ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/zorn-list/archive/zorn-list.199905

Internet Message Format | 1999-05-31 | 237KB

From: Alan E Kayser <[e-mail]>
Subject: Re: Dave Burrell
Date: 01 May 1999 07:05:40 -0400



[e-mail] wrote:

>
> I believe he lives in Hawaii, which might explain his relatively small amount of
> activity on the mainland.

Nope.  Dave Burrell lives in Philadelphia.

Alan E Kayser



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From: "Jason J. Tar" <[e-mail]>
Subject: Re: Zorn List Digest V2 #656
Date: 01 May 1999 08:39:26 -0400

With all the talk of Tetrault, anyone know a US mailorder shop that carries
titles on Ambiances Magnetiques?  Thanks.

---
Peace Hugs and Unity            Jason J. Tar
        W.    W.    J.    D?
                  (What would Jason Do?)
      http://pilot.msu.edu/user/tarjason
              ICQ@13792120

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From: Tom Pratt <[e-mail]>
Subject: Re: Zorn List Digest V2 #656
Date: 30 Apr 1999 09:24:59 -0400

Jason J. Tar wrote:

> With all the talk of Tetrault, anyone know a US mailorder shop that carries
> titles on Ambiances Magnetiques?  Thanks.

Anomalous Records: http://www.anomalousrecords.com.

                    -Tom Pratt


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From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Zorn List Digest V2 #656
Date: 01 May 1999 10:11:29 -0400

At 08:39 AM 5/1/99 -0400, Jason J. Tar wrote:
>With all the talk of Tetrault, anyone know a US mailorder shop that carries
>titles on Ambiances Magnetiques?  Thanks.

Wayside, http://members.aol.com/Cuneiform2/cuneiform.html.

--
Caleb Deupree
[e-mail]

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

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From: [e-mail]
Subject: Re: Zorn List Digest V2 #656
Date: 01 May 1999 11:38:41 EDT


In a message dated 5/1/99 8:44:33 AM, [e-mail] writes:

<< With all the talk of Tetrault, anyone know a US mailorder shop that carries
titles on Ambiances Magnetiques? >>

Downtown Music Gallery stocks most of the Tetreault titles, along with other
AM stuff. they're at www.dtmgallery.com.

Jon

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From: [e-mail]
Subject: Re: Stanko/Smoker/Hemingway
Date: 01 May 1999 12:27:05 -0400 (EDT)

>
> Hope I didn't give anyone a stroke with that Metheny record in there. I
> don't know, I guess I like this stuff because it's low pressure.

This comment got me wondering if anyone has any passionate opinions about
Metheny's work with Derek Bailey, Gregg Bendian and Paul Wertico or about
his Zero Tolerance For Silence ALBUM  and how does his devotion to the
'low pressure' work relate to his free playing.
-chris


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From: [e-mail]
Subject: Re: Stanko/Smoker/Hemingway
Date: 01 May 1999 12:27:05 -0400 (EDT)

>
> Hope I didn't give anyone a stroke with that Metheny record in there. I
> don't know, I guess I like this stuff because it's low pressure.

This comment got me wondering if anyone has any passionate opinions about
Metheny's work with Derek Bailey, Gregg Bendian and Paul Wertico or about
his Zero Tolerance For Silence ALBUM  and how does his devotion to the
'low pressure' work relate to his free playing.
-chris


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From: "" <[e-mail]>
Subject: Re: Zorn List Digest V2 #656 (ambiances magnetiques)
Date: 01 May 1999 09:30:11 PDT

>From: [e-mail]
>
>Downtown Music Gallery stocks most of the Tetreault titles, along with
>other
>AM stuff. they're at www.dtmgallery.com.
>
>Jon

I've been pleasantly surprised with DMG's low prices on the AM stuff. I have
a nasty habit of buying large quantities.  I think the avg price for single
discs is $14.

---s


_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

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From: Ken Waxman <[e-mail]>
Subject: Re: Buy Tetrault
Date: 01 May 1999 14:02:43 -0400 (EDT)


I think Cadence/North Country does. But you can also get them from Verge
in Peterborough, Ont -- www.ptbo.igs.net/~verge

And since Verge's prices are in Canadian dollars, it can be quite a bargain
for Americans.

Ken Waxman
[e-mail]



On Sat, 1 May 1999, Jason J. Tar wrote:

> With all the talk of Tetrault, anyone know a US mailorder shop that carries
> titles on Ambiances Magnetiques?  Thanks.
>
> ---
>> -
>
>

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From: "brazen stupidity" <[e-mail]>
Subject: Fw: Brevard Museum of Art & Science:  Creative Music Series
Date: 01 May 1999 19:17:41 -0400

Hooray!!!!! Brevard is being saved from the creative music vacuum!!!!

> > Spread the word....this could turn things around overnight::::
> >
> > PRESS RELEASE:
> >
> > The Brevard Museum of Art & Science presents
> >
> > The Melbourne Creative Music Series (Debut)
> > Saturday, May 29
> > BEAT SCIENCE
> >
> > The Brevard Museum of Art & Science is starting a new music series in
> > Melbourne.  With the resurgence of creative music series in the
Southeast
> > such as Orlando's Civic Minded Five, the Salvador Dali Museum's Emit
> > Series, and Atlanta's Creative Music Series, Melbourne's art museum is
> > adding a new rung to the lofty climb to improvisation and spontaneity.
> > Melbourne resident Brian Carpenter, producer of the cutting-edge
> > Gainesville Jazz & Pop Festival and booking agent for avant-garde legend
> > Sam Rivers, has been given the reins of booking for the series.
> >
> > The Melbourne Creative Music Series debuts on Saturday May 29 with Beat
> > Science, Orlando's experimental avant-garde / groove quintet featuring
> > featuring Doug Mathews (bassist from Sam Rivers Trio) and Michael Welch
> > (drummer / percussionist who has played with the likes of Allen Ginsberg
> > and Don Cherry, and most recently, in duet format with Derek Bailey).
> >
> >
> > Beat Science is an all-akimbo free-wheeling instrumental quintet that
> mixes
> > groove with avant-garde form and improvisation.  Led by trumpeter Brian
> > Carpenter (producer of the progressive Gainesville Jazz & Pop Festival),
> > Beat Science features Doug Mathews (Sam Rivers Trio) on bass, Michael
> Welch
> > (of the Derek Bailey CM5 show) on drums and percussion, Jerry Edwards
(of
> > the Rivbea Orchestra) on trombone, and Rex Wertz (also of the Rivbea
> > Orchestra) on tenor.  With a roster of avant-garde original
compositions,
> > expressionistic versions of cover songs, from Quincy Jones to David
Bowie
> > (courtesy Matt Gorney - who over the last few years has clearly become
> > Orlando's version of the Hal Willner visionary), originals, and quirky
> > arrangements of compositions of such forward-looking thinkers as Sun Ra
> to
> > Henry Threadgill to Joe Henderson to Duke Ellington, Beat Science nails
> > down the jazz and the funk with neither the jazz nor the funk
convention.
> >
> > Beat Science has played with John Lurie's musical conductor Steven
> > Bernstein and his Manhattan troupe Sex Mob, Michael Ray and the Cosmic
> > Krewe, and DJ Mat Mikas of the Deep Lounge Experience.  The group has
> also
> > performed at the Gainesville Jazz & Pop Festival with Michael Ray & the
> > Cosmic Krewe and performs semi-regularly in Orlando, regularly in the
> > Florida area.
> >
> > Brian Carpenter
> > 121 Beth Lane Apt 310
> > West Melbourne FL 32904
> > 407-722-5586
> > Visit Jazz Pop Online at
> http://www.geocities.com/BourbonStreet/Delta/2370/
> >


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From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Metheny (was Stanko/Smoker/Hemingway)
Date: 01 May 1999 20:30:51 -0400

At 12:27 PM 5/1/99 -0400, [e-mail] wrote:
>
>This comment got me wondering if anyone has any passionate opinions about
>Metheny's work with Derek Bailey, Gregg Bendian and Paul Wertico or about
>his Zero Tolerance For Silence ALBUM  and how does his devotion to the
>'low pressure' work relate to his free playing.

I've got the Zero Tolerance album, and respect it more than I like it.  I
applaud Metheny's desire to break outside the smooth jazz audience, but
wish I liked the results more.  I've heard more interesting feedback and
noise guitar elsewhere (Frith, Wittwer, Kaiser, heck, even Haino, etc.)

--
Caleb Deupree
[e-mail]

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

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From: [e-mail]
Subject: Ambiances Magnetiques
Date: 02 May 1999 11:54:34 EDT

In a message dated 5/1/99 8:44:33 AM Eastern Daylight Time,
[e-mail] writes:

<< With all the talk of Tetrault, anyone know a US mailorder shop that carries
 titles on Ambiances Magnetiques?  Thanks. >>

Wayside carries their recent releases, but I don't think they carry the
entire catalog.  Could be wrong there.

=dgasque=

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From: "John Thomas" <[e-mail]>
Subject: re: Stanko
Date: 02 May 1999 17:50:14 -0400

Hugo:

>Recently got Tomasz Stanko's Litania on ECM and it is great; the
>question is: what other Stanko's cds am i missing?
>Also, any comments on Paul Smoker's Genuine Fables on hatArt or any
>other recording?
>What about Gerry Hemingway; what to pick up?

Well, unlike Ken, I think it's quite possible to be both a Gerry Hemingway
fan and Tomasz Stanko fan and not be put to sleep by the latter. :-)

For Stanko, I'd recommend _Bluish_ on Power Bros or _Balladyna_
on ECM (not Gowi! the Gowi title has 20-some variations of the same
basic theme, and overall does not sustain interest...I don't know how Bob
Rusch
put this in the Editor's List a few years back for one of the best
recordings
of the year). On those, you get lots of his great trumpet over a freeish
rhythm
section. If you want something more in line with _Litania_, I agree _Matka
Joanna_ might do the trick or you might try some Krzysztof Komeda recordings
as well, Cadence just got a batch in. I like a Komeda compilation on the
Polskie Nagrania
Muza label I got awhile ago that has some trio stuff, a group with Bernt
Rosengren, and
the whole _Astigmatic_ album. It's called _Polish Jazz Vol. 3 Krzysztof
Komeda_.
It's listed on the website
http://www.geo.ryerson.ca/~michalak/komeda/disc.htm.
Stanko plays only on the _Astigmatic_ part of the compilation though.

Have fun,
John

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From: [e-mail] (Jonathan Kaye)
Subject: masada 5/8 - where to buy tix?
Date: 02 May 1999 20:35:32 -0400

This is a multi-part message in MIME format.

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could someone please remind me where masaday is playing this weekend in =
nyc and let me know where advance tickets are being sold.

thanks
jon


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<DIV><FONT color=3D#000000 size=3D2>could someone please remind me where =
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playing this weekend in nyc and let me know where advance tickets are =
being=20
sold.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>thanks</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2>jon</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV></BODY></HTML>

------=_NextPart_000_0036_01BE94DB.5313AE60--


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From: [e-mail]
Subject: Re: masada 5/8 - where to buy tix?
Date: 02 May 1999 21:58:25 EDT


In a message dated 5/2/99 9:37:14 PM, [e-mail] writes:

<< could someone please remind me where masada is playing this weekend in nyc
and let me know where advance tickets are being sold. >>

they're playing the 14th St. Y Theater, 344 E. 14th St. tickets are 20
dollars, including one drink. two sets, 9:30, and 11:30. and you can make
reservations at 212-780-0800, ext. 278.

Jon

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From: "Patrice L. Roussel" <[e-mail]>
Subject: New Cibo Matto?
Date: 03 May 1999 08:41:13 -0700


    Has anybody seen the new Cibo Matto record (STEREOTYPE A, on Warner
Bros.)? epulse appears to be really disappointed...

    Patrice (who will buy it anyway).

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From: Tom Pratt <[e-mail]>
Subject: new Waits
Date: 02 May 1999 15:14:57 -0400

I'm assuming the new Tom Waits disc is out by now... With all the
pre-release talk, I'm hoping someone will let us know how it is.

Thanks!

                -Tom Pratt


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From: Jason Tors <[e-mail]>
Subject: | new waits |
Date: 03 May 1999 15:41:52 -0800

Sorry for not sending out a review sooner.

I like it, it is like a combination of Closing Time and Bone Machine. Mule
Variations has the song centric approach of closing time combined with the
textural and experimental feel of bone machine.  My favorite tracks are
cold water, and chocolate Jesus.

I want to know when he is comming to nyc!!

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From: Eric Martens <[e-mail]>
Subject: Re: | new waits |
Date: 03 May 1999 12:57:39 -0700 (PDT)


I agree, Mule Variations is a great album, but am I
the only one who thinks that a few of the songs
(mostly the ballads) sound a lot like previous Waits
songs with different lyrics?

