics and armchair
politics, and a little less pop-oriented. U is more experimental... free
improvs manipulated in the studio mostly, but some nice composed work as well-
Frith's "Ruins" is beautiful.

"Step Across the Border" is kind of a "greatest hits" of his early solo stuff
and a strong overview of his work- it's worth getting even though there's alot
of previously released material on there- there's quite a few exclusive tracks
on it that aren't available elsewhere. (It was the first Frith album I owned,
actually...)



-



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

From: nils <[e-mail]>
Subject: Re: Mike Formanek
Date: 15 Mar 1999 23:48:03 +0000


Martin Schmitz-Ohrndorf <[e-mail]> wrote:

> I just picked up Tim Berne/Michael Formanek Ornery People and I like it
> very well. Anyone else listened to it too? Any Opinions?

If you dig Ornery People, check out Formanek's
solo record on Screwgun, "Am I Bothering You?"
Similar vibe, minus Berne.  Formanek's Enja
material is also very nice, though I wouldn't put
it at the same level as these two records or the
recent Bloodcount material.

-Nils

-



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

From: [e-mail]
Subject:  Klezmer site
Date: 15 Mar 1999 23:37:51 EST


<A HREF="http://www.soundstone.com/scripts/essay_text.cfm?article=60&rfd=1077"
>SoundStone.com presents: Milestones</A>

-



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

From: William York <[e-mail]>
Subject: Radio
Date: 15 Mar 1999 23:56:27 -0500 (EST)

> > Re: Jerry Reed. He was a country singer/songwriter of the 1960s and
> > 1970s, whose style mixed rockabilly and novelty tunes. His big hits were
> > "Amos Moses" and "When You're Hot, You're Hot". He recorded for RCA. The
> > cavets I cited above for Roger Williams work for him as well.
>
> It sounds like Zorn's interest in him may have been Eugene Chadbourne's
> fault...

Huh-huh.  Actually I've found a lot of great stuff tracking down the
originals of Chadbourne covers.

I'm just amazed at how Zorn finds redeeming qualities let alone
inspiration in some of this stuff.  Still no takers on Liberace?

Anyway, thanks for all the  suggestions.

WY


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: great news for (old) Terry Riley lovers
Date: 15 Mar 1999 21:17:06 -0800 (PST)

On Mon, 15 Mar 1999, Patrice L. Roussel wrote:

> Terry Riley Poppy Nogood and the Phantom Band Volume 1   (1968)
> organ of Corti 4

i feel confused. are there multiple versions
of this recording? didn't
Cortical release this a few years ago?

hasta.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


-



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

From: eric ong <[e-mail]>
Subject: Re: great news for (old) Terry Riley lovers
Date: 16 Mar 1999 00:31:54 -0500 (EST)

The Cortical release was a 40 minute edit from the 1968 concert.  The
original is 6 hours.

Please excuse if I didn't answer your question, I missed the original post
in this thread.

eric.

On Mon, 15 Mar 1999, SUGAR in their vitamins? wrote:

> On Mon, 15 Mar 1999, Patrice L. Roussel wrote:
>
> > Terry Riley Poppy Nogood and the Phantom Band Volume 1   (1968)
> > organ of Corti 4
>
> i feel confused. are there multiple versions
> of this recording? didn't
> Cortical release this a few years ago?
>
> hasta.
>
> Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.
>
>
> -
>
>



-



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

From: Martin Schmitz-Ohrndorf <[e-mail]>
Subject: Re: Fred Frith/Ribot
Date: 16 Mar 1999 10:02:52 +0100



SG wrote:

> "Sounds of a Distant Episode" (Split album w/
> Ribot.  Thought Ribot's half was kinda weak...

I don't think Ribots Shrek pieces on this record are weak at all. I liked Shrek
very much and this one is even better than the AVANT recording.
Martin


-



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

From: "Douglas Clarke" <[e-mail]>
Subject: Re: Radio
Date: 16 Mar 1999 01:51:10 PST

>From: "robert ludington" <[e-mail]>
>To: [e-mail]
>Subject: Radio
>Date: Sun, 14 Mar 1999 18:00:34 PST

>I just spotted Naked City's 'Radio' at a nearby Tower Records and
>wondered what people's opinions of it were?

Radio is by far my favorite Naked city recording. It's content is very
much like their domestic release (The one where the man has been shot in
the face on the cover) in that half the tunes are jazzy, and half are
very noisy/grindcore. However, I find that this record shows a more
mature naked city as the jazzy tunes are more complex and really play on
interaction, and the noisy tunes are longer and very well developed.
Basically, I think this album is essential.

-Doug
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: Yves Dewulf <[e-mail]>
Subject: Re: "gypsy music"
Date: 16 Mar 1999 11:22:57 +0100




> and there's more yugoslavian music, some written by Bregovic too, at:
>
> http://www.bison.com/zabe/notes1.html
>
> I'm not sure to what extent this is 'real' gypsy music, but in any case,
> i find it trully beautiful. Hope this helped.

  If you like the music by Bregovic, you will probably also like
  the music of the Kocani Orkestar: basicly this is the same music
  as Bregovic', but stripped down to its bare essentials: horns,
  clarinet, accordion and percussion.
  The Orkestar is lead by trumpet player Naat Veliov and they
  belong to the Rom people, a band of gypsies in Macedonia,
  who are at the roots of most of the Balkan-music.
  They we're influenced by Turkish Marching Bands in the previous
  century as well as the communist regime (Chinese communist songs!)
  and jazz this century.
  And they funk like hell!

  The Kocani Orkestar has two CD's out yet:
   -Gypsy Brass Band on Long Distance/Fnac (1995)
   -L'orient est rouge on Crammed (1998)
  But try to catch them live, if you can ...

  YVes






-



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

From: Jeff Gretz <[e-mail]>
Subject: Re: Naked City: Radio
Date: 16 Mar 1999 09:58:01 -0500 (EST)

Septic Death is also the band that Pushead is in. For those of you unaware
Pushead is responsible for most of the graphics on the old Metallica shirts you
see around.

jeff gretz

-



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

From:    [e-mail] (Patrick Carey)
Subject: VINYL/CD Sale (3.16)
Date: 16 Mar 1999 10:45:34 -0500

Hello,

I have the following items for sale, first come, first served ...

Prices are in _US $_ and are POSTAGE PAID within North America.
Shipping on orders outside NA can be arranged.

If you don't like the prices, make me an offer.

* C.C.C.C. - "Community Center Cyber Crash - Live In Pittsburgh" US LP
  (RRR/SSS) 1993   $7
* Gerogerigegege - "Life Documents" UK 7" (4th Dimension) 1994   $7
* Naked City - "Torture Garden" US CD (Shimmy Disc) 1990   $11
* Nimrod - "The Mighty Hunter/Lab 36B" CAN picdisc LP (Scratch) 1994   =
$5
* Nimrod - "Nimrod" CAN CD (Scratch) 1996   $7
* Otomo Yoshihide - "Sound Factory '97 - Memory Disorder Vol. 3" US CD
  (Gentle Giant) 1997   $10
# Source Direct - "Concealed Identity" UK one-sided promo 12"
  (Science/Virgin) 1999   $8
* V/A - "Miaow!" UK promo sampler CD (Big Cat UK) 1995   $5
  [Feat. Sch=FCtze, Koner, E.A.R., Oliveros, Nijiumu, Dirty Three etc.]

Thanks for looking.


-Patrick
[e-mail]
http://www.astro.utoronto.ca/~carey/sofa/sale.html



-



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

From: Matt Moran <[e-mail]>
Subject: re: "gypsy music"
Date: 16 Mar 1999 10:47:59 -0500 (EST)

Other easily available albums of Rom (gypsy) music from Eastern Europe are
the soundtrack to Gadjo Dilo (a recent film by Tony Gatlif who made Latcho
Drom), and two albums by the Ko=E7ani Orkestar.

The Gadjo Dilo sndtrk features Romanian Rom music, and some of the tracks
are incredible virtuosic performances of high-energy traditional
pieces.

Ko=E7ani Orkestar is a Macedonian (as in FYR Macedonia) "gypsy" brass band,
one of the most famous in Europe.  They sound amazing on both of their
records.

-matt


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: V. Golia
Date: 16 Mar 1999 13:36:41 -0500 (EST)

Try "No Try, No Fail" on hatArt with Urs Leimgruber (ts, ss) and Fritz
Hauser (d). It's sort of like the Evan Parker group with Barry Guy and
Paul Lytton.

Last year That band also played Victoriaville with Marilyn Crispell as a
guest. And IMHO
the performance was even better than the CD. However, although, Crispell
has recorded with each of these folks, she's hasn't (yet)
 recorded with the entire group.

Ken Waxman
[e-mail]




On Mon, 15 Mar 1999, Rick Lopez wrote:
>
> I've been swimming around in Parker/Leandre CONTRABASSES for a month or so
> now. I love it. I particularly like the 2nd cut, when Leandre seems
> *compelled* to sing. Great moments.
>
> This is my first hearing of her.
> Anyone suggest other recordings to check out?
>
> Thanks,
> RL
> -- >
>

-



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

From: [e-mail]
Subject: Douglas' 'Convergence'
Date: 16 Mar 1999 12:41:03 -0500


     Noticed this in the store this afternoon. Anyone heard it yet?

     Brian Olewnick

     (Listening to Roscoe's 'Nine To Get Ready' which I purchased
     instead--sounds pretty nice through three cuts)



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Douglas' 'Convergence'
Date: 16 Mar 1999 10:48:24 -0800


On Tue, 16 Mar 99 12:41:03 -0500  [e-mail] wrote:
>
>      Noticed this in the store this afternoon. Anyone heard it yet?

Not yet but the mispelling of Olivier Messiaen is all over the place...
At this rate, the true spelling might be forgotten in 20 years.

    Patrice.

-



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

From: "Artur Nowak" <[e-mail]>
Subject: Re: klezmer (festival in Poland)
Date: 16 Mar 1999 19:53:39 +0100

All klezmer fans who will be in Poland during the summertime can take part
in the eight Festival of Jewish Culture in Krakow, Poland, between June 28th
and July 5th. Like always, there are various concerts, lectures,
exhibitions, full program can be found at www.jewishfestival.art.pl . I
heard that Anthony Coleman Trio (called Sephardic Tinge since the last
album) and Uri Caine Trio will perform there also.

Just to remind to some of you: this festival starts right afer Warsaw Summer
Jazz Days, where you have a chance to listen during 4 days to: Elliott Sharp
Trio, Marc Ribot Y Los Cubanos Postizos, David Torn / Vernon Reid / Elliott
Sharp, Masada String Trio, Masada quartet, Bar Kokhba, Henry Threadgill,
Steve Coleman Big Band, Bill Laswell / Jack DeJohnette / Sultan Khan / Paul
Schutze, Medeski, Martin & Wood, Boccio / Gibbs / Rypdal, Critters Buggin.

See you there!

    __________________________________________________________________
    Artur Nowak [arno AT silesia.top.pl]
    www.silesia.top.pl/~arno/default.htm - Discography of Bill Frisell


-



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

From: "Douglas Clarke" <[e-mail]>
Subject: Re: Warsaw Summer Jazz Days
Date: 16 Mar 1999 11:07:48 PST

>Artur Nowak [arno AT silesia.top.pl] wrote:

>Warsaw Summer Jazz Days, where you have a chance to listen during 4
>days to: Elliott Sharp Trio, Marc Ribot Y Los Cubanos Postizos, >David
Torn / Vernon Reid / Elliott Sharp, Masada String Trio, Masada >quartet,
Bar Kokhba, Henry Threadgill, Steve Coleman Big Band, Bill >Laswell /
Jack DeJohnette / Sultan Khan / Paul Schutze, Medeski, >Martin & Wood,
Boccio / Gibbs / Rypdal, Critters Buggin.

Speaking of this Warsaw Jazz fest, anyone know where I can find updated
program and ticket information?

Thanks,
Doug


Get Your Private, Free Email at http://www.hotmail.com

-



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

From: "Artur Nowak" <[e-mail]>
Subject: RE: Warsaw Summer Jazz Days
Date: 16 Mar 1999 20:34:33 +0100

> Speaking of this Warsaw Jazz fest, anyone know where I can find updated
> program and ticket information?

The tickets are usually available 2-3 months before the festival. No online
reservations available  :-(
This festival is organized by Mr. Adamiak, who has also radio station in
Warsaw. Check out http://www.jazzradio.com.pl/  (the server is not
responding at the time I write this) - maybe you find more info there.

    __________________________________________________________________
    Artur Nowak [arno AT silesia.top.pl]
    www.silesia.top.pl/~arno/default.htm - Discography of Bill Frisell


-



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

From: [e-mail]
Subject: pay to play?
Date: 16 Mar 1999 15:41:08 -0500


The Brecht Forum
122 West 27th Street, 10th Floor
New York, NY 10010
[phone]
www.brechtforum.org

For immediate release                                        Contact: Liz
Mestres 212-242-4201

Barbara Burch 718-398-2810

THE NOISE ACTION COALITION CO-SPONSORS PANEL DISCUSSION
ON ECONOMIC JUSTICE FOR MUSICIANS
AS PART OF NEUES KABARETT AT THE BRECHT FORUM

The Brecht Forum and the Noise Action Coalition will sponsor a panel entitled
"Pay to Play?" examining the issue of fair pay for musicians, featuring
Stanley Aronowitz, Marc Ribot, Lianne Smith, Greg Tate and others.

The event is Saturday, March 27th at 6 p.m. at 122 West 27th Street, 10th
Floor, between 6th and 7th Avenues in Manhattan.  Admission is $6-10 sliding
scale, no one turned away for lack of funds.  For information call
212.242.4201.

The Noise Action Coalition (NAC), an organizing project by and for musicians
working the network of clubs and indie labels centered around downtown New
York City, is made up of Jazz, New Music, "Knitting Factory scene" and Indie
Rock musicians.  The NAC has protested the No-Pay policy at Arlene Grocery and
other No-Pay clubs.  The NAC has also conducted informational picketing of the
CMJ Music Fest over the festival's non-payment of musicians.  Last year, the
NAC won the first collectively bargained agreement at a major U.S. Jazz
festival, the Knitting Factory/Texaco (now Bell Atlantic) New York Jazz
Festival, doubling minimum rates of pay for participating musicians.

Behind these actions was the belief by NAC supporters that when money is made,
musicians should be paid.  And behind that belief is an assumption that
musicians can and should organize collectively to win better conditions.

The panel will explore whether these beliefs and assumptions are valid and/or
realistic.  Topics will include: whether musicians have a moral or legal right
to collectively bargain; whether unions are possible or desirable in a
downtown music scene dominated by freelancers; and if the bureaucratic
structure and rules normally associated with unions can co-exist with the
creative flexibility and spontaneity of this scene?

The panel will discuss how the NAC's organizing does or does not fit in with
the Musicians' Union, and how the NAC relates to other "nontraditional"
organizing efforts among part-time, freelance and "intellectual" labor now
underway.

The Brecht Forum is an educational and cultural organization for people who
are working for fundamental social change.  Neues Kabarett, a regular avant-
garde music series, is one of several ongoing cultural events organized by the
Brecht Forum, including: monthly visual art exhibits, The Gashouse (a monthly
music and poetry night), film and video series, focus groups for artists, and
performances ranging from dance to experimental theater.





-



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

From: alissa bader <[e-mail]>
Subject: dc jewish music list?
Date: 16 Mar 1999 15:50:25 -0500 (EST)


I'd like to start a jewish music mailing list, specifically targeted
towards stuff in the washington, dc (and maybe baltimore) area.

question is, would this be an overlap to anything that's already out
there?  I mean to make something that's a companion to what exists, not a
competitor.

thanks!

--alissa
[e-mail]


-



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

From: alissa bader <[e-mail]>
Subject: and on a similar jewmu note..
Date: 16 Mar 1999 15:57:52 -0500 (EST)


is the knitting factory having another seder this year?

anyone know?

--alissa
[e-mail]


-



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

From: [e-mail]
Subject: thelonious monk
Date: 16 Mar 1999 16:08:20 EST

hello-
anyone on this list aware of any monk biographies available that you can
direct me to?
secondly, does anyone know what carla bley is up to these days? "escalator
over the hill" ('72?!) was one of the major turning points in my listening-
thanks-
julian


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: thelonious monk
Date: 16 Mar 1999 13:20:58 -0800


On Tue, 16 Mar 1999 16:08:20 EST  [e-mail] wrote:
>
> hello-
> anyone on this list aware of any monk biographies available that you can
> direct me to?

There are currently three Monk biographies in print.

*** - ???: DeWilde (???)
*** - STRAIGHT, NO CHASER - THE LIFE AND GENIUS OF THELONIOUS MONK: Leslie
      Gourse (1997 - Schirmer Books)
*** - THELONIOUS MONK: Thomas Fitterling (1997 - Berkeley Hills)

> secondly, does anyone know what carla bley is up to these days? "escalator
> over the hill" ('72?!) was one of the major turning points in my listening-

A couple months ago a new Carla Bley record was released:

*** - FANCY CHAMBER MUSIC: Carla Bley (ECM/Watt)

Anybody knows if we can expect a new version of ESCALATOR OVER THE HILL
(with David Moss!!!)?

    Patrice.

-



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

From: eric ong <[e-mail]>
Subject: Re: thelonious monk
Date: 16 Mar 1999 16:24:52 -0500 (EST)

> secondly, does anyone know what carla bley is up to these days? "escalator
> over the hill" ('72?!) was one of the major turning points in my listening-

Have you heard "Tropic Appetites" as well?  That'd be right up your alley
if you like EOTH.  Anyway, she just kinda released a new album called
"Fancy Chamber Music" (ECM).  I've heard mixed reviews, so I didn't pick
it up.  I wish I could tell you more.

In other Carla Bley-related news, Gary Valente, a sideman featured
extensively on Carla's work, appears on the new Lester Bowie.  I recommend
the new Lester Bowie, btw, which has been discussed here before.  Some
amazing tuba work from Bob Stewart.

eric.



-



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

From: Ken Waxman <[e-mail]>
Subject: Re: thelonious monk
Date: 16 Mar 1999 16:29:34 -0500 (EST)

All of the existing Monk books have been described as less than stellar.
However Peter Keepnews, whose father Orin was Monk's producer, and who is
a music journalist himself, has been working on the definitive Monk book
for the past decade or so.

Ken Waxman
[e-mail]




On Tue, 16 Mar 1999, Patrice L. Roussel wrote:

>
> On Tue, 16 Mar 1999 16:08:20 EST  [e-mail] wrote:
> >
> > hello-
> > anyone on this list aware of any monk biographies available that you can
> > direct me to?
>
> There are currently three Monk biographies in print.
>
> *** - ???: DeWilde (???)
> *** - STRAIGHT, NO CHASER - THE LIFE AND GENIUS OF THELONIOUS MONK: Leslie
>       Gourse (1997 - Schirmer Books)
> *** - THELONIOUS MONK: Thomas Fitterling (1997 - Berkeley Hills)
>
> > secondly, does anyone know what carla bley is up to these days? "escalator
> > over the hill" ('72?!) was one of the major turning points in my listening-
>
> A couple months ago a new Carla Bley record was released:
>
> *** - FANCY CHAMBER MUSIC: Carla Bley (ECM/Watt)
>
> Anybody knows if we can expect a new version of ESCALATOR OVER THE HILL
> (with David Moss!!!)?
>
>     Patrice.
>
> -
>
>

-



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

From: Ken Waxman <[e-mail]>
Subject: Re:valente/stewart
Date: 16 Mar 1999 16:44:12 -0500 (EST)

If you like Bob Stewart, you should also pick up his excellent Postcards
CD, "Then And Now", with a rotating cast, that features him playing with
everyone from pianist Dave Burrell and tromboninst Steve Turre to
vocalist Taj Mahal.

Valente, whose best solo, IMHO, is on "The Lord Is Listenin' To Ya,
Hallelujah!"
on Bley's 1982 "Live" session (Watt/ECM), also does some fine work
on  George Schuller's "Lookin' Up From Down Below" on GM records.

He's a true unsung hero.

Ken Waxman
[e-mail]



On Tue, 16 Mar 1999, eric ong :,

 Gary Valente, a sideman featured
> extensively on Carla's work, appears on the new Lester Bowie.  I recommend
> the new Lester Bowie, btw, which has been discussed here before.  Some
> amazing tuba work from Bob Stewart.
>
> eric.
>
>
>
> -
>
>

-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: and on a similar jewmu note..
Date: 16 Mar 1999 15:51:24 -0600 (CST)

On Tue, 16 Mar 1999, alissa bader wrote:

>
> is the knitting factory having another seder this year?

There's no sign of one on their website, which is a shame -- I enjoyed
virtually "attending" the previous ones.

- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: alissa bader <[e-mail]>
Subject: Re: and on a similar jewmu note..
Date: 16 Mar 1999 16:52:40 -0500 (EST)


hm, I should have stopped by the knit when i was in nyc last weekend.

maybe i'll call them and ask.

i tried emailing them, but no response as of yet (and I sent the email out
over a week ago)

--alissa
[e-mail]

On Tue, 16 Mar 1999, Joseph S. Zitt wrote:

> On Tue, 16 Mar 1999, alissa bader wrote:
>
> >
> > is the knitting factory having another seder this year?
>
> There's no sign of one on their website, which is a shame -- I enjoyed
> virtually "attending" the previous ones.
>
> - ---------1---------1---------1---------1---------1---------1----------
> |||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
> ||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
> |/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|
>
>


-



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

From: "Boris Campan" <[e-mail]>
Subject: Re: thelonious monk
Date: 16 Mar 1999 15:21:17 PST


There is another good biography of Thelonious Monk available in French
but I don't know if it's translated in English.

Blue Monk, Portrait de Thelonious
by Jacques Ponzio and Francois Postif.
published by Actes Sud

Personally I think it's far better than the bio from the French pianist
Laurent Dewilde.


Get Your Private, Free Email at http://www.hotmail.com

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: thelonious monk
Date: 16 Mar 1999 15:40:59 -0800


On Tue, 16 Mar 1999 15:21:17 PST  "Boris Campan" wrote:
>
>
> There is another good biography of Thelonious Monk available in French
> but I don't know if it's translated in English.
>
> Blue Monk, Portrait de Thelonious
> by Jacques Ponzio and Francois Postif.
> published by Actes Sud
>
> Personally I think it's far better than the bio from the French pianist
> Laurent Dewilde.

From what I heard, the Dewilde is a great book on Monk written from a pianist
perspective. It does not really fit the definition of a bio in the traditional
sense and might disappoint a reader looking for the nitty-gritty details
about the life of the musician.

The Ponzio and Postif, like the two others I mentioned, are more of the
regular type bio. I remember browsing through the Leslie Gourse one and find-
ing it fairly mediocre (a simple collection of facts with almost no insights
or sparks of brilliance -- I felt that Monk deserved better and that there
should be a law to prevent mediocre people writing about geniuses (assuming
that they are not smart enough to avoid tackling something that is well
above their head)).

    Patrice.


-



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

From: Gabriel Lichtmann <[e-mail]>
Subject: The Alter Rebbe's Nigun
Date: 10 Mar 1999 06:30:38 -0300

    Just bought this  record and I think its amazing. Does anybody know
anything about this guys or about PHLEGM, the "punk unit" to which they
belong? Were they really orthodox hasidic students before (and do they
really look like they do  in the picture printed inside the booklet)?
Coming from a jewish background myself I know how narrow minded this
guys can be and it amazes me someone with this kind of upbringing could
have made such a joyful subversive noise.

                          Gabriel Lichtmann

-



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

From: [e-mail]
Subject: Re: thelonious monk
Date: 16 Mar 1999 23:05:10 EST

There is also a movie on Monk which is on video - "Straight No Chaser"

-



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

From: Lang Thompson <[e-mail]>
Subject: Derek Bailey in Atlanta
Date: 16 Mar 1999 23:21:29 -0500

If anybody's interested I'll also post the preview I wrote for the local
alternative paper (though there's nothing most Zorn listers don't know).

LT


>Derek Bailey, guitar
>Dennis Palmer, keyboards
>Bob Stagner, percussion
>
>Solo, Duo & Trio Improvisations
>
>8:30pm, Saturday, March 27, 1999
>
>First Existentialist Congregation
>470 Candler Park Drive, NE
>Atlanta, GA
>
>Tickets: $10.in advance, available exclusively at:
>Wax'n'Facts, 432 Moreland Ave,NE  Atlanta, GA  404-525-2275
>or $12.at the door
>
>An Earthshaking Euphonic Old Gold WREK Production
>
>Tune in to WREK 91.1 FM on Sunday, March 21 for a Derek Bailey special
>from 8-10pm
>
>Bailey/Palmer/Stagner will also be performing in Chattanooga, TN on
>Wednesday, March 24
>with the Olivia Tremor Control.
>For more info, call 423-265-6820 or [e-mail]
>
>An excellent source for more info on Derek Bailey can be found at:
>www.shef.ac.uk/misc/rec/ps/efi/
>
Lang Thompson
http://www.tcf.ua.edu/wlt4

World Cinema Review
http://www.tcf.ua.edu/wlt4/wcr.htm

"The heavy bullets sounded like howitzers in
the dry, airless late-afternoon air."
from Michael Avallone's The Patridge Family

-



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

From: Steve Smith <[e-mail]>
Subject: Re: great news for (old) Terry Riley lovers
Date: 17 Mar 1999 00:37:58 -0500

SUGAR in their vitamins? wrote:

> > Terry Riley Poppy Nogood and the Phantom Band Volume 1   (1968)
> > organ of Corti 4
>
> i feel confused. are there multiple versions
> of this recording? didn't
> Cortical release this a few years ago?

Yes, they did.  The good news is that Koch has picked up the label for
distribution, so you'll actually be able to *find* this and the other Cortical
releases.

The March Koch release book includes the two Riley reissues "Olson III" and
"Poppy Nogood" as well as a single disc culled from the Los Angeles Free Music
Society 10 CD set, titled "Unboxed."  Also from Koch in March, a new label called
Xeric bows with a single CD solo disc by Mats Gustafsson, "The Education of Lars
Jerry."  But about the Xeric label I know nothing at all.

Steve Smith
[e-mail]
NP - Marianne Nowottny, "Little Harem Girl," _Afraid of Me_


-



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

From: [e-mail]
Subject: Re: great news for (old) Terry Riley lovers
Date: 17 Mar 1999 00:54:47 EST


In a message dated 3/17/99 12:47:47 AM, [e-mail] writes:

<< Also from Koch in March, a new label called
Xeric bows with a single CD solo disc by Mats Gustafsson, "The Education of
Lars
Jerry."  But about the Xeric label I know nothing at all. >>

I looked at this catalog a few weeks ago, and I thought I remembered the
Gustafsson disc had interesting sidemen, but I can't remember who, and maybe
I'm wrong.

Xeric is a new sublabel of Table Of The Elements, who Koch is also now
distributing. they have a Paul Panhuysen CD slated in March, along with a new
Richard Youngs CD. we'll see if TOTE is able to hit their release dates any
better now that Koch is distributing them.

Jon

-



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

From: [e-mail]
Subject: zorn trade
Date: 17 Mar 1999 00:59:01 EST

hello all
   i won't take up too much space with this reqest. i haven't traded in a
while and would like to possibly set up another trade or two. i have a trade
list. anyone interested please email me privately. attach your trade list or
send url.
i'm looking to trade for live zorn, patton, merzbow, masonna, otomo
yoshihide.....etc. audio or video.
anyone have any of the zorn/patton/lombardo or "phono sanjo" sets please let
me know.
thanks. peace.
jt

[e-mail]

-



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

From: Steve Smith <[e-mail]>
Subject: Re: great news for (old) Terry Riley lovers
Date: 17 Mar 1999 01:08:15 -0500

[e-mail] wrote:

> << Also from Koch in March, a new label called
> Xeric bows with a single CD solo disc by Mats Gustafsson, "The Education of
> Lars
> Jerry."  But about the Xeric label I know nothing at all. >>
>
> I looked at this catalog a few weeks ago, and I thought I remembered the
> Gustafsson disc had interesting sidemen, but I can't remember who, and maybe
> I'm wrong.

Barry Guy, Paul Lovens and Marilyn Crispell are all listed as folks with whom
Mats has collaborated, but this is listed as "his second solo record."  It's
produced by Jim O'Rourke.

Steve Smith
[e-mail]
NP - Marianne Nowottny, "Little Harem Girl," _Afraid of Me_ (same track as last
time, because the disc's finished and started over since then...)


-



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

From: Steve Smith <[e-mail]>
Subject: Gentlemen, start your engines - Live Masada series begins in April
Date: 17 Mar 1999 01:23:29 -0500

The wait appears to be over.  In the April 1999 Koch release book, the
first of the long-promised live Masada sets is listed:

MASADA LIVE IN JERUSALEM
TZA CD 7322
Archival Series - DDD - 2 CDs

Dave Douglas / John Zorn / Greg Cohen / Joey Baron

Piram / Both Aneth / Lachish / Peliyot / Hadasha / Ravayah / Zebdi /
Tirzah / Hekhal / Kanah / Shilhim / Ziphim / Abidan / Netivot / Zelah /
Idalah-Abal / Jair / Ashnah

Every working band has magical nights - nights when everything fits
together and the music takes off into the stratosphere.  The MASADA LIVE
series documents these unforgettable concerts recorded in venues around
the world, bringing these rare special moments to you in beautiful 2 CD
packages.  This first set presents Masada's historic visit to Israel,
their first appearance at the world famous Jerusalem Festival.  A very
special moment in the life of one of the most exciting jazz groups
working today.  This is Masada at their very best.
==================
Also announced in the Koch book for April: another Cortical Foundation
release of archival Terry Riley (Untitled Organ, Dorian Reeds, In C -
Mantra); a disc from the Knitting Factory's Jewish Alternative Movement
imprint titled "Zohar" by Uri Caine, Aaron Bensoussan, DJ Olive and
others; and, at long last, a CD pressing of the Anthony Braxton / Gino
Robair duo album long available only on fairly flimsy vinyl from
Rastascan.  Street date for all of the above is Tuesday, April 20 for
the U.S.

Steve Smith
[e-mail]
NP - Marianne Nowottny, "Afraid of Me," _Afraid of Me_


-



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

From: "Francesco Martinelli" <[e-mail]>
Subject: R: thelonious monk
Date: 17 Mar 1999 07:42:32 +0100

>All of the existing Monk books have been described as less than stellar.
>However Peter Keepnews, whose father Orin was Monk's producer, and who is
>a music journalist himself, has been working on the definitive Monk book
>for the past decade or so.


the DeWilde is about him more than about Monk, Gourse is gossipy as usual,
Fitterling is by far the best and in my opinion quite good.
I don't know jacques ponzio's book, in french only anyway
ciao
Francesco


-



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

From: Corey Marc Fogel <[e-mail]>
Subject: David Krakauer 2/20/99
Date: 17 Mar 1999 00:00:32 -0700 (MST)


Did anyone tape this show at the KF? A good friend of mine was the bass player
and I wasnt able to see it..because I live 3,000 miles away. so its relatively
important...so if you taped it or know someone who did, PLEASE REPLY!!!!!!!!!!

thanks!
corey



-



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

From: [e-mail]
Subject: Re: great news for (old) Terry Riley lovers
Date: 17 Mar 1999 02:27:05 EST


In a message dated 3/17/99 1:09:41 AM, [e-mail] writes:

<<Barry Guy, Paul Lovens and Marilyn Crispell are all listed as folks with
whom
Mats has collaborated, but this is listed as "his second solo record."  It's
produced by Jim O'Rourke.>>

whoops. sorry for doubting you, Steve.

<<NP - Marianne Nowottny, "Little Harem Girl," _Afraid of Me_ >>

how is this? I was very intrigued from the article in the NY Press a few weeks
ago, but I couldn't quite decide if it would be too close to a novelty record
or not.

Jon


-



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

From: "Julian" <[e-mail]>
Subject: Re: The Alter Rebbe's Nigun
Date: 17 Mar 1999 19:54:26 +1100

>     Just bought this  record and I think its amazing. Does anybody know
> anything about this guys or about PHLEGM, the "punk unit" to which they
> belong? Were they really orthodox hasidic students before (and do they
> really look like they do  in the picture printed inside the booklet)?
> Coming from a jewish background myself I know how narrow minded this
> guys can be and it amazes me someone with this kind of upbringing could
> have made such a joyful subversive noise.

They're two pretty regular looking guys (not like the picture!) who enjoy
playing (or perhaps trying to play) anything in that punk/improv/noise
field - they've been involved with Australian tours of Mr Bungle and Secret
Chiefs (and others), playing improv/game pieces with them. Their latest
project is called Testicle Candy. I've found Robbie and Oren's work pretty
so-so when I have seen them around, but they usually manage to get someone
good to play with them, which can help.


-



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

From: Peter Hollo <[e-mail]>
Subject: Re: The Alter Rebbe's Nigun
Date: 17 Mar 1999 20:53:08 +1100

Phlegm (or rather Ambarchi & Avenaim) do come from an orthodox
upbringing. However, the photos on the CD definitely aren't of them -
these days Oren has short hair (of differing colour depending when...)
and Robbie has something like dreadlocks... somehow I think they've
transcended their upbringing ;)

Great CD too.

Peter.
--
Peter Hollo  [e-mail]  http://www.fourplay.com.au/me.html
              FourPlay - Eclectic Electric String Quartet
                       http://www.fourplay.com.au
                     Raven: experimental electronic
                 http://www.fourplay.com.au/sound.html
"Of course, dance music can be a music where you lie on your back and
your brain cells dance" -Michael Karoli of Can, quoted in Wire mag.

-



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

From: Dan Given <[e-mail]>
Subject: Re:Gentlemen, start your engines
Date: 17 Mar 1999 08:26:18 -0500

>Date: Wed, 17 Mar 1999 01:23:29 -0500
>From: Steve Smith <[e-mail]>
>Subject: Gentlemen, start your engines - Live Masada series begins in April
>Also announced in the Koch book for April: another Cortical Foundation
>release of archival Terry Riley (Untitled Organ, Dorian Reeds, In C -
>Mantra); a disc from the Knitting Factory's Jewish Alternative Movement
>imprint titled "Zohar" by Uri Caine, Aaron Bensoussan, DJ Olive and
>others; and, at long last, a CD pressing of the Anthony Braxton / Gino
>Robair duo album long available only on fairly flimsy vinyl from
>Rastascan.  Street date for all of the above is Tuesday, April 20 for
>the U.S.

Hasn't the Braxton/Robair disc been out for a long time?  I remember some
email with Gino months ago about what the extra material was, and I'm sure
I've seen it listed by both Verge and Cadence.  Haven't bothered getting
it, because there's only one short piece not on the record.  And, the CD
doesn't come with that great cover.

BTW, Steve, how is the Rich Halley Beanbenders disc that was your NP last
week.  I was listening to Umatilla Variations a few days ago, and love it.
How does it compare?

Dan


-



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

From: [e-mail]
Subject: RE: Warsaw Summer Jazz Days
Date: 17 Mar 1999 15:27:55 +0100

Hi
Artur Nowak wrote:
>Just to remind to some of you: this festival starts right afer Warsaw
Summer
>Jazz Days, where you have a chance to listen during 4 days to: Elliott
Sharp
>Trio, Marc Ribot Y Los Cubanos Postizos, David Torn / Vernon Reid / Elliott
>Sharp, Masada String Trio, Masada quartet, Bar Kokhba, Henry Threadgill,
>Steve Coleman Big Band, Bill Laswell / Jack DeJohnette / Sultan Khan / Paul
>Schutze, Medeski, Martin & Wood, Boccio / Gibbs / Rypdal, Critters Buggin.

WSJD'99 program has changed a little.
All updates you can find at my trade site:
http://witkowski.tvp.com.pl

Bye
Marcin

-



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

From: "J.A.Bueno" <[e-mail]>
Subject: montreal info
Date: 17 Mar 1999 11:31:50 -0300

I will be visiting Montreal,Canada for a couple of days .
I will need some advice from any Zornie living in this city
(hotels,music stores ,live music, etc.). Any help will be welcomed.
Please mail me privately.
Thank you in advance .
Antonio





-



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

From: [e-mail]
Subject: Roscoe's 'Nine To Get Ready'
Date: 17 Mar 1999 09:36:38 -0500


     Eric Ong gave a brief and, as I recall, favorable review of this a
     week or so back and I'd just like to chime in and then some. What a
     fine album! This is easily the best thing Mitchell's released since
     'The Flow of Things' and possibly since one of my all time faves,
     'Snurdy McGurdy and her Dancin' Shoes'. Every track here is strong,
     richly arranged and wonderfully recorded.

     Special mention for Hugh Ragin (seems silly to say after about 20
     years, but he's _still_ probably the most underrated trumpeter
     around...well, with Andy Altenfelder) and the great, great George
     Lewis, who solo with true invention and, with Roscoe, form a powerful
     front line.

     Mitchell's compositions strike this listener as _so_ much deeper than
     his recent output on releases like 'Hey, Donald' and others, that I
     wonder if he was saving them for an ensemble of the right size and
     caliber and the appropriate recording situation. Whatever, I'm elated
     they made it to disc. Kudos to ECM for continuing to come up with the
     (very) occasional rough-edged gem.

     Brian Olewnick

     NR: Murakami's 'Hard-Boiled Wonderland...'
         On deck: Garland's 'The Tesseract'




-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: great news for (old) Terry Riley lovers
Date: 17 Mar 1999 08:05:11 -0800


On Wed, 17 Mar 1999 00:54:47 EST  [e-mail] wrote:
>
>
> In a message dated 3/17/99 12:47:47 AM, [e-mail] writes:
>
> << Also from Koch in March, a new label called
> Xeric bows with a single CD solo disc by Mats Gustafsson, "The Education of
> Lars
> Jerry."  But about the Xeric label I know nothing at all. >>
>
> I looked at this catalog a few weeks ago, and I thought I remembered the
> Gustafsson disc had interesting sidemen, but I can't remember who, and maybe
> I'm wrong.

You are right. The record was initially not a solo one. I don't know what
happened but it is a solo record now.

    Patrice.

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: great news for (old) Terry Riley lovers
Date: 17 Mar 1999 08:06:06 -0800


On Wed, 17 Mar 1999 00:54:47 EST  [e-mail] wrote:
>
> Xeric is a new sublabel of Table Of The Elements, who Koch is also now
> distributing. they have a Paul Panhuysen CD slated in March, along with a new
> Richard Youngs CD. we'll see if TOTE is able to hit their release dates any
> better now that Koch is distributing them.

From what I understood, Xeric is to focus on improv.

    Patrice.

-



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

From: [e-mail]
Subject: Wadada Leo Smith
Date: 17 Mar 1999 11:46:25 -0300

I need to know the complete Wadada Leo Smith's discography. Please help!
You can email me privately.

Thanks in advance.

Hugo.

-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Dion McGregor(?)'s Dreams
Date: 17 Mar 1999 17:02:32 GMT0BST

Heard one track from this on the radio the other night.  Absolutely
mind-boggling!  Has anyone picked it up yet?

Sean Wilkie

-



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

From: Stephen Fruitman <[e-mail]>
Subject: Felix Lajko
Date: 17 Mar 1999 18:49:43 +0200

Regarding the recent "gypsy"/Balkan thread: I=B4d like to suggest a
remarkable CD by one Felix Lajko entitled _Es Zenekara_ (1997) on the
Hungarian Rana in Fabula label. Remarkable stuff - Lajko is a little over
twenty years old and is an ethnic Hungarian living in Slovenia. In his
t-shirt and jeans he looks just like a scrawny punk - and that=B4s exactly
how he plays his violin (and occasionally zither): like a punk but one with
a deep understanding of the music of his region. It=B4s raucous but extremel=
y
melodic, rough-hewn but well-recorded. The thirteen-minute cut "Ethno
Camp", for example, sounds like a late-night hoedown in some seedy
backwater Balkan Inn that just won=B4t end. He is backed up by a band
consisting of muffled drums, darbouka, trombone, guitar and various basses
and just rips through their solid backing so that you are left marvelling
how he can saw away at his instrument like that without the strings
igniting.

Have no idea if the label has any sort of North American or West European
distribution deal, but inquiries can be sent to:

Rana in Fabula
H-1464 Budapest
Pf 1377 Hungary
(Fax: [phone]

All the best, Stephen

Stephen Fruitman
Dept of Historical Studies
Umea University
SE-901 87 Umea Sweden



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

Bj=F6rn Olsson,
Inst. f=F6r id=E9historia,
Ume=E5 universitet
901 87 Ume=E5
tel. [phone] fax 143374



-



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

From: Stephen Fruitman <[e-mail]>
Subject: Tom Waits en francais
Date: 17 Mar 1999 18:51:19 +0200

Anyone on the list a reader of French interested in a nice little 30-page
magazine supplement entitled "Jim Jarmusch sur la route avec Tom Waits"?
=46ascinating dialogue between the director and Waits about Waits=B4 music,
featuring excellent photos of the latter by the former. Free upon request
to the first man/woman interested.

Btw, I understand that his new CD is just about to be released. Anyone
heard anything yet?

All the best, Stephen

Stephen Fruitman
Dept of Historical Studies
Umea University
SE-901 87 Umea Sweden



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

Bj=F6rn Olsson,
Inst. f=F6r id=E9historia,
Ume=E5 universitet
901 87 Ume=E5
tel. [phone] fax 143374



-



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

From: Stephen Fruitman <[e-mail]>
Subject: Laswell on Tzadik?
Date: 17 Mar 1999 18:52:07 +0200

Could anyone who has heard the new Bill Laswell release on Tzadik please
post an impression? Very curious, but Uncle Bill veers off in many
different directions, and some of them I am not interested in following.
Thanks in advance. Stephen

Stephen Fruitman
Dept of Historical Studies
Umea University
SE-901 87 Umea Sweden




Bj=F6rn Olsson,
Inst. f=F6r id=E9historia,
Ume=E5 universitet
901 87 Ume=E5
tel. [phone] fax 143374



-



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

From: s~Z <[e-mail]>
Subject: Re: Tom Waits en francais
Date: 17 Mar 1999 10:16:27 -0800

> Btw, I understand that his new CD is just about to be released. Anyone
> heard anything yet?

April 20 with a small tour possibly.
http://www.sonicnet.com/news/archive/singlestory.jhtml?id=511741

-



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

From: William York <[e-mail]>
Subject: Alter Rebbe's Nigun/ Secret Chiefs/ Angelus Novus/ radio
Date: 17 Mar 1999 13:55:41 -0500 (EST)

> >     Just bought this  record and I think its amazing. Does anybody know
> > anything about this guys or about PHLEGM, the "punk unit" to which they

I agree, I liked this one too. Some of it reminded me of Captain Beefheart
or, like they mention in the promo, Mark Ribot (in an aggressive mode).

> They're two pretty regular looking guys (not like the picture!) who enjoy
> playing (or perhaps trying to play) anything in that punk/improv/noise
> field - they've been involved with Australian tours of Mr Bungle and Secret
> Chiefs (and others), playing improv/game pieces with them. Their latest

I thought they do pretty well for 2 guys doing all the instruments, and
its better than most punk/improv/noise I hear.  Actually, a lot of it is
more in the drone/sparse percussion vein, to put it loosely, and again its
above average for its type.  I thought their recording and sound effects
(like the backward Rabbi voice in the last song) were especially
impressive, so the connection with Bungle and the Secret Chiefs makes
sense b/c those guys know what they're doing with that.

Just wondering if anyone else has heard much of the stuff from the
'Gallery of Essentials' on the Secret Chiefs site.  I got Peter Thomas'
"Raumpotroille", the Andre Popp CD, and one of the Dumitrescu albums
(Medium III, etc) and think they're great, although I'm not on the same
level of enthusiasm as whoever writes those glowing reviews (who is it?).

Oddly, they list Zorn's "Angelus Novus" as an essential album for those
continually let down by his other recent work while also ranting about
post-modernism ruining music... If anything he's done is going to be
called post-modern I'd have to say "Live and Let Die" would be at the top
of the list.  And I'm not sure how much if any Angelus Novus stands out
against other stuff from the last few years.  Anyway, his coments are
interesting.  I would guess its Trey Spruance..... Actually this topic was
sort of talked about a few months ago on the list, so sorry for rambling.

WY

P.S. Now up to 50 of the 59 or 60 "Radio" references.  Thanks for the
help.  Even found Septic Death.  That show will be this Thursday at
9PM-12PM Eastern time, at www.wxyc.org/


-



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

From: "Francesco Martinelli" <[e-mail]>
Subject: R: thelonious monk
Date: 17 Mar 1999 08:15:17 +0100

>From what I heard, the Dewilde is a great book on Monk written from a
pianist
>perspective. It does not really fit the definition of a bio in the
traditional
>sense and might disappoint a reader looking for the nitty-gritty details
>about the life of the musician.


I read the book. I'm not into nitty gritty but I'd rather read about monk
than dewilde's reactions and relationship with him. I think the Gourse is
bad, and the Fitterling is up to now the best, including a section with a
record by record discussion that would be very helpful for a novice.


-



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

From: "James Adrane" <[e-mail]>
Subject: Couldn't be more off topic than this !
Date: 17 Mar 1999 16:00:18 EST

Absolutely no Zorn content but I would just like to share
this with as many people as possible.


Instructions For Life

1.  Give people more than they expect, and do it cheerfully.
2.  Memorize your favorite poem.
3.  Don't believe all you hear, spend all you have, or sleep all you
want.
4.  When you say "I love you" - mean it.
5.  When you say "I'm sorry" look the person in the eye.
6.  Be engaged at least six months before you get married.
7.  Believe in love at first sight.
8.  Never laugh at anyone's dreams.
9.  Love deeply and passionately. You might get hurt, but it's the only
way
to live life completely.
10. In disagreements, fight fairly. No name calling.
11. Don't judge people by their relatives.
12. Talk slowly but think quickly.
13. When someone asks you a question you don't want to answer,
smile and ask, "Why do you want to know?"
14. Remember that great love and great achievements involve great risk.
15. Call your mom.
16. Say "Bless you" when you hear someone sneeze.
17. When you lose, don't lose the lesson.
18. Remember the three R's : Respect for self; Respect for
others; Responsibility for all your actions.
19. Don't let a little dispute injure a great friendship.
20. When you realize you've made a mistake, take immediate steps
to correct it.
21. Smile when picking up the phone. The caller will hear it in your
voice.
22. Marry a man/woman you love to talk to. As you get
older, their conversational skills will be as important as nay others.
23. Spend some time alone.
24. Open your arms to change, but don't let go of your values.
25. Remember that silence is sometimes the best answer.
26. Read more books and watch less TV.
27. Live a good, honorable life. When you get older and think back,
you'll enjoy it a second time.
28. Trust in God but lock your car.
29. Do all you can to create a tranquil, harmonious home.
30. In disagreements with loved ones, deal with the current situation.
Don't bring up the past.
31. Read between the lines.
32. Share your knowledge. It's a way to achieve immortality.
33. Be gentle with the Earth.
34. Pray. There's immeasurable power in it.
35. Never interrupt when you are being flattered.
36. Mind your own business.
37. Don't trust a man/woman who doesn't close his/her eyes when you
kiss.
38. Once a year, go someplace you've never been to.
39. If you make a lot of money, put it to use helping others while you
are living. That is wealth's greatest satisfaction.
40. Remember that not getting what you want is sometimes a stroke of
luck.
41. Learn the rules, then break some.
42. Remember that the best relationship is one where your love for
each other is greater than the need for each other.
43. Judge your success by what you had to give up in order to get it.
44. Remember that your character is your destiny.
45. Approach love and cooking with reckless abandon.

Thanks for reading this.
James
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: Gene Natalia <[e-mail]>
Subject: Re: Couldn't be more off topic than this !
Date: 17 Mar 1999 13:33:06 -0800

46. Do not send platitudinous lists of "Instructions for Life" to the Zorn
list.


-



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

From: Matthew Shepherd <[e-mail]>
Subject: Re: Tom Waits en francais? Tabernacle!
Date: 17 Mar 1999 17:00:01 -0500



Stephen Fruitman wrote:

> Anyone on the list a reader of French interested in a nice little 30-pa=
ge
> magazine supplement entitled "Jim Jarmusch sur la route avec Tom Waits"=
?
> Fascinating dialogue between the director and Waits about Waits=B4 musi=
c,
> featuring excellent photos of the latter by the former. Free upon reque=
st
> to the first man/woman interested.

Zut alors! I'm a French staggerer but with two Franco roommates who could
help me read (and poss. rough translations for the French impaired, if
wanted/needed.)

Waits speaks FRENCH?

I heard he was dying of throat cancer. Goofy rumour?

[e-mail]




-



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

From: [e-mail]
Subject: Two Christians
Date: 17 Mar 1999 16:09:47 -0500


     Marclay and Wolff, that is.

     I believe they're performing together at Columbia University on March
     26. Just heard a rather vague annoucement of same on KCR; if anyone
     has more detailed info, please post. Thanks.

     Brian Olewnick



-



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

From: [e-mail]
Subject: Re: Roscoe's 'Nine To Get Ready'
Date: 17 Mar 1999 20:28:57 EST


In a message dated 3/17/99 11:08:12 AM, [e-mail]
writes:

<< Kudos to ECM for continuing to come up with the
     (very) occasional rough-edged gem.  >>

I haven't heard the Mitchell record yet, although I'm looking forward to it.

but I'd like to chime in with congrats to ECM, a label which I typically have
very little tolerance for, for the Wachsmann/Lytton record they just put out.
very highly recommended. it's good to hear these two get a chance to stretch
out a bit on their own, after so many records in the shadows as sidemen. and,
as always, I'm a sucker for great free improv mixed with electroacoustic
experimentation, which these two guys both excel at.

Jon

-



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

From: [e-mail]
Subject: sound insulation?
Date: 17 Mar 1999 20:48:32 EST

I know this is pretty off-topic, but I'm not quite sure where to go for
answers about this, and I was hoping someone here could help me out or point
me in the right direction.

here's my problem:

after installing a new stereo a month or two ago, I started getting complaints
from the neighbors for the first time ever. not from people in my building,
mind you, but from people in the adjoining building on the same floor. so,
since there's only one wall of my living room that borders on that building, I
figure I can put up some kind of insulation and then go back to happily
blasting Keiji Haino into the wee hours.

but I know nothing about insulation and I have no idea where to begin my
search. my wall is about 13 feet by 9 feet, if that helps. any info, on or off
list, is much appreciated.

thanks, and sorry for the well off-topic post,
Jon

-



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

From: [e-mail] (Martin Wisckol)
Subject: tom waits
Date: 17 Mar 1999 17:03:50 -0800

the following was gleaned from numerous posts on a waits list over
recent weeks.

Mule Variations has been set back a week to April 27 release. Waits is
playing at SxSW in Austin on Saturday.  A small tour of 5-10 dates has
been mentioned as a possiblity for May. He's scheduled to record a
segment for some cable station, MTV or something, where they talk to
the musician about the stories behind well known songs. Heard one
subject might be Downtwon Train, since Rod Stewart recorded it. Ug.
Early reviews of the album I've seen make it sound like the lyrics are
happening, the music sort of follows territory he's already laid out.
ZORN CONTENT: Marc Ribot, Greg Cohen, Ralph Carney, Charlie Musselwhite
are among the sidemen. He delivered 28 cuts to the record company, 17
are on the disc, some recorded lo-tech, outdoors. Audio clips online
are being promised, as well as "pre-release listening parties'' at
places like Barnes and Noble. The CD will be on Epitaph records, might
want to check their website. Also check:

www.offmind.net/tomwaits/

Martin

-



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

From: Risser Family <[e-mail]>
Subject: CD Sale
Date: 17 Mar 1999 21:06:03 -0500

If you are interested in any of the following artists, please mail me for a list:

Legendary Jim Ruiz Group, Getaway Cruiser, Bayete, Versus, Air,
Freaky Chakra, Marcy Playground, Bayete and Jabu Khanyile, Thymme Jones,
Lake of Dracula, Ultrababyfat, Pointless Orchestra, Twelve Caesers,
Scooby Doo, Lazy K, Babe the Blue Ox, Across 110th Street OMPS, Gearwhore,
Replikants, Pretty in Pink OMPS, Jewel, No Doubt, Blues Travellers, Dazzling Killmen,
John Zorn, Jan Garbarek, Hafler Trio, Namanax, Luc Ferrari, Robert Fripp,
Sugar Plant, Hundred Sights of Koenji, Uzeda, Bill Horist, Grateful Dead,
Cornelius, Panicsville, Bayete, Wizard of Oz, Take 6, Henry Mancini,
Various - TV Dinner Christmas, Leon Redbone, Helen Merrill, John Zorn,
Various - Hi-Fi Holiday (Starbucks Comp), Moog Cookbook, Meat Beat Manifesto,
Golden Paliminos, Bartok/Boulez, Bartok, Paul Newman, Revolting Cocks,

The list is in Excel 95 or Text format.  Please specify.
Thanks,
Peter

[e-mail]

-



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

From: [e-mail]
Subject: Re: Recent Swag (longish)
Date: 09 Mar 1999 22:13:59 EST


In a message dated 3/8/99 9:07:09 PM, [e-mail] writes:

<< >      John Duncan/Bernhard Gunter  Home, Unspeakable         Trente
Oiseaux

Can you tell what exactly its connection is to Morton Feldman's 'Neither'? I
know it was inspired by a line of Beckett's from 'Neither' but is there any
musical connection as well?  >>

according to the liner notes:

"the music on this CD was inspired by Samuel Beckett's libretto for Morton
Feldman's chamber opera NEITHER. it is constructed as a set of musical
'places', which in their entirety form the topography of a 'landscape' we feel
might be described by the final words of Beckett's text: unspeakable home."

personally, I don't hear any musical connection. it just sounds like another
supersilent Gunter record to me. only Jim O'Rourke can hear the differences
between them.

Jon




-



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

From: "BLA BLA BLA" <[e-mail]>
Subject: Re: Idiot Flesh (plus Iceburn, now)
Date: 03 Mar 1999 08:01:22 +1030

>Idiot Flesh might have done it, but you might also be thinking of Iceburn-
who
>do a phenomenal rave-up on it, in my opinion (perhaps "rave-up" isn't quite
the
>proper term...). Very King Crimson-y, but looser- reminded me alot of KC's
>"Larks Tongues in Aspic" and "Providence" in particular. Very unlike
anything
>else from them. It's a split CD w/ a group called "Engine Kid" who I've
never
>heard anything else by. Anyone familiar w/ these cats, have any
recommendations?


Yeah, both Engine Kid and Iceburn are post-hardcore bands, those that are
familiar with newschool hardcore, will know that Iceburn's original releases
were on Victory Records. Iceburn then moved onto Revelation (another
hardcore label), before wandering off into whatever it is that they do.
Iceburn play a sort of mellow, post-hardcore with fusion influences ...plus
some wacky sax work...

Engine Kid are a post-hardcore/emo band that errrmmm....hmmm well there
posthardcore almost college guitar band,if you ike that sort of thing.


xNACHTx

Currently Playing : V/A - Lo-Fibre Companion



-



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

From: Telly O'Logical <[e-mail]>
Subject: Re: gettin' off topic: how to do it
Date: 10 Mar 1999 15:26:12 +0200

>For crit theory, try the Theory Out Of Bounds list, which just started
a
>discussion of . To subscribe to the TOOB list, email
>[e-mail] with the word "subscribe" (without quotes) in
the
>subject line.  After being offline for a while, the moderator's trying
to
>start a discussion of Jose Gil's Metamorphoses of the Body, and has
>distributed a review and some quotes.

For a knowledgeable, witty article demonstrating that Derrida is a
poseur(by a
former student of his), go to
http://www.nybooks.com/nyrev/WWWarchdisplay.cgi?19980625036F


-



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

From: Tom Pratt <[e-mail]>
Subject: Paradigm
Date: 09 Mar 1999 20:58:56 -0500

There are two recent discs on Paradigm which I don't think can be
missed: Karuna Khyal's 'Alomoni 1985' and Brast Burn's 'Debon'. Both
were very obscure vinyl releases probably made by the same group of
Japanese guys in the 70's. This is just some bizarre rock with strange
vocals, some harmonicas, tapes, and whatever else. There's no drum-kit
but some percussion. Apparently both were listed in Steven Stapleton's
list of crucial records and they really are phenomenal. Seriously. Go
get them.

If anybody knows of anything even remotely like this, let me know.

                    -Tom Pratt


-



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

From: "Dave Egan" <[e-mail]>
Subject: Re: VOG
Date: 11 Mar 1999 13:57:09 -0800

From the Loosegroove Records website:  The VOG project is now called
"Ponga", and the CD is to be out April 6th.

- Dave

-----Original Message-----


>Does anyone know if the live VOG (Horvitz/Skerik/ etc..) cd was ever
>released?  Have they released anything at all?


-



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

From: "Toby Dodds" <[e-mail]>
Subject: WAYNE ON NPR + PONGA
Date: 13 Mar 1999 13:12:37 -0800

-Wayne Horvitz will appear on this weeks Weekend Edition on NPR.  The show,
which
is hosted by Liane Hansen, will feature Zony Mash and will include an
interview
with Wayne.  In Seattle the broadcast time is between 5 and 10 AM this
Sunday
morning.  Unfortunately I don't have the exact time for the piece.  Everyone
else should check with their local NPR affiliate.  If you've never heard
Wayne
speak then you are in for a treat!

-It's great to hear all the talk of VOG/PONGA, I believe the story is that
the name VOG was trademarked or something like that.  Hence PONGA was put in
place.  The band and the album is all the same.  Amazing stuff!

Cheers,
Toby

UPCOMING ZONY MASH CONCERTS

3/17/99 - Baltic Room, Seattle, WA "acoustic performance"

ZONY MASH WEST COAST 1999

3/18/99 - Rainbow Tavern, Seattle, WA
3/19/99 - Roseland Grill, Portland, OR
3/20/99 - Good Times, Eugene, OR
3/21/99 - Kat Wok, Ashland, OR
3/22/99 - Bruno's, San Francisco, CA
3/24/99 - Fuel, San Jose, CA
3/26/99 - NYM, Santa Barbara, CA
3/27/99 - McCabes Guitar Shop, Santa Monica, CA
3/28/99 - Blake's, Berkeley, CA
3/29/99 - Bruno's, San Francisco, CA
3/30/99 - Brick Works, Chico, CA

ZONY MASH
Toby Dodds - Representative
PO Box 85535
Seattle, WA 98145
[e-mail]
www.zonymash.com


-



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

From: "ADM" <[e-mail]>
Subject: Jojo Mayer
Date: 17 Mar 1999 23:55:17 -0800

I was wondering if anyone on the list had any info on Mr. Mayer.  I saw him
play on the DJ Spooky tour last fall and was floored.  Does anyone know of
any recordings he is playing the same "live jungle" style.  I know he plays
in Nerve and Prohibited Beatz, but I've had ill-luck in any searching I've
done for an album of either of theirs.  Any comments on either of these
bands (or any other thing Jojo has been a part of)?

Thanks,
Aaron


-



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

From: Aaron Chee-Kean Chua <[e-mail]>
Subject: Re: o and co (fwd) (was: the Alter Rebbe's Nigun)
Date: 18 Mar 1999 19:46:50 +1100 (EST)

just forwarding this bit of info...

---------- Forwarded message ----------
Reply-To: [e-mail]

Hey Aaron

Can you post the folowing to the Zorn list, i tried but it bounced back
due to me not being a member.  If you could forward this + any response
that would be super.

thanks - mark



Regarding 'The Alter Rebbe' CD on tzadik new jewish series.

A friend passed this on a mail regarding this which was a pleasing mail
to see.   I can fill you in somewhat on the activites of these guys.

Firstly, yes they were both orthodox hasidic students before being
swallowed up in the vast depths of underground arts.  The photo is them.

Phlegm is a band from Sydney that is currently in hiatus whilst other
activities abound. Phlegm is Oren Ambarchi - git/voc, Robbie Aveniam
(drum/sample)  and Nick Kamivisis (?).  They have released 3 cd's 'Mr
Hoo Ha', 'Live-unauthorised' and 'Poppin and Milkin'.  The first is
kinda of a dense assortment of ideas.  Defintely Zorn/N.City influence,
but with lot's of Hendrix/Haino guitarisms and general weirdness etc.
'Live Unauthorised' is a semi-legit boot of their somewhat highly
regarded Phlegm shows in Melbourne/Sydney 94-96.  It's pretty full on
listening, in the red and all that.   'Poppin' is the best in my
opinon.. kind of a cross between African Improv and musique concrete.
Other elements drift through, but these 2 seem to dominate.  This CD
lays the intial bricks for a path that leads to the wreaking havoc
unsued on 'Alter Rebbe'CD.  It also features an amazing vocal duet
between Nick and a bird!

As I said there is not much activity together of late, but individually
things are quite active.  Oren and Nick also play in Menstruation
Sisters who are one of the greatest live bands to don these crusty pubs
passed off as venues we often frequent down here.   It is the sound of
inept monkeys playing the angry youth blues.   They did an amazing
support for Sonic Youth, incorporating a giant gong which had t.moore
foaming (MS got a mention by the lanky one in latest issue of
mainstream/alternative publication 'Juice' as one of the bands of the
90's).   Both Rob and Oren have released solo records - Robbies
'Hanachincho' disc is a continuation of poppin themes with an emphasis
on bombastic percussion.   Oren has just released a ultra limited lp
'Stacte' (on his 'Jerker' label) which is one guitar/one track/one day.
side a is beauty guitar drone flip is cut up electronic frenzy.   Nick
runs the fata label which has released a Menstruation Sisters CD and a
Sportsbra CD.  S-bra are nicks am pop outfit and are simply the greatest
studio only band in Australia.

Rob and Oren often perform 'Cobra' around Australia and have played with
Zorn et al in NY on different occasions and put on the annual 'What is
Music' festival in Melb/Syd each year.

There are plenty of us down here and we're itching and active as the
rest of ye!

So anyway that's a rundown.  I do have a vested interest in all this
gear as i distribute all this and more worldwide.  A copy of dodgy
out-of-date catalogue (mail for recent updates and stay tuned for bumper
web page) is up at

http://www.plasticine.com/spill/

Thanks for Zorn space.   Keen to hear the Amacher disc - has anyone
reports on this??

Mark

synaesthesia


-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Monk
Date: 18 Mar 1999 09:26:58 GMT0BST

Well, you needn't take this too seriously, as I haven't read the book
myself, but I did hear two good reports (independent of one
another) about DeWilde's book, and both contrasting the musical
insight with the gossipy anecdotal fashion of so much other jazz bio.

Does anyone know if Monk's "Locomotive" has ever been covered by
anybody else?

Sean Wilkie

-



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

From: "Douglas Clarke" <[e-mail]>
Subject: Primus/Tom Waits /Jack Keroac/Buckethead/Bootsy
Date: 18 Mar 1999 02:16:49 PST




Stephen Fruitman <[e-mail]> wrote:

>Btw, I understand that his new CD is just about to be released. Anyone
>heard anything yet?

Taken from:

PrimusSucks.Com Newsletter                                Vol. 21  March
17, 1999

Lots of cool stuff on the horizon as far as projects outside of
Primus, and you'll want to be sure to check them all out.
Tom Waits' first album on Epitaph Records, 'Mule Variations', is set
to hit the streets on April 27 and features all three members of
Primus on the track "Big in Japan".  Also, it looks like the long-
awaited Jack Keruoac tribute album from Rykodisc featuring a
collaboration between Primus and Mr. Waits will finally see the
light of day this year.  We'll give you more details as we get them.
Les and Brain also recently participated in an upcoming album from
Buckethead, with Les even producing a few of the tracks.  I've heard
that the album is tentatively titled 'Robots and Monsters' and should
be out this summer.  Bill Laswell did some of the other production
with Oz Fritz engineering, and there may even be an appearance by
Bootsy Collins.  Keep your ear to the ground for that one...

Too much...
-Doug

Get Your Private, Free Email at http://www.hotmail.com

-



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

From: DR S WILKIE <[e-mail]>
Subject:       old wounds?
Date: 18 Mar 1999 13:38:02 GMT0BST

sorry if this opens old wounds, but did anyone lose money ordering
that proposed zorn/eye 100 cd set which i assume never appeared?!

-



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

From: dennis summers <[e-mail]>
Subject: Couldn't be more off topic than this !
Date: 18 Mar 1999 07:08:07 -0700

We're pretty flexible, but not this flexible.

>Instructions For Life
etc.

--ds
***Quantum Dance Works***
****http://ic.net/~denniss****


-



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

From: "Heather and Jeff" <[e-mail]>
Subject: Metal Tov
Date: 18 Mar 1999 09:20:58 -0500

Has Masada ever played the Naked City tune "Metal Tov?"

JK
[e-mail]



-



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

From: [e-mail] (Martin Wisckol)
Subject: Re: tom waits
Date: 18 Mar 1999 08:39:34 -0800

[e-mail] writes:
>From: Ken Waxman <[e-mail]>

>How does Charlie Musselwhite fit the Zorn content? If you're looking
>for
>white bluesers, Barry Goldberg would probably better fit the bill.

>Ken Waxman
>[e-mail]


Ah, was referring really to the first couple of names on that list,
ribot and cohen esp.

obviously not musselwhite, though it would be a blast to hear those two
shake your wang dang doodle all night long.

martin

-



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

From: [e-mail]
Subject: millers higher life
Date: 18 Mar 1999 12:49:30 EST

i'm sure that it's been discussed before, but sometimes i can't get to
everything on this list...so : i got 'indiscreet stereo test record' the other
day (ace lull track on it!). track one is by millers higher life, written by
t. spruance. can anyone give me any info on the project? only heard the track
once, since my cdplayer is often on the fritz. just curious to know if this
project has resulted in anything else. btw - for those interested, mick harris
is due to come to new york soon to record an album for tzadik.

peace,
dave
___________________________________________________________
bill laswell, eraldo bernocchi, mick harris and lori carson discographies at :
http://www.geocities.com/SunsetStrip/Underground/7093
___________________________________________________________

-



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

From: nils <[e-mail]>
Subject: Re: Jojo Mayer
Date: 18 Mar 1999 13:22:38 +0000

> I was wondering if anyone on the list had any info on Mr. Mayer.

Mayer plays on the self-titled Screaming Headless
Torsos album.  Highly recommended.