Eric


===
Free music (more forthcoming):
http://www.mp3.com/discodown
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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From: Jason Tors <[e-mail]>
Subject: | new Waits |
Date: 03 May 1999 16:24:24 -0800

I agree with Eric, some of the slow songs seem to be a bit recycled.
There is also a striking connection between some of the slower Waits songs
and Sprinsteen's Nebraska album. Real honest, salt of the earth feel.
namely Hold On, #3

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From: [e-mail]
Subject: tom waits
Date: 03 May 1999 17:10:50 EDT

Well, i figure i'll get my thoughts in about the new Tom Waits. It's recieved
terrible press saying it's overly sentimental and maudlin. People are saying
that it's pretty much the same thing he's been doing, except this is for a
wider audience. I really have to disagree with all of this, however. Tracks
like The Eyeball Kid and Take It With Me are definitely some highlights in
the Tom Waits Catalogue. Ribot and Cohen aren't on this album very much,
which is sort of dissapointing, but Waits has blues players like Charlie
Musselwhite and John Hammond on the album. I think it's a great, great album.

from,
matt

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From: "johnnnnn schuller" <[e-mail]>
Subject: The Gas Chamber Ensemble/ Tripod in OLYMPIA WASHINGTON
Date: 03 May 1999 21:15:20 GMT

Just to let everyone in the Olympia area know that The Gas Chamber Ensemble
from Seattle will be playing at the Midnight Sun @ 113 Columbia St. in
Downtown Olympia. It should be a very special show for these boys as they
will be joined by Seattle's Tripod. Their is no explaining the sound of
these groups as it won't be determined until the moment it is performed.
The evenings chain of events should go something like this:

An evening of Broken Music with
Tripod and then The Gas Chamber Ensemble and then they will mesh into one
GASPOD.

8pm Saturday May 8th. $1 or maybe cheaper.

Olympia is hurting for experimental music events, mainly low-fi punk and
Grateful Dead cover bands- so COME OUT AND SUPPORT EXPERIMENTAL MUSIC IN
OLYMPIA!!!!

Thanks,
johnnnn


_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

-



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From: "David J. Keffer" <[e-mail]>
Subject: Re: Zorn List Digest V2 #657
Date: 03 May 1999 18:21:12 -0400


>From: Ken Waxman <[e-mail]>
>I think Cadence/North Country does. But you can also get them from Verge
>in Peterborough, Ont -- www.ptbo.igs.net/~verge
>And since Verge's prices are in Canadian dollars, it can be quite a bargain
>for Americans.

You have got this backwards.  From my experience with dealing with Verge,
they list the prices in Canadian dollars but force people paying in U.S.
currency to pay the SAME dollar amount in U.S. dollars.  Currently, there
are 0.65 to 0.70 U.S. dollars per Canadian dollar.  Verge lists an album,
say anything from their FMP stock at $28.  Therefore, the person who pays
in U.S. dollars pays 28 US$ (or 40 Canadian $).  The person who uses
Canadian currency pays 28 Canadian $ (or 19.60 US$).

I have dealt with Verge once.  That is what they told me.  Same dollars,
doesn't matter
whether you pay US or Canadian currency, which means that the U.S. resident
pays
at least forty percent more for the same product.  It's no bargain.

David "NAFTA" K.




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From: Rick Lopez <[e-mail]>
Subject: Re: Zorn List Digest V2 #657
Date: 03 May 1999 18:45:34 -0400

Not in my experience. If a disc costs $20.00 at Verge, it hits my plastic at
about $13.00. The invoice will state the amount in dollars Canadian, but the
credit card company will do the transfer to Yonkee dollah.

Honest, I order from them all the time...

RL

David J. Keffer wrote:
>
> >From: Ken Waxman <[e-mail]>
> >I think Cadence/North Country does. But you can also get them from Verge
> >in Peterborough, Ont -- www.ptbo.igs.net/~verge
> >And since Verge's prices are in Canadian dollars, it can be quite a bargain
> >for Americans.
>
> You have got this backwards.  From my experience with dealing with Verge,
> they list the prices in Canadian dollars but force people paying in U.S.
> currency to pay the SAME dollar amount in U.S. dollars.  Currently, there
> are 0.65 to 0.70 U.S. dollars per Canadian dollar.  Verge lists an album,
> say anything from their FMP stock at $28.  Therefore, the person who pays
> in U.S. dollars pays 28 US$ (or 40 Canadian $).  The person who uses
> Canadian currency pays 28 Canadian $ (or 19.60 US$).
>
> I have dealt with Verge once.  That is what they told me.  Same dollars,
> doesn't matter
> whether you pay US or Canadian currency, which means that the U.S. resident
> pays
> at least forty percent more for the same product.  It's no bargain.
>
> David "NAFTA" K.
>
> -

--
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: William York <[e-mail]>
Subject: Tom Waits
Date: 03 May 1999 19:03:44 -0400 (EDT)

> I like it, it is like a combination of Closing Time and Bone Machine. Mule
> Variations has the song centric approach of closing time combined with the
> textural and experimental feel of bone machine.  My favorite tracks are
> cold water, and chocolate Jesus.

And a lot of the ballads sound like the ones on Bone Machine...

> I agree, Mule Variations is a great album, but am I
> the only one who thinks that a few of the songs
> (mostly the ballads) sound a lot like previous Waits
> songs with different lyrics?

...so we agree on that.  There could be worse things, I guess. Also, the
CD is  pretty long, about 70 min.  I thought it could've been a little
shorter, but its still good.  I also wish there was more weird guitar from
Ribot - he has some nice playing, but not as much as on Rain Dogs.

WY

P.S. Sorry about asking about the Victo fest redundantly, I'm on the
digest and hadn't gotten the other message....


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From: [e-mail]
Subject: Re: Verge
Date: 03 May 1999 19:31:02 EDT


In a message dated 5/3/99 6:22:18 PM, [e-mail] writes:

<< You have got this backwards.  From my experience with dealing with Verge,
they list the prices in Canadian dollars but force people paying in U.S.
currency to pay the SAME dollar amount in U.S. dollars.  Currently, there
are 0.65 to 0.70 U.S. dollars per Canadian dollar.  Verge lists an album,
say anything from their FMP stock at $28.  Therefore, the person who pays
in U.S. dollars pays 28 US$ (or 40 Canadian $).  The person who uses
Canadian currency pays 28 Canadian $ (or 19.60 US$).  >>

this isn't true; of course they do the conversions. I've dealt with them a
number of times, including just a few weeks ago. their prices aren't
comparatively as good as they used to be, but they're still good, especially
on Canadian stuff. plus, they get some stuff no one else does, i.e., a Voice
Crack CD-R I just got recently. Ambiances Magnetiques and Victo CDs are often
around ten dollars.

Jon

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From: [e-mail]
Subject: pardon
Date: 03 May 1999 21:01:13 -0500


P. Marconi, if you're still out there, please email me at
[e-mail].
Thanks



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From: Taylor McLaren <[e-mail]>
Subject: re: tom waits
Date: 04 May 1999 00:48:24 -0400


MEEP! [e-mail] wrote:
>It's recieved
>terrible press saying it's overly sentimental and maudlin. People are saying
>that it's pretty much the same thing he's been doing, except this is for a
>wider audience. I really have to disagree with all of this, however.
Well, at least in Canada, it's getting an insane amount of press
coverage... it made the front page of the Toronto Star's arts section
sometime last weekend (and I'm talking about getting the bulk of the page
to itself, not a couple of inches off in the right margin), which resulted
in the ten copies that the local HMV had ordered (plus however many the
other two music stores in the local huge-ass mall had brought in) being
sold out by 2:00 in the afternoon on the 27th... not bad for suburban
Mississauga. If that translates into being an album "for a wider audience",
then...
  In any event, I love the disc... it's only the fourth Waits album that
I've ever heard, and I'll definitely go along with the opinion that the
ballads sound rather like those on _Bone Machine_, but the DJ-centric
tracks are a nice change (to me, anyway), and the last five tracks
transform my ass something vicious. I could almost admit to finding
"Georgia Lee" tear-jerking, but I haven't quite broken down while listening
to it yet... it's shamefully manipulative, really, but it works. And
"Filipino Box Spring Hog" just plain rocks... if I owned a car, it would be
summertime bassin' music.

-me


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From: Steve Smith <[e-mail]>
Subject: Re: tom waits
Date: 04 May 1999 01:21:50 -0400

My 2 cents:

I personally can't get "Big in Japan" out of my head, no matter how I try...
"The Eyeball Kid" is close behind, and yes, "Filipino Box Spring Hog" does verily
rock.

Many seem to find the ballads derivative of those on the last album.  I have to
say that for me, in the case of "Hold On" and "Picture in a Frame," they are
simply more memorable.  But then I'm in love again in real life, so perhaps I'm a
tad more maudlin and sentimental than I was when I got _Bone Machine_.  ("Georgia
Lee" and "Take It With Me," while touching, are perhaps a bit more rote, at least
in the Waits vernacular - I originally wrote "cliched" instead of "rote" but I'm
not sure that the word "cliched" applies where Waits is concerned.)

I'm listening to _Mule Variations_ more than anything else I've bought lately,
including such recent favorites as David Sylvian's "Dead Bees on a Cake" and
Masada's "Live in Jerusalem."  I think it's a swell album, and if it's a bit more
approachable than the last few, so what?  I hope it earns mad cash for Epitaph,
relatively speaking.  Where and how this album is intended for a "wider
audience," I just can't quite grok.

And I, too, have been pleasantly surprised by the amount of coverage the record
is getting, but then, Waits has always been a "critic's darling," hasn't he?

Ultimately, to me, it's a good rekkid, and has prodded me to revisit older Waits
things as well.  And I'm enough of a sentimental sap to admit that I really love
the soundtrack to "One from the Heart," so maybe you should just ignore me...

Steve Smith
[e-mail]
NP - Tom Waits, "Straight to the Top," _Frank's Wild Years_


-



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From: Steve Smith <[e-mail]>
Subject: Re: tom waits
Date: 04 May 1999 01:28:46 -0400

Steve Smith wrote:

> NP - Tom Waits, "Straight to the Top," _Frank's Wild Years_

That is, to be precise, "Straight to the Top (Rhumba)".....

Steve Smith
[e-mail]
NP - Tom Waits, "Innocent When You Dream (Barroom)," _Franks Wild Years_


-



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From: pjm <[e-mail]>
Subject: lo tek RA save
Date: 03 May 1999 22:45:15 -0700

I'm a bit behind the list as usual, but i felt I had to jump in to the Real
Audio dilemma. Personally, I run my PC through my stereo and record Real
Audio files on cassette. It IS sort of a Low Tech solution, but then i can
listen to them away from my PC...

            just my 2 cents

                pjm


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From: s~Z <[e-mail]>
Subject: Re: tom waits
Date: 04 May 1999 06:50:46 -0700

> And I'm enough of a sentimental sap to admit that I really love
> the soundtrack to "One from the Heart," so maybe you should just ignore me...
>
> Steve Smith

Don't ignore him. This bluesy Mule Variations is a must buy. And don't
judge it by the first listen. It grows and grows on subsequent
listenings.

s~Z

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From: Jason Tors <[e-mail]>
Subject: Re: tom waits
Date: 04 May 1999 10:06:15 -0800

Indeed! Like all Waits' music it gets to you when you least expect it. Over
time it grows more and more precious. I found myself singing Cold Water
while walking home, and Big in Japan walking back from the local water
hole.

>Don't ignore him. This bluesy Mule Variations is a must buy. And don't
>judge it by the first listen. It grows and grows on subsequent
>listenings.
>
>s~Z
>
>-
>> And I'm enough of a sentimental sap to admit that I really love
>> the soundtrack to "One from the Heart," so maybe you should just ignore
>>me...
>>
>> Steve Smith
>

-



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

From: Mark Saleski <[e-mail]>
Subject: Re: Metheny (was Stanko/Smoker/Hemingway)
Date: 04 May 1999 10:09:00 -0400


>>
>>This comment got me wondering if anyone has any passionate opinions
about
>>Metheny's work with Derek Bailey, Gregg Bendian and Paul Wertico or
about
>>his Zero Tolerance For Silence ALBUM  and how does his devotion to the

>>'low pressure' work relate to his free playing.
>
>I've got the Zero Tolerance album, and respect it more than I like it.
I
>applaud Metheny's desire to break outside the smooth jazz audience, but

>wish I liked the results more.  I've heard more interesting feedback
and
>noise guitar elsewhere (Frith, Wittwer, Kaiser, heck, even Haino, etc.)

i've been a metheny fan for years and would have to say that his taste
for 'free' playing comes by way of ornette coleman. the first time i saw
metheny was on the 'first circle' tour. in those days he opened the show
with a tune called 'forward march' a kinda drunken' marching band
thing...or, as he has described it...."The Marching Band at Ornette
Coleman High".

check out Song X with ornette, charlie haden and jack dejohnette



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



-



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

From: John Mitchell <[e-mail]>
Subject: Zorn = "Most Unwanted Music"?
Date: 04 May 1999 11:52:59 -0400


these guys did a poll on what people liked/didnt like in music, and then
pressed a CD based on the results:

"The most unwanted music is over 25 minutes long, veers wildly between
loud and quiet sections, between fast and slow tempos, and features
timbres of extremely high and low pitch, with each dichotomy presented in
abrupt transition."