-Nils

-



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

From: "Toby Dodds" <[e-mail]>
Subject: RE: WAYNE ON NPR
Date: 18 Mar 1999 11:14:24 -0800

I am real dissapointed that my last post took 5 days to post.  Anyway the
interview was last Sunday.  Bye!
Toby


-



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

From: Gene Natalia <[e-mail]>
Subject: Re: millers higher life
Date: 18 Mar 1999 12:08:19 -0800

>track one is by millers higher life, written by
>t. spruance. can anyone give me any info on the project? only heard the track
>once, since my cdplayer is often on the fritz. just curious to know if this
>project has resulted in anything else.

Well, if you didn't notice, the entire track by Spruance on Indiscdreet
Stereo Test Record is pretty much used in the Mr. Bungle song, Merry Go Bye
Bye, which is on Disco Volante.  So that is what the Millers Higher Life
project resulted in.  Trey hasn't done anything else under that moniker,
but he has done plenty of other things under plenty of other names.
There's his Secret Chiefs 3, Faxed Head, and apparently a new band called
FORMS, as well as other side projects and guest appearances.

                            -Ethan Danberry


-



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

From: "BLA BLA BLA" <[e-mail]>
Subject: Re: Primus/Tom Waits /Jack Keroac/Buckethead/Bootsy
Date: 19 Mar 1999 09:01:15 +1030


>Tom Waits' first album on Epitaph Records, 'Mule Variations', is set
>to hit the streets on April 27 and features all three members of


is this the same Epitaph Records that releases all those crappy pop-punk
bands like NOFX ? =|

hmmm, or mebe i'm a little confused here....




-



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

From: "John Thomas" <[e-mail]>
Subject: Re: Mitchell, ECM, Lytton/Wachsmann
Date: 18 Mar 1999 19:31:29 -0600


>>From: [e-mail]
>>Subject: Re: Roscoe's 'Nine To Get Ready'
>>
>>In a message dated 3/17/99 11:08:12 AM, [e-mail]
> writes:
>>
>> << Kudos to ECM for continuing to come up with the
>>     (very) occasional rough-edged gem.  >>
>>
>>but I'd like to chime in with congrats to ECM, a label which I typically
have
>>very little tolerance for, for the Wachsmann/Lytton record they just put
out.
>>very highly recommended. it's good to hear these two get a chance to
stretch
>>out a bit on their own, after so many records in the shadows as sidemen.

I'd like to further praise these records Brian and Jon have mentioned.
I think _Nine to Get Ready_ is the strongest record Mitchell has done in
a long time, for me, as good as the Black Saint with "Stop Wastin' My Time"
or the Cecmas. On the other hand, the solo _Sound Songs_ does have its
moments too. I see in the Roscoe Mitchell bin at Tower there is also a
new Delmark with Reggie Workman in the _Hey Donald_ group instead
(I am not a big fan of _Hey Donald_ though...too much of a mismatch
in the players). One of the biggest reasons I like Nine is again, as Brian
indicated, the combination of George Lewis, Hugh Ragin, and Mitchell
and the compositions.

The new Lytton/Wachsmann is particularly fascinating to me for
the focus on these players. Some pieces seem to be (at least on
initial listens) kind of throwaway and just pure experimentation
but others really do gel into something substantial, musically.
For my money, much more interesting than _Toward the Margins_.

I'd also say the Maneri duets disc on ECM, _Blessed_ is worth having
if you like their previous outings. I wish there was a bit more clarinet
on this one (as I had hoped with previous recordings!) but many of the
duets are quite beautiful.

Anybody heard the new ECM with Barry Guy and Maya Homburger?

John


-



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

From: [e-mail] (Martin Wisckol)
Subject: Another sophmoric poll
Date: 18 Mar 1999 19:53:27 -0800

Zornlist Greatest Improvisor of the 20th Century Poll

For what it's worth.

List your top five choices, numbered 1-5. No.1=5 points; No. 2=4
points;etc. Denote ties thusly:
1. Buddy Bolden
2. Blind Willie Johnson
2. Eye
4. Chuck Mangione
5. Eddie Hazel

Multiple listings of the same player on the same post will be
disregarded. Ballots of less than five musicians are welcomed. Vote
once. Void where prohibited.

The poll itself should be minimal burden to the list. I will post two
brief reminders before the 11:59 p.m. PST April 3 deadline. I will then
post the results, with scores. I don't know about you, but I sometimes
make a distinction between "greatest" and "favorite."

Please include the word "poll" in the subject line of your ballot. Post
to:

[e-mail]

So many names pass through this list -- I'm grateful for the exposure
and insight and descriptions, but wonder when it comes down to the
nitty gritty, who the list thinks really rules as an IMPROVISER (at
least those who would respond to such an exercise). And it is 1999.

NP: Roscoe Mitchell, Nine to Get Ready. I couldn't resist any longer --
I was going to go out and buy this today when finally a promo copy
arrived in the mail box. Ditto everything that's been said 'bout it --
you gotta go back to Snurdy McGurdy to find such a delightful Roscoe
release, George Lewis is divine (wish there was more of him, in general
and on this disc), etc. Best new thing I've heard in a while, since I'm
in a ranking mood.

Peace.

-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: LP -> CDR
Date: 18 Mar 1999 23:51:36 -0800 (PST)

not to fan any embers, but i came across
this link and thought it might be of interest...

homepages.nildram.co.uk/~abcomp/lp-cdr.htm

hasta.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


-



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

From: "Julian" <[e-mail]>
Subject: Re: I apologize (Instructions for Life)
Date: 20 Mar 1999 00:06:40 +1100

> Yes, this list is a list of adults.

hmmm...

-



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

From: [e-mail] (Chris Genzel)
Subject: Re: Jerry Reed
Date: 19 Mar 1999 15:20:11 +0100


> Re: Jerry Reed. He was a country singer/songwriter of the 1960s and
> 1970s, whose style mixed rockabilly and novelty tunes. His big hits were
> "Amos Moses" and "When You're Hot, You're Hot". He recorded for RCA. The
> cavets I cited above for Roger Williams work for him as well.

 Is this the Jerry Reed who acted in "Smokey and the Bandit" and performed
 various songs on its soundtrack?

 Kind regards,
 - Chris.

 ----------------------------------------------------
 Chris Genzel -- [e-mail]
 ----------------------------------------------------
 Discographies of
 Herbie Hancock, Michael Beinhorn & Bennie Maupin at:
 http://home.t-online.de/home/stamil/
 ----------------------------------------------------


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Jerry Reed
Date: 19 Mar 1999 11:26:00 -0500 (EST)

Yes, 'fraid so. Coulda been worse, Zorn coulda been enamoured with Burt
Reynolds and/or Clint Eastwood. But then again, Clint and Burt are more
mainstream jazz fanciers then country pickers.

Ken Waxman
[e-mail]



On Fri, 19 Mar 1999, Chris Genzel wrote:

>
> > Re: Jerry Reed. He was a country singer/songwriter of the 1960s and
> > 1970s, whose style mixed rockabilly and novelty tunes. His big hits were
> > "Amos Moses" and "When You're Hot, You're Hot". He recorded for RCA. The
> > cavets I cited above for Roger Williams work for him as well.
>
>  Is this the Jerry Reed who acted in "Smokey and the Bandit" and performed
>  various songs on its soundtrack?
>

>

-



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

From: Ken Waxman <[e-mail]>
Subject: Eyvind Kang
Date: 19 Mar 1999 11:36:52 -0500 (EST)

Hello all:

I just picked up Eyvind Kang's "theater of mineral NADEs" on Tzadik --(hey,
it was on sale for $10.99 [Canadian]) -- and have to admit it wasn't what I
expected. For my free jazz tempered ears it sounds pretty M-O-R,
sort of like some of Moondog's stuff on Columbia. To be honest I figure
there's about 10 minutes of really challenging music in its 44. Oh well,
I can always use it as background music.

Anyone else have an opinion on "theater of ..." and/or Kang's music in
general.

Nationalist note: according to the most recent CODA, Kang is Canadian born.

Ken Waxman
[e-mail]

-



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

From: alissa bader <[e-mail]>
Subject: Re: Jerry Reed
Date: 19 Mar 1999 11:43:52 -0500 (EST)


oh, way cool.

I alwyas think it's great when someone who's kind of highbrow admits to
liking something way lowbrow.

it's kind of...cross cultural.  yeah...


--alissa

(who will always regret not buying, or even shoplifting, that "boxcar
willie sings love songs" cassette I saw at the target somewhere in iowa 8
years ago)


On Fri, 19 Mar 1999, Ken Waxman wrote:

> Yes, 'fraid so. Coulda been worse, Zorn coulda been enamoured with Burt
> Reynolds and/or Clint Eastwood. But then again, Clint and Burt are more
> mainstream jazz fanciers then country pickers.
>
> Ken Waxman
> [e-mail]
>
>
>
> On Fri, 19 Mar 1999, Chris Genzel wrote:
>
> >
> > > Re: Jerry Reed. He was a country singer/songwriter of the 1960s and
> > > 1970s, whose style mixed rockabilly and novelty tunes. His big hits were
> > > "Amos Moses" and "When You're Hot, You're Hot". He recorded for RCA. The
> > > cavets I cited above for Roger Williams work for him as well.
> >
> >  Is this the Jerry Reed who acted in "Smokey and the Bandit" and performed
> >  various songs on its soundtrack?
> >
>
> >
>
> -
>
>


-



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

From: "wetboy" <[e-mail]>
Subject: just outta curioosity...
Date: 19 Mar 1999 17:12:15 -0500

...y is zorn liking country music some1 highbrow enjoying something lowbrow?
is jazz highbrow and country lowbrow? says who? i can think of plenty of
jazzers that suck ass and plenty of country pickers that kick ass.


-



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

From: "Benito Vergara" <[e-mail]>
Subject: RE: just outta curioosity...
Date: 19 Mar 1999 14:21:05 -0800

> -----Original Message-----
> From: [e-mail]
> [mailto:[e-mail]]On Behalf Of wetboy
> Sent: Friday, March 19, 1999 2:12 PM

> ...y is zorn liking country music some1 highbrow enjoying
> something lowbrow?
> is jazz highbrow and country lowbrow? says who? i can think of plenty of
> jazzers that suck ass and plenty of country pickers that kick ass.

And why is sucking ass lowbrow and kicking ass highbrow? =)

ObZorn: that Maryanne Amacher CD on Tzadik freaks my dog out. (BTW, does
anyone know what "the right volume" is for playing the disc?)

Later,
Ben

http://www.bigfoot.com/~bvergara/
ICQ# 12832406



-



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

From: Joshua A Miller <[e-mail]>
Subject: seattle area soon...
Date: 19 Mar 1999 14:28:12 -0800 (PST)

 I'll be traveling up to the seattle area, also around to places like
portland and wherever else we think we'll be able to go, for a few days
about the last week of march/first week of april. anybody out there
know about any good shows that'll be happening around then, or could
suggest good record stores and used book stores? if you could please email
me privately, i would be most grateful.
thanks a lot
josh

--
Joshua A Miller
[e-mail]


-



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

From: Craig Rath <[e-mail]>
Subject: Re: just outta curioosity...
Date: 19 Mar 1999 16:57:14 -0600

At 05:12 PM 3/19/99 -0500, "wetboy" wrote:
>...y is zorn liking country music some1 highbrow enjoying something lowbrow?
>is jazz highbrow and country lowbrow? says who? i can think of plenty of
>jazzers that suck ass and plenty of country pickers that kick ass.

I can't speak for the original poster, but I don't think the issue is
country vs. jazz, I think it's more good music vs. Jerry Reed in
particular.  The one time I was unfortunate enough to have to see him (with
a tour group at Calgary Stampede several years ago) he was so drunk he
could hardly stand.  Which didn't add anything to the awful sounds he was
making.  That's what I would consider low-brow.



-



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

From: "wetboy" <[e-mail]>
Subject: Re: just outta curioosity...
Date: 19 Mar 1999 18:45:08 -0500


-----Original Message-----


>At 05:12 PM 3/19/99 -0500, "wetboy" wrote:
>>...y is zorn liking country music some1 highbrow enjoying something
lowbrow?
>>is jazz highbrow and country lowbrow? says who? i can think of plenty of
>>jazzers that suck ass and plenty of country pickers that kick ass.
>
>I can't speak for the original poster, but I don't think the issue is
>country vs. jazz, I think it's more good music vs. Jerry Reed in
>particular.  The one time I was unfortunate enough to have to see him (with
>a tour group at Calgary Stampede several years ago) he was so drunk he
>could hardly stand.  Which didn't add anything to the awful sounds he was
>making.  That's what I would consider low-brow.
>
i c what u mean. that doesn't sound lowbrow, that sounds unprofessional. i
think i get yr meaning tho. the original post sounded like a flippant
dismissal of the entire genre of country music. kinda irritated me. country
is what i listen 2 the least (mostly due 2 my ignorance of the style) but i
have found some players r extremely talented. i would hate 2 think that we r
breeding "jazz snobs" (naked city reference. ya like it?) because most of us
have tastes that have grown beyond what many consider "normal". if i
misunderstood the original post, mea culpa mea culpa mea maxima culpa.


-



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

From: "Scurry, Les" <[e-mail]>
Subject: RE: just outta curioosity...
Date: 19 Mar 1999 16:03:32 -0800



>At 05:12 PM 3/19/99 -0500, "wetboy" wrote:
>>...y is zorn liking country music some1 highbrow enjoying something
lowbrow?
>>is jazz highbrow and country lowbrow? says who? i can think of plenty of
>>jazzers that suck ass and plenty of country pickers that kick ass.
>
>I can't speak for the original poster, but I don't think the issue is
>country vs. jazz, I think it's more good music vs. Jerry Reed in
>particular.  The one time I was unfortunate enough to have to see him (with
>a tour group at Calgary Stampede several years ago) he was so drunk he
>could hardly stand.  Which didn't add anything to the awful sounds he was
>making.  That's what I would consider low-brow.
>

    Personally, I think that sounds like entertainment at its finest.

-



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

From: cd <[e-mail]>
Subject: Dave Douglas Quartet...
Date: 19 Mar 1999 18:29:17 -0800

...featuring Mark Turner-tenor saxophone, James Genus-bass and Ben
Perowsky-drums.  I'm a big fan of DD's work with Zorn and with his Tiny
Bell Trio, but I am not familiar with these players.  Any
comments/reviews before I pay $25 for tickets?

Thanks,

-cd

-



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

From: [e-mail]
Subject: Scores?
Date: 19 Mar 1999 21:11:05 EST

I remember some talk a bit ago on the list that some company was going to do
Zorn's scores.
did this happen yet?
and is there any where else(if it hasnt)i can get some scores(piano mostly)

hell, what are some other Zornish composers(that i can get piano music for)

rodrigo

-



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

From: alissa bader <[e-mail]>
Subject: RE: just outta curioosity...
Date: 19 Mar 1999 23:05:42 -0500 (EST)


On Fri, 19 Mar 1999, Scurry, Les wrote:

>     Personally, I think that sounds like entertainment at its finest.

me too.  where can I get tickets?

seriously, though, okay, yes there are certainly very talented country
pickers,and very, very bad jazz players.  (I mean, I've heard some rotten
ones in my time).  However, okay, I think perhaps a fair analogy here
would be like:

jerry reed : hank williams or george jones :: kenny g : charles mingus or
ornette coleman

does this make any sense?  i hope it does.  nah, maybe it doesn't matter,
I'm kind of trashed at the moment.  still, I felt I should add my 2 cents
on the matter.

--alissa

[e-mail]


-



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

From: "wetboy" <[e-mail]>
Subject: Re: just outta curioosity...
Date: 19 Mar 1999 23:45:40 -0500

yes when u put it like that it makes perfect sense.
"i can c clearly now the rain is gone..."

-----Original Message-----
Cc: '[e-mail]' <[e-mail]>


>
>On Fri, 19 Mar 1999, Scurry, Les wrote:
>
>> Personally, I think that sounds like entertainment at its finest.
>
>me too.  where can I get tickets?
>
>seriously, though, okay, yes there are certainly very talented country
>pickers,and very, very bad jazz players.  (I mean, I've heard some rotten
>ones in my time).  However, okay, I think perhaps a fair analogy here
>would be like:
>
>jerry reed : hank williams or george jones :: kenny g : charles mingus or
>ornette coleman
>
>does this make any sense?  i hope it does.  nah, maybe it doesn't matter,
>I'm kind of trashed at the moment.  still, I felt I should add my 2 cents
>on the matter.
>
>--alissa
>
>[e-mail]
>
>
>-
>


-



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

From: "J.T. de Boer" <[e-mail]>
Subject: Re: Dave Douglas Quartet...
Date: 20 Mar 1999 15:35:09 +0200

Hi,

Genus played electric bass with the Brecker Bros., but this can't be
compared to the things he does with Douglas. Of course the style they
play is completely different, but just see it as a broad musical
perspective. With Douglas he uses an upright- instead of an electric
bass. Perowsky plays in Lost Tribe (with a.o. Fima Ephron). He's an
excellent drummer with an always funky toach, even when he plays
mainstream jazz. I know Mark Turner only from a live performance of
the actual Dave Douglas Quartet. Just go and see them: they're worth
it!

Jeroen


> ...featuring Mark Turner-tenor saxophone, James Genus-bass and Ben
> Perowsky-drums.  I'm a big fan of DD's work with Zorn and with his Tiny
> Bell Trio, but I am not familiar with these players.  Any
> comments/reviews before I pay $25 for tickets?
>
> Thanks,
>
> -cd
>
> -
>
>
Jeroen de Boer
student Arts & Arts Policy
University of Groningen, The Netherlands
[e-mail]

-



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

From: [e-mail]
Subject: carla bley
Date: 20 Mar 1999 09:55:09 EST

>Have you heard "Tropic Appetites" as well?  That'd be right up your alley
if you like EOTH.  Anyway, she just kinda released a new album called
"Fancy Chamber Music" (ECM).  I've heard mixed reviews, so I didn't pick
it up. >
no, haven't heard tropic appetites......
 g valente's solo on 'blunt object" ( carla bley live) is one of my
favorites.....the " live" album ranks #1 personally for album cover <grin>
bob stewart can also be heard on bley's "elevator over the hill"...


-



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

From: Peter Risser <[e-mail]>
Subject: RE: just outta curioosity...
Date: 20 Mar 1999 10:44:10 -0500

>>     Personally, I think that sounds like entertainment at its finest.

> me too.  where can I get tickets?


Sign me up!

It reminds me of the time my aunt said she went to see Pink Floyd back in
the sixties.  Apparently Syd Barrett was so whacked (or maybe not, can't
tell with him...) he just stood there the whole concert, pointing at
members of the audience, then strumming his guitar.  Strumming and
pointing, pointing and strumming, totally oblivious to the actual concert
that was going on around him.

That's beautiful.

BTW, I like Jerry Reed just fine.  I like East Bound and Down and I like
his dog Fred and I like when he gets beat up by bikers in the diner, then
runs over their bikes with his truck.  What a great movie.

And if you want great bluegrass pickin', go get the Bad Liver's first album.

Peter

NP: L'Atome - The Golden Age

-



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

From: pjm <[e-mail]>
Subject: Gypsy Music
Date: 20 Mar 1999 08:46:59 -0800

I'm a day or so behind in my Zorn-List reading, but I haven't noticed any
one mentioning the film "Latcho Drom".... Someone mentioned "Gadjo Dilo",
though. Both are great films, but I think I enjoyed the music from Latcho
Drom. It started in the Near East and followed gypsy music to Spain... The
sound track is NEVER far from my CD player

                pjm


-



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

From: pjm <[e-mail]>
Subject: Re:Radio Bands
Date: 20 Mar 1999 08:41:46 -0800


>
>Bob Demmon/Astronauts, Colin Wilson, Orchestra Baobab, E.M. Elanka,
>Terauchi Takeshi (sp?), Septic Death, Hellfire, Abe Schwarz, Repulsion,
>Akemi and Jagatera, Extreme Noise Terror, Seige, Sam Fuller, Jerry Reed,
>Roger Williams, Chuck Brown, Yokuza Z. Hiroku



>Extreme Noise Terror, well, they were a metal/punk band from the 80's
>played
>with the KLF at the Brit awards back in 89 (i think), they released a new
>album a while ago on Earache called Retro-bution.

    Earache also has some of E.N.T.'s back catalog on CD. They've become more
metal over the years and were more like classic grindcore in the earlier days.

>Septic Death are an old hardcore punk band, they are an inspiration to a lot
>the current lot of "deathcore" bands ala, Integrity, Rancor, Congress. They
>released a number of 7" which are no longer available.

    They also did an LP, but I can't remember it's title. I can see Pusheads'
gruesome cover in my head though... Some of their stuff has recently been
re-released on Pushead's Bacteria Sour label I believe.

    Also: I was under the impression ( perhaps erroneously?) that the
REPULSION in the RADIO liner notes refered to the British grindcore/metal
band of the same name? On Earache I believe...

                PJM




- -



-



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

From: [e-mail]
Subject: innocent, curious question
Date: 20 Mar 1999 12:06:57 EST

why are most zorn/tzadik cd's so expensive (esp. masada)???
they're not imports!

~joseph

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: innocent, curious question
Date: 20 Mar 1999 13:09:08 -0500

At 12:06 PM 3/20/99 EST, [e-mail] wrote:
>why are most zorn/tzadik cd's so expensive (esp. masada)???
>they're not imports!

I see Tzadiks in the $13-14 range, hardly what I'd call expensive.  OTOH,
Masada CDs are on DIW, which *is* an import, from Japan.

--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: [e-mail]
Subject: Question about publication (somewhat Zorn-related)
Date: 20 Mar 1999 13:05:06 EST

On Forced Exposure's weekly email listings (who happen to distribute Tzadik
recordings- there's your Zorn content ;-)  ), many of the reviews are credited
to "Hrvatski".  Can someone tell me what this is- a magazine or email review
mailer or what?  Thanks!

=dgasque=

-



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

From: "johnnnnn schuller" <[e-mail]>
Subject: Re: Eyvind Kang
Date: 20 Mar 1999 18:31:28 GMT



Ken,

 I bought Theatre a few weeks ago and at first listen was completely
baffled. I found enchanting yet not very challenging. I admit at first
listen I didn't like it much. A couple of days later, I put on the
headphones and gave it another shot and fell in love with the album. I
find it to be a very beautiful album, but not something for everyone.
 As far as Eyvinds other works, my absolute favorites are Sweetness of
Sickness and Dying Ground. I also love the Frisell Quartet album and
Horvitz's 4+1 Ensemble.
 I saw some performances of his in Seattle a couple of weeks ago. One
with Frisell, another with Motor Bison and also the Eyvind Kang group.
It is amazing how many diffrent areas he can cover.

Take care,
Johnnnnnnnn
>
>Date: Fri, 19 Mar 1999 11:36:52 -0500 (EST)
>From: Ken Waxman <[e-mail]>
>Subject: Eyvind Kang
>
>Hello all:
>
>I just picked up Eyvind Kang's "theater of mineral NADEs" on Tzadik
--(hey,
>it was on sale for $10.99 [Canadian]) -- and have to admit it wasn't
what I
>expected. For my free jazz tempered ears it sounds pretty M-O-R,
>sort of like some of Moondog's stuff on Columbia. To be honest I figure
>there's about 10 minutes of really challenging music in its 44. Oh
well,
>I can always use it as background music.
>
>Anyone else have an opinion on "theater of ..." and/or Kang's music in
>general.
>
>Nationalist note: according to the most recent CODA, Kang is Canadian
born.
>
>Ken Waxman
>[e-mail]
>

Get Your Private, Free Email at http://www.hotmail.com

-



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

From: eric ong <[e-mail]>
Subject: Re: Question about publication (somewhat Zorn-related)
Date: 20 Mar 1999 13:32:42 -0500 (EST)

> On Forced Exposure's weekly email listings (who happen to distribute Tzadik
> recordings- there's your Zorn content ;-)  ), many of the reviews are credited
> to "Hrvatski".  Can someone tell me what this is- a magazine or email review
> mailer or what?  Thanks!

Hrvatski is a guy actually.  He DJ's around the Cambridge/Boston area
sometimes and runs the Reckankreuzungs label (sp?).  I probably spend half
of my time divided between NYC and Cambridge, and fortunately have had the
chance to see him play a couple times at various electronica fests.  The
times I've seen him, his stuff has ranged from heavy arthouse drum 'n'
bass to noisey ambient.  From what I know, he's also done some improv
shows with Chadbourne, etc.

Try the following link:
http://www.tiac.net/users/sheket

BTW, my favorite track from Hrvatski is with Blitter on the "Blip, Bleep
(Soundtracks to Imaginary Videogames)" compilation off Lucky Kitchen.
Others who appear on the comp: Jake Mandell, V/VM, Personal Electronics,
Underwood, Soundcard, Mhar66, etc.

(www.luckykitchen.com).

eric.


-



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

From: "johnnnnn schuller" <[e-mail]>
Subject: Zony Mash kicked my ass!
Date: 20 Mar 1999 18:34:46 GMT

Saw Zony Mash the other night in Seattle. They are hotter than ever! Do
not miss them, they are doing a west coast tour right now. If you are
thinking about going, but aren't quite sure, do yourself a favor and
go!!!!!
They flat out kicked my ass!

Johnnnn
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: eric ong <[e-mail]>
Subject: Re: Eyvind Kang
Date: 20 Mar 1999 13:58:24 -0500 (EST)

>  As far as Eyvinds other works, my absolute favorites are Sweetness of
> Sickness and Dying Ground. I also love the Frisell Quartet album and
> Horvitz's 4+1 Ensemble.

Unfortunately, I haven't heard this Frisell Quartet album with Kang.  I'm
wondering, though, does it at all conjure up the pastoral feel of the
Dirty Three when you're listening to it?  The reason I ask is that I have
this album by Gabriela called "detras del sol", on which both Kang and
Frisell seem to play a little out of character.  I'm aware that both are
talented, versatile payers, but on this Gabriela record, Frisell sounds
especially flexible, loose, and meditative (like Mick Turner) and Kang
tones down into a more folk-y mood (like Warren Ellis).  I'm not really a
Dirty Three fan, I'm just wondering, so please e-mail me privately if you
want.

It's funny, though, after reading this recent Frisell interview, in which
the writer commented on how Frisell was a "failed" clarinet player, but
the wooden clarinet sound could still be heard in his guitar playing, I've
never really been able to listen to Frisell in the same way.  Which is
probably why his playing on the Gabriela record really stands out to me.

Feeling rather talkative today, sorry!,

eric.


-



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

From: [e-mail]
Subject: Re: Eyvind Kang
Date: 20 Mar 1999 16:49:43 EST


In a message dated 3/20/99 2:00:10 PM, [e-mail] writes:

<< Unfortunately, I haven't heard this Frisell Quartet album with Kang.  I'm
wondering, though, does it at all conjure up the pastoral feel of the
Dirty Three when you're listening to it? >>

while I never thought of that comparison before, I'd say that there is a bit
of similarity to the more subdued parts of the Dirty Three. the Frisell record
tends to be more controlled, but I could see lumping the two of them together
in a combined review.

and I am a big Dirty Three fan. see those guys live if you get a chance. wow!

Jon

-



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

From: [e-mail]
Subject: new york city
Date: 20 Mar 1999 18:23:48 EST


i will be in nyc, for the first time, on monday for a few days. could those of
you residents kindly inform me of any happenings/venues esp. relevant to the
zorn-loving aesthetic---so i don't drown trying to find this info amongst all
the other activity in the city papers, etc.

thanks,
joseph

-



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

From: alissa bader <[e-mail]>
Subject: Re: new york city
Date: 20 Mar 1999 18:40:37 -0500 (EST)


check out what's happening at alt.coffee, the knitting factory, or tonic.
there are almost always zorn-ish things going on at those places, and I
think you can look up the listings online somewhere.  I know the knitting
factory has a website. Try citysearch.com for the rest, maybe?

--alissa



On Sat, 20 Mar 1999 [e-mail] wrote:

>
> i will be in nyc, for the first time, on monday for a few days. could those of
> you residents kindly inform me of any happenings/venues esp. relevant to the
> zorn-loving aesthetic---so i don't drown trying to find this info amongst all
> the other activity in the city papers, etc.
>
> thanks,
> joseph
>
> -
>
>


-



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

From: [e-mail]
Subject: Chris Cutler NYC gig 3/28
Date: 20 Mar 1999 18:45:46 EST

I was asked to post this to the list:

<<And finally at the end of this month, we will be presenting the one

& only CHRIS CUTLER- our favorite drummer & percussionist. Formerly of

Henry Cow, Art Bears & News from Babel the author, Recommended Records

founder and philosopher- will play his first solo gig ever in the US at

Context Studios at 28 Ave. A (bet. 2nd & 3rd Sts.) at 9pm on Sunday March

28th.  Also on the bill will be old school member of the early downtown

scene- percussionist Charles K. Noyes- solo & maybe duo with Chris.  Ikue

Mori may also join in!!  You don't want to miss this one.>>

Jon

-



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

From: Corey Marc Fogel <[e-mail]>
Subject: Re: new york city
Date: 20 Mar 1999 17:07:21 -0700 (MST)


www.tonic107.com



-



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

From: Michael Howes <[e-mail]>
Subject: Re: Metamkine
Date: 20 Mar 1999 18:23:46 -0800

>> And while I'm at it, what are everyone's favorites of the Metamkine
>> series? I have a handful but maybe I'm missing out on something
>> essential...
>
> only have a few of them... I like Jim O'Rourke's "Rules of Reduction" a lot,
>any of his sounds were recorded in France. There's "Unheimlich schoen" by Luc
>Ferrari that I'm not too fond of (it revolves around a feminine voice and
>whispers). "Nameless Victims" by Ralf Wehowsky is OK, but I haven't listened
>to it to much.

 I like the Walter Ruttmann the best....
I know nothing about Walter Ruttmann but I thought the "Weekend" piece was
great musique concrete.

 I also like the Luc Ferrari and Christine Groult.

mike
[e-mail]



-



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

From: Stephen Fruitman <[e-mail]>
Subject: Spearman, Blues for Falasha
Date: 21 Mar 1999 14:03:28 +0200

Can anyone characterize the _Blues for Falasha_ CD by the late Glenn
Spearman for me? Bear in mind that I have never heard him before, and am a
relatively newbie to avant-jazz and suchlike. Freeform, noisy or melodic
and gentle? In similar territory to Masada, or off on some other tangent? I
see there are also "recitations" by Spearman listed - of what?

Thanks in advance, Stephen



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

Bj=F6rn Olsson,
Inst. f=F6r id=E9historia,
Ume=E5 universitet
901 87 Ume=E5
tel. [phone] fax 143374



-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Chris Cutler NYC gig 3/28
Date: 20 Mar 1999 09:36:28 -0500




> <<And finally at the end of this month, we will be presenting the one
> & only CHRIS CUTLER- our favorite drummer & percussionist. Formerly of
> Henry Cow, Art Bears & News from Babel the author, Recommended Records
> founder and philosopher- will play his first solo gig ever in the US at
> Context Studios at 28 Ave. A (bet. 2nd & 3rd Sts.) at 9pm on Sunday March
> 28th...

Not exactly Cutler's first U.S. solo show ever as I'll be seeing him three
days earlier in Portland, Maine.

nit-picking...

                        -Tom Pratt


-



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

From: Tom Pratt <[e-mail]>
Subject: new Matchless
Date: 20 Mar 1999 10:53:00 -0500

There are three new Matchless discs out which I picked up yesterday: a
duet between Kieth Rowe (guitar) and Jeffrey Morgan (alto sax) called
'Dial: Log - Rhythm' (MRCD36), a duet between Eddie Prevost (drums) and
Veryan Weston (piano) called 'Concert, v.' (MRCD37), and a double-disc
by Yoshikazu Iwamoto (shakuhachi), John Tilbury (piano) and Eddie
Prevost (percussion) under the group name Such called 'The Issue At
Hand' (MRCD38).

Kieth Rowe is such a fucking incredible guitarist and his playing on
'Dial: Log - Rhythm' is really top-notch. I had never heard of Jeffrey
Morgan before, but his playing is great too. He sounds very influenced
by aggressive, staccato altoists like Roscoe Mitchell and Henry
Threadgill and really works well with Rowe (a tough task). The disc is
really excellent and maybe my pick of litter. Does anyone know anything
about Jeffrey Morgan?

I haven't had much a chance to listen to listen to the Prevost/Weston
disc but it seems more in the "free-jazz" side of Prevost's work (as
opposed to AMM, his solo disc or most of the duet with Evan Parker).
Prevost is certainly on "drums" rather than "percussion" and Weston is
coming from a more "jazz" angle (as opposed to John Tilbury). The bits
I've listened to so far sound very good but I really haven't given this
one a fair shake yet.

The Such disc is a very interesting line-up which is essentially AMM
with a shakuhachi replacing Kieth Rowe's guitar. There's a lot of space
for extended solo and duo playing in the continuous 2 1/2 hour set.
Yoshikazu's shakuhachi seems to bring Tilbury and Prevost into new
realms of quietness and meditativeness. Tilbury plays very Feldman-esque
but sometimes more melodic like Howard Skempton and is the one to really
take advantage of the solo space. Prevost plays very minimal and
sensitive percussion (he's just incredible). This is beautiful, quiet
stuff. Excellent!

That's all.