This bit sounds remarkably like Zorn...

check it out: http://www.diacenter.org/km/musiccd.html

(Of course, take the results with a BIG grain of salt: the same site has
"most/least wanted art" of many countries, none of which resembled Robert
Williams paintings in the least :)

- j

John Mitchell         "Beer is living proof that God loves us
Magnet Interactive    and wants to see us happy"
[e-mail]      - Benjamin Franklin



-



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

From: Jason Tors <[e-mail]>
Subject: Re: Zorn = "Most Unwanted Music"?
Date: 04 May 1999 13:17:43 -0800

>these guys did a poll on what people liked/didnt like in music, and then
>pressed a CD based on the results:
>
>"The most unwanted music is over 25 minutes long, veers wildly between
>loud and quiet sections, between fast and slow tempos, and features
>timbres of extremely high and low pitch, with each dichotomy presented in
>abrupt transition."
>
>This bit sounds remarkably like Zorn...
>
>check it out: http://www.diacenter.org/km/musiccd.html
>
>(Of course, take the results with a BIG grain of salt: the same site has
>"most/least wanted art" of many countries, none of which resembled Robert
>Williams paintings in the least :)

Komar and Melamaid started the most / least wanted painting in response the
the cold war. They are a painting team, revolutionary idea for artists,
from the former soviet union. Schooled and restricted artistically in thier
native land, they emigrated to the united states. While in new york they
painted a lot of socially provocative material, excellent draftsmen and
abstract painters, their work is a wonder to behold from a formal and
conceptual perspective. America's most / least wanted was meant to be a
comparison to russia's most / least wanted painting. The results were
similar, during the time of the cold war, this was a poinant social
artistic statement.



-



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

From: [e-mail]
Subject: Re: Masada/Byron Somerville Theater
Date: 04 May 1999 13:41:37 -0400




   Brian Whitman:
   If I recall correctly, the Somerville Theater seats *start* at N...
   there's a big empty space in front of the front row seats that were
   apparently A->M removed. At least that's the way it was a coupla years
   back.

They must'a put them back, since I got row G  :)
There's a seating chart available at www.ticketmaster.com, where I got my
seats -- the floor goes A to P.




-



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

From: "Sean Terwilliger" <[e-mail]>
Subject: Robert Musso CD
Date: 04 May 1999 14:29:32 -0400

Pardon the cross post...

Does anyone have the Robert Musso / Steve Buchannen Duo cd that (didn't)
came out on Muworks? Might you be willing to make a tape or cdr?

Thanks a bunch,

Sean


-



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

From: "David J. Keffer" <[e-mail]>
Subject: Re: Verge
Date: 04 May 1999 16:53:01 -0400


>[e-mail] writes:
><< You have got this backwards.  From my experience with dealing with Verge,
>they list the prices in Canadian dollars but force people paying in U.S.
>currency to pay the SAME dollar amount in U.S. dollars.  Currently, there
>are 0.65 to 0.70 U.S. dollars per Canadian dollar.  Verge lists an album,
>say anything from their FMP stock at $28.  Therefore, the person who pays
>in U.S. dollars pays 28 US$ (or 40 Canadian $).  The person who uses
>Canadian currency pays 28 Canadian $ (or 19.60 US$).  >>

[e-mail] wrote:
>this isn't true; of course they do the conversions. I've dealt with them a
...

Hmmm.  Very curious.  The one time I ordered from them, I would swear
that the transaction I described above occurred.   As a result,
I resolved never to order from them again.  It seems unlikely that
I have completely misremembered the entire sequence of events.
On the other hand, stranger things have happened.

David "No Comment" K.


-



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

From: philz <[e-mail]>
Subject: Re: Verge
Date: 04 May 1999 17:52:52 -0400

>In a message dated 5/3/99 6:22:18 PM, [e-mail] writes:
>
><< You have got this backwards.  From my experience with dealing with Verge,
>they list the prices in Canadian dollars but force people paying in U.S.
>currency to pay the SAME dollar amount in U.S. dollars.  Currently, there
>are 0.65 to 0.70 U.S. dollars per Canadian dollar.  Verge lists an album,
>say anything from their FMP stock at $28.  Therefore, the person who pays
>in U.S. dollars pays 28 US$ (or 40 Canadian $).  The person who uses
>Canadian currency pays 28 Canadian $ (or 19.60 US$).  >>
>
>this isn't true; of course they do the conversions. I've dealt with them a
>number of times, including just a few weeks ago. their prices aren't
>comparatively as good as they used to be, but they're still good, especially
>on Canadian stuff. plus, they get some stuff no one else does, i.e., a Voice
>Crack CD-R I just got recently. Ambiances Magnetiques and Victo CDs are often
>around ten dollars.
>


Definitely not true, I order from Verge regularly and they've always
charged the exchange rate, which I assume they do by charging
Canadian $ to my US credit card, who perform the currency conversion
themselves.

Personally I've found Verge to be a great, organized, friendly source
for a lot of Canadian releases (Ambience Magnetiques!) and European
imports.

philz



-



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

From: [e-mail]
Subject: mule variations
Date: 04 May 1999 18:26:32 -0500


i've gone back and forth on this, fearing rumor-mongering, but decided we can
talk here, right?, so i'll jump in on the waits talk.
on 1st listen i slowly went from entertained-if-underwhelmed to practically in
tears. ok, little new ground here. even the use of turntables doesn't create
atmospheres he hasn't used before. and after the surprise of "bone machine," i
was disappointed. but i believe rumors about his health have gone around here,
and if not, i've heard them from enough sources that others on this list surely
have, too. i think this is his most personal release by far. listening to it, i
began to have images of someone creating their own retrospective from scratch. i
don't mean to be overly morbid, but even if he's healthy as a horse, the last
two songs are more clearly about accepting death than most any pop(?) songs i've
heard.

i don't really know anything about his health except for the rumors, but i think
the songs alone make certain suggestions, regardless of the gossip.

i really hope this isn't his last record, and it's probably not his best. but in
a lot of ways, i think it's his most beautiful.

kg



-



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

From: Tom Pratt <[e-mail]>
Subject: Grawe at MIT?
Date: 03 May 1999 19:02:53 -0400

Georg Grawe is listed at Stubley's EFI page as possibly performing a
solo show at MIT on May 28th. Does anyone know if this is actually
happening? Thanks.

                        -Tom Pratt


-



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

From: "Zachary J. Griffin" <[e-mail]>
Subject: John Zorn/Jimmy Page Connection?
Date: 04 May 1999 22:16:03 -0400

Hello,
      I was at a record store earlier today.  I came across a Jimmy Page
double-CD titled "Before the Balloon Flew" (or something like that).
One of the CD's had Led Zeppelin covers.  One tack listed was "Friends"
by a group called Pain Killer.  Does anyone know if Pain Killer is the
same as the Zorn, Laswell etc. Painkiller?  No one at the record store
knew the answer. I didn't see the song listed on the Painkiller complete
studio recordings box set on the Tzadik website.  So, I'm thinking no.
But I would like to know for sure.

Thank you in advance,
Zach Griffin


-



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

From: [e-mail]
Subject: Re:  tom waits
Date: 04 May 1999 22:33:24 EDT

I have to say What's He Building is an interesting and funny story. If that
song was my first impression of Waits I'd be sure to have discovered someone
special. It's a great little tale.

-



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

From: DR S WILKIE <[e-mail]>
Subject:       chapin
Date: 05 May 1999 13:12:51 GMT0BST

any details on the forthcoming Thomas Chapin cd on knittingfactory?

-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Ornette Bootlegs
Date: 05 May 1999 13:57:54 GMT0BST

Thanks to whoever cleared up the confusion about the two
different albums under the Broken Shadows title.  Can anyone help
with the following further confusion?
many many moons ago, I was lent an ornette album, possibly on an
italian label, which claimed that the music was ca. 1961 but didn't
specify any players other than Ornette.  There were at least two
other horns on it, and, as best as i can remember, both sides of the
album were identical!  There was no track listing but five pieces on
each side, and the Dancing In Your Head theme was one of them.  My
tape copy of this disappeared in a fire four or five years ago, so
I'm understandably a bit vague about the details.  Anyone recognise
it?

Sean Wilkie

-



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

From: theorcolus <[e-mail]>
Subject: Re: Musso CD
Date: 05 May 1999 09:22:13 -0400

I play bass in Bob's new group Transonic and he just told me the Robert Musso /
Steve Buchannen Duo CD has not been released. I will let you know if the situation
changers.


David C Gross


-



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

From: [e-mail]
Subject: Re: John Zorn/Jimmy Page Connection?
Date: 05 May 1999 10:19:42 EDT

In a message dated 5/4/99 10:12:50 PM Eastern Daylight Time,
[e-mail] writes:

> Hello,
>        I was at a record store earlier today.  I came across a Jimmy Page
>  double-CD titled "Before the Balloon Flew" (or something like that).
>  One of the CD's had Led Zeppelin covers.  One tack listed was "Friends"
>  by a group called Pain Killer.  Does anyone know if Pain Killer is the
>  same as the Zorn, Laswell etc. Painkiller?  No one at the record store
>  knew the answer. I didn't see the song listed on the Painkiller complete
>  studio recordings box set on the Tzadik website.  So, I'm thinking no.
>  But I would like to know for sure.
>

I would guess that the double CD you saw is a bootleg, or maybe even a legit
release of early, pre- Led Zep (Hence the title) Jimmy Page sessions.  So
that would mean those sessions were from the mid- late sixties.

There is another connection however.  Naked City used to play a song called
"Blood is Thin", and Zorn always said it was dedicated to Jimmy Page.

-Jody

-



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

From: "Zachary J. Griffin" <[e-mail]>
Subject: Re: John Zorn/Jimmy Page Connection?
Date: 05 May 1999 10:52:33 -0400



[e-mail] wrote:

> I would guess that the double CD you saw is a bootleg, or maybe even a legit
> release of early, pre- Led Zep (Hence the title) Jimmy Page sessions.  So
> that would mean those sessions were from the mid- late sixties.

That is definitely the case the case for disc one.  It said so on the cover.
But disc two is a Led Zeppelin "tribute" compilation.  Which brings me to my
first question.  Is the group listed as Pain Killer doing "Friends" really the
Zorn, Laswell etc. Painkiller?

>
> There is another connection however.  Naked City used to play a song called
> "Blood is Thin", and Zorn always said it was dedicated to Jimmy Page.
>
> -Jody
>

I didn't know about that.  Thanks for that bit of information.



-



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

From: "Julian" <[e-mail]>
Subject: Re: John Zorn/Jimmy Page Connection?
Date: 06 May 1999 00:51:49 +1000

> > There is another connection however.  Naked City used to play a song
called
> > "Blood is Thin", and Zorn always said it was dedicated to Jimmy Page.

While we're on it, Bone Orchard was dedicated to John Bonham.

-



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

From: "Douglas Clarke" <[e-mail]>
Subject: Re: John Zorn/Jimmy Page Connection?
Date: 05 May 1999 17:23:29 +0200


> > > There is another connection however.  Naked City used to play a song
> called
> > > "Blood is Thin", and Zorn always said it was dedicated to Jimmy Page.
>
> While we're on it, Bone Orchard was dedicated to John Bonham.

And Torture Garden (the song) was dedicated to Mick Harris!

-



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

From: [e-mail]
Subject: Re: John Zorn/Jimmy Page Connection?
Date: 05 May 1999 18:51:31 +0300 (WET)


>
> > > > There is another connection however.  Naked City used to play a song
> > called
> > > > "Blood is Thin", and Zorn always said it was dedicated to Jimmy Page.
> >
> > While we're on it, Bone Orchard was dedicated to John Bonham.
>
> And Torture Garden (the song) was dedicated to Mick Harris!

and "Gob of Spit" (the last song on Torture Garden) is dedicated to Kenny
G :)



-



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

From: [e-mail]
Subject: No Subject
Date: 05 May 1999 14:53:26 EDT

I am thinking about seeing the zorn-medeski-ribot-wollesen group tonight,  is
there anyone who has seen this grouping and can tell what they are like?

                          -ivar

-



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

From: "Sean Terwilliger" <[e-mail]>
Subject: RE: No Subject
Date: 05 May 1999 15:08:29 -0400

I've a recording of Zorn-Medeski-Ribot-Rochester that is really good. I'd go
if I could...

-Sean

> -----Original Message-----
> From: [e-mail]
> [mailto:[e-mail]]On Behalf Of
> [e-mail]
> Sent: Wednesday, May 05, 1999 2:53 PM
> To: [e-mail]
> Subject: No Subject
>
>
> I am thinking about seeing the zorn-medeski-ribot-wollesen
> group tonight,  is
> there anyone who has seen this grouping and can tell what
> they are like?
>
>
>                           -ivar
>
> -
>


-



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

From: "Zachary J. Griffin" <[e-mail]>
Subject: Re: No Subject
Date: 05 May 1999 15:31:29 -0400

I'm going tonight.  I saw them when they played Knitting Factory in January.  I
can't really give a specific desciption of what they do other than saying that
before the night is out you will hear almost every type of music played by these
guys.  It is an incredible experience.  Hope you can make it.

Zach Griffin

[e-mail] wrote:

> I am thinking about seeing the zorn-medeski-ribot-wollesen group tonight,  is
> there anyone who has seen this grouping and can tell what they are like?
>
>                           -ivar
>
> -


-



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

From: [e-mail]
Subject: chapin
Date: 06 May 1999 10:32:12 -0300

On May 5th DR S WILKIE wrote:

>any details on the forthcoming Thomas Chapin cd on knittingfactory

Sorry but I have no details on this one; nevertheless I'd like to
recommend Chapin's superb participation on Tango & Jazz "Avantango- y en
el 2000 tambien" (Epsa).
This is a live recording done in the Knit in 1998. The cd belongs to
Pablo Aslan, an Argentine double bass player and the line-up is
completed by pianist Ethan Iverson. Thomas played alto sax and flute,
and he blew my mind off. He was really great.
Don't miss Avantango.

Just my peso.

Hugo.

-



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

From: [e-mail]
Subject: Steve Beresford
Date: 06 May 1999 09:31:05 -0500


     Aside from 'Signals for Tea' and 'Cue Sheets', could anyone recommend
     other Beresford works (with a brief description), whether song
     oriented or free improv? Always meant to pick up the Nato release w/
     Zorn, Toop etc. Been giving 'Cue Sheets' a workout lately and
     throughly enjoying it.

     Thanks,

     Brian Olewnick



-



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

From: <[e-mail]>
Subject: archive?
Date: 06 May 1999 18:27:05 +0300 (WET)

is there an archive for this mailing list?


-



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

From: Jeni Dahmus <[e-mail]>
Subject: Esperando un poco (Waiting a Little)
Date: 06 May 1999 11:29:02 -0400 (EDT)


While looking through the book Seeing Jazz: Artists and Writers on Jazz, I
came across a collage by Juan Alberto Garcia de Cubas in which Zorn is the
subject (page 112). Entitled "Esperando un poco (Waiting a Little)," the
work dates from 1993 and combines watercolor, pencil, ink, and photocopy.
Does anyone know more about this?  (Forgive me if the topic has been
addressed before. I subscribed to the list a few months ago.)

Jeni



-



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

From: Jason Tors <[e-mail]>
Subject: | Z R M W |
Date: 06 May 1999 11:32:33 -0800

Tonic was at comfortable capacity, and surprising cool. I was expecting a
huge crowd and really tight standing room only. To my relief a seat opened
up in front medeski side. The only time I was this close to the action was
the first show at the knitting factory. Wow, they have come a long way
since those first few shows. They have a cohesive quality to the songs that
was not present in the first few jams. I was particularly impressed with
JZ, he really strayed away from his bag o tricks and concentrated on being
melodic and appropriate, more jazzy, he really sounded wonderful. Ribot was
particularly on fire last night, he almost fell over a few times, his
playing was right on solid ribot, he too also moved a bit away from his
somewhat fragmented style and got wordy, a little more jazzy. Kenny
Wollensen, who I decided looks and acts [ on the kit ] like some caracture
of the typical high school drummer metal head, mr gumby, during one of his
solos his legs were up in his chest pounding on the hit hat petals and bass
drum while his hands flurried around the drums. He too was right on, really
backing up the other three with a captivating blend of jazz and free
rhythms. Medeski was great bass back up and solos on fire some roaring
organ segues and some fragmented speed flurry almost borrowing from the
other two players. The thing that surprise me every time I see these guys
play is how they are learning to play together, take three leaders in their
own right, put them together, sometimes the result is a stellar
performance. At the beginning of the show JZ signaled to a smoker to stop.
He also took off stage for a bit, I think to let Bruce [ owner of DTMG ]
into the show. There also was a little hinting to a particularly attractive
asian sweety just before the start of the last song. I wonder if Zorn has a
little harem of asian beauties? The last song was slower, more soulful,
everyone stretched out a bit within the confines of the mood. Ribot was
using some strange instrument on his strings, made the strings vibrate at a
constant tone, he was playing chords like this, looked like there was a
light at the bottom of the box, some thoughts? I think it might be a
magnetic something or other. The closest thing that describes the sound is
that dense fusion jazz sound of Larry Young in his day, surely an
influence.

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: chapin
Date: 06 May 1999 08:32:19 -0700


On Thu, 6 May 99 10:32:12 -0300  [e-mail] wrote:
>
> On May 5th DR S WILKIE wrote:
>
> >any details on the forthcoming Thomas Chapin cd on knittingfactory
>
> Sorry but I have no details on this one; nevertheless I'd like to
> recommend Chapin's superb participation on Tango & Jazz "Avantango- y en
> el 2000 tambien" (Epsa).
> This is a live recording done in the Knit in 1998. The cd belongs to

You mean May 1996, right?

Any idea where the label Epsa is from?

    Patrice.

-



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

From: [e-mail]
Subject: 5/15 more
Date: 06 May 1999 12:29:49 -0500


Neues Kabarett at the Brecht Forum presents

Roy Campbell - trumpet
Lou Grassi - drums
Burton Greene - keyboards
Wilber Morris - bass

Burton, Wilber and Lou are friends and veterans of more than 30 years of
spontaneous music making. They've teamed together to provide a
multicultural, intensely personal statement for all to hear? a rich
sound tapestry. The trio first CD, "Throptics", was recently released on CIMP.
Tonight, the trio is joined by trumpeter extraodinnaire Roy Campbell, who has
played with the Rob Brown Quartet and his own Tazz Concert Ensemble and also
leads his own Pyramid Trio and plays with the supergroup Other Dimensions in
Music.

Saturday, May 15
2 sets, beginning at 9 p.m.
$10 for the night

Neues Kabarett at the Brecht Forum
122 W. 27th St., 10th Fl. NYC
[phone]



-



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

From: [e-mail]
Subject: Re: Steve Beresford
Date: 06 May 1999 12:46:21 EDT


In a message dated 5/6/99 10:46:35 AM, [e-mail]
writes:

<< Aside from 'Signals for Tea' and 'Cue Sheets', could anyone recommend
     other Beresford works (with a brief description), whether song
     oriented or free improv? >>

well, I haven't played any of mine in a while, but I remember my favorite
ones being Short In The UK (Incus), which is Beresford, Roger Turner, and the
Shaking Ray Levis, and Fish Of The Week (Scatter), which has Alexander
Balanescu, Clive Bell, Francine Luce singing, John Butcher and Mark Sanders
in addition to Beresford. I don't remember being especially impressed by
Deadly Weapons (Nato).

actually, now that I think of it, I really like General Strike-Danger In
Paradise (Piano). my copy seems to have disappeared, but it's Beresford,
Toop, and a few other people. it's a minor classic, I'd say, my favorite
record on David Cunningham's Piano label.

Jon

NP: Fela Kuti and Africa 70-Water No Get Enemy from Expensive Shit/He Miss
Road (Barclay France). Barclay just released ten of these Fela twofers, and
you can get them for 16 bucks apiece at www.dustygroove.com. such great stuff!

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Steve Beresford
Date: 06 May 1999 09:54:31 -0700


On Thu, 6 May 1999 12:46:21 EDT  [e-mail] wrote:
>
> actually, now that I think of it, I really like General Strike-Danger In
> Paradise (Piano). my copy seems to have disappeared, but it's Beresford,
> Toop, and a few other people. it's a minor classic, I'd say, my favorite
> record on David Cunningham's Piano label.
        ^^^^^^^^^^^^^^^^^^^
Even the Michael Nyman with Evan Parker and Peter Brotzmann?

    Patrice.

-



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

From: Dan Hewins <[e-mail]>
Subject: Re: | Z R M W |
Date: 06 May 1999 12:12:16 -0500

At 11:32 AM -0800 5/6/99, Jason Tors wrote:
>Ribot was
>using some strange instrument on his strings, made the strings vibrate at a
>constant tone, he was playing chords like this, looked like there was a
>light at the bottom of the box, some thoughts? I think it might be a
>magnetic something or other.

Sounds like an EBow.  It is a magnetic thing-a-ma-gig that excites the
strings and acts like a bow of a violin or another stringed instrument.  I
saw Bela Fleck use on on his banjo once because he mentioned that banjos
don't really have that much sustain.

Dan Hewins



-



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

From: [e-mail]
Subject: chapin/Avantango
Date: 06 May 1999 14:25:57 -0300

Patrice wrote:

>you mean May 1996, right?

Date of release is 1998; I'm quite sure. Also I will check out the date
of recording, but I guess it's the same year.

>any idea where the label is from?

From Argentina, as far as I know, though your question call in doubt my
supposition.
I will check out all details and let you know tomorrow.

Hugo.

-



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

From: [e-mail]
Subject: Re: Steve Beresford
Date: 06 May 1999 13:27:25 EDT


In a message dated 5/6/99 12:56:30 PM, [e-mail] writes:

<< my favorite
> record on David Cunningham's Piano label.
        ^^^^^^^^^^^^^^^^^^^
Even the Michael Nyman with Evan Parker and Peter Brotzmann?  >>

wow, that sounds pretty promising. I did not know about this record; I guess
it hasn't been reissued on CD yet.

Jon

-



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

From: [e-mail] (Martin Wisckol)
Subject: New Waits/Ornette bootleg
Date: 06 May 1999 12:03:39 -0800

My 5 centavos on Mule Variations, having eagerly followed Waits' career
since 1977, much of it in agreement with the comments of others. I
particularly liked the comment that this is a retrospective made from
scratch.

In a nutshell, I think Waits finished staking out his turf eight or
nine years ago, that the innovation is over. Now he can play in the
fields he has found.

I think from Small Change to Bone Machine (arguably, to Black Rider),
we saw a tremendous flood of DRIVEN creativity. Searching and evolving
constantly. Beatnik to R&B to something unique (beginning with
Swordfishtrombones) drawing on broader influences both conscious (Harry
Partch, et al) and subconscious. It seems few artists can sustaining
this DRIVEN level of brilliant innovation throughout their lives.
Ornette Coleman, for example, laid out his brilliance with four or five
albums recorded in less than three years '58--''60 or so -- and done
lots of good work since, but little so mind boggling. Stevie Wonder had
an overwhelming run in the early- and mid-'70s, with those three albums
(Fulfillingness, Songs in the Key, Innervisions) and has rarely come
even close since. I propose that Waits had staked out his
musical/poetic turf by the time he took his break beginning in 1992,
and MV and future work will be tilling ground in the same fields. Not
to say there won't me new gems turned up in that ground, but that there
aren't going to be the kinds of surprises we got with
Swordfishtrombones.

My favorite counterargument to this is that Waits was so focused on his
music and lyrics from 1970 to 1992 that the creativity was flowing,
coming from wells deeper and deeper. And that he took a break from that
for the last few years, and could return to his spelunking and surprise
us deeply again. But I rather doubt it.

Can't help but say "Hold On" is one of Waits' Springsteen songs, like
"Jersey Girl" and "Downtown Train."...

As for the question on the '61 Ornette boot, I have a a vinyl two-fer
call "Who's Crazy." I haven't listened to it for a couple of years and
am a little foggy about what's on it (I'll check when I go home). Seems
it's from the mid-60s, seems all the songs have titles and personnel.
I'll check when I get home.


Martin

np Ivo Perelman w/ CT String Quartet. An unexpected pleasure.

-



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

From: "John Thomas" <[e-mail]>
Subject: re: Beresford recs
Date: 06 May 1999 13:31:18 -0500

Brian Olewnick:

>Aside from 'Signals for Tea' and 'Cue Sheets', could anyone recommend
>other Beresford works (with a brief description), whether song
>oriented or free improv? Always meant to pick up the Nato release w/
>Zorn, Toop etc. Been giving 'Cue Sheets' a workout lately and
>throughly enjoying it.

I only have one Beresford disc although I like it -- it is the Emanem disc
with Beresford on piand and Nigel Coombes (I believe) on violin.
Free improv with a chamberish/classical kind of feel. The pieces do tend
to sound similar after you've heard a few though so recommended, but with a
bit of caution.

John


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Steve Beresford
Date: 06 May 1999 11:57:40 -0700


On Thu, 6 May 1999 13:27:25 EDT  [e-mail] wrote:
>
> Even the Michael Nyman with Evan Parker and Peter Brotzmann?  >>
>
> wow, that sounds pretty promising. I did not know about this record; I guess
> it hasn't been reissued on CD yet.