                    -Tom Pratt


-



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

From: [e-mail]
Subject: Re: new Matchless
Date: 21 Mar 1999 13:53:37 EST


In a message dated 3/21/99 11:08:48 AM, [e-mail] writes:

<< Does anyone know anything about Jeffrey Morgan? >>

he has a duet record on Random Acoustics under the name Pair A' Dice called
Snake Eyes with Joker Nies on midiotics. pretty nice electroacoustic improv,
as I remember.

I picked up these Matchless titles too, but haven't had a chance to listen to
them yet. they also released an older Eddie Prevost record called Continuum.

also, in rerelease news, Chronoscope has just released Evan Parker's
Monoceros, one of his solo soprano records from the '70's.

and I was just told that two recent Derek Bailey reissues are bootlegs and
will probably be pulled from the market soon, the one on Entropy Stereo and
Aida's Call. now, since this news comes indirectly from Henry Kaiser and we
all know how reliable he's been lately on Bailey-related matters, you can take
it for what it's worth. I'm just passing it on. I don't think either of these
releases is particularly essential, FWIW.

Jon

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: new Matchless
Date: 20 Mar 1999 14:03:27 -0500

[e-mail] wrote:

> In a message dated 3/21/99 11:08:48 AM, [e-mail] writes:
>
> << Does anyone know anything about Jeffrey Morgan? >>
>
> he has a duet record on Random Acoustics under the name Pair A' Dice called
> Snake Eyes with Joker Nies on midiotics. pretty nice electroacoustic improv,
> as I remember.

huh... Maybe I'll look into that one. I've liked just about everything I've heard
on Random Acoustics. What nice packaging too, eh?

> I picked up these Matchless titles too, but haven't had a chance to listen to
> them yet. they also released an older Eddie Prevost record called Continuum.

I didn't pick up 'Continuum' because what I've heard of Prevost's free jazz bands
hasn't intrigued me much. Has anyone else found this too? Somebody let me know if
'Continuum' is different.

> also, in rerelease news, Chronoscope has just released Evan Parker's
> Monoceros, one of his solo soprano records from the '70's.

I wish they'd added some extra material to that. It's only about 40 minutes
long... probably very worth it though.

> and I was just told that two recent Derek Bailey reissues are bootlegs and
> will probably be pulled from the market soon, the one on Entropy Stereo and
> Aida's Call. now, since this news comes indirectly from Henry Kaiser and we
> all know how reliable he's been lately on Bailey-related matters, you can take
> it for what it's worth. I'm just passing it on. I don't think either of these
> releases is particularly essential, FWIW.

Thanks for the news. I thought 'Dynamics Of The Impromptu' was pretty good. It's
at least nice to hear more of Trevor Watts' playing. He's pretty under-documented
as far as I can tell.

I just saw at the Forced Exposure new releases section that Fat Cat just released
a split 12" (not a collaboration) of AMM and Merzbow simply entitled 'AMM vs.
Merzbow'. Thought some of you might be interested...

                    -Tom Pratt


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: new Matchless
Date: 21 Mar 1999 14:26:33 -0500 (EST)

More nit-picking, but it's "Keith" not "Kieth"

Ken Waxman
[e-mail]

-



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

From: fretless6 <[e-mail]>
Subject: Gig on Tuesday
Date: 21 Mar 1999 20:06:34 -0500

I thought I'd let you know of a couple of interesting gigs coming up
over the next 10 days:
Tuesday March 23rd and next Tuesday March 30th
at Baby Jupiter in NYC at 170 Orchard St. corner of Stanton,
9:30 PM

"Garden of Eden"

This band includes:

Num Amun-tehu-percussion
Lance Carter-drums
David C Gross-6 string fretless bass/electronics/loops
Jef Lee Johnson-guitar
Toby Kasavan-keys
Rob Reddy-reeds
Josh Roseman-trombone

"get that funk outta my face"





-



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

From: Peter Hollo <[e-mail]>
Subject: Re: Question about publication (somewhat Zorn-related)
Date: 22 Mar 1999 14:35:31 +1100

Hrvatski is the guy who runs Reckankreutzungsklankewerkseuge records, in
Cambridge Mass. He records under that name too although his real name is
Keith Whitman I believe. The music is mad fast drum'n'bass/jungle
mostly, with some slower beats, very experimental musique-concrete type
stuff going on over it. Well worth checking out if you're into that sort
of thing.
They have a vinyl-only compilation called Attention: Cats out, about a
year old, and there's a 7" by Blitter (who may be Keith's brother...)
Also Blitter & Hrvatski have a track on the great experimental
electronic compilation "Blip, Bleep" on Lucky Kitchen, and Hrvatski
features on various other interesting comps on labels/entities like
Diskono (from Edinburgh) and V/VM (from Manchester).

Hrvatski used to play in an early version of Prelapse (featured on the
Music for Children CD) so he tells me. He's eminently qualified to
review both the experimental electronic stuff they stock and the
Zorn-related stuff.

Peter.
--
Peter Hollo  [e-mail]  http://www.fourplay.com.au/me.html
              FourPlay - Eclectic Electric String Quartet
                       http://www.fourplay.com.au
                     Raven: experimental electronic
                 http://www.fourplay.com.au/sound.html
"Of course, dance music can be a music where you lie on your back and
your brain cells dance" -Michael Karoli of Can, quoted in Wire mag.

-



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

From: [e-mail]
Subject: Mnemonists
Date: 21 Mar 1999 22:41:38 EST

Does anyone know anything about this band? It seems impossible to find
information about them. I know they no longer exist. Their albume Horde is
very scary and visual. Recommended listening with headphones in complete
darkness. I'm not sure if they have any other albumes. They sound like a
hidden legend to me. Anyone?

-



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

From: Zorn <[e-mail]>
Subject: Forced Exposure
Date: 21 Mar 1999 21:56:05 -0800

How prompt are FE in sending an order?


-



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

From: [e-mail]
Subject: Re: Mnemonists
Date: 21 Mar 1999 23:01:35 EST


In a message dated 3/21/99 10:52:45 PM, [e-mail] writes:

<< Does anyone know anything about this band? It seems impossible to find
information about them. I know they no longer exist. Their albume Horde is
very scary and visual. Recommended listening with headphones in complete
darkness. I'm not sure if they have any other albumes. They sound like a
hidden legend to me. Anyone? >>

I believe they were an artist's collective (primarily visual) based in Fort
Collins, CO. many of the same personnel later became Biota, another ReR band
with a fairly similar sound, who are well worth investigating if you're a fan
of Horde. I'm not sure if they're still around or not; I think their last
album was four or five years ago.

Jon

-



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

From: [e-mail]
Subject: Re: Forced Exposure
Date: 21 Mar 1999 23:04:12 EST


In a message dated 3/21/99 10:55:15 PM, [e-mail] writes:

<< How prompt are FE in sending an order? >>

I ordered something from them on a Saturday a few weeks ago. It was shipped
via UPS on Monday and delivered on Wednesday.

Jon

-



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

From: Craig Rath <[e-mail]>
Subject: Re: Forced Exposure
Date: 22 Mar 1999 01:29:29 -0600

At 09:56 PM 3/21/99 -0800, you wrote:
>How prompt are FE in sending an order?
>

Your mileage may vary, but in my case I submitted an order back in November
and I haven't ever received anything, despite several attempts to find out
what happened (no response ever).



-



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

From: Martin Schmitz-Ohrndorf <[e-mail]>
Subject: Re: new Matchless
Date: 22 Mar 1999 09:48:19 +0100

Tom Pratt wrote:

> Does anyone know anything about Jeffrey Morgan?

As far as I know Jeffrey is living in Cologne for quite a while now. I
think I remember that he is from Seattle. He has been working in the improv
field for many years and it's nice that he finally reaches some
recognition. His work is really fine. Maybe you should check Georg Graewes
Random Acoustics Label for more.

Martin


-



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

From: "BLA BLA BLA" <[e-mail]>
Subject: Immense Zorn Content =]
Date: 22 Mar 1999 20:54:58 +1030


Hi does anyone know if John Zorn has an email address he can be contacted on
for interviews and contributions?...

or should I just contact Tzadik?

.diz.




-



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

From: "J.T. de Boer" <[e-mail]>
Subject: Fred Frith, Groningen 21/3
Date: 22 Mar 1999 11:41:59 +0200

Yesterday I had the pleasure to welcome Fred Frith at the
USVA-Theatre in Groningen, The Netherlands, where he did a
solo-performance. And what can I say?: it was just stunning! Two sets
of around 45 minutes, consisting of pure, beautiful, painful,
emotional guitarplaying (I didn't know uncooked rice could make such
beautiful sounds when thrown in a little brass-made kettle,that was
placed on his strings and element).

He's in Holland at the moment to rehearse and perform his new piece
that's commisioned by the ASKO-Ensemble. For you living in Holland
and nearby countries: one of the shows will be broadcasted on dutch
national radio. Don't know the date yet...

Looking forward to Moers.

Thanks,

Jeroen de Boer


Jeroen de Boer
music director USVA Theatre/Open Electronic Festival
Munnekeholm 10
9711 JA Groningen, The Netherlands
[e-mail]
[e-mail]


-



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

From: Tom Pratt <[e-mail]>
Subject: bailey bootleg?
Date: 21 Mar 1999 07:49:48 -0500

I was supposed to review Bailey/Stevens/Watts 'Dynamics Of The
Impromptu' (Entropy Stereo) for the magazine Signal To Noise so when Jon
Abbey posted about the rumor of it being a bootleg, I asked the
publisher what to do. He forwarded me this note from Mike Khoury of
Entropy Stereo:

Hi Pete,

Thanks for the update.  I'm glad you're asking me about this issue
instead of believng the grapevine.  If Kaiser says it's a bootleg,
then he's guilty of contributing to it by directly ordering it from me!

The record is *not* a bootleg.  Trevor Watts owns the tapes and sold
me permission to release them.  If there is any dispute about this,
its between Watts and Bailey.  Seems like Bailey's camp was upset
about it.  I did send him quite a few copies.  When these tapes were
recorded, Bailey, Martin Davidson, and Stevens thought that they were
not that interesting and told Trevor he could do what he wanted with
them.  Trevor held on to them for many years, and contacted me about
releasing them recently.  Now everyone seems to think that they're
great, or else they wouldn't be upset about it.

Usually, these disputes are about money.  I have a long way to go
before I break even on this project.  If I do break even, Bailey will
be the first one to get any money beyond my break even point.  If you
or any of your reviewers feel that it would compromise journalistic
integrity to review it, then by all means, don't compromise!  Don't
feel obligated to review it or even run the ad if you feel it will
bring ill will to your magazine.  This is not my goal at all.

Thanks for your offer to run the ad agian with the reviews.  I
appreciate your candor and your willingness to look into matters.  So
many people just pass this over.  Please feel free to contact me if
you have any other questions about this.

Mike

                                -Tom Pratt


-



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

From: sonny shine <[e-mail]>
Subject: Re: Jerry Reed
Date: 22 Mar 1999 06:26:17 -0800 (PST)

Jerry Reed Rox! yes. he played cletus snow alias snowman on smokey and
the bandit.


--- Chris Genzel <[e-mail]> wrote:
>
> > Re: Jerry Reed. He was a country singer/songwriter
> of the 1960s and
> > 1970s, whose style mixed rockabilly and novelty
> tunes. His big hits were
> > "Amos Moses" and "When You're Hot, You're Hot". He
> recorded for RCA. The
> > cavets I cited above for Roger Williams work for
> him as well.
>
>  Is this the Jerry Reed who acted in "Smokey and the
> Bandit" and performed
>  various songs on its soundtrack?
>
>  Kind regards,
>  - Chris.
>
>  ----------------------------------------------------
>  Chris Genzel -- [e-mail]
>  ----------------------------------------------------
>  Discographies of
>  Herbie Hancock, Michael Beinhorn & Bennie Maupin at:
>  http://home.t-online.de/home/stamil/
>  ----------------------------------------------------
>
>
> -
>
>

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: alissa bader <[e-mail]>
Subject: Re: Jerry Reed
Date: 22 Mar 1999 09:54:29 -0500 (EST)


he was also on scooby doo.

and his birthday was on saturday. (don't ask me how I know this)

so, what's the deal with zorn and reed here anyway?  does one admire the
other's music, or vice versa? (yeah, it's been what, 4 days already, and I
can't figure this out?)  i personally think it would be a scream if
one of 'em did a cover version of the other's work.

--alissa
[e-mail]

On Mon, 22 Mar 1999, sonny shine wrote:

> Jerry Reed Rox! yes. he played cletus snow alias snowman on smokey and
> the bandit.
>
>
> --- Chris Genzel <[e-mail]> wrote:
> >
> > > Re: Jerry Reed. He was a country singer/songwriter
> > of the 1960s and
> > > 1970s, whose style mixed rockabilly and novelty
> > tunes. His big hits were
> > > "Amos Moses" and "When You're Hot, You're Hot". He
> > recorded for RCA. The
> > > cavets I cited above for Roger Williams work for
> > him as well.
> >
> >  Is this the Jerry Reed who acted in "Smokey and the
> > Bandit" and performed
> >  various songs on its soundtrack?
> >
> >  Kind regards,
> >  - Chris.
> >
> >  ----------------------------------------------------
> >  Chris Genzel -- [e-mail]
> >  ----------------------------------------------------
> >  Discographies of
> >  Herbie Hancock, Michael Beinhorn & Bennie Maupin at:
> >  http://home.t-online.de/home/stamil/
> >  ----------------------------------------------------
> >
> >
> > -
> >
> >
>
> _________________________________________________________
> Do You Yahoo!?
> Get your free @yahoo.com address at http://mail.yahoo.com
>
>
> -
>
>


-



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

From: Jeni Dahmus <[e-mail]>
Subject: Re: Immense Zorn Content =]
Date: 22 Mar 1999 10:07:48 -0500 (EST)

On Mon, 22 Mar 1999, BLA BLA BLA wrote:
> Hi does anyone know if John Zorn has an email address he can be contacted on
> for interviews and contributions?...
>
> or should I just contact Tzadik?
>
> .diz.

Zorn does not even use a computer.  When I had the pleasure of
interviewing him last week, I asked him what he thought about the
zorn-list.  He was not familiar with listservs at all, but was pleased
to hear that he has one of his own.

You should probably just contact Tzadik.

Jeni



-



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

From: Ken Waxman <[e-mail]>
Subject: Re: bailey bootleg?
Date: 22 Mar 1999 10:58:15 -0500 (EST)

So who is winning the award for more difficult person? Henry Kaiser or
Derek Bailey?

From what I understand about Bailey's modus operendi (relations with Evan
Parker; Stalinist stand on "pure improvisation" etc; willingness to play
wioth anyone, regardless of talent; his silly Invisible Jukebox in The
Wire) I figure it's Bailey.

BTW, Dynamics of the Impromtu is an excellent CD, especially because
Stevens and Watts are there to rein in and play off Bailey. If you like
any (all) of those guys , get it. Like Josef S., respect Derek B. for his
contributions, but don't let him rewrite history to fit his singular view
of it.

Ken Waxman
[e-mail]

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Jerry Reed
Date: 22 Mar 1999 11:03:29 -0500 (EST)

More of a scream if Reed did a cover of Zorn. But then again, there may
be a connection we're all missing. Mark Feldman was a Nashville studio
player before moving to NYC. Maybe he can get Reed & Zorn together. The duet
could be like one of those CBS country concept albums, like the one with
Wilie Nelson and Merle Haggard. Wasn't that called "Lefty and Poncho" ?

From what has been written here, maybe the Zorn/Reed duo could be called:
"Blinder and Schicker".

Ken Waxman
[e-mail]




On Mon, 22 Mar 1999, alissa bader wrote:

>
> he was also on scooby doo.
>
> and his birthday was on saturday. (don't ask me how I know this)
>
> so, what's the deal with zorn and reed here anyway?  does one admire the
> other's music, or vice versa? (yeah, it's been what, 4 days already, and I
> can't figure this out?)  i personally think it would be a scream if
> one of 'em did a cover version of the other's work.
>
> --alissa
> [e-mail]
>
> On Mon, 22 Mar 1999, sonny shine wrote:
>
> > Jerry Reed Rox! yes. he played cletus snow alias snowman on smokey and
> > the bandit.
> >
> >
> > --- Chris Genzel <[e-mail]> wrote:
> > >
> > > > Re: Jerry Reed. He was a country singer/songwriter
> > > of the 1960s and
> > > > 1970s, whose style mixed rockabilly and novelty
> > > tunes. His big hits were
> > > > "Amos Moses" and "When You're Hot, You're Hot". He
> > > recorded for RCA. The
> > > > cavets I cited above for Roger Williams work for
> > > him as well.
> > >
> > >  Is this the Jerry Reed who acted in "Smokey and the
> > > Bandit" and performed
> > >  various songs on its soundtrack?
> > >
> > >  Kind regards,
> > >  - Chris.
> > >
> > >  ----------------------------------------------------
> > >  Chris Genzel -- [e-mail]
> > >  ----------------------------------------------------
> > >  Discographies of
> > >  Herbie Hancock, Michael Beinhorn & Bennie Maupin at:
> > >  http://home.t-online.de/home/stamil/
> > >  ----------------------------------------------------
> > >
> > >
> > > -
> > >
> > >
> >
> > _________________________________________________________
> > Do You Yahoo!?
> > Get your free @yahoo.com address at http://mail.yahoo.com
> >
> >
> > -
> >
> >
>
>
> -
>
>

-



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

From: [e-mail]
Subject: Re[2]: bailey bootleg?
Date: 22 Mar 1999 11:22:39 -0500


Ken wrote:

>From what I understand about Bailey's modus operendi (relations with Evan
>Parker; Stalinist stand on "pure improvisation" etc;

Um, from the point of view of rigor, I take it, not on his taking action
to murder non-improvisers? Not sure if "Stalinist" is the appropriate term
here. Calvinist, perhaps? ;-)

>willingness to play with anyone, regardless of talent;

Here, I'm with you and, as I think I might've stated before I have a pet
theory that DB, when playing with mediocre talent, simply uses their sound
in a Cagean sense, as environmental noise to play off of.

>his silly Invisible Jukebox in The Wire) I figure it's Bailey.

Did you really think it was silly? Aside from his sarcastic praise of
everything they played for him, I thought he made a number of fascinating,
if extreme, arguments vis a vis the recording process, listening to
records (again and again) and the idea of the listener having as intense
an experience as the player. He strikes me as one of the few musicians who
has both thought of and verbalized in an intelligent manner some troubling
philosophical problems inherent in the music business. Not that I agree
with everything he says, but it's nice to hear someone worrying about such
matters.

Brian Olewnick

NP: Lande/Miller        World Without Cars
NR: Murakami            South of the Border




-



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

From: Eric Martens <[e-mail]>
Subject: Re: Jerry Reed
Date: 22 Mar 1999 13:45:03 -0800 (PST)






---Ken Waxman <[e-mail]> wrote:
>
> More of a scream if Reed did a cover of Zorn. But then again, there
may
> be a connection we're all missing. Mark Feldman was a Nashville
studio
> player before moving to NYC. Maybe he can get Reed & Zorn together.
The duet
> could be like one of those CBS country concept albums, like the one
with
> Wilie Nelson and Merle Haggard. Wasn't that called "Lefty and
Poncho" ?

Totally irrelevant, but I thought it was Willie Nelson & Waylon
Jennings (tho' I'm pretty sure "Poncho & Lefty" is a Merle Haggard
song).

Eric
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Jerry Reed
Date: 22 Mar 1999 16:51:11 -0500 (EST)

I'll try to check the basement where I store all the old C&W LPs, but
remember Nelson did awhole bunch of these duets, including one with
Haggard, one with Ray Price, and probably one with Jennings.

Ken Waxman
[e-mail]


On Mon, 22 Mar 1999, Eric Martens wrot
>
> ---Ken Waxman <[e-mail]> wrote:
> >
> > More of a scream if Reed did a cover of Zorn. But then again, there
> may be a connection we're all missing. Mark Feldman was a Nashville
> studio player before moving to NYC. Maybe he can get Reed & Zorn together.
> The duet could be like one of those CBS country concept albums, like the one
> wit Wilie Nelson and Merle Haggard. Wasn't that called "Lefty and
> Poncho" ?
>
> Totally irrelevant, but I thought it was Willie Nelson & Waylon
> Jennings (tho' I'm pretty sure "Poncho & Lefty" is a Merle Haggard
> song).
>
> Eric
> _________________________________________________________
> DO YOU YAHOO!?
> Get your free @yahoo.com address at http://mail.yahoo.com
>
>

-



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

From: "Jeff Hobbs" <[e-mail]>
Subject: Don Caballero page
Date: 22 Mar 1999 17:10:05 -0500


I know this band has been discussed on the list, so I think it's relevant...

Here's some pictures and mp3 tracks from a scorching Don Caballero at the
Middle East club in Cambridge, Massachusetts, March 9th 1999.

Enjoy!

http://ivy.artificial.com/music/doncab/


~Jeff

-



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

From: [e-mail]
Subject: Re: Forced Exposure
Date: 22 Mar 1999 18:03:11 EST

In a message dated 3/21/99 10:55:15 PM Eastern Standard Time,
[e-mail] writes:

<< How prompt are FE in sending an order? >>

I've never had problems with FE and have usually rx'ed items within 10-14 days
of placing the order.  However, other people have made orders with them and
never heard a thing.  I've not heard of anyone getting ripped off by FE, but I
have heard of people missing out on limited-issue items that they could have
ordered elsewhere.

=dgasque=

-



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

From: Alan Lankin <[e-mail]>
Subject: Masada Live In Jerusalem due out April 20th
Date: 22 Mar 1999 18:29:01 -0500

Just saw a listing for this Tzadik release.  Anyone heard this one?

--
Alan Lankin
[e-mail]
http://home.att.net/~lankina/jazz/upcomingcds.html

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Mnemonists
Date: 22 Mar 1999 19:23:31 -0500

At 11:01 PM 3/21/99 EST, [e-mail] wrote:
>
><< Does anyone know anything about this band? It seems impossible to find
>information about them. I know they no longer exist. Their albume Horde is
>very scary and visual. Recommended listening with headphones in complete
>darkness. I'm not sure if they have any other albumes. They sound like a
>hidden legend to me. Anyone? >>
>
>I believe they were an artist's collective (primarily visual) based in Fort
>Collins, CO. many of the same personnel later became Biota, another ReR band
>with a fairly similar sound, who are well worth investigating if you're a fan
>of Horde. I'm not sure if they're still around or not; I think their last
>album was four or five years ago.

Although it's been a while since their last, the latest Wayside catalog
promises a new one soon.  They perform live very occasionally, and all four
of their albums under the name Biota are excellent.  The last Mnemonists
album was actually titled Biota; hence the link in names.

--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: [e-mail]
Subject: Arto sings soprano
Date: 22 Mar 1999 21:22:44 EST

Hey, I'm sitting here at work watching HBO and there is this show on  I've
never seen before called Sopranos. Suddenly I hear Arto Lindsay singing and
playing guitar. Does anybody know anything more about this? Does he do all the
music for this series?
-Eric

-



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

From: eric <[e-mail]>
Subject: columbia concerts
Date: 22 Mar 1999 22:28:19 -0500 (EST)


>
>columbia concerts presents
>an intimate night of experimental music:
>
>+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
++
>
>christian wolff, piano
>christian marclay, turntables
>
>+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
++
>
>friday march twenty-sixth    9 pm   five dollars
>@ faculty house, columbia university campus
>tickets at other music or by reservation 854-1125
>[e-mail]
>
>+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
++
>
>Their collaboration is part of an ongoing series of experimental and
>electronic music at Columbia University.  Also included in this series are
>performances by Ryoji Ikeda, the Climax Golden Twins, the Freight Elevator
>Quartet, and compositions by the Wet Ink Composer's Collective.
>
>
>columbia concerts, wkcr.fm, and experimental intermedia announce two
>performances by
>
>
>*RYOJI IKEDA*
>
>
>friday 4.2.99    ryoji ikeda
>    9:00 pm
>    @ experimental intermedia
>    224 centre st. 3rd floor
>

>saturday 4.3.99    ryoji ikeda + the climax golden twins
>    9:00 pm
>    @ mcintosh center
>    barnard college campus, broadway and 118th st.
>
>admission for each show $5.00
>

>    Experimental Intermedia is located at 224 Centre Street in
>Manhattan.  The Macintosh Student Center is on the Barnard Campus of
>Columbia University at 117th Street and Broadway.  Both concerts start at
>9:00 PM and are $5.00.
>
>For more information or for reservations, please call 854-1125 or e-mail
>[e-mail].




-



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

From: William York <[e-mail]>
Subject: Jerry Reed/ Radio bands
Date: 22 Mar 1999 23:54:29 -0500 (EST)

> so, what's the deal with zorn and reed here anyway?  does one admire the
> other's music, or vice versa? (yeah, it's been what, 4 days already, and I
> can't figure this out?)  i personally think it would be a scream if
> one of 'em did a cover version of the other's work.
>
> - --alissa

I'm on the digest so someone has probably answered this already, but Reed
was one of the people mentioned on the inside of the liner notes to Naked
City's _Radio_ CD.  So, Zorn hasn't done a cover of his stuff but
apparently used it as a reference point for one of the brief snippets in
"American Psycho".

As for the other bands, Septic Death and Siege (that's how they spell it)
were both on a compilation called _Cleanse the Bacteria_, Repulsion I
found on the _Grindcrusher_ comp. on Earache (which also has Naked City's
"Osaka Bondage"), and Roger Williams (pretty schlocky) and Liberace I
found together on a piano compilation on the New World label of all
places.  I guess nobody had a chance to hear it but it was pretty neat to
hear all the refernces and inspirations back to back w/ the Naked City
songs, which stand up better than I thought.  They're not as funky as the
Meters but the metal stuff holds up very well.

Thanks again for the suggestions,

WY


-



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

From: <[e-mail]>
Subject: Re: Masada Live In Jerusalem due out April 20th
Date: 23 Mar 1999 14:27:10 +0200 (WET)

does anybody know when they were playing in jerusalem???
I`m living in jerusalem for 7 years now, and never heard about Masada
coming to jerusalem. how did I miss them???

On Mon, 22 Mar 1999, Alan Lankin wrote:

> Just saw a listing for this Tzadik release.  Anyone heard this one?
>
> --
> Alan Lankin
> [e-mail]
> http://home.att.net/~lankina/jazz/upcomingcds.html
>
> -
>
>


-



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

From: philz <[e-mail]>
Subject: Re: Mnemonists
Date: 23 Mar 1999 08:45:46 -0500

> Does anyone know anything about this band? It seems impossible to find
> information about them. I know they no longer exist. Their albume Horde is
> very scary and visual. Recommended listening with headphones in complete
> darkness. I'm not sure if they have any other albumes. They sound like a
> hidden legend to me. Anyone?

Mnemonists were the name of the band that became Biota, who have
several records (cd's) on Recommended Records.  I like this band a
lot, sort of a trippy jumble of sounds that has a wonderful
intuition.  Under the name Mnemonists they were more industrial
sounding, in an AMM sort of way.  Under the name Biota they've become
more acoustic sounding, and the latest release even has vocals,
though more in the sense that "In heaven everything is fine" pops out
of the soundtrack to Eraserhead...

You can see more information about Biota at the ReR web site,
http://www.panix.com/~zampino/rer/ReR.discog.html

philz


-



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

From: [e-mail]
Subject: Secret Chiefs 3
Date: 23 Mar 1999 11:07:03 EST

Recently picked up a CD by the above group titled _Hurqalya_, after hearing
good things about them on another list.  I was somewhat suprised to find a
Zorn tie-in here in the guise of Eyvind Kang on violin and erhu (?), one who
appears to be a regular here rather than a guest.  Also here (and I assume,
the group's "leader") is Trey Spruance- a name i'm familiar with, but can't
remember why...

The music is best described as Muslimgauze meets Morricone, with a healthy
dose of surf thrown into the mix making for a very bizzare fusion, IMO. They
have a few other releases besides this title and i'd like to find out if this
is the usual sound for the group. Anyone else familiar with them?.

now spinning: DJ Spooky- Riddim Warfare

=dgasque=

-



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

From: Jason Caulfield Bivins <[e-mail]>
Subject: Bailey
Date: 23 Mar 1999 11:50:54 -0500 (EST)

Hi all,

Picking up on the Waxman-Olewnick thread, I have to say that I've never
been able to get a straight answer on just what went down between Bailey
and Evan Parker. Can anyone fill me in on the acrimony?

And Brian: how is the new Murakami?

Jason Bivins


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Bailey
Date: 23 Mar 1999 09:01:42 -0800


On Tue, 23 Mar 1999 11:50:54 -0500 (EST)  Jason Caulfield Bivins wrote:
>
> Hi all,
>
> Picking up on the Waxman-Olewnick thread, I have to say that I've never
> been able to get a straight answer on just what went down between Bailey
> and Evan Parker. Can anyone fill me in on the acrimony?

Nobody really knows. By that I mean that the answers we got were never really
convincing (and if they are, it would mean that Bailey is a very acrimonous
kind of person).

John Shiurba did a great interview of Evan for CADENCE, and he dared to ask
Evan about what happened (many people - including me - discouraged him to
even touch the topic). Surprisingly, Evan answered very nicely and mentioned
some disagreements concerning running Incus (if I remember well). Anyway, it
sounded like any of these disagreements that two strong individualities like
Evan and Derek can have in life on any topics (meaning: look very serious at
first, but something you laugh at it a week after when the passion cooled
down a little bit). The problem is that it never cooled down between Evan
and Derek...

    Patrice.

-



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

From: [e-mail]
Subject: Re: Bailey
Date: 23 Mar 1999 12:07:34 EST


In a message dated 3/23/99 11:55:02 AM, [e-mail] writes:

<< And Brian: how is the new Murakami? >>

I know I'm not Brian, but I did read this. my one-line review is that it's
slight, but very satisfying. anyone know how I can find a copy of the out-of-
print English translation of Norwegian Wood? man, would that make me happy.

Jon

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Bailey
Date: 23 Mar 1999 12:22:44 -0500 (EST)

Not wanting to start an argument about something we can never be sure of,
but having re-read that Cadence interview last night, at least from Evan
Parker's point of view, it appears that yes, Derek Bailey *is* a very
acrimonious person.

My understanding of what Parker stated was that he wanted to dissolve his
business partnership with Bailey and be free to release his (Parker's)
masters on whatever label he saw fit. He still wanted to remain friends
(and I guess, still play, with Bailey).

Musicians moving their masters elsewhere is quite common. For instance there
are half a dozen Cannonball Adderley LPs in limbo, because
he took them with him when Riverside when bankrupt, sold them to Capitol
(his then "new" label), which briefly anthologized them, then sat on them
for years. The six briefly appeared on Landmark LPs, run by Adderley
original producer Orrin Keepnews, but then went out of print again. [I
digress, but these were great session, featuring Victor Feldman on a live
date and Cannonball playing bosa nova on another.]

Anyhow, other musicians, including Ray Charles and Herbie Mann have
similiarly dissolved business agreements.

The nub of the Incus matter seemed to be that Bailey felt (and this is my
interpretation) that if Parker wasn't with him, he must be against him
and thus cut off all communication between the two. (Hm, maybe "Stalinist
isn't that far off, Brian). That's the way the situation remains to this day.

In other words, as long as bailey is a director of Incus, Parker can't
re-released some of his earlier sessions like "Topology of The Lungs".
And no Martin & Lewis reunion seems to be in the cards.

Ken Waxman
[e-mail]



On Tue, 23 Mar 1999, Patrice L. Roussel wrote:

>
> On Tue, 23 Mar 1999 11:50:54 -0500 (EST)  Jason Caulfield Bivins wrote:
> >
> > Hi all,
> >
> > Picking up on the Waxman-Olewnick thread, I have to say that I've never
> > been able to get a straight answer on just what went down between Bailey
> > and Evan Parker. Can anyone fill me in on the acrimony?
>
> Nobody really knows. By that I mean that the answers we got were never really
> convincing (and if they are, it would mean that Bailey is a very acrimonous
> kind of person).
>
> John Shiurba did a great interview of Evan for CADENCE, and he dared to ask
> Evan about what happened (many people - including me - discouraged him to
> even touch the topic). Surprisingly, Evan answered very nicely and mentioned
> some disagreements concerning running Incus (if I remember well). Anyway, it
> sounded like any of these disagreements that two strong individualities like
> Evan and Derek can have in life on any topics (meaning: look very serious at
> first, but something you laugh at it a week after when the passion cooled
> down a little bit). The problem is that it never cooled down between Evan
> and Derek...
>
>     Patrice.
>
> -
>
>

-



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

From: [e-mail]
Subject: Cobra availability
Date: 23 Mar 1999 13:00:04 -0500



Can anyone tell me if the 2 cd Cobra is out of print?
I seem to remember seeing 2 versions, one with a yellow cover and one with
a blue?

Also, will a Masada box be offered including 1 through 10 plus the new
Jerusalem live?
Will Jerusalem live be available seperately?

Thanks,

Steven



-



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

From: [e-mail]
Subject: Cobra availability
Date: 23 Mar 1999 13:33:57 -0500



Can anyone tell me if the 2 cd Cobra is out of print?
I seem to remember seeing 2 versions, one with a yellow cover and one with
a blue?

Also, will a Masada box be offered including 1 through 10 plus the new
Jerusalem live?
Will Jerusalem live be available seperately?

Thanks,

Steven



-



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

From: Brent Burton <[e-mail]>
Subject: Re: Bailey
Date: 23 Mar 1999 13:45:39 -0500 (EST)

On Tue, 23 Mar 1999, Ken Waxman wrote:

> In other words, as long as bailey is a director of Incus, Parker can't
> re-released some of his earlier sessions like "Topology of The Lungs".
> And no Martin & Lewis reunion seems to be in the cards.

this is straight from the incus website:

Customarily, a record is reprinted once, occasionally twice, and then
allowed to rest in peace. Early ambitions to keep the whole catalogue in
print proved impractical and the prevalent view now is that when, usually
for financial reasons, a choice has to be made between reprinting an old
record and making a new one there is really no choice at all.

Since about 1980, the number of records in print at any one time has
usually been between 25 and 30. The records out of print are divided
between those that might at some time be re-printed (a number of early
LPs have recently been re-issued on CD) and records which Incus will not
be reprinting. In these later cases, the masters, publishing rights, art
work etc. are offered to the artists concerned to do with what they will.

The first recording made for Incus was by the then three directors; Tony
Oxley, Evan Parker and Derek Bailey. It was never issued and the master
tapes have, apparently, disappeared. The record which eventually appeared
as Incus 1 was "Topography of the Lungs," recorded by Evan Parker, Derek
Bailey and Han Bennick on July 13, 1970. The master tapes for this have
also, apparently, disappeared.


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Bailey/Parker/Lungs
Date: 23 Mar 1999 15:32:26 -0500 (EST)

Brent, yes we know what Incus says, but it doesn't negate the Bailey-Parker
quarrel. Here is an exchange from that same Cadence interview (September
1996, page 11):

CAD: I've heard that some of the masters, for example Topography of the
Lungs, are lost. Is this true?

E.P.: We can't find the master tape for that one, yeah, but that
wouldn't necessarily be a fundamental; stumbling block for making a nice
sounding record. But I can't do that because of an agreement that I
made with Derek Bailey when I left Incus that I wouldn't do that. I
can't reissue Topography of the Lungs. Well I own the
mas-...(laughs)...well it's actually a little more technical than that. I
can't reissue Topography of the Lungs while Derek Bailey is a director of
Incus.

CAD: So he doesn't want to reissue that particular album?

E.P.: He doesn't want *me* to reissue it. (laughs). There is something
strange about the fact that the master tapes are also missing, but it
doesn't matter.
--------
I don't want to belabor this, but from this comment and other statements
of Bailey, maybe he fits into Zoot Sims' description of Stan Getz.
"Stan," said Zoot "was a nice bunch of guys."

Ken Waxman
[e-mail]

-



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

From: Diego Gruber <[e-mail]>
Subject: Re: Secret Chiefs 3
Date: 23 Mar 1999 16:44:36 -0500

Yes it is, I think SC3 is an awesome band, get First Grand Constitution
and
Bylaws, which is their other "official" album. But find about
other of
their releases (and buy them also) at

http://www.humboldt1.com/~mimicry/


That's Trey's site (btw, you could be familiar with him because of Mr.
Bungle).
>From what I know, there's just a couple of "7s which may not have that particular
sound of SC3. ALso, I think they're releasing a live album this year.

Diego

[e-mail] wrote:

> Recently picked up a CD by the above group titled _Hurqalya_, after hearing
> good things about them on another list.  I was somewhat suprised to find a
> Zorn tie-in here in the guise of Eyvind Kang on violin and erhu (?), one who
> appears to be a regular here rather than a guest.  Also here (and I assume,
> the group's "leader") is Trey Spruance- a name i'm familiar with, but can't
> remember why...
>
> The music is best described as Muslimgauze meets Morricone, with a healthy
> dose of surf thrown into the mix making for a very bizzare fusion, IMO. They
> have a few other releases besides this title and i'd like to find out if this
> is the usual sound for the group. Anyone else familiar with them?.
>
> now spinning: DJ Spooky- Riddim Warfare
>
> =dgasque=
>
> -



-



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

From: Rich Williams <[e-mail]>
Subject: Re: Masada Live In Jerusalem due out April 20th
Date: 23 Mar 1999 15:54:48 -0500

> does anybody know when they were playing in jerusalem???
>

    The date I have is 5/18/95.

-



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

From: Alan Lankin <[e-mail]>
Subject: Re: Cobra availability
Date: 23 Mar 1999 21:51:59 -0500

Hi Steven,

I believe the 2-cd Cobra on Hat Hut is still available from Cadence
(http://www.cadencebuilding.com).  Live in Jerusalem (2 cd) is due out
4/20 on Tzadik.  I don't know if there are plans for a box set.

Hope this helps,

Alan

--
Alan Lankin
[e-mail]
http://home.att.net/~lankina/jazz/upcomingcds.html


-



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

From: stephen drury <[e-mail]>
Subject: music by Zorn and Xenakis in Boston
Date: 23 Mar 1999 22:53:04 -0500

John Zorn's _Music for Children_, along with _Xas_ for 4 saxophones by
Iannis Xenakis, and music of Bob Moses, will be featured in concert at New
England Conservatory:
Monday, March 29, 8pm
Brown Hall, New England Conservatory
290 Huntington Ave, Boston, Mass.
free

--steve drury
www.stephendrury.com


-



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

From: Telly O'Logical <[e-mail]>
Subject: Re: Zorn List Digest V2 #630
Date: 24 Mar 1999 12:10:38 +0200

<[e-mail]> wrote:
>does anybody know when they were playing in jerusalem???
> I`m living in jerusalem for 7 years now, and never heard about Masada
> coming to jerusalem. how did I miss them???

It was at the Jerusalem Theater in Summer 95 - as pt. of the Jerusalem
Festival.   I heard that Zorn did a spontaneous appearance somewhere
else as well (though not at the Pargod).

Unfortunately, concerts here are often poorly promoted - eg. Tsahar/Ibarra
last Nov. which I missed and the David Murray shows this month that I had
to call all around town to find out about.

The best (or worst) gaffe of all was the Arto Lindsay show last year.
It was billed as Bossa Nova deal, but he showed up w/ Melvin Gibbs
and Eyvind Kang and did a set of "Skronk" guitar.  It was amusing watching
the people streaming out of the theater after each piece.

BTW, after "Live in Jerusalem" the next Masada disk will be "Live in
Taipei" (acc. to http://www.dtmgallery.com)

------

Tal Goldman
Tel Aviv


-



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

From: [e-mail]
Subject: Re: Masada Live In Jerusalem due out April 20th
Date: 24 Mar 1999 06:40:53 EST


> > does anybody know when they were playing in jerusalem???

Yes it was 5/18/95, (at least thats one gig they played there) and it was
recorded and then broadcast on radio.

-



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

From: [e-mail]
Subject: Economic Justice for Musicians panel
Date: 24 Mar 1999 10:22:54 -0500



_______________________________________________________________________________

PLEASE FORWARD UNTIL YOUR mouseFINGER HURTS!
thanks, Barbara
***************

OK, you've all gone to see bands play music.  But how much of your hard
earned dough actually makes its way to the musicians bustin' their asses up
there on stage just to give you a good time/enliven your soul/enrich your
consciousness... whatever? Ever wonder?  In most cases, the answer is "not
enough!"  Club owners suck the cash you pay at the bar and get big old
sponsorships from multi-national companies.  So come to a panel discussion
this Saturday to learn about the reality our hardworking musicians are
living with, what are their strategies for change, what organizing models
work for them (in NYC's downtown scene), and how you can help!  (or if you
live out of town, fyi cause you might be interested!)

"Pay to Play?" panel re. Economic Justice for Musicians: featuring Stanley
Aronowitz, Marc Ribot, Jane Scarpantoni, Lianne Smith and Greg Tate
co-sponsored by the Noise Action Coalition & Neues Kabarett
at the Brecht Forum at 122 West 27th Street, 10th Floor, 6-8 pm
$6-10 no one turned away for lack 'o dough
for info call 212-242-4201





-



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

From: Stephen Fruitman <[e-mail]>
Subject: Xenakis Awarded
Date: 24 Mar 1999 17:18:53 +0200

=46or them what keeps track of such things: Iannis Xenakis was awarded this
year=B4s Polar Music Prize in Sweden (sort of a Nobel Prize for music). Each
year, one "popular" artist and one "avantgardish" is chosen for a
lifetime=B4s contribution, etc. etc. Last year for example, Pierre Boulez an=
d
Joni Mitchell. I have no idea what kind of prestige this carries (yeah,
awards...), but it does at least come with a healthy amount of cash. Stephen

Stephen Fruitman
Dept of Historical Studies
Umea University
SE-901 87 Umea Sweden







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

Bj=F6rn Olsson,
Inst. f=F6r id=E9historia,
Ume=E5 universitet
901 87 Ume=E5
tel. [phone] fax 143374



-



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

From: Peter Risser <[e-mail]>
Subject: Secret Chiefs 3
Date: 24 Mar 1999 11:58:02 -0500

SC3's first CD is different from their second.
It's more noise oriented, much like early negativland.  At least that's how
I remember it.
In general, I liked the second one better as it was more tune oriented.

But that's me.

Peter

-



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

From: <[e-mail]>
Subject: Has anybody seen my head
Date: 24 Mar 1999 14:49:02 -0600

     Hello, I know I am a little late with this comments, but I cannt=20=

     control my feelings about this topic. Last Monday I received my co=
py=20
     (#1463) of Peter Br=f6tzmanns Chicago Octet Tentet, and it blew ou=
t my=20
     mind. I began to heard it yesterday late in the night, and I had s=
top=20
     because my wife woke up at 2:00 a.m asking about "that noise". I a=
m=20
     sure it is the beautiful sound of chaos under control. I am a newy=
 on=20
     this things, but from my humble point of view I would like to enco=
urage=20
     those members who havennt had the opportunity to hear this 3cd pac=
kage=20
     try to do it. You will start enjoying the esperience as soon as yo=
u see=20
     the packaging.
    =20
     Can anybody give me more information and recommendation about Mich=
ael=20
     Zerang and his jobs as leader or sessionist?.  His compositions=20=

     included on the Chicago 8tet 10tet cds. are amazing.
     Just my humble two drops in the ocean
     Regards
     Gustavo

-



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

From: [e-mail]
Subject: Misha Mengelberg
Date: 24 Mar 1999 15:05:33 -0300

I know master Misha Mengelberg has released two wonderful recordings on
Avant and DIW, but I wonder how many other cds has he released in other
(europeans?) labels.
I do really need this information.

You can email me privately if you want.

Thanks in advance.

Hugo

-



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

From: s~Z <[e-mail]>
Subject: Good Night Austin TX Wherever You Are
Date: 24 Mar 1999 10:29:30 -0800

http://www.nytimes.com/yr/mo/day/news/arts/waits-music-review.html

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Has anybody seen my head
Date: 24 Mar 1999 15:55:35 -0500 (EST)

If you check the European Free Improvisers page there is a listing for
Zerang and some of the work he's done. There are also a couple of
bio/discos floating around if you do a search, try starting with the WNUR
jazz list.
BTW, I think Zerang has just put out a 2-CD set of his work (with Fred
Longberg-Holm) on an even more obscure Chicago label.

Hope this helps

Ken waxman
[e-mail]



On 24 Mar 1999 [e-mail] wrote:

>
>      Can anybody give me more information and recommendation about Michael
>      Zerang and his jobs as leader or sessionist?.  His compositions
>      included on the Chicago 8tet 10tet cds. are amazing.
>      Just my humble two drops in the ocean
>      Regards
>      Gustavo
>
> -
>
>

-



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

From: "wetboy" <[e-mail]>
Subject: matthew shepard i need yr email address
Date: 24 Mar 1999 18:08:24 -0500

sorry but this is the only way i know to find him. just picked up the
branded to kill dvd w/liner notes and ephemera from john zorn. i will post
details later.


-



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

From: "wetboy" <[e-mail]>
Subject: don caballero
Date: 24 Mar 1999 18:09:50 -0500

to whoever posted the link 2 the mp3s: thanx! now i have some more great
music 2 listen 2. keep em comin!


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Misha Mengelberg
Date: 24 Mar 1999 18:52:15 -0500

At 03:05 PM 3/24/99 -0300, [e-mail] wrote:
>I know master Misha Mengelberg has released two wonderful recordings on
>Avant and DIW, but I wonder how many other cds has he released in other
>(europeans?) labels.
>I do really need this information.

Check out http://www.shef.ac.uk/misc/rec/ps/efi/ehome.html, the European
Free Improvisers home page.  Should be bookmarked by everyone even remotely
interested in the subject (and yes, it includes a Mengelberg page, although
the most recent recording listed is a couple of years old).


--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: "Mark Corroto" <[e-mail]>
Subject: Re: Misha Mengelberg
Date: 25 Mar 1999 07:47:48 -0500

I just picked up Mengelberg duo with Yuri Honing
called Playing on Jazz in motion records from Netherlands


-----Original Message-----


>I know master Misha Mengelberg has released two wonderful recordings on
>Avant and DIW, but I wonder how many other cds has he released in other
>(europeans?) labels.
>I do really need this information.
>
>You can email me privately if you want.
>
>Thanks in advance.
>
>Hugo
>
>-
>
>


-



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

From: [e-mail]
Subject:  A Bill of Musical Rights
Date: 24 Mar 1999 21:56:14 EST

 <A HREF="http://www.musicforpeople.org/rights.html">Bill of Musical Rights
</A>

-



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

From: SG <[e-mail]>
Subject: Has anyone heard about this?
Date: 24 Mar 1999 23:56:44 -0500

This is a multi-part message in MIME format.
--------------1CC19EC8A8F77C23C74E7BD7
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

This was just forwarded to me... No idea if this is just another
internet rumor or what- but it sounds legit- don't think there's a
chance of anything like this ever passing into law, but those members of
the list in the US may want to email their local reps...
Sorry for the interruption- just thought it warranted a mention if it's
on the level...
    - S.

--------------1CC19EC8A8F77C23C74E7BD7
Content-Type: message/rfc822
Content-Transfer-Encoding: 7bit
Content-Disposition: inline

>From icarus.host4u.net!eastwestcircuit.com!flavio Wed Mar 24 21:37:49 1999
Received: from icarus.host4u.net by home.ctol.net id aa16269;
          24 Mar 99 21:08 EST
Received: from [207.172.186.180] (207-172-186-180.s53.as5.nwk.nj.dialup.rcn.com [207.172.186.180])
    by icarus.host4u.net (8.8.5/8.8.5) with SMTP id UAA02982;
    Wed, 24 Mar 1999 20:00:33 -0600
Message-Id: <[e-mail]>
x-mailer: Claris Emailer 1.1
    Trav  Healy <[e-mail]>, Alex Westner <[e-mail]>,
     <[e-mail]>,  <[e-mail]>,
    Mark Smith-Arcarese <[e-mail]>,
    John Kennedy <[e-mail]>,
    Peter Snell <[e-mail]>, SPIKE <[e-mail]>,
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    David Talento <[e-mail]>, Matt Witmer <[e-mail]>
Mime-Version: 1.0
Content-Type: text/plain; charset="US-ASCII"

Sent:        3/25/19 8:33 AM
Received:    3/24/99 8:46 PM

Enclosure:   encoded MIME file

>
>>For your information:
>>
>>The House has a bill set up for a vote ASAP on whether to charge long
>>distance charges for Internet access even if you dial-up locally.
>>This
>>is something that affects each of us. Please read and forward:
>>
>>Congress will be voting in less than two weeks. CNN stated that the
>>Government would, in two weeks time, decide to allow or not allow a
>>charge to your phone bill equal to a Long Distance call EACH time you
>>access the Internet. The address is http://www.house.gov/writerep/
>>If you choose, visit the address above and fill out the necessary
>>form!
>>
>>If EACH one of us, forwards this message on to others in a hurry, we
>>may
>>be able to prevent this injustice from happening!
>>
>>PLEASE PASS THIS ON!!!
>



[e-mail]
www.flavio.net - Online Jukebox of Original Music
www.eastwestcircuit.com - Internet Music Composition Project


--------------1CC19EC8A8F77C23C74E7BD7--


-



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

From: "Francesco Martinelli" <[e-mail]>
Subject: fairly early bailey - review
Date: 25 Mar 1999 06:55:18 +0100

After all this Bailey talk I think I'd contribute with a review

Derek Bailey's Fairly Early with Postscripts is a collection of odds and
ends, very much coeherent within Bailey's unstated agenda, including pieces
spanning almost twenty years, different guitar set-ups, and collaborations
with Anthony Braxton, Kent Carter, John Stevens. With this Cd both the solo
Lp In Whose Tradition (Emanem 3404) and the duo recordings with Anthony
Braxton are completely reissued on Cd (I have the feeling there's more to be
issued though). In fact now the short, funny track In Whose Tradition who
gave the title to one of the original Lps is put into context, and one can
hear Anthony Braxton's typical laugh at Bailey's strumming. The Six Fairly
Early Pieces are one track of twelwe minutes, and one hears on different
channels the acoustic guitar and the pedal controlled amplifier. The
increased separation makes for an uncanny feeling of a duo, while the pieces
are terse, concentrated improvisations on material with special attention on
attack and decay effects. Fascinating listening. The duo effect was
magnified by the addition of another pedal/loudspeaker, and In Whose
Tradition contrasts chordal acoustic strumming with highly distorted sounds,
eliciting Braxton's reactions. From the same day come two short excerpts
from the rehearsals held with the american saxophone player in preparation
for the concert: Braxton wanted to play some compositions, Bailey adamantly
refused, so an agreement was reached with "language Areas" that are quite
close to the Solo Language Classes that Braxton employed for his solos.
Bailey plays his modified guitar, and uses bowing, something he later
abandoned. He abandoned amplification as well, and the following piece is
acoustic guitar, with wonderful rhythm doubling and phrase variations - a
seven minutes demonstration track complete with psychologic/psychoacoustic
explanation of the purpose of talking while playing; two more tracks
(without talking) continue at the same level, with great clarity and
purpose. A tiny bit (fifteen seconds) of spoken word from a 1987 "cassette
letter" completes the picture.
The chronological order is subverted by what follows. In fact it comes from
The Crust, Emanem Lp 304; part of this Lp recorded in London by a Steve Lacy
aggregation in 1973 was reissued on Saxophone Special, Emanem Cd 4024. A Bit
Of The Dumps was an extract on the original Lp as well, where The Crust
(dedicated to Rex Stewart) was a ten minutes quintet piece of which here
about 2:30 are presented here, beginning at around 7:15 of the original,
with the horns "strolling". The separation between this section and what
comes before was quite clear in the Lp, and the momentum of the music is
amazing, but still this section made a different sense in contrast with the
composed or anyway more conventionally jazzistic rest of the piece, with
Bailey's guitar at the beginning to color the flow and then surging in
volume to comment Steve Potts' solo. The sound is much better then the
original though.  (The Owl is the last piece of the original Lp that is
still completely unissued on Cd).
The rest of the Cd returns to solo, with a Post in two sections, a
Postscript and a Postpostscript. The Post and Postscripts are true musical
letters recorded on cassette (the Davidsons were living in Australia then);
topics in the spoken parts intertwined with the playing include another
Emanem release (Domestic and Public Pieces), the weather, Thatcher (speaking
from the radio), the sound and furniture of the new Bailey kitchen in Downs
Road, Thatcher again (after the third reelection), the new guitar. The
Postscript is a 1998 update in the same style. Irresistible.
The cover, taken from a seventies leaflet, combines quotations by critics
with bank's letters, to dark humorous effects paralleling the music. Music,
sound and production concur to make this an outstanding release that, as
they used to say, will give you hours of pleasure.

Francesco Martinelli
Lungarno Mediceo 10
56127 PISA
office email [e-mail]
fax [phone]


-



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

From: Lang Thompson <[e-mail]>
Subject: World Cinema Review
Date: 25 Mar 1999 02:09:41 -0500

This is off-topic unless you're willing to stretch the idea of soundtracks
but I thought many on the list might be interested in my new webzine World
Cinema Review at

http://www.tcf.ua.edu/wlt4/wcr.htm


Lang Thompson
http://www.tcf.ua.edu/wlt4

World Cinema Review
http://www.tcf.ua.edu/wlt4/wcr.htm

"The heavy bullets sounded like howitzers in
the dry, airless late-afternoon air."
from Michael Avallone's The Patridge Family

-



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

From: "J.T. de Boer" <[e-mail]>
Subject: The Rest label
Date: 25 Mar 1999 10:44:56 +0200

Hi,

I wondered if anyone could give me some info about the The Rest
record label. They're largely featured in the Staalplaat-cataloque,
and they seem to focus on very interesting artists (a.o. Chadbourne
and Zorn).

Thanks,

Jeroen
Jeroen de Boer
student Arts & Arts Policy
University of Groningen, The Netherlands
[e-mail]

-



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

From: "J.A.Bueno" <[e-mail]>
Subject: Re: Has anybody seen my head
Date: 24 Mar 1999 08:44:18 -0300

Michael Zerang has a beautiful cd in Chicago`s label =B4Eight day music=B4=
,title is
"the Ballad of Frankie and Johnny".
Antonio

[e-mail] wrote:

>      Hello, I know I am a little late with this comments, but I cannt
>      control my feelings about this topic. Last Monday I received my co=
py
>      (#1463) of Peter Br=F6tzmanns Chicago Octet Tentet, and it blew ou=
t my
>      mind. I began to heard it yesterday late in the night, and I had s=
top
>      because my wife woke up at 2:00 a.m asking about "that noise". I a=
m
>      sure it is the beautiful sound of chaos under control. I am a newy=
 on
>      this things, but from my humble point of view I would like to enco=
urage
>      those members who havennt had the opportunity to hear this 3cd pac=
kage
>      try to do it. You will start enjoying the esperience as soon as yo=
u see
>      the packaging.
>
>      Can anybody give me more information and recommendation about Mich=
ael
>      Zerang and his jobs as leader or sessionist?.  His compositions
>      included on the Chicago 8tet 10tet cds. are amazing.
>      Just my humble two drops in the ocean
>      Regards
>      Gustavo
>
> -


-



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

From: [e-mail]
Subject: Cecil Taylor Radio
Date: 25 Mar 1999 08:46:52 -0500


     A reminder to NYC area listers: WKCR is celebrating the master's 70th
     birthday today by, as is their custom, playing wall-to-wall Cecil all
     day.

     Brian Olewnick

     (I know there's some dispute about his DOB, but KCR's going with
     70...)



-



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

From: Matthew Shepherd <[e-mail]>
Subject: NOT MUCH ZORN: soup disk?
Date: 25 Mar 1999 09:37:51 -0500

The tentative connection is that soup is a Japanese label and Zorn
spends lots of time in Japan.

Picked up the Soup "Out Of Perspective" comp last week and I'm heartily
impressed. A label that seems largely dedicated to slick blends of
drum&bass and jazz. The jazz end of things is a little light, but it's
still pretty freakin' cool.

Does anybody know anything else about Soup? Their website is nice, but
not as informative as it might be.



--
"I had a dog named Shep. He was a good dog, too."
- E. Presley

Matt Shepherd
[e-mail]



-



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

From: "Julian" <[e-mail]>
Subject: Re: Secret Chiefs 3
Date: 26 Mar 1999 01:37:04 +1100

> SC3's first CD is different from their second.
> It's more noise oriented, much like early negativland.  At least that's
how
> I remember it.

Speaking of Negativland, any recommendations? I've heard good things about
them, and about a cd where someone asks someone called David about
cigarettes... That's all I really know, and it intrigues me somehow...


-



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

From: [e-mail]
Subject: (musings) update
Date: 25 Mar 1999 14:31:30 -0000

Announcing the latest (musings) update; you can now find reviews
of the following new releases at http://come.to/musings.com.

Fred Frith Guitar Quartet (Ambiances Magnetiques: AM063CD)
Fred Frith, Mark Stewart, Nick Didkovsky, Rene Lussier (guitars)

Icarus: Icarus (FMR: CD15-V11298)
Philipp Wachsmann (violin, electronics), Roger Curphy (double bass),
Mark Wastell (cello), Carol Ann Jackson (voice), Trevor Taylor
(percussion, electronics)

Martin Archer: Ghost Lily Cascade  (Discus: 4CD)
Martin Archer: Pure Water Construction  (Discus: 4CD)
Martin Archer (electronics, sopranino sax, violin) with a cast of, well
twenty or so free improvisors.

Ned Bouhalassa: Aerosol(Diffusion i Media: IMED9840)
Ned Bouhalassa (electronics)

Darren Copeland: Rendu Visible(Diffusion i Media: IMED9841)
Darren Copeland (electronics)

Yves Daoust: Musiques Naives(Diffusion i Media: IMED9843)
Yves Daoust (electronics)

Jaques Tremblay: Alibi(Diffusion i Media: IMED9841)
Jacques Tremblay (electronics)

Brasserie Trio: Musique Mecaniques (Leo: CDLR269)
Carlo Actis Dato (reeds), Alberto Mandarini (trumpet), Lauro Rossi
(trombone)

Dominic Duval: Equinox  (Leo: CDLR267)
Dominic Duval (bass, mallets, piano, cymbal, voice), Tomas Ulrich (cello,
voice, whistle), Michael Jefry Stevens (piano, mallets))

Guyvoronsky and Petrova: Chonyi Together (Leo: CDLR268)
Vyacheslav Guyvoronsky (trumpet), Evelin Petrova (accordion)

Ivo Perelman: Brazilian Watercolour (Leo: CDLR266)
Ivo Perelman (tenor sax, recorder, piano), Matthew Shipp (piano),
Rashied Ali (drums), Guillherme Franco (percussion, wooden flute), Cyro
Baptista (percussion, wooden flute)

Day & Taxi: About (Percaso: 17)
Christoph Gallio (reeds), Dominique Girod (bass), Dieter Ulrich (drums))

FJQ: FJQ (RM: RM001)
Ntshuks Bonga (alto sax), Alfredo Genovesi (guitar), Jerry Bird (bass),
Robin Musgrove (drums)

With the usualy apologies for cross-posting,

Richard Cochrane

Visit (musings), a resource for free jazz,
experimental and otherwise non-standard musics:
http://come.to/musings.com
...now with its own mailing list, musings-l

-



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

From: [e-mail]
Subject: Econ just 4 musicians
Date: 25 Mar 1999 10:04:02 -0500


Sorry to post this twice, but we forgot to put the date. March 27. 6 p.m. Please
come.

OK, you've all gone to see bands play music.  But how much of your hard
earned dough actually makes its way to the musicians bustin' their asses up
there on stage just to give you a good time/enliven your soul/enrich your
consciousness... whatever? Ever wonder?  In most cases, the answer is "not
enough!"  Club owners suck the cash you pay at the bar and get big old
sponsorships from multi-national companies.  So come to a panel discussion
this Saturday to learn about the reality our hardworking musicians are
living with, what are their strategies for change, what organizing models
work for them (in NYC's downtown scene), and how you can help!  (or if you
live out of town, fyi cause you might be interested!)

"Pay to Play?" panel re. Economic Justice for Musicians: featuring Stanley
Aronowitz, Marc Ribot, Jane Scarpantoni, Lianne Smith and Greg Tate
co-sponsored by the Noise Action Coalition & Neues Kabarett
at the Brecht Forum at 122 West 27th Street, 10th Floor, 6-8 pm
$6-10 no one turned away for lack 'o dough
for info call 212-242-4201



-



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

From: "Douglas Clarke" <[e-mail]>
Subject: Negativland
Date: 25 Mar 1999 07:27:43 PST

Negativland are currently based out of good ol' Concord California (I'd
like to give a shout out to all you Concord Metal Women (CMW), bigger
hair still existing!), a city where I used to work. East San Francisco
Bay. They do A LOT OF GOOD STUFF. Albums, radio broadcasts, they have a
label called SEELAND that just put out the new Panty Christ cd. Look!

http://www.negativland.com

-Doug
(currently listening to Secret Chiefs)
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: alissa bader <[e-mail]>
Subject: Re: Negativland
Date: 25 Mar 1999 10:35:11 -0500 (EST)


oh, negativland kick ass.  who could ever forget their tribute to Casey
Kasem/American Top 40 on their U2 album?

"This is American Top 40.
 This is bullshit."


--alissa


On Thu, 25 Mar 1999, Douglas Clarke wrote:

> Negativland are currently based out of good ol' Concord California (I'd
> like to give a shout out to all you Concord Metal Women (CMW), bigger
> hair still existing!), a city where I used to work. East San Francisco
> Bay. They do A LOT OF GOOD STUFF. Albums, radio broadcasts, they have a
> label called SEELAND that just put out the new Panty Christ cd. Look!
>
> http://www.negativland.com
>
> -Doug
> (currently listening to Secret Chiefs)
> Get Your Private, Free Email at http://www.hotmail.com
>
> -
>
>


-



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

From: [e-mail]
Subject: CT correction
Date: 25 Mar 1999 09:42:51 -0500


     Oops. Wrong on the all-day part of the previous post, at least. The
     morning program was all CT and I thought it was going to continue, but
     there's some un-CT-like string playing at the moment, so....perhaps
     the remainder of the jazz programming will resume with more Taylor.

     B.



-



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

From: [e-mail]
Subject: CT correction
Date: 25 Mar 1999 09:42:51 -0500


     Oops. Wrong on the all-day part of the previous post, at least. The
     morning program was all CT and I thought it was going to continue, but
     there's some un-CT-like string playing at the moment, so....perhaps
     the remainder of the jazz programming will resume with more Taylor.

     B.



-



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

From: David Keffer <[e-mail]>
Subject: Bailey Live Review
Date: 25 Mar 1999 10:40:58 -0500


Well, thanks to somebody or another on the Zorn List,
I heard about Derek Bailey playing in Chattanooga
last night.  I attended and I'll give a short review.

After work, I drive the 110 miles from Knoxville to Chattanooga
and I find in a run-down neighborhood next to downtown, a sign in
front of this unlit building that says "Lamar's Restaurant and Motel".
Half the sign is busted up and all of it is unlit.  The facility is
obviously not in operation.  There appear to be no lights on inside
the building.  I am kind of skeptical of this but I climb up some
steep concrete stairs to the entrance.  Inside, in what
was at one time a motel lobby, some twenty-something people, sort
of hip-looking sort of very unhip-looking (in a hip proportion of the
two, of course), are hanging out in some diner booths.  There
is a very narrow hallway leading from this lobby and I follow
it, finding no other alternate direction.  This hallway passes
by motel rooms on either side.  In these motel rooms, the doors
are open and various people are sitting around, talking,
smoking, drinking.  I keep going.  At the end of the hall, I
find a small "banquet hall".  The room is in the original 1960's
decor.  In a semi-ridiculous imitation of a large hotel banquet
halls, this room can be divided into four smaller halls, each
about the size of a small bedroom.   The partitions which could divide
the room are these brittle accordion-like red plastic devices that
are partially  extended, because, apparently they won't draw
completely back into the recesses.  The walls of the room are
covered with old orange "autumn leaves falling" wallpaper.
The wallpaper is peeling off in places.  In other places, the
wallpaper is held up by purple, blue, and white 1980's era
airbrush-painting-style posters of jazz saxophone players.
The room is lit by several 1960's dim flat-pane brown-glass
chandeliers.  The room is filled with freaks, freaks like
you don't find in a southern state like Tennessee, unless
you go to some decrepit, closed-down motel, follow a narrow hall,
and end up where I have ended up.  Very interesting.  A large,
round, young man wearing a fuzzy white fez, a black plastic Mardi
Gras mask, and a thin robe, which appears to have been made out
of a bedsheet covered with a giant replica of the PAC-MAN gameboard,
mills about the crowd as if he were the pontiff of the gathering.
A variety of other notable-looking denizens of Chattanooga are
also roaming around but most of the 150 or so people in the room
have their eyes focused on the source of music emanating from
the back of the room.  There, will you believe it, in a closed-down
motel on the edge of the Chattanooga slums, is Derek Bailey,
plinking and plonking on his guitar.

Bailey sounded awesome, his playing sounded like his playing
on Harras.  I could not have imagined a better venue than
"Lamar's Restaurant and Motel".  He was the OPENING BAND for a
local Chattanooga act that I had never heard of.  Bailey
was playing with two guys (from Chattanooga?) on drums and
synthesizer.  They were just making some background rumble
to Bailey's playing.  It sounded good.  The sound quality in
the motel was pretty lo-tech but still sounded good. On the
last song, the keyboardist (a skinny, closely-shaved head,
balding white guy) got a microphone and started rapping,
but just sounds, chookachookachookachooka, stuff like that,
no words, and then got up and did a real freak show spaz dance
to Derek Bailey's playing.  It would have been a real horrible
thing to witness had it not been located inside this motel hall.
As it was, he received a standing ovation for the performance.
I applauded as well; I was enamored with the entire affair,
not excluding the man in the PAC-MAN sheet who continued to pace
the hall throughout the show.

Later,

David K.

p.s.
If any of you ever happen to be in Chattanooga, I highly
recommend that you stop by "Lamar's Restaurant and Motel",
regardless of whether Derek Bailey is playing there.

p.p.s.
For you folks in Atlanta...The same trio is playing again
on Saturday

Bailey, Stagner & Palmer
March 27, 1999 8:30 p.m.
at First Existentialist Congregation Church
470 Candler Park Drive NE
Atlanta GA
(1/2 mile from lil' 5-points)

advance tickets avaiable at Wax n' Facts
$10 advance and $12 day of show

for more information call [phone]
or e-mail [e-mail]

Seeing these guys in a church ought to be pretty good,
especially an existentialist church.