Unfortunately not... One of the very few left on my reissue dream list (which gets
smaller and smaller every month).

This is specially a very very good Michael Nyman.

    Patrice.

-



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

From: Jeni Dahmus <[e-mail]>
Subject: OFF TOPIC:jazz photographs web site
Date: 06 May 1999 14:59:11 -0400 (EDT)

Some of you might be interested in a new web site devoted to William P.
Gottlieb's jazz photographs:

http://memory.loc.gov/ammem/wghtml/wghome.html

There's no Zorn content on the site, but I did put in a plug for him.  See
if you can find it...

More than 1,600 photographs of many of the greatest names in jazz are
available in "William P. Gottlieb: Photographs from the Golden Age of
Jazz." The William P. Gottlieb Collection documents the jazz scene from
1938 to 1948, primarily in New York City and Washington, D.C. In 1938
Gottlieb began working for The Washington Post, where he wrote and
illustrated a weekly jazz column--perhaps the first in a major newspaper.
After World War II he was employed as a writer-photographer for Down Beat
magazine, and his work also appeared frequently in Record Changer, the
Saturday Review, and Collier's. During the course of his career, Gottlieb
took portraits of prominent jazz musicians and personalities, including
Louis Armstrong, Duke Ellington, Charlie Parker, Billie Holiday, Dizzy
Gillespie, Earl Hines, Thelonious Monk, Stan Kenton, Ray McKinley, Benny
Goodman, Coleman Hawkins, Ella Fitzgerald, and Benny Carter. This online
collection presents Gottlieb's photographs, annotated contact prints,
selected published prints, and related articles from Down Beat.

Jeni







-



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

From: [e-mail] (Martin Wisckol)
Subject: Bobby Bradford plays, talks for free in LA Saturday
Date: 06 May 1999 13:19:13 -0700

Anybody else on this list from the Los Angeles area? If so, a gig of
note (By the way, I sure would appreciate help in finding the other
rare ultra cool gigs in LA/Orange County):

Bobby Bradford, Vinny Golia, Roberto Miranda, Alex Cline will perform
and discuss free jazz, presented by the Thelonious Monk Institute,
Dorothy Chandler pavillion, 135 N. Grand Ave. 1:30 pm (!). Free (!!).

-



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

From: Sheik Connery <[e-mail]>
Subject: re: Beresford
Date: 06 May 1999 13:24:45 -0700

I've really gotten into the split 10" on clear vinyl that Steve Beresford
did with Otomo Yoshihide.  It's called "Museum of Towing and Recovery" and
it's on the Hot Air label.  Maybe I'm just a sucker for clear records,
though.  :O

                        -Ethan


-



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

From: Dave <[e-mail]>
Subject: re: Beresford
Date: 06 May 1999 16:33:51 -0400

At 01:24 PM 5/6/99 -0700, you wrote:
>I've really gotten into the split 10" on clear vinyl that Steve Beresford
>did with Otomo Yoshihide.  It's called "Museum of Towing and Recovery" and
>it's on the Hot Air label.  Maybe I'm just a sucker for clear records,
>though.  :O
>
I like it a lot too, but then again I also love colored vinyl.




-



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

From: Tom Pratt <[e-mail]>
Subject: J.Spence, etc.
Date: 05 May 1999 17:42:57 -0400

I just got a CD by Bahaman folk guitarist/singer Joseph Spence on
Hannibal called 'Happy All The Time' and have really been enjoying it
since - very nice primitive fingerstyle and gutteral vocals from '64.
Are his other recordings similar?

I'd also be interested in anyone's recs for any other really "down-home"
acoustic folk/blues type stuff from anywhere around the world. (Thanks
to the Zorn-list, I picked up the wonderful Kim Sinh disc a while back.)
I've been getting very interested in that kind of stuff recently.

And while I'm at it... Does anyone know where I can find a copy of the
Robert Pete Williams LP on Takoma? I've been looking to track that one
down for a bit. Thanks!

                    -Tom Pratt


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: archive?
Date: 06 May 1999 20:31:47 -0400

At 06:27 PM 5/6/99 +0300, [e-mail] wrote:
>is there an archive for this mailing list?

The home page for the mailing list is
http://www.browbeat.com/zornlist.html, and you can find the archives from
there.

--
Caleb Deupree
[e-mail]

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

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: allstars shop info
Date: 06 May 1999 20:36:47 -0400

Anyone ever dealt with a shop in the Netherlands (Lunteren maybe is the
city) called Allstars?  Any opinions?

Thanks.

--
Caleb Deupree
[e-mail]

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

-



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

From: [e-mail]
Subject: Re: allstars shop info
Date: 06 May 1999 21:04:34 EDT


In a message dated 5/6/99 8:34:22 PM, [e-mail] writes:

<< Anyone ever dealt with a shop in the Netherlands (Lunteren maybe is the
city) called Allstars?  Any opinions? >>

I got a copy of Dr. John's Gris-Gris from them a year or so ago, after being
pointed there by some rare CD search engine (based in Texas, I think) that I
can't remember the name of. it took a few weeks, but it showed up fine.

less than two weeks to Victo!

Jon

NP: Pluramon-Scendro from Modulation and Transformation 4 (Mille Plateaux)

-



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

From: [e-mail]
Subject: no more please
Date: 07 May 1999 00:26:30 EDT



-



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

From: "wetboy" <[e-mail]>
Subject: Re: | Z R M W |
Date: 07 May 1999 01:41:04 -0400


-----Original Message-----
<[e-mail]>


[some info snipped in the interest of brevity]
>
>Sounds like an EBow.  It is a magnetic thing-a-ma-gig that excites the
>strings and acts like a bow of a violin or another stringed instrument.  I
>saw Bela Fleck use on on his banjo once because he mentioned that banjos
>don't really have that much sustain.
>
>Dan Hewins
>
i think its also a big thing w/king crimson. it was a while ago since i saw
them, but i wouldn't b surprised, considering all the "wacky" gtr synth
stuff they use. anything 4 a cool noise!


-



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

From: "Andreas Dietz" <[e-mail]>
Subject: RE: Zorn-Medeski-Ribot-Rochester
Date: 07 May 1999 10:30:07 CEST

Zorn-Medeski-Ribot-Rochester !! This line up should be great - but what
CD-title, which label ...

Andreas Dietz


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

-



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

From: "Andreas Dietz" <[e-mail]>
Subject: RE: Ornette Bootlegs
Date: 07 May 1999 10:33:38 CEST

There is an Ornette bootleg called 'Stating The Case' on a label 'Jazz
Anthology' with identical LP-sides. The lineup is Coleman, Cherry, Redman,
Haden, Blackwell and it has probably been recorded in NYC on 09/22/72.

Andreas Dietz


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

-



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

From: [e-mail]
Subject: Re: | Z R M W |
Date: 07 May 1999 09:35:13 +0100

> Ribot was using some strange instrument on his strings, made
> the strings vibrate at a constant tone, he was playing chords like this,
> looked like there was a light at the bottom of the box, some thoughts?

Probably an ebow, which is basically just an electromagnet,
exactly as you suspected (and somewhat overpriced at =A399 here in
the UK). When you hold it over the pickups, it creates a field which
makes the string vibrate, or some such sciency stuff. Result:
infinite sustain and pretty good dynamic control. Robert Fripp uses
one a lot. Anyway, I think their web site is http://www.ebow.com.

Sounds like a nice gig. Ribot's solo work doesn't do much for me,
but he's made some fantastic records as a sideman.

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

-



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

From: "Vanheumen, Robert" <[e-mail]>
Subject: new orleans
Date: 07 May 1999 09:35:03 -0400

hi there

i'm going to be in new orleans from May 16 through 22. can anyone recommend
not-to-miss cd stores, clubs, concerts and other in the area around this
time? of course regarding music discussed on this list, but also info about
more electronic/dance stuff is very welcome...

thanks!
robert

-



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

From: Brent Burton <[e-mail]>
Subject: Re: new orleans
Date: 07 May 1999 09:51:50 -0400 (EDT)

On Fri, 7 May 1999, Vanheumen, Robert wrote:

> i'm going to be in new orleans from May 16 through 22. can anyone recommend
> not-to-miss cd stores, clubs, concerts and other in the area around this
> time? of course regarding music discussed on this list, but also info about
> more electronic/dance stuff is very welcome...

louisiana music factory is a pretty cool store.  i always walk out of
there with a stack of vinyl.  my favorite purchase there was john
sinclair's copy of the roscoe mitchell art ensemble "congliptious."
sinclair inscribed it as a gift to the MC5.  only cost $15.

magic bus is another great store for old vinyl.

b

-



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

From: "" <[e-mail]>
Subject: Re: new orleans
Date: 07 May 1999 07:25:15 PDT


>
> > i'm going to be in new orleans from May 16 through 22. can anyone
>recommend
> > not-to-miss cd stores, clubs, concerts and other in the area around this
> > time? of course regarding music discussed on this list, but also info
>about
> > more electronic/dance stuff is very welcome...


I'm not sure about the elctronic/dance scene, but you might keep an eye  out
for the following venues: Mermaid Lounge (hard to find, but give them a
call), and the clubs in the Faubourg-Marigny district (Dragon's Den, above
the Cafe Siam Thai restaurant; Cafe Brazil; Dream Palace; maybe even the
tad-touristy Snug Harbor), and also the swank but not always musically
happening Funky Butt (really hard to go wrong w/ a name like that, but,
well...).  A friend of mine is a percussionist who does all things Zornish,
one band he's in is called Nuovum.  Look out for the Hi-Ho Lounge, where you
might possibly see the Gas-Tank Orchestra play (exactly as the name would
have you believe); Crash Worship live in N.O>, I think (tribal, Dionysian
stuff, lots of nudity, wine, and fire).  A magazine called OffBeat will be
your guide, though I urge you to overlook, or revel in, the
tourist-pandering and cheerleading.  The LA. Music factory and Magic Bus
suggestions are good, but watch the prices.  (That Roscoe Mitchell find is
an exception, not a rule.)  A punk/"underground" spot called Underground
Sounds is at the corner of Magazine and another major street, near the
"antique" district: free Loud shows and lots of punk/post-punk stuff.  Those
things come to mind.  The Tulane Univ. station is pretty cool (91.5fm...I
think), and the TRULY public-radio "new Orleans Music" station WWOZ, who are
also on the web, are great (90.7fm), though I never cared for much of the
music.  (Rob Cambre does a fine free improv show late one nite---can't
remember when; John Sinclair does a sick blues show or two some other
night).  Those are all I can think of now.  Have fun, and take care!

-----s
>-
>


_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

-



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

From: "wetboy" <[e-mail]>
Subject: re: new orleans
Date: 07 May 1999 11:34:30 -0400

well it might seem kinda silly since it was in that movie the big easy, but
tipitina's is a really cool place. they have music all the time and a
fantastic catfish po' boy.



-



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

From: "" <[e-mail]>
Subject: re: new orleans
Date: 07 May 1999 09:54:10 PDT



Hell no!  Tip's is a bomb-ass joint!  They almost had to close when the
House of Blues mafia moved to bring "authentic" blues to N.O.  I mean, New
Orleans needed soul, so I suppose I should be grateful for the kindhearted
folks at HOB to co-opt the city for posterity, but...But now Tip's kicks
they ass, with a location uptown, right inside the west quarter, and a huge
warehouse used for occasional concerts (like a great MMW show I once saw).

---s
>
>well it might seem kinda silly since it was in that movie the big easy, but
>tipitina's is a really cool place. they have music all the time and a
>fantastic catfish po' boy.
>
>
>
>-
>


_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

-



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

From: "" <[e-mail]>
Subject: re: new orleans
Date: 07 May 1999 11:27:29 PDT

I wasn't clear: One location uptown; another in the French Quarter; and a
third that's a warehouse in the "art" district.

>...But now Tip's kicks they ass, with a location uptown, right inside the
>west quarter, and a huge warehouse used for occasional concerts (like a
>great MMW show I once saw).
>
>---s


_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

-



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

From: "Scott" <[e-mail]>
Subject: Updated sale/exchange list + NWW review
Date: 07 May 1999 22:50:35 +0100

Some items of possible interest.