-



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

From: Jason Tors <[e-mail]>
Subject: negitivland- book
Date: 25 Mar 1999 10:44:20 -0800

Negitivland also put out an interesting book that is very applicable to our
modern medium of communication. Ultimately it was about replication and
distortion of digital information and identity cover band. The book is
represented a series of court cases highlighting their battles with u2
[island records] and casey kasum. After reading the book, the music made a
lot more sense to me, it became highly conceptual music with a social
voice.

-



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

From: alissa bader <[e-mail]>
Subject: Re: negitivland- book
Date: 25 Mar 1999 10:49:42 -0500 (EST)


I think it was called _Fair Use_ (not certain).  Anyway, I'll never forget
the WFMU (NYC's) description for this item:  "Buy it before the lawsuit!"
heh.

--alissa
[e-mail]

On Thu, 25 Mar 1999, Jason Tors wrote:

> Negitivland also put out an interesting book that is very applicable to our
> modern medium of communication. Ultimately it was about replication and
> distortion of digital information and identity cover band. The book is
> represented a series of court cases highlighting their battles with u2
> [island records] and casey kasum. After reading the book, the music made a
> lot more sense to me, it became highly conceptual music with a social
> voice.
>
> -
>
>


-



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

From: William York <[e-mail]>
Subject: M. Zerang
Date: 25 Mar 1999 11:36:32 -0500 (EST)

> BTW, I think Zerang has just put out a 2-CD set of his work (with Fred
> Longberg-Holm) on an even more obscure Chicago label.

Could this be the 2CD _Earth Sessions_ set w/ pianist Jim Baker on Box
Media.  If so, it's in an entirely different mode, more classically
inspired (disc 1 -piano/drums) and maybe like hyper AMM or other British
improvisors on disc 2 (percussion and ARP synthesizer).

He also has a duet CD w/ Hamid Drake on Okka Disc (haven't heard it) and
at least one recording with Ken Vandermark - "Eightball" (a 7-inch 2 song
single which I really like).  Maybe if Vandermark does something else with
his quartet Zerang will be involved with that (as opposed to the V5 which
is a different thing).

WY


-



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

From: "Michael Boock" <[e-mail]>
Subject: Re: Bailey Live Review
Date: 25 Mar 1999 08:42:52 PST

Anyone have other DB tour dates? I'm heading south next week and would
love to catch him.

Thanks,
MB
>From: David Keffer <[e-mail]>
>To: [e-mail]
>Subject: Bailey Live Review
>Date: Thu, 25 Mar 1999 10:40:58 -0500
>
>
>Well, thanks to somebody or another on the Zorn List,
>I heard about Derek Bailey playing in Chattanooga
>last night.  I attended and I'll give a short review.
>
>After work, I drive the 110 miles from Knoxville to Chattanooga
>and I find in a run-down neighborhood next to downtown, a sign in
>front of this unlit building that says "Lamar's Restaurant and Motel".
>Half the sign is busted up and all of it is unlit.  The facility is
>obviously not in operation.  There appear to be no lights on inside
>the building.  I am kind of skeptical of this but I climb up some
>steep concrete stairs to the entrance.  Inside, in what
>was at one time a motel lobby, some twenty-something people, sort
>of hip-looking sort of very unhip-looking (in a hip proportion of the
>two, of course), are hanging out in some diner booths.  There
>is a very narrow hallway leading from this lobby and I follow
>it, finding no other alternate direction.  This hallway passes
>by motel rooms on either side.  In these motel rooms, the doors
>are open and various people are sitting around, talking,
>smoking, drinking.  I keep going.  At the end of the hall, I
>find a small "banquet hall".  The room is in the original 1960's
>decor.  In a semi-ridiculous imitation of a large hotel banquet
>halls, this room can be divided into four smaller halls, each
>about the size of a small bedroom.   The partitions which could divide
>the room are these brittle accordion-like red plastic devices that
>are partially  extended, because, apparently they won't draw
>completely back into the recesses.  The walls of the room are
>covered with old orange "autumn leaves falling" wallpaper.
>The wallpaper is peeling off in places.  In other places, the
>wallpaper is held up by purple, blue, and white 1980's era
>airbrush-painting-style posters of jazz saxophone players.
>The room is lit by several 1960's dim flat-pane brown-glass
>chandeliers.  The room is filled with freaks, freaks like
>you don't find in a southern state like Tennessee, unless
>you go to some decrepit, closed-down motel, follow a narrow hall,
>and end up where I have ended up.  Very interesting.  A large,
>round, young man wearing a fuzzy white fez, a black plastic Mardi
>Gras mask, and a thin robe, which appears to have been made out
>of a bedsheet covered with a giant replica of the PAC-MAN gameboard,
>mills about the crowd as if he were the pontiff of the gathering.
>A variety of other notable-looking denizens of Chattanooga are
>also roaming around but most of the 150 or so people in the room
>have their eyes focused on the source of music emanating from
>the back of the room.  There, will you believe it, in a closed-down
>motel on the edge of the Chattanooga slums, is Derek Bailey,
>plinking and plonking on his guitar.
>
>Bailey sounded awesome, his playing sounded like his playing
>on Harras.  I could not have imagined a better venue than
>"Lamar's Restaurant and Motel".  He was the OPENING BAND for a
>local Chattanooga act that I had never heard of.  Bailey
>was playing with two guys (from Chattanooga?) on drums and
>synthesizer.  They were just making some background rumble
>to Bailey's playing.  It sounded good.  The sound quality in
>the motel was pretty lo-tech but still sounded good. On the
>last song, the keyboardist (a skinny, closely-shaved head,
>balding white guy) got a microphone and started rapping,
>but just sounds, chookachookachookachooka, stuff like that,
>no words, and then got up and did a real freak show spaz dance
>to Derek Bailey's playing.  It would have been a real horrible
>thing to witness had it not been located inside this motel hall.
>As it was, he received a standing ovation for the performance.
>I applauded as well; I was enamored with the entire affair,
>not excluding the man in the PAC-MAN sheet who continued to pace
>the hall throughout the show.
>
>Later,
>
>David K.
>
>p.s.
>If any of you ever happen to be in Chattanooga, I highly
>recommend that you stop by "Lamar's Restaurant and Motel",
>regardless of whether Derek Bailey is playing there.
>
>p.p.s.
>For you folks in Atlanta...The same trio is playing again
>on Saturday
>
>Bailey, Stagner & Palmer
>March 27, 1999 8:30 p.m.
>at First Existentialist Congregation Church
>470 Candler Park Drive NE
>Atlanta GA
>(1/2 mile from lil' 5-points)
>
>advance tickets avaiable at Wax n' Facts
>$10 advance and $12 day of show
>
>for more information call [phone]
>or e-mail [e-mail]
>
>Seeing these guys in a church ought to be pretty good,
>especially an existentialist church.
>
>
>-
>

Get Your Private, Free Email at http://www.hotmail.com

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Cecil Taylor Radio
Date: 25 Mar 1999 11:59:36 -0500 (EST)

A sobering thought. CT and Bill Dixon are in their eighth decades,
Ornette Coleman and Derek Bailey are senior citizens and most people, even
jazzers, think of their work as "new" music.

Ken Waxman
[e-mail]


On Thu, 25 Mar 1999 [e-mail] wrote:

>
>      A reminder to NYC area listers: WKCR is celebrating the master's 70th
>      birthday today by, as is their custom, playing wall-to-wall Cecil all
>      day.
>
>      Brian Olewnick
>
>      (I know there's some dispute about his DOB, but KCR's going with
>      70...)
>
>
>
> -
>
>

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Cecil Taylor Radio
Date: 25 Mar 1999 09:16:01 -0800


On Thu, 25 Mar 1999 11:59:36 -0500 (EST)  Ken Waxman wrote:
>
> A sobering thought. CT and Bill Dixon are in their eighth decades,
> Ornette Coleman and Derek Bailey are senior citizens and most people, even
> jazzers, think of their work as "new" music.

Because people still have this romantic vision of "new" as being identified
to low attendance concerts, obscure releases, word of mouth, myth of the true
artist who is never understood, etc.

"New" is getting more and more used to qualify music genres that failed to
attract any significant audiences (besides the usual converted, of course),
even after many decades have passed. In other milieux, "new" would be
replaced by "acquired taste". But "new" still has the implicit meaning that
it won't be new forever, that there will be one day when the unaware masses
will wake up and see the light :-). This looks to me more like faith than
anything else.

Also, some audiences have a hard time to adjust to the fact that what they
listen to is not new anymore (some would even feel ashamed that what they
listen to is not new or cutting edge).

    Patrice.

-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Has anyone heard about this?
Date: 25 Mar 1999 12:09:09 -0600 (CST)

This is a long-lived hoax. See
http://www.snopes.com/spoons/faxlore/internet.htm

On Wed, 24 Mar 1999, SG wrote:

> This was just forwarded to me... No idea if this is just another
> internet rumor or what- but it sounds legit- don't think there's a
> chance of anything like this ever passing into law, but those members of
> the list in the US may want to email their local reps...
> Sorry for the interruption- just thought it warranted a mention if it's
> on the level...
>     - S.
>

- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: [e-mail]
Subject: Re:  Re: Cecil Taylor Radio
Date: 25 Mar 1999 13:12:50 EST

<A sobering thought. CT and Bill Dixon are in their eighth decades,
Ornette Coleman and Derek Bailey are senior citizens and most people, even
jazzers, think of their work as "new" music.>

.....still love those early ornette recordings with don cherry/billy
higgins/ed blackwell/charlie haden....
was very fortunate to hear the group ( minus cherry, higgins w/ dewey redman
on tenor ) in the early 70's in nyc.........
went back stage and got to talk some w/ redman who was very nice and
helpful......didn't get to speak with ornette ( who was dressed like a rock
star, heals and all and surrounded by a few beautiful women!)
ornette played alto/tpt and violin of which the latter was much too
loud......audience members were yelling at him to turn it down.......
overall, musically, aside from a bad mix, the concert was excellent,
especially the playing by redman and blackwell, who in my opinion, was one of
the best drummers ever......

-



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

From: nils <[e-mail]>
Subject: Re: soup disk
Date: 25 Mar 1999 13:26:02 +0000


Matthew Shepherd <[e-mail]> wrote:
>
> Picked up the Soup "Out Of Perspective" comp last week and I'm heartily
> impressed. A label that seems largely dedicated to slick blends of
> drum&bass and jazz. The jazz end of things is a little light, but it's
> still pretty freakin' cool.

Man, are you sure you don't have wax in your ears?
 That comp sux rox.  The problem is, it's all
loops, and repetitive loops at that.  Nothing very
creative or interesting.  I found myself halfway
to sleep before I got so annoyed I had to turn it
off.  The stuff by Montage and Cappablack is
slightly less offensive, but overall this record
is unbelievably bad.

-Nils

-



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

From: nils <[e-mail]>
Subject: Re: negativland book
Date: 25 Mar 1999 13:31:53 +0000

Here's the low-down on that Negativland book.
It's called "Fair Use: The Story of the Letter U
and the Numeral 2."  A big 270 pp from Seeland
press.  Comes with a CD inside, called "Dead Dog
Records."  The book contains the story and
documentation of Negativland's legal troubles with
Island, SST, and Casey Kasem.  For me it was a
hugely informative read.  These guys went through
some pretty deep crap on account of their artistic
creativity.  The CD is somewhat less than genius,
though it has its moments too.  I got my book
online at cdnow, if I remember correctly (it's
been a while).

-Nils

-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: negitivland- book
Date: 25 Mar 1999 10:35:44 -0800 (PST)

On Thu, 25 Mar 1999, alissa bader wrote:

> I think it was called _Fair Use_ (not certain).  Anyway, I'll never forget

the first edition was titled "Fair Use"
and was forced out of circulation from
the lawsuit. the second, expanded, edition
is titled "The Story of the Letter U and the Numeral 2".
comes with a CD.

hasta.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


-



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

From: "Douglas Clarke" <[e-mail]>
Subject: Concert Reviews
Date: 25 Mar 1999 10:37:11 PST

The last couple of days I have seen 2 incredibly different concerts, but
both I can recommend.

The first was Panty Christ, March 23rd in Gent, Belgium, featuring a
friend of mine and fellow San Franciscan, sample artist Bob Ostertag,
Turntablist/guitarist Otomo Yoshide (I know he deserves further credits,
but he is pretty well known on the list - you all know what he does),
and Drag Queen Off-Broadway performer Justin Bond. For those of you who
saw this band's first (or second) performance as "House of Splender", I
must saw they they have really developed and are much more cohesive now
then ever. For those of you who aren't familiar with how this band
works, basically, Otomo lays down themes and adds noise and sound
flavorings. Bob then contributes with sample manipulations. The
interaction between these two is always interesting. Then Justin Talks,
sings, makes noises, over the music. Generally a piece would center
around a half-improvised, severly aggressive story from Justin's twisted
mind. This is also flavored by several costume changes (and wig changes)
by Ms. Bond done right on stage, and audience walk-arounds. Now I know
some of you may find such rantings obnoxious, but that's just what I
loved about it. If you really listen, you'll find that Justin has a
brilliantly original comic mind, and the interaction between he and the
musicians is amazingly subtle. Otomo would respond to things Justin
would say in an instant, and suddenly you notice that the music, which
seems to at first have nothing to do with the monologue, becomes an
intregal part of it. Plus Justin is absolutely stunning. After the show
we joined him for a beer and took pictures with the band and chatted and
had an unforgettable evening...ahem.

March 24th, was The Bill Frissel band at the Stadtgarten, Cologne. The
band was upright bass, drums, slide guitar/mandolin and guitar. The
sound was straight of his Nashville and other similar albums. Very
easy-going, yet sometimes quite intense. The highlight for me was seeing
Kenny Wolleson (another native San Franciscan) play. He always created
the most simple grooves using such original methods. For instance, he
would use a drumstick with a shaker tied to it, or play his drums with
tamborines. And he would flavor his playing (which was for the most
part, straight) with experimental playing methods. And Bill, of course
was also at his best. He played with delay loops and had some extremely
nervous monologues between songs. After the show, we talked to Kenny for
quite a while. He's super-nice and really enjoyed talking about who his
favorite groups and musicians are. (He's a big fan of Mr. Bungle). It
was great, I look forward to seeing him play again. I also should
mention that Bill and the slide guitarist (forgot his name) were playing
very tight, but with very laid back melodies. It was really fun to see
them interact.

Sorry this is so long. I hope you find it interesting!
-Doug
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: [e-mail]
Subject: Re: soup disk
Date: 25 Mar 1999 13:36:58 EST


In a message dated 3/25/99 1:23:31 PM, [e-mail] writes:

<< Matthew Shepherd <[e-mail]> wrote:
>
> Picked up the Soup "Out Of Perspective" comp last week and I'm heartily
> impressed. A label that seems largely dedicated to slick blends of
> drum&bass and jazz. The jazz end of things is a little light, but it's
> still pretty freakin' cool.

Man, are you sure you don't have wax in your ears?
 That comp sux rox.  The problem is, it's all
loops, and repetitive loops at that.  Nothing very
creative or interesting.  I found myself halfway
to sleep before I got so annoyed I had to turn it
off.  The stuff by Montage and Cappablack is
slightly less offensive, but overall this record
is unbelievably bad.

-Nils >>

I hate to chime in on such a negative note, but I didn't get much out of this
record either. each track tends to have one boring idea which it repeats ad
nauseum, kind of a musical equivalent to a Saturday Night Live sketch. I've
also delved into the Soup-Disk catalog a few times, and never found anything I
liked much.

but, hey, it's pretty easy to decide for yourself if you want. I believe Other
Music is selling the sampler CD for $1.69.

Jon

-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: negativland book
Date: 25 Mar 1999 10:45:52 -0800 (PST)

On Thu, 25 Mar 1999, nils wrote:

> Here's the low-down on that Negativland book.
> It's called "Fair Use: The Story of the Letter U
> and the Numeral 2."

whoops, this is correct.

there was a smaller, zine-like edition
of this book that originally came out
shortly after Island forced SST/Negativland
to pull and destroy all copies of the
"U2" single. the "Fair Use" book is much
more extensive and well worth the read.

hasta.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


-



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

From: "Douglas Clarke" <[e-mail]>
Subject: i forgot...
Date: 25 Mar 1999 11:04:14 PST

I hope you guys still care, but I forgot to mention that I also bought
Panty Christ's debut cd, put out by Negativland's Seeland. (Justin told
me this long story about how they had a hard time with record labels
releasing it). I must say that it is very interesting, but not quite as
intense and fun as seeing them live. Though Otomo's grooves and Justin's
hilariously disturbing stories really combine beutifully in the studio
environment. (Bob was sick during recording, so although he overdubbed
and mixed, it felt like his presence was a little lacking.) Its just
that Justin is so visual. They need to put out a video.

Also wanted to see Fred Frith in Maastricht tonight, but ran out of
dough...

spater,
Doug
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: [e-mail] (Michael J. Williams)
Date: 25 Mar 1999 09:10:45 -0800

For those disappointed by the Los Angeles Times' failure to commemorate
Horace Tapscott, there is a very fitting and moving piece on him by Jocelyn
Stewart in today's edition (3/25/99) on the first page of the Metro section,
left-hand side.

Michael J. Williams
Oceanside, CA


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: negativland book
Date: 25 Mar 1999 11:08:35 -0800


On Thu, 25 Mar 1999 13:31:53 +0000  nils wrote:
>
> Here's the low-down on that Negativland book.
> It's called "Fair Use: The Story of the Letter U
> and the Numeral 2."  A big 270 pp from Seeland
> press.  Comes with a CD inside, called "Dead Dog
> Records."  The book contains the story and
> documentation of Negativland's legal troubles with
> Island, SST, and Casey Kasem.  For me it was a
> hugely informative read.  These guys went through
> some pretty deep crap on account of their artistic
> creativity.  The CD is somewhat less than genius,
  ^^^^^^^^^^

Negativland is a band heavy on rethoric and litigation but which has, to
my opinion, failed to put out anything significant on the music map
(some of their songs were fun for a couple of listenings, but like any
comedy show, it did not pass the test of multiple listenings). Which
means that I would not worry too much about their "artistic creativity"
(at least from a music point of view, because as far as litigation, PR,
and playing the role of the innocent victim is concerned, they are true
geniuses).

What was initially a fun and fairly entertaining poke at a big mainstream
band (which deserved that somebody makes fun at them), ended up to get
very tiring (it seems like it lasted 3-4 years!). They have milked that
U2 story for so many years that I want to puke just thinking about it (I
almost did at one of their show -- and it was three years after the affair
started...). As a result of that, I almost find U2 sympathetic.

I think that they are too smart to play the victims. I believe that they
knew exactly what they were doing. That the worse the U2 record company
could have done would have been to ignore them. Now you are free to see
this saga as a remake of David and Goliath -- with the good in one corner,
and the bad in the other (hey! are we not supposed to believe that the
big one is always the bad?).

    Patrice.

PS: not to mention that without U2, nobody would even know what Negativland
is.

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: i forgot...
Date: 25 Mar 1999 11:23:25 -0800


On Thu, 25 Mar 1999 11:04:14 PST  "Douglas Clarke" wrote:
>
> I hope you guys still care, but I forgot to mention that I also bought
> Panty Christ's debut cd, put out by Negativland's Seeland. (Justin told
> me this long story about how they had a hard time with record labels
> releasing it). I must say that it is very interesting, but not quite as
  ^^^^^^^^^^^^

Are you surprised? With all the litigation experience they gathered during
their U2 saga, and all the problems they seem to have with everybody, they
have a reputation of being trouble makers (true or false, I don't know).
If I were a record label, I would flee them like the plague (I would not
want to take the risk of being accountable for their record not selling
more than 100,000 copies, and them missing the Grammy Award...).

    Patrice.

-



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

From: s~Z <[e-mail]>
Subject: Re: Horace Tapscott
Date: 25 Mar 1999 11:37:02 -0800

> For those disappointed by the Los Angeles Times' failure to commemorate
> Horace Tapscott, there is a very fitting and moving piece on him by Jocelyn
> Stewart in today's edition (3/25/99) on the first page of the Metro section,
> left-hand side.
>
> Michael J. Williams

I can't find anything on Tapscott in today's LA Times???? Not even
searching the online version. There was a decent commemoration in the March
6 Calendar Section. You have to pay to get it online. Here's the tease from
the archives at:
http://www.latimes.com./cgi-bin/archsearch-cgi?DBQUERY=Tapscott&DATE=last+6+months&SECT=&SORT=d%3Ah&NITEMS=25

        An Act to Follow;
        The legacy of Horace Tapscott, known as Papa to many in
        L.A., is pure inspiration.;

        Saturday, March 6, 1999
        Home Edition
        Section: Calendar
        ID: 0990020315
        Words: 1466
        Byline: EMORY HOLMES II
        SPECIAL TO THE TIMES
        Musician, teacher and bandleader, Horace Tapscott, 64, will
        be buried today after a 10 a.m. ceremony at Brookins
        Community A.M.E. in Los Angeles. Yet it is not likely that
        his physical passing will diminish the life and vibrancy of the
        music, organizations and themes he devoted his life to
        sustaining.

-



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

From: [e-mail] (Michael J. Williams)
Date: 25 Mar 1999 09:57:57 -0800

The Tapscott story was actually in yesterday's edition, March 24, not
today's. Sorry for the error. I took the copy off the rack, naturally
assuming it was today's paper.

Michael J. Williams
Oceanside CA


-



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

From: Peter Risser <[e-mail]>
Subject: Negativland (was SC3) (longish)
Date: 25 Mar 1999 14:56:34 -0500


That would be Big 10-8 Place, which I coincidentally have at work right now.
A fantastic album.

The three best Negativland albums to get, hands down, are Big 10[8 Place,
Helter Stupid and Escape from Noise.  Each one shows off a different side
of the band.  Big 10-8 Place is primarily a well-structured noise piece, or
actually, two.  One is based on repeated samples that form sort of motifs
and is really cool.  The second side is a narration that is bizarre
("David, where did you put my cigarettes, David?  They're under the bird
cage, ma.  David, for the last time, where did you put my cigarettes?
They're inside the TV, ma.") and then treated with bizarre effects on top
of that.

Escape from Noise is a series of smaller pieces, mostly collages, that are
funny, interesting and very well done.

Helter Stupid is a tremendous 25 minute collage that sort of chronicles
this weird murder, where this kid murdered his family. Negativland called
some newsrooms and said that the kid blamed it all on Negativland and their
song, Christianity Is Stupid.  The news took that and ran with it.  Pretty
clever.  But most important is that the 25 minute sample collage marathon
completely holds together top to bottom.  It's "backed" with a series of
smaller pieces based on radio demo and promo records, which is weird,
because you get this huge splash of radio ga-ga that's just so over the
top.  Not as good as Helter Stupid, but pretty interesting as well.

They have two earlier albums, Negativland and "Points", which are alright.
If you like basic collage stuff, they are decent enough.  I like them,
fine, but they are nowhere near as great as the three above.  They also
have that famous U2 single, which you can find MP3s of at, I think,
www.detritus.com.  And then they have a bunch of radio show comps, which
I'm not so fond of, and other CDs, which I don't think are anywhere near
matching the creative brilliance of the top three.  Stuff like Guns, the
Willsaphone Stupid Show, Dispepsi and JamCon 96 and others, buy at your own
risk.

In short, they are different than other "noise" groups, because they use
primarily samples and primarily media samples with lots of talking and make
collages and, well, almost deranged radio plays, rather than just blasts of
noise, or short musical samples, or techno wannabe tunes.  At least on the
three above. Later on they got stupid, as far as I'm concerned.  But, each
to his own.

Probably more info than you ever wanted.  :)

Peter

At 01:37 AM 03/26/1999 +1100, you wrote:
>> SC3's first CD is different from their second.
>> It's more noise oriented, much like early negativland.  At least that's
>how
>> I remember it.
>
>Speaking of Negativland, any recommendations? I've heard good things about
>them, and about a cd where someone asks someone called David about
>cigarettes... That's all I really know, and it intrigues me somehow...
>
>

-



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

From: nils <[e-mail]>
Subject: Re: negativland book
Date: 25 Mar 1999 15:30:30 +0000

"Patrice L. Roussel" wrote:
>
> Negativland is a band heavy on rethoric and litigation but which has, to
> my opinion, failed to put out anything significant on the music map
> (some of their songs were fun for a couple of listenings, but like any
> comedy show, it did not pass the test of multiple listenings). Which
> means that I would not worry too much about their "artistic creativity"
> (at least from a music point of view, because as far as litigation, PR,
> and playing the role of the innocent victim is concerned, they are true
> geniuses).

My, aren't we cynical.  I think I'll still be
listening to "Guns" in the year 2020, but that
could just be due to the fact that I like bad comedy.

It doesn't really matter whether they knew it was
going to happen.  The litigative events
surrounding U2 were ugly.  Take Negativland as a
model for what happens when the big egos in the
music industry vent their steam.  Does it offend
you that they put on a performance out of being
persecuted?  Wouldn't you, in their shoes?

-Nils

-



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

From: s~Z <[e-mail]>
Subject: Re:
Date: 25 Mar 1999 12:56:34 -0800

> The Tapscott story was actually in yesterday's edition, March 24, not
> today's. Sorry for the error. I took the copy off the rack, naturally
> assuming it was today's paper.
>
> Michael J. Williams

Thanks. I'm glad you got the wrong paper, because I get the Ventura County
edition which tucks the LA Metro stuff way in the back, and I missed the
Tapscott article which I am very glad to now have in my hands. I was
surprised at the number of articles on Tapscott after his death actually,
but continue to complain ad nauseum to the Calendar Section editors for
their woeful under-coverage of this music by its living performers. A lot
of good it does the likes of John Carter and Horace Tapscott to get some
press after they've died. Vinny Golia, et al. will be front page news,
then.

I know, I know.....I'm preaching to the converted.

And everyone said:

AMEN!

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: negativland book
Date: 25 Mar 1999 13:07:23 -0800


On Thu, 25 Mar 1999 15:30:30 +0000  nils wrote:
>
> It doesn't really matter whether they knew it was
> going to happen.  The litigative events
> surrounding U2 were ugly.  Take Negativland as a
> model for what happens when the big egos in the
> music industry vent their steam.  Does it offend
> you that they put on a performance out of being
> persecuted?  Wouldn't you, in their shoes?
  ^^^^^^^^^^

Wow! Being slapped in the face for being a pain in the arse is surely not
something very enjoyable, but it does not reach the level of persecution
(look a little bit at the news (I mean outside USA), to get an idea what
persecution and being a victim really mean). But for cry babies who are
denied their toy, no word seems to be strong enough...

    Patrice.

-



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

From: Peter Risser <[e-mail]>
Subject: Negativland
Date: 25 Mar 1999 15:37:34 -0500


<< Patrice say:
PS: not to mention that without U2, nobody would even know what Negativland
is.
>>

Patrice, you've been in a particularly foul mood lately.  I would dare to
say that most people would not know who Negativland were without this
record, but I've been into them since Escape from Noise, and many of my
friends and colleagues since far before that.  Admittedly, a tremendously
small subset of the general populace, but I bet many of the musicophiles on
this list had heard of them long before as well.

I have to debate your claim that they are all rhetoric and no music.  As I
stated before in my longish post, I think that their albums are pretty
close to genius workings of sampled material.  I will agree that SINCE the
U2 "fiasco", they have degenerated into nothing but a spokesband, and
they've lost all that made them cool in the first place.

Also, I think they knew they might piss people off, but probably had no
idea to what extent they'd get screwed.

Also, the book IS a great read.  The lawyers come off sounding like
complete bullies and U2 had no idea this was going on (keep in mind this
was happening while they were on their huge Zooropa tour, where Bono and
friends were illegally rebroadcasting for a paying audience thousands of
minutes of TV shows).  In fact, I've heard that it's no longer U2 that
keeps them from re-releasing the thing, but Casey Kasem.  Go figure.

I'd also agree that although it's terribly funny, it is a joke CD, good for
a couple of listens, and Island would have been MUCH better off letting it
lie.  However they're earlier stuff is great.

So I think, anyway.

Peter



-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: negativland book
Date: 25 Mar 1999 13:27:11 -0800 (PST)

On Thu, 25 Mar 1999, nils wrote:

> listening to "Guns" in the year 2020, but that
> could just be due to the fact that I like bad comedy.

yes, me too.

but...

> It doesn't really matter whether they knew it was
> going to happen.  The litigative events
> surrounding U2 were ugly.  Take Negativland as a
> model for what happens when the big egos in the
> music industry vent their steam.  Does it offend
> you that they put on a performance out of being
> persecuted?  Wouldn't you, in their shoes?

i think it would be fair to complain
that Negativland are a band who don't
understand the delicate nature of diplomacy
politics -- knowing when to stop while
you're still ahead. they've been beating
the "poor us, we're oppressed!" horse
for so many years now, it's sort of getting
old and tired. at a certain point, one
needs to shit or get off the pot, y'know?
what's odd is that they have been moving
forward and working on new stuff, putting
out other bands on their Seeland label,
playing live with folks like Wet Gate or
People Like Us and whatnot... but they
don't seem to want to hype that as much
as their underdog cachet status. that
tells us something, i would think.

hasta.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


-



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

From: "Jason J. Tar" <[e-mail]>
Subject: Soup/PantyChrist.
Date: 25 Mar 1999 18:35:08 -0500

In defense of Soup, I've found the following artists to be quite good
downtempo hip hop:  Ruf Neck Piano and Cappablack.  Would appeal to those
who appreciate DJ Vadim/Andre Gurov.  Also, Weedbeats is a jazzy type
project featuring turntables by Tsunoda Tsuguto (who has worked with Otomo
Yoshihide on Les Sculptuers Des Vinyl, and also worked with Cult Junk Cafe
and TV Pow).

>> (Justin told  me this long story about how they had a hard time with
record labels
>> releasing it). I must say that it is very interesting, but not quite as
>  ^^^^^^^^^^^^
>
>Are you surprised? With all the litigation experience they gathered during
>their U2 saga, and all the problems they seem to have with everybody, they
>have a reputation of being trouble makers (true or false, I don't know).
>If I were a record label, I would flee them like the plague (I would not
>want to take the risk of being accountable for their record not selling
>more than 100,000 copies, and them missing the Grammy Award...).

Panty Christ is not Negativland, just released on Seeland (Negativland's
label), so you're argument here is kinda confusing.  PantyChrist was
originally slated to be on Asphodel, but Ostertag took issue (justly) with
their policy to enforce copyright laws on the work regardless of who and
how it is sampled in the future ... and without getting the agreement of
Ostertag/Yoshihide/Bond in pursuing such claims.

---
Peace Hugs and Unity            Jason J. Tar
        W.    W.    J.    D?
                  (What would Jason Do?)
      http://pilot.msu.edu/user/tarjason
              ICQ@13792120

-



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

From: "J. Kan" <[e-mail]>
Subject: RE: Negativland
Date: 26 Mar 1999 00:50:33 +0100

For the record, the piece about David and the cigarettes (as well as, of
course, the dog juice and the HR steam cleaner) is from _A Big 10-8 Place_,
Negativland's paean to suburbia, and to the East Bay (SF) in particular.
Although I guess one could argue that all their records are paeans to
suburbia in some way....

The one that seems to have been overshadowed by _U2_ and its ensuing furor
is _Helter Stupid_, which to me is a bit more interesting, both as music and
as spectacle.

Jim


-



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

From: "J. Kan" <[e-mail]>
Subject: RE: negativland book
Date: 26 Mar 1999 01:05:00 +0100

> What was initially a fun and fairly entertaining poke at a big mainstream
> band (which deserved that somebody makes fun at them), ended up to get
> very tiring (it seems like it lasted 3-4 years!). They have milked that
> U2 story for so many years that I want to puke just thinking about it (I
> almost did at one of their show -- and it was three years after the affair
> started...). As a result of that, I almost find U2 sympathetic.

Hmm. I guess that's what happens to martyrs when they don't actually die....

Jim


-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Soup/PantyChrist.
Date: 25 Mar 1999 18:17:05 -0600 (CST)

On Thu, 25 Mar 1999, Jason J. Tar wrote:

> Panty Christ is not Negativland, just released on Seeland (Negativland's
> label), so you're argument here is kinda confusing.  PantyChrist was
> originally slated to be on Asphodel, but Ostertag took issue (justly) with
> their policy to enforce copyright laws on the work regardless of who and
> how it is sampled in the future ... and without getting the agreement of
> Ostertag/Yoshihide/Bond in pursuing such claims.

I'm confused: whose policy was it to enforce which copyright laws on what,
and why was this a problem?

- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Soup/PantyChrist.
Date: 25 Mar 1999 16:29:20 -0800


On Thu, 25 Mar 1999 18:35:08 -0500  "Jason J. Tar" wrote:
>
> Panty Christ is not Negativland, just released on Seeland (Negativland's
> label), so you're argument here is kinda confusing.  PantyChrist was
                ^^^^^^^^^^^^^^^^^^^^^^
It's a nice way to say it. I totally s....ed it up!

    Patrice.

-



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

From: "Jason J. Tar" <[e-mail]>
Subject: Re: Soup/PantyChrist.
Date: 25 Mar 1999 20:30:03 -0500

At 06:17 PM 3/25/99 -0600, Joseph S. Zitt wrote:
>I'm confused: whose policy was it to enforce which copyright laws on what,
>and why was this a problem?

The way I understand it, Asphodel wanted to reserve the right to sue any
artist who sampled the work for copywrite infringement without needing to
notify or get the consent of Ostertag/Yoshihide/Bond.  Asphodel considered
it a normal policy, Ostertag disagreed.  (For good reason, would be quite a
contradiction coming from someone whose work is made from samples.)

So the release went to a more copywrite friendly label, Seeland.

---
Peace Hugs and Unity            Jason J. Tar
        W.    W.    J.    D?
                  (What would Jason Do?)
      http://pilot.msu.edu/user/tarjason
              ICQ@13792120

-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Soup/PantyChrist.
Date: 25 Mar 1999 19:56:01 -0600 (CST)

On Thu, 25 Mar 1999, Jason J. Tar wrote:

> The way I understand it, Asphodel wanted to reserve the right to sue any
> artist who sampled the work for copywrite infringement without needing to
> notify or get the consent of Ostertag/Yoshihide/Bond.  Asphodel considered
> it a normal policy, Ostertag disagreed.  (For good reason, would be quite a
> contradiction coming from someone whose work is made from samples.)

Gotcha. I can see both points of view.

(...and the compulsive proofreader in me insists that it's "copyright", as
in "right to copy".)

- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: s~Z <[e-mail]>
Subject: Horace Tapscott
Date: 25 Mar 1999 20:50:44 -0800

http://www.latimes.com/CNS_DAYS/990324/t000026464.html


-



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

From: "Douglas Clarke" <[e-mail]>
Subject: Re: Negativland
Date: 26 Mar 1999 01:30:58 PST




>From: Peter Risser <[e-mail]>

>Patrice, you've been in a particularly foul mood lately.  I would dare
to
>say that most people would not know who Negativland were without this
>record, but I've been into them since Escape from Noise, and many of my
>friends and colleagues since far before that.  Admittedly, a
tremendously
>small subset of the general populace, but I bet many of the
musicophiles on
>this list had heard of them long before as well.

To tell you guys the truth, I've been aware of Negativland for several
years, and I've never heard of this U2 thing. But I always have strange
selective hearing.

Doug
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: "Douglas Clarke" <[e-mail]>
Subject: Re: PantyChrist.
Date: 26 Mar 1999 01:45:05 PST

>From: "Jason J. Tar" <[e-mail]>

>The way I understand it, Asphodel wanted to reserve the right to sue
any
>artist who sampled the work for copywrite infringement without needing
to
>notify or get the consent of Ostertag/Yoshihide/Bond.  Asphodel
considered
>it a normal policy, Ostertag disagreed.  (For good reason, would be
quite a
>contradiction coming from someone whose work is made from samples.)
>
>So the release went to a more copywrite friendly label, Seeland.
>

Okay, I don't know if anyone cares anymore, but I got a different story.
This one was right from Justin's (lucious) lips. They weren't even going
to make an album until the owner of Apostal (or was it another label?),
who saw them at the Great American music hall and loved them, begged
them to for his label. So, they made it, but by the time it was
finished, he had sold ownership of the label to more conservative minds.
Everyone at the newly bought label hated it, so the old owner tried to
find another label that would put it out. So, eventually it came out on
Seeland.

I know, the first explanation seems more convincing, but maybe we can
compromise with the reason being a funny mixture of the two??

-Doug
Get Your Private, Free Email at http://www.hotmail.com

-



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

From: Michael Witt <[e-mail]>
Subject: Spending some quality time with Big John
Date: 26 Mar 1999 08:52:10 -0500


The Elbo Room is a fun place to see a show, and I'm excited about Vandermark
playing with John Patton this Saturday in Chicago.  Can anyone elaborate on
the Zorn-relation and recommend an album other than SPILLANE?  The attached
is the Critic's Choice blurb in the Chicago Reader.  If there's interest
here, I'll review the concert on Sunday.

--Mike

> ---
> BIG JOHN PATTON
> Saturday 3/27, Elbo Room
> The pantheon of 60s organ heroes cleaved into two distinct camps: the more
> conservative wing stuck like glue to the tried-and-true devices of blues
> and balladry that were the mainspring of soul jazz, while the more
> progressive types made forays into modal and free jazz. Big John Patton's
> 1968 trio outing Understanding (Blue Note), featuring Harold Alexander's
> expressionist tenor saxophone, connected as easily with the screaming free
> scene as with grease-streaked, hot-skillet soul jazz. Patton was no
> dabbler when it came to the latter--for proof, check out Let 'Em Roll, his
> funky record with guitarist Grant Green and vibist Bobby Hutcherson, or
> his Crescent City strut on Boogaloo and Memphis to New York Spirit. But he
> could swing both ways, plunging deep into harmonic territory tested by
> only a few daring organ-grinders (like Larry Young) and surfacing into
> southern-fried blues. Since he returned to recording and performing in '83
> after a long hiatus, Patton has made some equally adventurous music,
> including a cameo on Spillane, the montage-based record by New York outcat
> saxophonist John Zorn. Zorn returned the favor, playing on Patton's 1993
> release, Blue Planet Man (Evidence), and on the excellent quartet disc
> Minor Swing (DIW) from '95. At this show Patton will be accompanied by the
> crack "Heroes of the Hammond" team, Robert Shy on drums and George Freeman
> on guitar; guest saxophonist Ken Vandermark will reach into the impressive
> bag of blues and soul tricks he's collected with Baxter and the Crown
> Royals. Saturday, 10 PM, Elbo Room, 2871 North Lincoln; 312-409-0099 or
> 773-549-5549. --John Corbett
>

-



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

From: [e-mail]
Subject: Re: Spending some quality time with Big John
Date: 26 Mar 1999 09:51:23 EST


In a message dated 3/26/99 8:56:16 AM, [e-mail] writes:

<< Can anyone elaborate on the Zorn-relation and recommend an album other than
SPILLANE?  >>

from Patton's 60's work, check out Blue John (Blue Note). from his more recent
comeback period, try Minor Swing (DIW), a great quartet session from '94 with
Zorn.

Jon

-



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

From: Peter Hollo <[e-mail]>
Subject: Re: Negativland
Date: 27 Mar 1999 02:49:41 +1100

Not convinced that nobody would have heard of Negativland if not for the
U2 story. They do over-milk it but nevertheless it is important in the
realm of legal rights of sample-based music and so on, not to mention
the right to satire.
Another collage/sample based group worth mentioning are Stock, Hausen
and Walkman. Sortof English equivalent of Negativland; they don't have a
U2 story to make them well-known, yet they have a big world-wide
following. I guess admittedly I do think they're better than
Negativland, but that's just personal preference. Very clever stuff,
often rather pointedly humourous, but it works, and there's sooo much
going on a lot of the time that you don't get sick of it. I recommend in
particular the most recent offering "Oh My Bag!", as well as side
project Dummy Run's latest (forget the name), also on their label Hot
Air.

Peter.
--
Peter Hollo  [e-mail]  http://www.fourplay.com.au/me.html
              FourPlay - Eclectic Electric String Quartet
                       http://www.fourplay.com.au
                     Raven: experimental electronic
                 http://www.fourplay.com.au/sound.html
"Of course, dance music can be a music where you lie on your back and
your brain cells dance" -Michael Karoli of Can, quoted in Wire mag.

-



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

From: pjm <[e-mail]>
Subject:
Date: 26 Mar 1999 08:36:13 -0800

Patrice said:

>PS: not to mention that without U2, nobody would even know what
>Negativland is.

    Negativland received considerable press before the U2 saga when some kid
blew his head off after listening to "Christianity is Stupid".... or was
that a media prank? either way, they were in the media spotlight a bit
pre-U2. one or two memebers also used to do a great live performance radio
show out of Berkeley. People could call in and improv over the phone and
over the air... it was pretty fun

            2 cents

                pjm



-



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

From: Taylor McLaren <[e-mail]>
Subject: Re: negativland book
Date: 26 Mar 1999 11:52:54 -0500


MEEP! Patrice L. Roussel <[e-mail]> wrote:
>That the worse the U2 record company
>could have done would have been to ignore them.
Well, at least as far as their latest outings go, their targets (Pepsi and
whoever the hell the _Happy Heroes_ EP was supposed to be directed at)
*have* ignored them, and probably with good cause. To hear Don Joyce talk
about it, you'd think that they were glad that they haven't been sued, but
I really do have to wonder about that, especially given the pains that the
band still takes to poke sticks at anybody even remotely associated with
the U2 trials; a Deja News search for the address [e-mail]
should turn up an interesting bunch of threads on rec.music.industrial from
last September or so.

-me


-



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

From: Michael Witt <[e-mail]>
Subject: Spending some quality time with Big John
Date: 26 Mar 1999 08:52:10 -0500


The Elbo Room is a fun place to see a show, and I'm excited about Vandermark
playing with John Patton this Saturday in Chicago.  Can anyone elaborate on
the Zorn-relation and recommend an album other than SPILLANE?  The attached
is the Critic's Choice blurb in the Chicago Reader.  If there's interest
here, I'll review the concert on Sunday.

--Mike

> ---
> BIG JOHN PATTON
> Saturday 3/27, Elbo Room
> The pantheon of 60s organ heroes cleaved into two distinct camps: the more
> conservative wing stuck like glue to the tried-and-true devices of blues
> and balladry that were the mainspring of soul jazz, while the more
> progressive types made forays into modal and free jazz. Big John Patton's
> 1968 trio outing Understanding (Blue Note), featuring Harold Alexander's
> expressionist tenor saxophone, connected as easily with the screaming free
> scene as with grease-streaked, hot-skillet soul jazz. Patton was no
> dabbler when it came to the latter--for proof, check out Let 'Em Roll, his
> funky record with guitarist Grant Green and vibist Bobby Hutcherson, or
> his Crescent City strut on Boogaloo and Memphis to New York Spirit. But he
> could swing both ways, plunging deep into harmonic territory tested by
> only a few daring organ-grinders (like Larry Young) and surfacing into
> southern-fried blues. Since he returned to recording and performing in '83
> after a long hiatus, Patton has made some equally adventurous music,
> including a cameo on Spillane, the montage-based record by New York outcat
> saxophonist John Zorn. Zorn returned the favor, playing on Patton's 1993
> release, Blue Planet Man (Evidence), and on the excellent quartet disc
> Minor Swing (DIW) from '95. At this show Patton will be accompanied by the
> crack "Heroes of the Hammond" team, Robert Shy on drums and George Freeman
> on guitar; guest saxophonist Ken Vandermark will reach into the impressive
> bag of blues and soul tricks he's collected with Baxter and the Crown
> Royals. Saturday, 10 PM, Elbo Room, 2871 North Lincoln; 312-409-0099 or
> 773-549-5549. --John Corbett
>

-


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Spending some quality time with Big John
Date: 26 Mar 1999 12:31:11 -0500 (EST)

Most of John Patton's albums from the 1960s on Blue Note are pretty good.
If any are on CD pick one up.

I think Zorn and Patton also played together on an Evidence CD a few
years ago undr Patton's name, the title of which escapes me.

Ken Waxman
[e-mail]

-



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

From: cd <[e-mail]>
Subject: Re: Negativland
Date: 26 Mar 1999 15:58:16 -0800

Peter Hollo wrote:
>
> Not convinced that nobody would have heard of Negativland if not for the
> U2 story. They do over-milk it but nevertheless it is important in the
> realm of legal rights of sample-based music and so on,

Important?  How so?  Nothing went to trial, so this case did not clarify
anything (except that you can't release a record with "U2" printed on
the cover in 12 inch type and get away with it!).

> not to mention the right to satire.

In the US, satire is NOT an exemption to copyright infringement (see
Dr. Seuss Enterprises, L.P. v. Penguin Books USA, Inc., 109 F.3d 1394
(9th Cir. 1997).  Parody, however, may constitute fair use (See Campbell
v. Acuff-Rose Music, Inc., 510 U.S. 569 (1994)).  A subtle distinction,
but very important (as many unsuspecting defendants have discovered).

-cd

-



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

From: eric ong <[e-mail]>
Subject: New Clusone 3
Date: 26 Mar 1999 18:56:43 -0500 (EST)

Hello,

I've been listening to the new Clusone 3 (Moore, Reijseger, Bennink) for
two days straight now and I just wanted to chime in with a recommendation.
It's called "Rara Avis" (hat) -- 14 songs, 55 minutes.  All the songs,
somehow, are "about" birds ("The Buzzard Song", "Duck", "El Condor Pasa",
etc).  So expect bird chirping noises here and there.  Not at all
annoying, don't worry.  There are two tunes written by Moore, the rest are
by Gershwin, Lacy, Berlin, A.C. Jobim, Carmichael, a Peruvian folksong,
etc.

This record is great.  It'll probably be one of my favorite jazz offerings
at the end of the year.  The songs are incredibly listenable, playful, and
upbeat.  There's enough dissonance, however, to maintain interest --
mainly due to Bennink's incredible off-beat/now on-beat drumming.  I'm
amazed at how informal a lot of this music feels to the ear -- I mean, I
never knew sloppiness to be a virtue.  I guess only the impression of
sloppiness truly works.  I wish I could describe some of the standout
tracks, but I'm really pressed for time today.

No Bartok samples on that Tenko/Otomo Microcosmos disc, I checked.  Heh.

eric.


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Cincinnati Cobra Group April dates
Date: 27 Mar 1999 10:10:38 -0500

An unsolicited post from a fan of the group.  Anyone in the Cincinnati Ohio
area should try to catch at least one of these dates.

>
>The COBRA Ensemble - Cincinnati will perform:
>>
>Friday April 9, 8:30pm, Patricia Corbett Theater, Univ. of Cincinnati,
Calhoun
>St. and Clifton Ave. In addition to renderings of Zorn's COBRA, this show
will
>include two Renaissance motets arranged for group members by NF, one of which
>will feature soprano saxophone improvisation and solo dancer/choreographer
Ann
>Chiaverini. The program will also include a piece by NF. This will be a free
>show.
>>
>Saturday, April 17, The Southgate House, 24 E. 3rd St., Newport. 431-2201. We
>will be headlining downstairs in the ballroom, doing just Zorn. Contact Chris
>at Southgate for info regarding opening act.
>>
>To help insure good turnouts, these will probably be the only April
>performances. Please spread the word!.....and then spread it some more! It's
>much more fulfilling for us to "touch madness" (from wonderfully written
>concertgoer response) when you're there to watch.
>
>
>

--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

-



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

From: Matthew Shepherd <[e-mail]>
Subject: Re: soup disk
Date: 26 Mar 1999 11:10:56 -0500


--------------22263BA03C9C8266D60D1AA5
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit


Matthew Shepherd <[e-mail]> wrote:
>
> Picked up the Soup "Out Of Perspective" comp last week and I'm
heartily
> impressed. A label that seems largely dedicated to slick blends of
> drum&bass and jazz. The jazz end of things is a little light, but it's

> still pretty freakin' cool.

Man, are you sure you don't have wax in your ears?
 That comp sux rox.  The problem is, it's all
loops, and repetitive loops at that.  Nothing very
creative or interesting.  I found myself halfway
to sleep before I got so annoyed I had to turn it
off.  The stuff by Montage and Cappablack is
slightly less offensive, but overall this record
is unbelievably bad.

-Nils

---
Well, yeah, I do have wax in my ears, but I just turn things up louder.
:-)

Diff'rent strokes for different folks, I guess. I like repetitive
loops.There are a couple of real stinkers on here (but hell, it's a
comp), but a lot of the tracks sort of creep up on you. Maybe I'm just a
big ole cheeseball, but I stand by liking it.

Anre there any better d&b/jazz hybrid bands out there? I mean, if Soup
really does bite, I owe it to myself to check out the real undiluted
deal...

--
"I had a dog named Shep. He was a good dog, too."
- E. Presley

Matt Shepherd


--------------22263BA03C9C8266D60D1AA5
Content-Type: text/html; charset=us-ascii
Content-Transfer-Encoding: 7bit

<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>

<br>Matthew Shepherd <[e-mail]> wrote:
<br>>
<br>> Picked up the Soup "Out Of Perspective" comp last week and I'm heartily
<br>> impressed. A label that seems largely dedicated to slick blends of
<br>> drum&bass and jazz. The jazz end of things is a little light,
but it's
<br>> still pretty freakin' cool.
<p>Man, are you sure you don't have wax in your ears?
<br> That comp sux rox.  The problem is, it's all
<br>loops, and repetitive loops at that.  Nothing very
<br>creative or interesting.  I found myself halfway
<br>to sleep before I got so annoyed I had to turn it
<br>off.  The stuff by Montage and Cappablack is
<br>slightly less offensive, but overall this record
<br>is unbelievably bad.
<p>-Nils
<p>---
<br>Well, yeah, I <i>do </i>have wax in my ears, but I just turn things
up louder. :-)
<p>Diff'rent strokes for different folks, I guess. I <i>like</i> repetitive
loops.There are a couple of real stinkers on here (but hell, it's a comp),
but a lot of the tracks sort of creep up on you. Maybe I'm just a big ole
cheeseball, but I stand by liking it.
<p>Anre there any better d&b/jazz hybrid bands out there? I mean, if
Soup really does bite, I owe it to myself to check out the real undiluted
deal...
<p>--
<br>"I had a dog named Shep. He was a good dog, too."
<br>- E. Presley
<p>Matt Shepherd
<br> </html>

--------------22263BA03C9C8266D60D1AA5--



-



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

From: [e-mail]
Subject: Re: soup disk
Date: 27 Mar 1999 16:32:45 EST


In a message dated 3/27/99 3:14:42 PM, [e-mail] writes:

<< Anre there any better d&b/jazz hybrid bands out there?  >>

I don't think much of this style ends up being very successful, but one I
really enjoy is the first Red Snapper full-length, Reeled And Skinned, on Warp
UK. no one ever picked this up domestically for some reason. the sax player
has legitimate chops, and it comes across as an interesting update on the
organ combo records of the fifties and sixties. it's from 1995, and also
features an early appearance by recent critic favorite Beth Orton.

Jon

-



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

From: "Edward Lutiy" <[e-mail]>
Subject: Need help (No Zorn Content)
Date: 28 Mar 1999 12:01:51 +0400

    Good day!

    Sorry fo no Zorn content but I need your help with the info on the
following records very much.

    Anybody heard these records ??? Who plays on 'em ? What label ?
Your personal opinion - are they good ?
Tony Coe "Some Other Autumn"
Roswell Rudd "Flexible Flyer"
Brown,Rob "Breath Rhyme"
Derome,Jean "Confitures de Gagaku"
Aaly Trio / Vandermark,Ken "Hidden in the Stomach"
Dick,Robert "Other Flute"

    Thanks in advance.

    Edward.

-



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

From: "Edward Lutiy" <[e-mail]>
Subject: Matthew Shipp Duo with William Parker "Zo" (No Zorn Content)
Date: 28 Mar 1999 12:04:59 +0400

    Good day!

    Can anybody please tell what's the difference between the original version
of
Matthew Shipp Duo with William Parker "Zo" on Rise Records (1994) and its
reissue on 2.13.61 Records (1997): bonus cuts, sound quality, liner notes,
cover art, etc.

    Thanks in advance.

    Edward.

-



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

From: "Julian" <[e-mail]>
Subject: zorn book
Date: 28 Mar 1999 20:21:42 +1000

What ever happened to that book about Zorn?

-



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

From: philz <[e-mail]>
Subject: Re: Fred Frith
Date: 28 Mar 1999 09:49:29 -0500

[e-mail] wrote:
>
> "Classical" works- "Pacifica" and "The Previous Evening", also "Lelekovice /
> The As Usual Dance..." (Two pieces- one for string quartet, the other for
guitar quartet.). P is very laid back, quiet, kind of ambient.

In my mind the ultimate "quiet" or ambient release Frith has put out
is _Middle of the Moment_ which collects field recordings and various
bits that Fred has recorded from around the world and puts them back
together in a sum is greater than the parts kind of way.  I have yet
to find someone not interested in this cd in one way or another, and
some of the 'naive' vocals he's recorded are incredible, imho.

philz



-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Matthew Shipp Duo with William Parker "Zo" (No Zorn Content)
Date: 28 Mar 1999 13:50:28 -0500 (EST)

Depends on whether you get it new, used or as a delete. It's the same CD
with diffrent art and slightlt better distribution.

Ken Waxman
[e-mail]




On Sun, 28 Mar 1999, Edward Lutiy wrote:

>     Good day!
>
>     Can anybody please tell what's the difference between the original version
> of
> Matthew Shipp Duo with William Parker "Zo" on Rise Records (1994) and its
> reissue on 2.13.61 Records (1997): bonus cuts, sound quality, liner notes,
> cover art, etc.
>
>     Thanks in advance.
>
>     Edward.
>
> -
>
>

-



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

From: "Francesco Martinelli" <[e-mail]>
Subject: cds for sale
Date: 28 Mar 1999 21:13:40 +0200

pardon the intrusion. I have a small list of cds for sale, mostly american
and european avantgarde. will mail it on request.
Ciao
Francesco
[e-mail]


-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: zorn book
Date: 28 Mar 1999 13:32:29 -0600 (CST)

On Sun, 28 Mar 1999, Julian wrote:

> What ever happened to that book about Zorn?

If you mean the special issue of Materiali Sonori, I have it, and it's
quite good, especially about his earlier, less documented work. I got my
copy for, http://www.artists-shop.com/

- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: "wetboy" <[e-mail]>
Subject: branded to kill
Date: 28 Mar 1999 21:07:25 -0500

well i figured its about time i give this dvd a little review. branded to
kill is the story of the number 3 killer who makes a mistake and is hunted
by the number 1 killer. its directed by seijun suzuki who was accused of
making movies that make no sense and make no money. so what the hell does
this have 2 do w/the zorn list? well, jz wrote a nice little thing 4 the
liner notes and provided posters included in the supplement. it includes
several posters of films that starred jo shishido, star of branded to kill.
kinda cool, but i wonder where zorn keeps all these damn posters. kinda
interesting that criterion should seek out zorn to do the liner notes.
obviously zorn is aware of japanese culture, but he's notexactly a household
name. oh well. the dvd kicks ass, and the zorn stuff was the icing on the
cake.


-



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

From: Anders Fransson <[e-mail]>
Subject: Bailey
Date: 29 Mar 1999 07:33:39 +0200

Is Derek Bailey really a Stalinist????
--=20

Anders
_________________________________________________________________________=
____
Anders Fransson, universitetsbiblioteket, =D6rebro universitet,
701 82 =D6rebro, Sweden.
e-mail. [e-mail]
Phone. [phone]
Fax. [phone]
_________________________________________________________________________=
____

-



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

From: William York <[e-mail]>
Subject: Shaking Ray Levis/D. Bailey/Zorn Sample
Date: 29 Mar 1999 01:20:58 -0500 (EST)

Someone mentioned two guys who were playing with Bailey for the SE US
shows - that would be the Shaking Ray Levis (Dennis Palmer + Bob Stagner)
who are an improv duo from Chatanooga, Tennessee.  They have a few albums
out; 2 of them are on Incus and one of those has steve Beresford and John
Turner, I think, with them.  I actually haven't heard these so if anyone
has any reviews, I would appreciate that.

One recording of them I do have is from a compilation of live stuff from
the Ice Cream (or Eye Scream) Festival which was in Atlanta 2 yrs. ago.
The one they do has a sample of Steve Beresford's "All My Fibers" from his
Avant CD, Signals for Tea, with Zorn/Douglas/Wollesen/Cohen.  I was
surprised to hear that one, although it makes sense considering their
association of course.

That CD also has the Gold Sparkle Band (great jazz 4tet from Atlanta but
now relocated to New York), Eugene Chadbourne (doing Morricone's "Magic
and Ecstasy"), Davey Williams + LaDonna Smith, a two bands with people
names- Charlie Parker ans William Carlos Williams (sounding like something
by the Mothers on "Weasels Ripped My Flesh".  I would recommend this b/c
its only $6 ppd. and its all good to excellent.  The label is Old Gold of
Atlanta.  If anyone wants the address I can get it (not w/ me now). Also
its a ltd. edn. of 500, but mine was only 176 so their not going too fast.

Not employed by them,

WY


-



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

From: William York <[e-mail]>
Subject: Dion McGregor!!
Date: 29 Mar 1999 01:31:00 -0500 (EST)

I've been forgetting about this - I've had a chance to hear this and play
it for people and I know someone on the list asked about it.  This is on
Tzadik, Dion McGregor dreamed out loud, really, and this CD has 20 of
about 500 dreams they have on tape.  70 + minutes.  Some of it I have to
say is really good for 1 or 2 listens - maybe half of it - but parts of it
are priceless (or at least worth the price of a CD) and pretty filthy.
There's a certain one having to do with food items that especially takes
the cake.  Plus, the liner notes are good and lots of people were
involved/thanked - Ellery Eskelin, Jad Fair, Peter Blegvad (who did the
cover), Thinking Fellers Union, and some others.  So, I'd say its
worthwhile despite being a little disappointng, if that makes sense.

Speaking of the Lunatic Fringe series, has anyone heard that
'Self-Indulgent Music' CD that came out last Spring??

WY


-



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

From: William York <[e-mail]>
Subject: jazz/d+b
Date: 29 Mar 1999 01:48:57 -0500 (EST)

> Anre there any better d&b/jazz hybrid bands out there? I mean, if Soup
> really does bite, I owe it to myself to check out the real undiluted
> deal...

Not exactly a 'd&b/jazz hybrid' (there's other stuff on there too) but
that Orchester 33 1/3 CD on Plag Dich Nicht could fit in this category,
and its definitely recommendable.  The only place tat has it in the US, I
think, is Dutch East India Trading Co., which seems odd to me - why not
Forced Exposure or someone else....

Enough from me,

WY


-



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

From: "Douglas Clarke" <[e-mail]>
Subject: Re: Dion McGregor!!
Date: 29 Mar 1999 00:49:32 PST

>From: William York <[e-mail]>

>Speaking of the Lunatic Fringe series, has anyone heard that
>'Self-Indulgent Music' CD that came out last Spring??

I don't have the disk, but I wonder if its the same Mike Boner who used
to be a sideshow at Idiot Flesh concerts. He's pretty freakish. He's
sickeningly skinny, has a seventies bowl cut, and  usually wears a tutu
or something. Between Idiot Flesh's songs, he would play acoustic guitar
and sing sort of Alternative/folky tunes. It was incredibly disturbing.

-Doug

Get Your Private, Free Email at http://www.hotmail.com

-



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

From: Rick Lopez <[e-mail]>
Subject: [Fwd: [boss-improv] David S. Ware-- the early years...]
Date: 29 Mar 1999 07:32:39 -0500

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Any info out there?

Thanks ahead of time.

Rick Lopez
--
Marilyn Crispell, Susie Ibarra, Sam Rivers, Matthew Shipp, David S. Ware, and
Reggie Workman discographies--Samuel Beckett Eulogy--Baseball & the 10,000
Things--Time Stops--LOVETORN--HARD BOIL--etc.,  at:
http://www.velocity.net/~bb10k

***Very Various Music For Sale:
***http://www.velocity.net/~bb10k/4SALE.html
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Precedence: bulk

Does anyone out there know anything about Ware in the Boston scene in the
early 70's?

Looking for info on "Abdul Hannan", including possible LP or tapes.

Also the quartet APOGEE, which included Ware, Gene Ashton (Cooper-Moore?), and
possibly Marc Edwards. Don't have any skinny on the bass player. Might there
be tapes existant of this group?

Help out there?

Thanks,
Rick Lopez
--
Marilyn Crispell, Susie Ibarra, Sam Rivers, Matthew Shipp, David S. Ware, and
Reggie Workman discographies--Samuel Beckett Eulogy--Baseball & the 10,000
Things--Time Stops--LOVETORN--HARD BOIL--etc.,  at:
http://www.velocity.net/~bb10k

***Very Various Music For Sale:
***http://www.velocity.net/~bb10k/4SALE.html


--------------1629AF31B5A912254C052E13--


-



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From: nils <[e-mail]>
Subject: Re: negativland book
Date: 29 Mar 1999 08:01:20 +0000

Taylor McLaren <[e-mail]> wrote:

> Well, at least as far as their latest outings go, their targets (Pepsi and
> whoever the hell the _Happy Heroes_ EP was supposed to be directed at)
> *have* ignored them, and probably with good cause.

Not true.  Pepsi tried to hire them as spokesmen,
or promotional artists, or whatever.  I read a
little thing in Newsweek, of all places, on the
subject.  The salient quote was something to the
effect of "we thought about that for about 10
seconds and decided that it wasn't a very good idea."

-Nils

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From: Peter Risser <[e-mail]>
Subject: Re: Need Help
Date: 29 Mar 1999 08:48:56 -0500

<<
    Good day!

    Sorry fo no Zorn content but I need your help with the info on the
following records very much.

    Anybody heard these records ??? Who plays on 'em ? What label ?
Dick,Robert "Other Flute"
>>

Nobody plays on this but Robert Dick.  And, yeah, this is one of my
favorite albums of all time.  More classical leaning than jazz, but he does
use improv pretty well.  Dick has developed a series of studies for
extended flute, which include multi-phonics, circular breathing and more,
and he showcases them all on this disc.  It includes a version of Dolphy's
Gazzelloni (sp?), Varese's Density 21.5, and a Paganini Caprricio (I think,
I'm doing this from memory) all done on the flute, not to mention several
of his own great pieces.

If you like classical-based stuff, flute or good structured improv, you'll
probably dig this disk.

Peter

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From: [e-mail]
Subject: Pedernera/Lurie
Date: 29 Mar 1999 12:21:26 -0300

Hi Zornheads!

I think most of you have listened to bandoneon player Alfredo Pedernera
as a collaborator in Evan Lurie's music; my question is:
Is he active right now? Anybody have any information on his origin? Any
other information?

You can email me privately.

Thanks in advance.

Hugo.

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From: "ADM" <[e-mail]>
Subject: Joey Baron Trio/Dying Ground show
Date: 29 Mar 1999 09:16:29 -0800

Hello

First, I was wondering if anyone caught the recent Joey Baron Trio at the KF
a couple weeks ago.  Anyone care to share some details?  I don't get to hear
them until august when they are playing a west coast show.  Second, was
anyone on the list planning on taping the upcoming Dying Ground show on
tuesday w/ Trey Spruance making a guest appearance?  If so, I'd appreciate a
private email so we might be able to arrange a trade.  Thanks.

-Aaron


-



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From: Dan Hewins <[e-mail]>
Subject: Don Caballero mp3s
Date: 29 Mar 1999 12:23:30 -0600

Could whomever posted about the live Don Caballero mp3s please email me the
link again?  I lost it.  Thanks.

Dan Hewins



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From: [e-mail] (Martin Wisckol)
Subject: Greatest improviser poll
Date: 29 Mar 1999 09:54:25 -0800


Zornlist Greatest Improvisor of the 20th Century Poll

(Reminder of deadline: Sat. April 3, 11:59 p.m. PST)

The Zornlist leaves no nook, cranny or rock unexplored in its search
for fresh sounds. But when it comes down to the nitty gritty, who does
the list think really rules as an IMPROVISER in the 20th century?
Response has been modest so far -- hoping you'll participate so we can
get a reasonable sampling of opinion. Here's how:

List your top five choices, numbered 1-5. No.1=5 points; No. 2=4
points;etc. Denote ties thusly:
1. Buddy Bolden
2. Blind Willie Johnson
2. Eye
4. Eddie Cleanhead Vinson
5. Eddie Hazel

Multiple listings of the same player on the same post will be
disregarded. Ballots of less than five musicians are welcomed. Vote
once. Void where prohibited.

I don't know about you, but I sometimes make a distinction between
"greatest" and "favorite."

Please include the word "poll" in the subject line of your ballot. Post
to:

[e-mail]

I'll post one more reminder later in the week, then post the results
next week.

-



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

From: [e-mail]
Subject: Re: Negativland book
Date: 29 Mar 1999 14:22:13 -0500


Patrice said:

>PS: not to mention that without U2, nobody would even know what
>Negativland is.

Just think, without Negativland, none of us would be talking about U2.



-



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From: David Keffer <[e-mail]>
Subject: Curd Duca
Date: 29 Mar 1999 16:36:31 -0500


Just picked up the 3LP Modulation and Transformation IV comp on
Mille Plateaux.  Volume IV, like Volume III, features a very fine
track by a band called Curd Duca.  I have read some of the Curd
Duca related information available on web.  I am looking for
recommendations on full length albums by Curd Duca.  I guess these
records are available:
"Easy Listening vol 1-5"  "Switched on Wagner (Minimalistic Mood)"
"Elevator"  "Elevator 2"

Thanks.
David K.


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From: Ken Waxman <[e-mail]>
Subject: Re: Negativland book
Date: 29 Mar 1999 16:39:50 -0500 (EST)

sounds good, doesn't it.