I have an updated sale/exchange list newly html'd on my web site:
http://www.burntweeny.freeserve.co.uk/list.html

I have also posted a review of the new Nurse With Wound album at
http://www.burntweeny.freeserve.co.uk/nwwaap.html

Scott


White Noise
For experimental events in Scotland
http://www.burntweeny.freeserve.co.uk

-



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

From: Rich Williams <[e-mail]>
Subject: Re: | Z R M W |
Date: 07 May 1999 22:59:16 -0400

--============_-1285990000==_ma============
Content-Type: text/plain; charset="iso-8859-1" ; format="flowed"
Content-Transfer-Encoding: quoted-printable


> > Ribot was using some strange instrument on his strings, made
> > the strings vibrate at a constant tone, he was playing chords like this,
> > looked like there was a light at the bottom of the box, some thoughts?
>
>Probably an ebow, which is basically just an electromagnet,
>exactly as you suspected (and somewhat overpriced at =A399 here in
>the UK). When you hold it over the pickups, it creates a field which
>makes the string vibrate, or some such sciency stuff. Result:
>infinite sustain and pretty good dynamic control

     the e-bow has a small notch that fits over one string at a=20
time and is notoriously difficult to use because of its lack of=20
dynamic control. (Fred Frith wrote about this somewhere), that said,=20
it is a neat toy.



>. Robert Fripp uses
>one a lot. Anyway, I think their web site is http://www.ebow.com.
>
>Rich


    This is a common misconception. Fripp's "infinite sustain"=20
technique comes from controlled feedback and fleet fingers. He was=20
doing it that way long before the e-bow was invented.

another Rich

--============_-1285990000==_ma============
Content-Type: text/enriched; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable



<excerpt>> Ribot was using some strange instrument on his strings,
made

> the strings vibrate at a constant tone, he was playing chords like
this,

> looked like there was a light at the bottom of the box, some
thoughts?


Probably an ebow, which is basically just an electromagnet,=20

exactly as you suspected (and somewhat overpriced at =A399 here in=20

the UK). When you hold it over the pickups, it creates a field which=20

makes the string vibrate, or some such sciency stuff. Result:=20

infinite sustain and pretty good dynamic control

</excerpt>

     the e-bow has a small notch that fits over one string at a time and
is notoriously difficult to use because of its lack of dynamic control.
(Fred Frith wrote about this somewhere), that said, it is a neat toy.




<excerpt>. Robert Fripp uses=20

one a lot. Anyway, I think their web site is http://www.ebow.com.


Rich

</excerpt>


    This is a common misconception. Fripp's "infinite sustain" technique
comes from controlled feedback and fleet fingers. He was doing it that
way long before the e-bow was invented.=20


another Rich

--============_-1285990000==_ma============--

-



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

From: [e-mail] (Martin Wisckol)
Subject: Squarepusher
Date: 07 May 1999 20:34:37 -0700

Squarepusher -- Heard a few bits here and there and would like to buy a
CD of my own. Recommendations? I'm coming from an avant jazz
background, also love the deep groove whether it's George Clinton or
Haitian compas or Brazilian shit. I dig Laswell's Material, Kip
Hanarahan.... Some hiphop gets me, other leaves me cold....

Off list, as appropriate. On list might generate some dialogue, which I
wouldn't mind either.

[e-mail]

np: Willem Breuker -- De Onderste Steen (fresh shipment in from
Cadence!)

-



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

From: "Dmitry Elentuck" <[e-mail]>
Subject: Montreal record stores etc.
Date: 08 May 1999 00:30:20 -0400

Can anyone recommend good record stores (including used) in Montreal?
Any other recommendations (bookstores, cafes, etc) are also welcome.

Thanks,

Dmitry


-



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

From: Stephen Fruitman <[e-mail]>
Subject: Waits Again
Date: 08 May 1999 10:53:57 +0200

As a longtime Waits fan, I=B4d like to contribute my thoughts about _Mule
Variations_ to the discussion. I find it to be a gem. I=B4ve been following
Waits closely ever since discovering _Foreign Affairs_, immediately
acquiring the back catalogue from _Closing Time_ and onwards, and snapping
up each new (non-compilation) CD upon release. But I wasn=B4t daunted (rathe=
r
extremely amused and increasingly excited) by his
Weillian/"downtown"/experimental mood swing in the mid-eighties, despite
the fact that I have always appreciated his dabbling in the "sentimental
and maudlin". For me, the latter was rather an example of his both
affectionate and ascerbic relationship to American popular music (country,
R&B, lounge jazz, Tin Pan Alley), which is as much in evidence on _Mule
Variations_ as it ever was on, say, _Closing Time_ or _The Heart of
Saturday Night_. In my mind he is, quite simply, the latest incarnation of
the Great American Songwriting tradition, evidence of which can be found in
the array of people who have covered his material (suggestion: a pretty
charming all-Waits cover album released several years ago by Canadian
singer Holly Cole, _Temptation_ [Alert] - when she coaxes all the fear and
uncertainty of a little boy confronted with a dysfunctional adult world out
of "I Don=B4t Wanna Grow Up", she reveals new depths in the lyrics).

While "Georgia Lee" and "House Where Nobody Lives" are indeed, as Steve
Smith pointed out, "a bit more rote" than previous tear-jerkers like
"Ruby=B4s Arms" (and I=B4ll gladly volunteer to join the ranks of the
sentimental saps; _One from the Heart_ is one of my favourites, too), "Come
On Up to the House" is dangerously close to an instant classic - I=B4d
immediately place it alongside "Tom Traubert=B4s Blues" in dignity. The form
is immediately recognizeable (American Gothic Comfort Hymn), but it has
that special Waitsean element of brilliant and yet uncontrived lyrics woven
into it - original observations ("The only things that you can see is all
that you lack") and the wonderful "Get down off the cross we can use the
wood", interspersed with nursury rhymes and proverbs and quotes from both
the everyday and the literary world (life being "nasty, brutish and short"
- wasn=B4t that TS Eliot?). Tom Waits=B4 lyrics have always been that
something-extra distinguishing him from the herd of contemporary
singer/songwriters - a modern-day Irving Berlin, for my money.

Rather than more marketable or approachable (and I=B4ve nothing against that
- all the best to him and Epitaph Records!), I=B4d say the album is more a
montage of the "old" Tom and the reconstructed, post-_Swordfishtrombones_
one. Kurt Gottschalk wrote memorably that the album conjured up images of
"someone creating their own retrospective from scratch", and indeed, this
CD has everything that is good about Tom Waits from throughout his long
career interpreted through the eyes of a mature artist in full control of
his resources and reconciled with his entire oeuvre.

Btw, a little footnote to this album can be discovered on the new Kinky
=46riedman tribute album, _Pearls in the Snow_ (Kinkajou). Tom closes the
album with Kinky=B4s "Highway Cafe", a tragic story of lost love between a
trucker and a waitress which is as maudlin as it gets, albeit in his own
quirky way. It=B4s got the same chicken-coop ambience of "Chocolate Jesus",
with Tom in hillbilly mode, accompanied by banjo and violin (the latter
supplied by Jonathan Yudkin).

Stephen Fruitman
Dept of Historical Studies
Umea University
SE-901 87 Umea Sweden

Now playing: Ponga (with Bobby Previte and Wayne Horvitz) [Loosegroove
Records] - excellent jazzy/illbientish de- and reconstruction of
drum=B4n=B4bass sensibilities, high on energy and ideas.








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



-



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

From: Taylor McLaren <[e-mail]>
Subject: re: Waits Again
Date: 08 May 1999 05:39:23 -0400


MEEP! Stephen Fruitman wrote:
>suggestion: a pretty charming all-Waits cover album released=20
>several years ago by Canadian singer Holly Cole, _Temptation_
STRONGLY seconded... I'll admit to being more than just a bit of a sucker
for most of the late Trio material (their most recent incarnation,
unfortunately, leans *way* too far into alterna-rock territory for my
tastes, even though "I Told Him That My Dog Wouldn't Run" somehow manages
to be one of the strongest Trio tracks that I've ever heard...), and the
opportunity to hear her interacting with her dog, Rhoda, on the title track
is just too damned cute for words. Live versions of these Waits covers also
make up a significant chunk of the also-pretty-decent _It Happened One
Night_, the last Cole outing that I really liked.

>(life being "nasty, brutish and short" - wasn=B4t that TS Eliot?)
Thomas Hobbes - "Leviathan" (people always leave out the "solitary" and
"poor" parts of that little truism). The "get off the cross" bit has also
turned up as the title of Firewater's first album and... um... somewhere
else, I think.

-me


-



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

From: "Jim Glaspole or Josephine Yeatman" <[e-mail]>
Subject: New Orleans
Date: 08 May 1999 23:54:12 +1000

Hey I even thought House of Blues was OK; saw ? and the Mysterians
(surprisingly great) and chatted to this guy for ten minutes before it was
pointed out to me that I was talking to Alex Chilton!  Amazing experiences
for one with a mere week in the States.
Jim Glaspole


-



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

From: theorcolus <[e-mail]>
Subject: Re: Loopers-Delight-d Digest V99 #184
Date: 08 May 1999 09:56:12 -0400

Sunday night May 9th at the Downtown Music Gallery in NYC @ 7 PM
David Gross 6 string fretless bass/electronics/loops
Tor Snyder-guitar/electronics

will perform one set of improvisatory music.

211 E. 5th St

[phone]


-



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

From: theorcolus <[e-mail]>
Subject: Re;Ebow
Date: 08 May 1999 10:13:49 -0400

I have been using an Ebow with my basses for a few years now. There are two models:
the older "black one" which gave you one sound which is basically infinite sustain
and the new"grey one" that gives you the old sound and with a flick of the switch a
sound an octave above. Great with harmonics! I agree it takes some practice to use it
and you must be careful in terms of volume but I have solved that problem by using a
volume pedal. There are a number of techniques for vibrato, swells, and out and out
nasty tone with this unit.

David C Gross
"a great musician must be committed!"
www.geocities.com/SunsetStrip/Venue/7773/


-



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

From: "Steve Lord" <[e-mail]>
Subject: Zorn book
Date: 08 May 1999 16:32:37 +0100

Does any one have the ISBN number for the Chadbourne book - I can't seem to
find it in the UK
Thanx
Steve



-



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

From: "" <[e-mail]>
Subject: Re: Squarepusher
Date: 08 May 1999 12:04:33 PDT

Martin W wrote:
>Squarepusher -- Heard a few bits here and there and would like to buy a
>CD of my own. Recommendations?

I heard Squarepusher's "Tequila Fish" on a Nothing records sampler and was
blown away...the same feeling I got hearing Paul Lovens (even though it was
on a record) for the first time.  Really neat, sick breakbeat stuff, with an
eery harmony on Rhodes behind it.  The album it's from, BIG LOADA, is all
right, but it didn't rock my world.  A lot of fast, jungle-y (?) breakbeat
with vintage electro sounds.  Some pretty amazing rhythmic jump-cuts,
though.  The album MUSIC IS ROTTED ONE NOTE is a more "acoustic-electric"
record, with Jenkinson playing Rhodes, drums (sounds like he manipulates
them electronically in the studio, though), and electric bass.  Very dreamy,
ambient; you will find yourself (correctly) drawing parallels to
Seventies-era Miles Davis: think BLACK BEAUTY.  The EP BUDAKAN MINDPHONE
I've only heard once, but it's pretty cool.  It's over way too fast,
though...a little more like MUSIC IS ROTTED...

Have you checked out Autechre yet?

-----s


_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

-



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

From: BJOERN <[e-mail]>
Subject: Re: Squarepusher
Date: 09 May 1999 09:35:16 +0200 (MEST)


to get an impression of squarepusher's entire work you probably need more
than one album. FEED ME WEIRD THINGS from the drill'n'bass days is a
pretty cool record. get it!
MUSIC IS ROTTED ONE NOTE is a nice example for the new, more jazz-rock
influenced tom jenkinson (aka squarepusher). oh yes I forgot about the VIC
ACID ep. also pretty good.

BJOERN
www.tuebingen.net/eichstaedt


-



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

From: Brian Olewnick <[e-mail]>
Subject: Blonk/Gustafsson/Zerang at Roulette
Date: 09 May 1999 09:22:48 -0400

Just when you thought you'd heard all possible extended techniques...

The trio put on a rollicking show last night; it was my first time
seeing any of these fellows and my first exposure of any type to Blonk
(thanks for all the positive referrals a little while back) and I came
away pretty impressed. Blonk, for all his manic grimacing and
sound-creation, didn't suffer at all from the self-consciousness that I
find besets many free vocalists. Having a sense of humor clearly helps
(oh, those wacky Hollanders!) and he simply plunged into the music with
abandon. Zerang and Gustafsson seemed to give the slight nod to Blonk as
leader (maybe 'advance scout' would be a better term) and proved fine
listeners, never once putting on any mere technical displays. Though
free improv overall, a few of the pieces seemed to have a rough general
parameter; one was introduced as a Dutch folk song and one could, just
barely, make out faint strains of a melody buried deep in Blonk's
throat. But all the pieces flowed, smoothly or otherwise, like a fine,
boisterous conversation.

For all the reservations I've had about MG's playing in the past, he was
quite strong last night, with a huge sound, imaginative deployment of
techniques not normally encountered, a wicked sense of humor and, as I
said, very good ears (see, Tom, I come around eventually!) . But,
perhaps surprisingly, I thought Zerang came close to stealing the show.
With a fairly small kit that included a number of small, tuned cymbals,
he was a marvel to listen to, combining a delicate precision with a
non-stop imagination. I've only heard him in the context of the
Brotzmann tentet (and will again in a couple of weeks)--if anyone can
recommend some of his work in small groups, I'd be interested.

A fine show; catch this band if you can. Picked up their 1996 release on
Kontrans after the show; will give an opinion sometime soon.

Brian Olewnick

-



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

From: <[e-mail]>
Subject: Re: Squarepusher
Date: 09 May 1999 18:08:09 +0300 (WET)

I like "Hard Normal Daddy", I think that at this point of you can buy any
album he did, and you will find something really interesting


-



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

From: [e-mail] (Kuni & Naomi)
Subject: please visit my site
Date: 09 May 1999 16:54:42 -0400 (EDT)

I'm Kuni.
Please visit my site. I updated my site on May 8, 99.
The address is
http://www.i2.i-2000.com/~kunijetm
It's a new idea for the core of modern culture.
It can change the way people feel.

Sincerely,

92 (Kuni)


-



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

From: Papagiannakis Manolis <[e-mail]>
Subject: music revelation ensemble
Date: 10 May 1999 14:12:58 +0300 (EET DST)


I haven noticed any comments on the MUSIC REVELATION ENSEMBLE on DIW
that features Zorn on some tracks. Anyone having a comment
to make?
thanks
manolis

-



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

From: Papagiannakis Manolis <[e-mail]>
Subject:  any news on WARSAW Jazz fest?
Date: 10 May 1999 14:16:43 +0300 (EET DST)






its long since i read for the WARSAW jazz festival. I have been unable
to find anything on the net, so is there anything new? where can I
check the programm and/or buy tickets?

Anyone from Bayern/South Germany interested to join?

thanks.
Manolis

-



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

From: <[e-mail]>
Subject: Kleizmatics "The Well"
Date: 10 May 1999 21:04:18 +0300 (WET)

Does anybody has any comments on that CD?

First time I heard Klezmatics on Jewish Alternative Movement CD that was
released on Knitting Factory, and
I was really impressed by them (as well as by all other bands on it). So
the next time I saw Klezmatics CD at the music store I just grabbed it
without listening first, and it was a huge disappointment for me, it`s
just a collection of yiddish songs, not a single note of what I liked on
JAM
CD. I think I am going to give that CD to my dad, he will like it for
sure.

or may be I am missing something?


-



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

From: "Artur Nowak" <[e-mail]>
Subject: RE: any news on WARSAW Jazz fest?
Date: 10 May 1999 21:51:48 +0200

> its long since i read for the WARSAW jazz festival. I have been unable
> to find anything on the net, so is there anything new? where can I
> check the programm and/or buy tickets?

The last version of the program I got looks like this:

24.06
1 Elliott Sharp Trio (Zeena Parkins, Cornel Rochester)
2 Marc Ribot Los Cubanos Postizos
3 Torn/Reid/Sharp - Guitar Oblique
25.06 (John Zorn Day)
1 Masada String Trio
2 Masada Quartet
3 Bar Kokhba
26.06
1 Mazzoll (Polish Project)
2 Critters Buggin
3 Medeski, Martin & Wood
27.06
1 Harriett Tubman (Gibbs/Lewis/Ross)
2 Henry Threadgill Band
3 Pharoah Sanders

I think the tickets are available already, the usual price is ~$40 for the
whole festival.

Pozdrawiam

    __________________________________________________________________
    Artur Nowak [NEW E-MAIL: arno AT emd.pl]
    www.emd.pl - Discography of Bill Frisell


-



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

From: "christopher hoffman" <[e-mail]>
Subject: Re: Blonk/Gustafsson/Zerang at Roulette
Date: 10 May 1999 12:56:21 PDT


I happened to catch the same group(blonk/gustafsson/zerang) performing at
the Grace Chosey Gallery in Madison two weekends ago and it was amazing!!
At this particular performance cellist Matt Turner gave an excellent solo
performance for the first set.   Blonk,Gustafsson,Zerang played the second
set.  Brian pretty much said it all so i won't ramble on.

Other recordings Zerang is on:

He does a lot of work w/ cellist Fred Lonberg-Holm.  Check out the "rock
group"  In Zenith "Building a Better Future"  on miguel 6

36 grapes (19 shown) i think it's on BoxMedia thats a duo recording w/
Lonberg-Holm on cello.

In all honesty, I have no idea if you can order these recordings.  Both
record labels have web sites.  Zerang had a suitcase full of cd's that he
was selling at the performance.(thats how i got ahold of them)  I think I
still have the sheet that lists a bunch of his recordings.  If anyone is
interested I can dig it up.


_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

-



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

From: "Steve Lord" <[e-mail]>
Subject: Re: any news on WARSAW Jazz fest?
Date: 10 May 1999 21:15:10 +0100




> its long since i read for the WARSAW jazz festival. I have been unable
> to find anything on the net, so is there anything new? where can I
> check the programm and/or buy tickets?


Check out Marcin Witkowski's web page - he says to contact him if you want
tickets or more info

http://witkowski.tvp.com.pl/

Steve


-



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

From: "Avril Helbig" <[e-mail]>
Subject: Re: Blonk/Gustafsson/Zerang at Roulette
Date: 10 May 1999 16:31:29 -0400



----------
> From: Brian Olewnick <[e-mail]>
> To: [e-mail]
> Subject: Blonk/Gustafsson/Zerang at Roulette
> Date: Sunday, May 09, 1999 9:22 AM
>
> Just when you thought you'd heard all possible extended techniques...
>
> The trio put on a rollicking show last night; it was my first time
> seeing any of these fellows and my first exposure of any type to Blonk
> (thanks for all the positive referrals a little while back) and I came
> away pretty impressed. Blonk, for all his manic grimacing and
> sound-creation, didn't suffer at all from the self-consciousness that I
> find besets many free vocalists. Having a sense of humor clearly helps
> (oh, those wacky Hollanders!) and he simply plunged into the music with
> abandon. Zerang and Gustafsson seemed to give the slight nod to Blonk as
> leader (maybe 'advance scout' would be a better term) and proved fine
> listeners, never once putting on any mere technical displays. Though
> free improv overall, a few of the pieces seemed to have a rough general
> parameter; one was introduced as a Dutch folk song and one could, just
> barely, make out faint strains of a melody buried deep in Blonk's
> throat. But all the pieces flowed, smoothly or otherwise, like a fine,
> boisterous conversation.
>
> For all the reservations I've had about MG's playing in the past, he was
> quite strong last night, with a huge sound, imaginative deployment of
> techniques not normally encountered, a wicked sense of humor and, as I
> said, very good ears (see, Tom, I come around eventually!) . But,
> perhaps surprisingly, I thought Zerang came close to stealing the show.
> With a fairly small kit that included a number of small, tuned cymbals,
> he was a marvel to listen to, combining a delicate precision with a
> non-stop imagination. I've only heard him in the context of the
> Brotzmann tentet (and will again in a couple of weeks)--if anyone can
> recommend some of his work in small groups, I'd be interested.
>
> A fine show; catch this band if you can. Picked up their 1996 release on
> Kontrans after the show; will give an opinion sometime soon.
>
> Brian Olewnick
>
> -
> Check out Brotzmann's Die Like A Dog Quartet, No 2 Little Birds Have Fast
Hearts on FMP
IT features Brotzmann-Reeds
William Parker -Bass
Hamid Drake-Drums
Toshinori Kondo- Trumpet

One other I can recommend is The Wels Concert on Okka Disc

Brotzmann- reeds
Hamid Drake-percussion
Mahmoud Gania- guembri

It was of the best cds released in 1997

Mike Hansen
[e-mail]>
>

-



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

From: Nils Jacobson <[e-mail]>
Subject: re: Squarepusher
Date: 10 May 1999 16:47:09 +0100

you should check out the archives on this and you will find more info on
sp and drum-n-bass in general.  the derek bailey/dj ninj record started
it at the time.

to second other recommendations: 'feed me weird things' is the place to
start.  the 'vic acid' ep is particularly manic and flashy.  'hard normal
daddy' nice too.  if you get 'big loada' try to get the american (nothing)
release, as it has the port rhombus ep tacked on as well, not worth buying
on its own.  you will find the nothing releases much easier to get than
the warp, rephlex, or worm interface stuff (due to distribution in the us,
if that's where you're buying things).  also be aware that tom jenkinson
aka squarepusher has other aliases as well, including the duke of
herringay and chaos ad, with records under those names too.

i would caution the squarepusher newbie against the last 2 albums,
'budakhan mindphone' and 'music is rotted.' they are atypical of the
earlier material.  different approach: no sequencing here.  they were
constructed by overdubbing tape recordings.  so these 2 are NOT d'n'b in
the typical sense.  i find them much more spacey, atmospheric, and (quite
honestly) impenetrably murky.

nils

-



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

From: Herb Levy <[e-mail]>
Subject: Re: Zorn book
Date: 10 May 1999 14:00:49 -0700

It's not exactly a "Chadbourne book".  He wrote the preface (9 pages out of
144) & provided the tapes for the CD, but the book was edited by Walter
Rovere & Carla Chiti.

There doesn't seem to be a ISBN (or a ISSN - it's an issue of a magazine)
but there's a Web site <http://www.matson.it/> or you can send e-mail to
<[e-mail]>.  The postal address is:

Sonora:Itinerari Oltre Il Suono
via Tre Novembre 2
52027  San Giovanni Valdarno
Italia

Bests,

Herb

>Date: Sat, 8 May 1999 16:32:37 +0100
>From: "Steve Lord" <[e-mail]>
>Subject: Zorn book
>
>Does any one have the ISBN number for the Chadbourne book - I can't seem to
>find it in the UK
>Thanx
>Steve
>
>
>
>- -


Herb Levy
[e-mail]



-



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

From: [e-mail]
Subject: re:motreal record stores
Date: 10 May 1999 18:09:03 -0500

>Can anyone recommend good record stores (including used) in Montreal?
>Any other recommendations (bookstores, cafes, etc) are also welcome.

>Thanks,

>Dmitry

cheap thrills is an excellent store! a lot of avant garde/experimental music.

2044 metcalfe, montreal, quebec, canada h3a 1x8
#514.844.8988
http://www.cam.org/~thrills/


-



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

From: [e-mail]
Subject: Re: Kleizmatics "The Well"
Date: 10 May 1999 18:30:07 EDT

Just a collection of Yiddish Music?  What kind of comment is that.
Furthemore, the Klezmatics are certainly not pure "yiddish music".  As to
your question, give it another chance, and buy "The Well".  Then dance around
the house.

-



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

From: [e-mail]
Subject: Re: Zorn book
Date: 10 May 1999 18:30:41 EDT

<< Does any one have the ISBN number for the Chadbourne book - I can't seem to
 find it in the UK
 Thanx
 Steve
  >>

 for that matter, i cannot procure it in the states. that suggested "crayon"
 website had no answer. who's the publisher? what's the title?
thanks, joseph

-



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

From: Sheik Connery <[e-mail]>
Subject: Sonora availability
Date: 10 May 1999 20:56:44 -0700

The "Zorn book" a.k.a. "Sonora" should be available to record stores of any
repute.  I know we have it at Rasputin Music in Berkeley for $20.99 and I
know the last time I was at Amoeba they had it as well.  I ordered 2 copies
and they were rapidly snatched up by employees, but I will get more in.  It
is distributed to the U.S. by Materiali Sonora so that U.S. stores are
capable of carrying it.  I think you can also successfully procure it (if
all the record stores in your area are no match for the Bay Area's amazing
stores) through GEMM.COM.

                    -Ethan


-



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

From:    [e-mail] (Patrick Carey)
Subject: Naked City's "Radio" CD FS ...
Date: 11 May 1999 06:44:04 -0400

Hello ...

Anyone need a copy of Naked City's "Radio"?  I've got
a NEW copy (simply out of the shrinkwrap) FS for $20 US
(POSTAGE PAID in North America - add $2 for overseas).

Email if interested.


-Patrick
[e-mail]


more items at:
http://www.astro.utoronto.ca/~carey/sofa/sale.html




-



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

From: [e-mail]
Subject: straight from the horse's keyboard, as it were
Date: 11 May 1999 10:05:50 -0500


I asked Eugene Chadbourne about the Zorn book that has been discussed here.
Maybe I misunderstood? I thought someone had said that he wrote it, but
apparently not. Here is his answer to me:

XXX

I did not write a book about Zorn, although I guess I probably could.  What
I did was put together a short CD to accompany a book recently published in
Italy about Zorn, it is a collection of short pieces on various aspects of his
career, most of them culled from other sources.  It is in English and Italian,
so it is a good read even if you are not adept at la lingua bellisimo.  (That is
probably completely wrong.)
          I think we just managed to get Zorn a copy, they didn't send him one!
I really don't have any idea how this is distributed, it is not my department.
The company is Materiali Sonori.   I would be surprised if you can't find it in
NYC somewhere.