Ken waxman
[e-mail]



On Mon, 29 Mar 1999 [e-mail] wrote:

>
> Patrice said:
>
> >PS: not to mention that without U2, nobody would even know what
> >Negativland is.
>
> Just think, without Negativland, none of us would be talking about U2.
>
>
>
> -
>
>

-



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From: "johnnnnn schuller" <[e-mail]>
Subject: Rules For COBRA?
Date: 30 Mar 1999 01:34:20 GMT



Can anyone tell me what the rules for Cobra are? If you don't know, can
you tell me where to find them?

johnnnnn
Get Your Private, Free Email at http://www.hotmail.com

-



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From: Steve Smith <[e-mail]>
Subject: Re: Don Caballero mp3s
Date: 30 Mar 1999 02:22:43 -0500

Dan Hewins wrote:

> Could whomever posted about the live Don Caballero mp3s please email me the
> link again?  I lost it.  Thanks.

http://ivy.artificial.com/music/doncab/

Haven't downloaded anything yet myself...

Steve Smith
[e-mail]


-



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

From: [e-mail]
Subject: Re: Don Caballero mp3s
Date: 30 Mar 1999 05:54:26 EST

In a message dated 3/30/99 2:24:33 AM Eastern Standard Time,
[e-mail] writes:

<< > Could whomever posted about the live Don Caballero mp3s please email me
the
 > link again?  I lost it.  Thanks.

 http://ivy.artificial.com/music/doncab/

 Haven't downloaded anything yet myself...
  >>

My compliments to who first posted this site.  I've downloaded all of it- 11
files totaling up close to an hour's worth of music.  Great sound too.

=dgasque=

-



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From: <[e-mail]>
Subject: Re: Greatest improviser poll
Date: 30 Mar 1999 13:02:02 +0200 (WET)

1. Ganelin
2. John Coltrane
3. Ornette Coleman
4. Keith Jarrett
5. John Zorn

On Mon, 29 Mar 1999, Martin Wisckol wrote:

>
> Zornlist Greatest Improvisor of the 20th Century Poll
>
> (Reminder of deadline: Sat. April 3, 11:59 p.m. PST)
>
> The Zornlist leaves no nook, cranny or rock unexplored in its search
> for fresh sounds. But when it comes down to the nitty gritty, who does
> the list think really rules as an IMPROVISER in the 20th century?
> Response has been modest so far -- hoping you'll participate so we can
> get a reasonable sampling of opinion. Here's how:
>
> List your top five choices, numbered 1-5. No.1=5 points; No. 2=4
> points;etc. Denote ties thusly:
> 1. Buddy Bolden
> 2. Blind Willie Johnson
> 2. Eye
> 4. Eddie Cleanhead Vinson
> 5. Eddie Hazel
>
> Multiple listings of the same player on the same post will be
> disregarded. Ballots of less than five musicians are welcomed. Vote
> once. Void where prohibited.
>
> I don't know about you, but I sometimes make a distinction between
> "greatest" and "favorite."
>
> Please include the word "poll" in the subject line of your ballot. Post
> to:
>
> [e-mail]
>
> I'll post one more reminder later in the week, then post the results
> next week.
>
> -
>
>


-



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From:    [e-mail] (Patrick Carey)
Subject: VINYL/CD Sale - new additions (3.30)
Date: 30 Mar 1999 09:20:42 -0500

Hello,

Please pardon the intrusion & cross-posting ...

I've got some items FS that some on this list may
be interested in.  Artists include Clock DVA, DCD,
Delphium, Eraldo Bernocchi, Gerogerigegege, Masonna,
(lots of) Merzbow, Nimrod, Porter Ricks, Rehberg & Bauer,
Scanner/Shea, Whitehouse & many others.

Check out the URL at the bottom of this message or
email me for a copy if you're browser challenged.


-Patrick
[e-mail]
http://www.astro.utoronto.ca/~carey/sofa/sale.html



-



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From: [e-mail]
Subject: Pukwana/Feza
Date: 30 Mar 1999 15:40:44 -0500


     Aside from 'In the Townships' and 'Diamond Express', does anyone know
     of any Pukwana-led albums that are currently available? Likewise, are
     there any Mongezi Feza led sessions around?

     Thanks,

     Brian Olewnick



-



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From: "Sean Terwilliger" <[e-mail]>
Subject: RE: Pukwana/Feza
Date: 30 Mar 1999 16:11:14 -0500

> does anyone know
>      of any Pukwana-led albums that are currently available?
>      Thanks,
>
>      Brian Olewnick

Cadence has _Cosmics Chapter 90_ on Ah-Um. It's sort of an afro-pop type
deal.

-Sean


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Pukwana/Feza
Date: 30 Mar 1999 13:24:01 -0800


On Tue, 30 Mar 99 15:40:44 -0500  [e-mail] wrote:
>
>
>      Aside from 'In the Townships' and 'Diamond Express', does anyone know

There are few Zila records, but I will have to check at home.

>      of any Pukwana-led albums that are currently available? Likewise, are
>      there any Mongezi Feza led sessions around?

The closer I am aware of records with Feza as leader are (courtesy of Mike
Fowler for his Mongezi Feza discography):


013 - REJOICE: DYANI/TEMIZ/FEZA

21st October, 1972

Johnny Dyani - Bass, Vocals; Mongezi Feza - Trumpet, Vocals; Okay Temiz -
Drums, Percussion

13/1    Titles?

        Cadillac: SGC 1017 (UK)
        Album title: REJOICE


014 - MUSIC FOR XABA: DYANI/TEMIZ/FEZA

2nd November, 1972

Johnny Dyani - Bass, Piano,Vocals; Mogezi Feza - Trumpet, Percussion; Okay
Temiz - Drums, Percussion

14/1    Titles?

        Sonet records: SNTF 642 (UK)
        Album title: MUSIC FOR XABA


015 - MUSIC FOR XABA VOLUME 2: DYANI/TEMIZ/FEZA

2nd November, 1972

Johnny Dyani - Bass, Piano,Vocals; Mogezi Feza - Trumpet, Percussion; Okay
Temiz - Drums, Percussion

15/1    Titles?

        Sonet records: SNTF 824 (UK)
        Album title: MUSIC FOR XABA VOLUME 2


There were also some records by the band Assagai, that features:

    Dudu Pukwana
    Louis Moholo
    Mongezi Feza
    Terry Quayle
    etc

    Needless to say, these have all reached the collector status in a
long time...

    Patrice.

-



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

From: [e-mail]
Subject: Re: Pukwana/Feza
Date: 30 Mar 1999 16:55:48 EST


In a message dated 3/30/99 4:07:57 PM, [e-mail]
writes:

<<  Aside from 'In the Townships' and 'Diamond Express', does anyone know
     of any Pukwana-led albums that are currently available? Likewise, are
     there any Mongezi Feza led sessions around? >>

while I don't have a direct answer to the question, there are a few closely
related discs that are pretty key. there are two Brotherhood Of Breath CDs,
one from 1971 on Repertoire called Chris McGregor's Brotherhood Of Breath, and
Live At Willisau on Ogun from 1973. Pukwana and Feza are on both of these, and
they're both very good.

also on Ogun is a sextet session from 1964 (!) under the name The Blue Notes
Legacy-Live In South Africa 1964. the sextet is McGregor, Pukwana, Feza, Nick
Moyake on tenor sax, Johnny Dyani and Louis Moholo. pretty conventional stuff
when compared to the later output of these artists, but I found it interesting
to hear something from this scene this early on.

In The Townships kicks some serious butt, though. that might be my favorite
document from this group of musicians.

Jon

-



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

From: [e-mail]
Subject: Re[2]: Pukwana/Feza
Date: 30 Mar 1999 16:25:30 -0500


        ...

        >Needless to say, these have all reached the collector status in a
>long time...

It figures...thanks for the great info Patrice and Sean. I was doing some
net-skimming and found a few references for Okay Temiz, a name I've heard of
(and have probably heard along the way--I notice he played a bunch with various
Scandanavian musicians) but don't really know what his work is like. Anyone who
can offer a brief description?

Brian Olewnick (having just heard a Chris MacGregor piece on the radio and
having intense nostalgic feelings for Dudu and Mongs, particularly that 'In the
Townships' record)






-



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

From: Al Tabor <[e-mail]>
Subject: Re: Negativland
Date: 30 Mar 1999 16:32:47 -0800

What is the difference between parody and satire?


> Date: Fri, 26 Mar 1999 15:58:16 -0800
> From: cd <[e-mail]>
> Subject: Re: Negativland


> In the US, satire is NOT an exemption to copyright infringement (see
> Dr. Seuss Enterprises, L.P. v. Penguin Books USA, Inc., 109 F.3d 1394
> (9th Cir. 1997).  Parody, however, may constitute fair use
> (See Campbell
> v. Acuff-Rose Music, Inc., 510 U.S. 569 (1994)).  A subtle
> distinction,
> but very important (as many unsuspecting defendants have discovered).
>
> - -cd
>
> - -
>

-



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

From: Matthew Shepherd <[e-mail]>
Subject: Re: Negativland
Date: 30 Mar 1999 22:24:08 -0500

This isn't the ultra-legal definition, but parody is DIRECT mockery while
satire is using one form to mock another.

I belive in the case cited (Dr. Seuss), somebody used the names and
likenesses of the Cat in the Hat to go after...uh...Bill Clinton or O.J.
Simpson or to capitalize on some other 'trial of the century' fooferaw.

'Parody' would be Weird Al Yankovic recording 'Smells Like Nirvana,' using
the music and lyrics of Nirvana to mock Nirvana.

Were I to borrow Nirvana's "Smells Like Teen Spirit" to write a hit song
comedically pointing out the shortcomings of Al Gore and having nothing
whatsoever to do with Nirvana in any way other than heisting the tune, that
would be satire.

I think.

Al Tabor wrote:

> What is the difference between parody and satire?
>
> > Date: Fri, 26 Mar 1999 15:58:16 -0800
> > From: cd <[e-mail]>
> > Subject: Re: Negativland
>
> > In the US, satire is NOT an exemption to copyright infringement (see
> > Dr. Seuss Enterprises, L.P. v. Penguin Books USA, Inc., 109 F.3d 1394
> > (9th Cir. 1997).  Parody, however, may constitute fair use
> > (See Campbell
> > v. Acuff-Rose Music, Inc., 510 U.S. 569 (1994)).  A subtle
> > distinction,
> > but very important (as many unsuspecting defendants have discovered).
> >
> > - -cd
> >
> > - -
> >
>
> -

--
"I had a dog named Shep. He was a good dog, too."
- E. Presley

Matt Shepherd
[e-mail]



-



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From: [e-mail]
Subject: cobra presence
Date: 30 Mar 1999 22:46:30 EST

----i've submitted this twice now, and it hasn't appeared in the digest----

those of you around the country:

are there any other groups besides the one here in cincinnati doing cobra
regularly? i know cobra is rather played-out in nyc (and probably northern
ca), but is this city as surprisingly-lucky as it seems???

~joseph

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

From: cd <[e-mail]>
Subject: Re: Negativland
Date: 31 Mar 1999 12:57:07 -0800

I've never heard it put better! (I'm glad I procrastinated in responding
to Al's inquiry re: my post...).

Matthew Shepherd wrote:
>
> This isn't the ultra-legal definition, but parody is DIRECT mockery while
> satire is using one form to mock another.
>
> I belive in the case cited (Dr. Seuss), somebody used the names and
> likenesses of the Cat in the Hat to go after...uh...Bill Clinton or O.J.
> Simpson or to capitalize on some other 'trial of the century' fooferaw.
>
> 'Parody' would be Weird Al Yankovic recording 'Smells Like Nirvana,' using
> the music and lyrics of Nirvana to mock Nirvana.
>
> Were I to borrow Nirvana's "Smells Like Teen Spirit" to write a hit song
> comedically pointing out the shortcomings of Al Gore and having nothing
> whatsoever to do with Nirvana in any way other than heisting the tune, that
> would be satire.
>
> I think.
>
> Al Tabor wrote:
>
> > What is the difference between parody and satire?
> >

-



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

From: Eric Saidel <[e-mail]>
Subject: Re: Pukwana/Feza
Date: 31 Mar 1999 09:32:14 -0600



Brian:

> It figures...thanks for the great info Patrice and Sean. I was doing some
> net-skimming and found a few references for Okay Temiz, a name I've heard of
> (and have probably heard along the way--I notice he played a bunch with various
> Scandanavian musicians) but don't really know what his work is like. Anyone who
> can offer a brief description?

He also plays with Don Cherry on his "Live in Istanbul" record.

A brief, and mostly uninformative description, based on one time I saw
him a couple of years ago.  His name is pronounced o-kai - rhymes with
hi - tuh-meez.  He's a percussionist (you probably knew that), and
favors lots of percussion - the group I saw him lead had something like
3 percussionists.  A lot of poly-rhythm.  I don't know Turkish music as
distinct from other folk musics of that region of the world, but a lot
the music had the feel of jazz built on top of Turkish folk music.  This
could almost be a description of several other groups popular on this
list - Jazz built on top of eastern european folk music - but this was
different, the jazz was a bit tamer, a bit more closely related to bop,
less emphasis on virtuosity of the soloist.  The emphasis with Temiz, as
I remember, was on the rhythm.  He got us bouncing around fairly
easily.  It was also fairly light-hearted fare, as I remember.

As I said, brief and uninformative.

- eric


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From: [e-mail]
Subject: Re: Greatest improviser poll
Date: 31 Mar 1999 16:37:40 +0100

> The Zornlist leaves no nook, cranny or rock unexplored in its search
> for fresh sounds. But when it comes down to the nitty gritty, who does
> the list think really rules as an IMPROVISER in the 20th century?

So, just who *is* the improvisor with the best name-recognition
among white-collar Euro-American John Zorn fans (surely this list's
most common demographic, no?)? Answer: somebody or other
with good distribution and marketing. Or a safe "classic" like
Coltrane. Surprise surprise.

I'm constatly irritated by the fact that there are so many really
exciting players who are simply unknown beyond a local level,
while thousands of lines are taken up (not just here, of course)
banging on about whoever -- David S Ware still at the moment --
just because they're on a major and are getting some promo.

I promise to retract everything and shut up for, oh, at least 90
minutes if somebody witheringly obscure wins it.

BTW, Edward, Roswell Rudd's _Flexible Flyer_ is a nice, jazzy
session. Mostly his own quirky, post-boppish compositions if my
memory serves, but a standard or two wouldn't be out of place if it's
there.Certainly no full-on bellowing.

Rich

Visit (musings), a resource for free jazz,
experimental and otherwise non-standard musics:
http://come.to/musings.com
...now with its own mailing list, musings-l

-



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From: Seth Gordon <[e-mail]>
Subject: Re: Parody / Satire
Date: 31 Mar 1999 12:37:29 -0500

Parody and satire are two sompletely different forms- There are legal
references to parody but satire is entirely unconnected- A parody could be
a satire, and vice versa.

Basically, a satire (according to the OED) is a "work in which vices,
follies, etc., are held up to ridicule and contempt"- anything from
"Gulliver's Travels" to "American Psycho" to "Smells Like Nirvana"- which
is a rare exception in the Yankovic oeuvre, as most of his works are not
satires but straight parodies- "a farcical imitation of a work or style"
(OED again), not necessarily a comment on anything (I don't think "Eat It"
bears any direct comment on Michael Jackson's lifestyle. Although I'd like
to think that in some twisted way it does...)
A parody (whether satire or not) is protected as free speech as part of the
"fair use" statute- specifically, that it is ok to use material for which
someone else is the copyright holder in "the absence of intent to
plaigarize as evidenced by proper acknowledgement" and when the copywritten
material is used by a "reviewer, scholar, compiler or parodist". This isn't
all the statute covers- there's also regulations about the nature of the
work being quoted, amount and substantiality of the portion used, etc. But
that's where the reference to "parody" falls in our justice system- thank
you Larry Flynt!

(Something just dawned on me- something has a "copyright", but it is
"copywritten". Right / Write? How did that come about?)

The example of the Dr. Suess character being used was not viewed as fair
use as it was not a parody of the copywritten work, but rather used the
character for it's own means (which were entirely unconnected)- kind of
like all those underground porno cartoons starring Mickey + Minnie
Mouse.(Which brings up an interesting tangent- Disney's copyright on Mickey
Mouse is going to expire at some point in the next couple of years and MM
will become a public domain image. The big D's fighting in court to get
some sort of "extension". Don't know how it will turn out...)

Anyway, "satire" has nothing to do with legality, copyright or any of that-
just imagine if Bret Easton Ellis had to pay royalties to all upper-class
Manhattanites, or if Stanley Kubrick had to give a portion of the proceeds
from "Dr. Strangelove" to the Pentagon...


-



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

From: Rich Williams <[e-mail]>
Subject: Re: Parody / Satire
Date: 31 Mar 1999 15:39:47 -0500

> .(Which brings up an interesting tangent- Disney's copyright on Mickey
> Mouse is going to expire at some point in the next couple of years and MM
> will become a public domain image. The big D's fighting in court to get
> some sort of "extension". Don't know how it will turn out...)
>
    What happened was that Eisner and his pals went up to capitol
hill and "convinced" our elected representatives to rewrite the law.
They got another 25? years if I remember correctly. Gee, you think
they'll ask for another rewrite 25 years from now?
    All hail the corporate states of America...... :-(

-



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From: [e-mail] (Martin Wisckol)
Subject: Greatest improviser poll
Date: 31 Mar 1999 12:58:05 -0800


Zornlist Greatest Improvisor of the 20th Century Poll

Final reminder to cast your ballot.
Deadline to vote is Sat. April 3, 11:59 p.m. PST

Zornlist subscribers can be obsessive in their search of uncharted
aural territory. But at the end of the day, who does the list think
really rules as an IMPROVISER in the 20th century? Response has been
picking up (some comments regarding polling so far appear at the bottom
of this post), but I'm hoping for one last spurt of balloting to
broaden the sample and make this more interesting (especially some of
you regular Zornlist posters who haven't checked in yet). Here's how to
vote:

List your top five choices, numbered 1-5. No.1=5 points; No. 2=4
points;etc. Denote ties thusly:
1. Buddy Bolden
2. Blind Willie Johnson
2. Eye
4. Ravi Shankar
5. Rabih Abou-Khalil
(Somebody asked and in case anybody else wonders: No, this is not an
actual ballot of mine or anybody elses!)

Multiple listings of the same player on the same post will be
disregarded. Ballots of less than five musicians are welcomed. Vote
once. Void where prohibited.

I don't know about you, but I sometimes make a distinction between
"greatest" and "favorite."

Please include the word "poll" in the subject line of your ballot. Post
to:

[e-mail]

Please do NOT post to the zornlist.

I will post the results on the zornlist early next week.

(With the exception of one Russian, only Western players have been
named on ballots so far. Among names that have not yet turned up are
Jimi Hendrix, Steve Lacy, Henry Threadgill, Art Tatum -- in fact, no
swing-era jazz players except Ella Fitzgerald. Also, no Betty Carter,
Dizzy Gillespie, Clifford Brown or Wayne Shorter. Bird and Monk are the
only bop representatives so far, unless you count Miles or Mingus.
Among unusual nominees, Chuck Berry (one 5th place vote). ... The two
front runners have the initial "C" -- and Charlie Parker is NOT one of
them.)

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From: Jason Tors <[e-mail]>
Subject: naked city black box art
Date: 31 Mar 1999 17:30:29 -0800

I recently lent out the black box to a workmate of mine. Someone else was
looking at the inside cover art and became quite offended and wanted to
know what the meaning behind the artwork. She was particularly struck by
the torture garden photos of the woman getting delimbed and whatnot. Does
anyone know the meaning behind the artwork on this album?

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From: Tom Pratt <[e-mail]>
Subject: Re: Pukwana/Feza
Date: 30 Mar 1999 17:19:45 -0500

With all this talk on African/improv stuff, I was wondering if anyone's heard and
has comments on the Africa Djole discs on FMP. I've always been curious about
these...

Also, on what label is 'In The Townships'?

Thanks!

                    -Tom Pratt


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From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: naked city black box art
Date: 31 Mar 1999 14:41:14 -0800


On Wed, 31 Mar 1999 17:30:29 -0800  Jason Tors wrote:
>
> I recently lent out the black box to a workmate of mine. Someone else was
> looking at the inside cover art and became quite offended and wanted to
> know what the meaning behind the artwork. She was particularly struck by
> the torture garden photos of the woman getting delimbed and whatnot. Does
> anyone know the meaning behind the artwork on this album?

Torture Garden is the name of a late 19th century novel by French writer Octave
Mirbeau. The book is about a man who falls in love for a women who is obsessed
about torture. The story happens in a Chinese town where, every month, people
are allowed to visit the Torture Garden, a place where people convicted of a
crime are... tortured. The man follows her lover (who never miss the "open
house" monthly...) to the garden and the book is about what he sees in it.

The pictures are perfect illustrations of the title. Which means that the
question to ask is really:

    Why Torture Garden?

    Patrice.

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From: Tom Pratt <[e-mail]>
Subject: Lol Coxhill
Date: 30 Mar 1999 18:10:48 -0500

Another question for you all...

I've never heard anything by Lol Coxhill and am looking to fix that.
What's his best stuff?

Thanks again!

                -Tom Pratt


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From: [e-mail] (Martin Wisckol)
Subject: Greatest improviser poll
Date: 31 Mar 1999 12:58:05 -0800


Zornlist Greatest Improvisor of the 20th Century Poll

Final reminder to cast your ballot.
Deadline to vote is Sat. April 3, 11:59 p.m. PST

Zornlist subscribers can be obsessive in their search of uncharted
aural territory. But at the end of the day, who does the list think
really rules as an IMPROVISER in the 20th century? Response has been
picking up (some comments regarding polling so far appear at the bottom
of this post), but I'm hoping for one last spurt of balloting to
broaden the sample and make this more interesting (especially some of
you regular Zornlist posters who haven't checked in yet). Here's how to
vote:

List your top five choices, numbered 1-5. No.1=5 points; No. 2=4
points;etc. Denote ties thusly:
1. Buddy Bolden
2. Blind Willie Johnson
2. Eye
4. Ravi Shankar
5. Rabih Abou-Khalil
(Somebody asked and in case anybody else wonders: No, this is not an
actual ballot of mine or anybody elses!)

Multiple listings of the same player on the same post will be
disregarded. Ballots of less than five musicians are welcomed. Vote
once. Void where prohibited.

I don't know about you, but I sometimes make a distinction between
"greatest" and "favorite."

Please include the word "poll" in the subject line of your ballot. Post
to:

[e-mail]

Please do NOT post to the zornlist.

I will post the results on the zornlist early next week.

(With the exception of one Russian, only Western players have been
named on ballots so far. Among names that have not yet turned up are
Jimi Hendrix, Steve Lacy, Henry Threadgill, Art Tatum -- in fact, no
swing-era jazz players except Ella Fitzgerald. Also, no Betty Carter,
Dizzy Gillespie, Clifford Brown or Wayne Shorter. Bird and Monk are the
only bop representatives so far, unless you count Miles or Mingus.
Among unusual nominees, Chuck Berry (one 5th place vote). ... The two
front runners have the initial "C" -- and Charlie Parker is NOT one of
them.)

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From: Lang Thompson <[e-mail]>
Subject: Re: Parody / Satire
Date: 31 Mar 1999 19:11:06 -0500

>Mouse.(Which brings up an interesting tangent- Disney's copyright on Mickey
>Mouse is going to expire at some point in the next couple of years and MM
>will become a public domain image. The big D's fighting in court to get
>some sort of "extension". Don't know how it will turn out...)


Characters can't be copyrighted only trademarked or servicemarked.  So
while the films themselves may become public domain, Mickey Mouse will
still be a protected character.  In other words, anybody will be able to
show "Steamboat Willie" but only Disney or its assignees can use Mickey
Mouse in any new work.
Lang Thompson
http://www.tcf.ua.edu/wlt4

World Cinema Review
http://www.tcf.ua.edu/wlt4/wcr.htm

"The heavy bullets sounded like howitzers in
the dry, airless late-afternoon air."
from Michael Avallone's The Patridge Family

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From: "wetboy" <[e-mail]>
Subject: Re: Parody / Satire
Date: 31 Mar 1999 19:06:05 -0500


-----Original Message-----


[shortened 4 convenience]
>
>(Something just dawned on me- something has a "copyright", but it is
>"copywritten". Right / Write? How did that come about?)
actually, something that has a copyright is copyrighted, not copywritten
(i'm pretty sure)




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From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: naked city black box art
Date: 31 Mar 1999 20:13:53 -0500

At 05:30 PM 3/31/99 -0800, Jason Tors wrote:
>I recently lent out the black box to a workmate of mine. Someone else was
>looking at the inside cover art and became quite offended and wanted to
>know what the meaning behind the artwork. She was particularly struck by
>the torture garden photos of the woman getting delimbed and whatnot. Does
>anyone know the meaning behind the artwork on this album?

Although I don't have the black box, the 'woman getting delimbed and
whatnot' sounds like the original cover for Leng T'che, which I think is
one of the disks in BB.

(Sidebar to Mike R.:  Can we put an answer to this question in the FAQ?  It
is very frequently asked.)

Around 1905, a criminal in China (male, I think), convicted of murdering a
prince, had his sentence commuted to the Hundred Pieces, where he was given
a large dose of opium (not for a painkiller, but to make him live longer),
then slowly dismembered while still alive.  The execution was photographed
by a couple of western photographers, and the pictures were an inspiration
for many avant garde artists in various disciplines.  The French
ex-surrealist Georges Bataille was one such inspired person.  Supposedly he
had all of the pictures in his collection, and found inspiration not so
much in the actual execution, but in the look of ecstasy on the face of the
victim, which helped him in his ideas about death and the supreme moment,
etc.  I gather that the pictures are reproduced in some of Bataille's
books, and I've also seen them in periodicals like Re:Search.


--
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso

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From: Rick Lopez <[e-mail]>
Subject: Re: naked city black box art
Date: 31 Mar 1999 20:45:01 -0500

Caleb T. Deupree wrote:
>
> At 05:30 PM 3/31/99 -0800, Jason Tors wrote:
> >I recently lent out the black box to a workmate of mine. Someone else was
> >looking at the inside cover art and became quite offended and wanted to
> >know what the meaning behind the artwork. She was particularly struck by
> >the torture garden photos of the woman getting delimbed and whatnot. Does
> >anyone know the meaning behind the artwork on this album?
>
> Although I don't have the black box, the 'woman getting delimbed and
> whatnot' sounds like the original cover for Leng T'che, which I think is
> one of the disks in BB.
>
> (Sidebar to Mike R.:  Can we put an answer to this question in the FAQ?  It
> is very frequently asked.)
>
> Around 1905, a criminal in China (male, I think), convicted of murdering a
> prince, had his sentence commuted to the Hundred Pieces, where he was given
> a large dose of opium (not for a painkiller, but to make him live longer),
> then slowly dismembered while still alive.  The execution was photographed
> by a couple of western photographers, and the pictures were an inspiration
> for many avant garde artists in various disciplines.  The French
> ex-surrealist Georges Bataille was one such inspired person.  Supposedly he
> had all of the pictures in his collection, and found inspiration not so
> much in the actual execution, but in the look of ecstasy on the face of the
> victim, which helped him in his ideas about death and the supreme moment,
> etc.  I gather that the pictures are reproduced in some of Bataille's
> books, and I've also seen them in periodicals like Re:Search.

Right. Leng T'che is the term for "Hundred Pieces; it is in fact a man; he was
originally sentenced to be buried alive, but this was considered "inhumane"
(!); and the Bataille book is TEARS OF EROS, available from City Lights. The
pictures appear at the very end.

My goodness,
Rrrrrr
--
Marilyn Crispell, Susie Ibarra, Sam Rivers, Matthew Shipp, David S. Ware, and
Reggie Workman discographies--Samuel Beckett Eulogy--Baseball & the 10,000
Things--Time Stops--LOVETORN--HARD BOIL--etc.,  at:
http://www.velocity.net/~bb10k

***Very Various Music For Sale:
***http://www.velocity.net/~bb10k/4SALE.html

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From: "Benito Vergara" <[e-mail]>
Subject: RE: naked city black box art
Date: 31 Mar 1999 17:45:03 -0800

> -----Original Message-----
> From: [e-mail]
> [mailto:[e-mail]]On Behalf Of Caleb T. Deupree
> Sent: Wednesday, March 31, 1999 5:14 PM

> I gather that the pictures are reproduced in some of Bataille's
> books, and I've also seen them in periodicals like Re:Search.

Specifically, _The Tears of Eros_ (put out by City Lights Books, I believe)
in 1989.

Later,
Ben

np: herbie hancock, "maiden voyage"

http://www.bigfoot.com/~bvergara/
ICQ# 12832406



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From: [e-mail]
Subject: Re: Lol Coxhill
Date: 31 Mar 1999 20:43:31 EST


In a message dated 3/31/99 6:31:37 PM, [e-mail] writes:

<< I've never heard anything by Lol Coxhill and am looking to fix that.
What's his best stuff? >>

while I've never been completely blown away by Coxhill, I do like his duet
record with Pat Thomas on Scatter, One Night In Glasgow. there hasn't been
anything new on Scatter in a long time, though, so I wonder if they're still
around. I hope they are; they released some great records, including ones by
Dislocation and the XIII Ghosts.

Jon

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From: katsuhiro hayasaka <[e-mail]>
Subject: Re: cobra presence
Date: 01 Apr 1999 12:25:23 +0900 (JST)

On Tue, 30 Mar 1999 22:46:30 EST
[e-mail] wrote:

> those of you around the country:
>
> are there any other groups besides the one here in cincinnati doing cobra
> regularly? i know cobra is rather played-out in nyc (and probably northern
> ca), but is this city as surprisingly-lucky as it seems???
>

Here in Tokyo, John Zorn's Cobra Tokyo Operations are doing regularly
for 5 years. You should see Koichi Makigami's web site.

http://www.st.rim.or.jp/~makigami/index-e.html

April 11
prompter: Naruyoshi Kikuchi
Toru Kawakami (cello), Masaaki Kikuchi (contrabass), Tatsunobu Goto
(violin), Satomi Kobayashi (harp), Jun Saito (contrabass), Udai Shika
(cello), Keiko Shiga (viola), Yoshihiko Maeda (cello), Jun Yamamoto
(viola), Takeshi Watanabe (violin)

May 29
prompter: Koichi Makigami
Yoshiyuki Kawaguchi (sax,etc), Masami Kurihara (recorder,etc), Yoshiki
Sakurai (guitar,etc), Takero Sekijima (tuba,etc), Genichi Tamura (pedal
steel guitar,etc), darie (voice,keyboard), Toshiaki Chiku (vocal,guitar),
Kasyu Tosyun (drums,etc), Kimitaka Matsumae (syn,sampler), Yokan Mizue
(tp,etc), Takashi Yasui (recorder), Tadahiko Yokokawa (violin)

June 27
prompter: Koichi Makigami
Hiromi Uekusa (cello), Dogen Kinowaki (flute), Michihiro Sato (shamisen),
"Keiji Haino"!!!  Kumiko Takara (percussion), Koichi Osamu (bass),
Sachiko Matsubara (sampler), Miki Maruta (koto), Michiyo Yagi (koto),
Mikako Mihashi (vocal), Yasuhiro Yoshigaki (drums)


-----------------------
Katsuhiro Hayasaka
[e-mail]
-----------------------

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From: [e-mail]
Subject: Re: naked city black box art
Date: 01 Apr 1999 07:28:33 +0200

Patrice asked:

> The pictures are perfect illustrations of the title. Which means that the
> question to ask is really:
>
>     Why Torture Garden?

Probably because it is one fine example of the "Terror = Beauty" aesthetics
that are favored by so many 20th century avant-gardists. Another often quoted
example from that same era is Comte de Lautreamont's "Maldoror", as would be
"L'Oeuil (The Eye)" by George Bataille.

Frankco.

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From: "m. rizzi" <[e-mail]>
Subject: Re: naked city black box art
Date: 31 Mar 1999 22:28:17 +6400 (PST)

Caleb T. Deupree, demi-God and Icon sez:
>
>(Sidebar to Mike R.:  Can we put an answer to this question in the FAQ?  It
>is very frequently asked.)

    Sure thang. If someone could write the Question
    and Answer, then I'd be happy to include it in
    the FAQ (I'm kinda swamped at the moment...new
    job and all).

    Self-promoting reference: the uncredited photo
    on the Black Box obi was taken by yours truly.

    cheers,
    mike

--
[e-mail] -------------------------------------- www.browbeat.com
                   "Another nerd with a soulpatch"
-------- browbeat magazine, po box 11124, oakland, ca 94611-1124 -------

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From: =?iso-8859-9?Q?"=DCM=DDT_BAYKARA"?= <[e-mail]>
Subject: Okay Temiz & Turkish Fusion
Date: 01 Apr 1999 09:35:09 +0300





If you're into Okay Temiz, there are many albums that you can check out. My
personal favorite OT album is "Zikir" which he did with Aka Gunduz, a sufi
ney player. Another one may be "Green Wave". I don't like his latest stuff,
because he is getting away from experimental music towards a more
traditional one...There's another Turkish band called Asia Minor (there are
two groups with the same name and this one is completely Turkish) which
combines traditional Turkish music with jazz. Not much fusion but very
interesting and melodic. Also, there's a legendary Anatolian folk/rock
group Mogollar, which is a must for anyone who wants to hear some
interesting Turkish music...

Cheers,
Umit.






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