XXX

Hope this helps whoever was looking.

kg



-



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

From: [e-mail]
Subject: Fwd: CD-R TREE ANNOUNCEMENT - Zony Mash 9-25-98 Old Office, Knitting
Date: 11 May 1999 12:14:50 EDT


--part1_ce6d45da.2469b17a_boundary
Content-Type: text/plain; charset="ISO-8859-1"
Content-Transfer-Encoding: quoted-printable

In a message dated 5/10/99 1:46:23 PM Pacific Daylight Time, Baba666 writes:

<< CD-R TREE ANNOUNCEMENT --
 Zony Mash -- 9-25-98 at the Old Office, Knitting Factory, NYC NY=20
=20
 Wayne Horvitz -- keyboards=20
 Tim Young -- guitar
 Andy Roth -- drums
 Keith Lowe -- bass
=20
 set one: smiles, happens like that, sex fiend, *jam > *prudence rsvp, *meet=20
the zony mash > *electric sandworm =20
 set two: withdrawal symptoms, chimacum after hours, stompin at the cranium,=20
*slide by, *cadillac ranch, *daylight > *upper egypt (pharoah sanders)
 note: *with guest Elliot Sharp on electric guitar
=20
 See http://www.zonymash.com for more details on this amazing (and=20
taper-friendly!) band.
 See http://members.aol.com/baba666/tree.html for tree structure when signup=
s=20
are in.
=20
 MIC SOURCE -- schoeps mk4 front & center ortf 5' high > sonosax sx-m2 > son=
y=20
tcd-d8
 TAPE SOURCE -- Chris Preston
 TREE DEADLINE -- May 28th, 1999 @ 11:59 pm
=20
 The show is composed of 2 cd-rs, an early set and a late set. =A0
=20
 Send the form below back to [e-mail] to sign up, with the subject of=20
your message listing the position you wish to be in on the tree and how many=20
copies you're able to make, for example:
 Zony Mash CD-R BRANCH (7) -- I'd love to see a lot of these! ;-)=20
 Zony Mash CD-R BRANCH (3)=20
 Zony Mash CD-R LEAF (0)
=20
 A note about leaves: the number of leaf positions available depend on the=20
number of branch applications I get. If we get more leaf applications then=20
there are positions, the postitions will be filled on a first-come,=20
first-served basis. If you are unfortunately left off the tree, I can't=20
personally burn a copy for you, nor can I set you up with someone who can.
=20
 The moral of this story is if you can sign up as a branch, please do so! =
=A0=20
The second moral of the story is that Zony Mash is a taper friendly band! =
=A0Go=20
see them! Tape them with the best equipment you can get your hands on! =A0It=
's=20
SOOOOO worth it!
=20
 This is a not-for-profit CD-r tree. If participants choose to send blank=20
data CD-rs and return postage instead of trading, that is their prerogative.
 Any comments or questions? Please write [e-mail].
=20
 ------------------------- cut here -------------------------=20
 Sign-up Form=20
 Name:=20
 Email Address:=20
 Phone Number:=20
 What sort of CD-R deck do you have:=20
 Can you burn DAO?:=20
 Standalone or PC-based:=20
 IDE or SCSI:=20
 CD mastering software:=20
 Preferred CD-r media:=20
 Do you prefer to trade CD-rs with your parent/children, or send blanks?:=20
 Location of CD-r list online:=20
=20
 Please send your completed form back to [e-mail]
 Don't forget to check http://members.aol.com/baba666/tree.html after the=20
deadline for the tree structure! >>


--part1_ce6d45da.2469b17a_boundary
Content-Type: message/rfc822
Content-Disposition: inline

Return-path: [e-mail]
Full-name: Baba666
Message-ID: <[e-mail]>
    Factory NYC
MIME-Version: 1.0
Content-Type: text/plain; charset="ISO-8859-1"
Content-Transfer-Encoding: quoted-printable
X-Mailer: AOL 4.0 for Windows 95 sub 13

will, could you please forward this to the zorn-list?  the inclusion of=20
elliott sharp probably makes it a must-hear for those folks.....

CD-R TREE ANNOUNCEMENT --
Zony Mash -- 9-25-98 at the Old Office, Knitting Factory, NYC NY=20

Wayne Horvitz -- keyboards=20
Tim Young -- guitar
Andy Roth -- drums
Keith Lowe -- bass

set one: smiles, happens like that, sex fiend, *jam > *prudence rsvp, *meet=20
the zony mash > *electric sandworm =20
set two: withdrawal symptoms, chimacum after hours, stompin at the cranium,=20
*slide by, *cadillac ranch, *daylight > *upper egypt (pharoah sanders)
note: *with guest Elliot Sharp on electric guitar

See http://www.zonymash.com for more details on this amazing (and=20
taper-friendly!) band.
See http://members.aol.com/baba666/tree.html for tree structure when signups=20
are in.

MIC SOURCE -- schoeps mk4 front & center ortf 5' high > sonosax sx-m2 > sony=20
tcd-d8
TAPE SOURCE -- Chris Preston
TREE DEADLINE -- May 28th, 1999 @ 11:59 pm

The show is composed of 2 cd-rs, an early set and a late set. =A0

Send the form below back to [e-mail] to sign up, with the subject of=20
your message listing the position you wish to be in on the tree and how many=20
copies you're able to make, for example:
Zony Mash CD-R BRANCH (7) -- I'd love to see a lot of these! ;-)=20
Zony Mash CD-R BRANCH (3)=20
Zony Mash CD-R LEAF (0)

A note about leaves: the number of leaf positions available depend on the=20
number of branch applications I get. If we get more leaf applications then=20
there are positions, the postitions will be filled on a first-come,=20
first-served basis. If you are unfortunately left off the tree, I can't=20
personally burn a copy for you, nor can I set you up with someone who can.

The moral of this story is if you can sign up as a branch, please do so! =A0=20
The second moral of the story is that Zony Mash is a taper friendly band! =
=A0Go=20
see them! Tape them with the best equipment you can get your hands on! =A0It=
's=20
SOOOOO worth it!

This is a not-for-profit CD-r tree. If participants choose to send blank dat=
a=20
CD-rs and return postage instead of trading, that is their prerogative.
Any comments or questions? Please write [e-mail].

------------------------- cut here -------------------------=20
Sign-up Form=20
Name:=20
Email Address:=20
Phone Number:=20
What sort of CD-R deck do you have:=20
Can you burn DAO?:=20
Standalone or PC-based:=20
IDE or SCSI:=20
CD mastering software:=20
Preferred CD-r media:=20
Do you prefer to trade CD-rs with your parent/children, or send blanks?:=20
Location of CD-r list online:=20

Please send your completed form back to [e-mail]
Don't forget to check http://members.aol.com/baba666/tree.html after the=20
deadline for the tree structure!

--part1_ce6d45da.2469b17a_boundary--

-



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

From: theorcolus <[e-mail]>
Subject: 144 Live @ The Knitting Factory 5/14
Date: 11 May 1999 14:21:52 -0400

On May 14th in NYC @ the Knitting Factory 11 PM
74 Leonard St
212-219-3006

144 Returns!


144 is a 3 piece improvisatory group whose influences range from King
Crimson, to Weather Report, to Albert Ayler among others.

They will be recording the show for a live CD.

The trio is:

David C Gross-6 string fretless bass/electronics/loops

John Macaluso-drums and percussion

Alexander Rastopchin- guitar/electronics

-



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

From: dennis summers <[e-mail]>
Subject:
Date: 11 May 1999 19:20:31 -0700

>There is an Ornette bootleg called 'Stating The Case' on a label 'Jazz
>Anthology' with identical LP-sides. The lineup is Coleman, Cherry, Redman,
>Haden, Blackwell and it has probably been recorded in NYC on 09/22/72

I haven't listened to it lately, but my copy sure seems to be different on
both sides and says on the sleeve (incorrectly perhaps) that it was recorded
early 60's.

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


-



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

From: <[e-mail]>
Subject: Re: Kleizmatics "The Well"
Date: 11 May 1999 13:21:24 +0300 (WET)

I wrote that I already bought it. and there was no dances around the
house, I went to sleep.

On Mon, 10 May 1999 [e-mail] wrote:

> Just a collection of Yiddish Music?  What kind of comment is that.
> Furthemore, the Klezmatics are certainly not pure "yiddish music".  As to
> your question, give it another chance, and buy "The Well".  Then dance around
> the house.
>


-



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

From: Dan Hewins <[e-mail]>
Subject: Zorn Performance Question
Date: 12 May 1999 12:42:10 -0500

I know this is a longshot but there may be people with recordings out
there.  Is anyone familiar with the performance that took place on January
3 1998?  Does anyone know who was playing?  It sounds like Zorn, Ribot,
Medeski, and a drummer and maybe another guitarist.  I'm guessing it's
Wollensen.  Any help is appreciated.  Please email privately so as to avoid
unwanted list mess.

Thanks,
Dan Hewins



-



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

From: [e-mail]
Subject: Zony Mash CD-R Tree Announcment
Date: 12 May 1999 13:55:55 EDT

CD-R TREE ANNOUNCEMENT --
Zony Mash -- 9-25-98 at the Old Office, Knitting Factory, NYC NY=20

Wayne Horvitz -- keyboards=20
Tim Young -- guitar
Andy Roth -- drums
Keith Lowe -- bass

set one: smiles, happens like that, sex fiend, *jam > *prudence rsvp, *meet=20
the zony mash > *electric sandworm =20
set two: withdrawal symptoms, chimacum after hours, stompin at the cranium,=20
*slide by, *cadillac ranch, *daylight > *upper egypt (pharoah sanders)
note: *with guest Elliot Sharp on electric guitar

See http://www.zonymash.com for more details on this amazing (and=20
taper-friendly!) band.
See http://members.aol.com/baba666/tree.html for tree structure when signups=20
are in.

MIC SOURCE -- schoeps mk4 front & center ortf 5' high > sonosax sx-m2 > sony=20
tcd-d8
TAPE SOURCE -- Chris Preston
TREE DEADLINE -- May 28th, 1999 @ 11:59 pm

The show is composed of 2 cd-rs, an early set and a late set. =A0

Send the form below back to [e-mail] to sign up, with the subject of=20
your message listing the position you wish to be in on the tree and how many=20
copies you're able to make, for example:
Zony Mash CD-R BRANCH (7) -- I'd love to see a lot of these! ;-)=20
Zony Mash CD-R BRANCH (3)=20
Zony Mash CD-R LEAF (0)

A note about leaves: the number of leaf positions available depend on the=20
number of branch applications I get. If we get more leaf applications then=20
there are positions, the postitions will be filled on a first-come,=20
first-served basis. If you are unfortunately left off the tree, I can't=20
personally burn a copy for you, nor can I set you up with someone who can.

The moral of this story is if you can sign up as a branch, please do so! =A0=20
The second moral of the story is that Zony Mash is a taper friendly band! =
=A0Go=20
see them! Tape them with the best equipment you can get your hands on! =A0It=
's=20
SOOOOO worth it!

This is a not-for-profit CD-r tree. If participants choose to send blank dat=
a=20
CD-rs and return postage instead of trading, that is their prerogative.
Any comments or questions? Please write [e-mail].

------------------------- cut here -------------------------=20
Sign-up Form=20
Name:=20
Email Address:=20
Phone Number:=20
What sort of CD-R deck do you have:=20
Can you burn DAO?:=20
Standalone or PC-based:=20
IDE or SCSI:=20
CD mastering software:=20
Preferred CD-r media:=20
Do you prefer to trade CD-rs with your parent/children, or send blanks?:=20
Location of CD-r list online:=20

Please send your completed form back to [e-mail]
Don't forget to check http://members.aol.com/baba666/tree.html after the=20
deadline for the tree structure!

-



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

From: [e-mail]
Subject: Fripp
Date: 13 May 1999 10:07:33 +0100

> >. Robert Fripp uses
> >one a lot. Anyway, I think their web site is http://www.ebow.com.
>  This is a common misconception. Fripp's "infinite sustain"=20
> technique comes from controlled feedback and fleet fingers. He was=20
> doing it that way long before the e-bow was invented.

I'm 99.9% certain he uses an ebow on "A Fearful Symmetry" on
the League of Crafty Guitarists album. No way this is done with
feedback, anyway. But I stand corrected on the "uses one a lot"
point.

Having proved I'm no great expert on RF, I'll stick my neck out and
say I think it's about time he was recognised as one of the great
guitarists to have emerged since the late 60s (yes, I know he was
playing before then...). For my money he knocks all those fusion
boys-with-toys into a cocked hat (possible exception: John
McLaughlin). The "frippertronics" thing doesn't do much for me, but
even so I enjoy his playing probably more than any of his
contemporaries, bar Derek Bailey.

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

-



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

From: [e-mail]
Subject: (musings) update
Date: 13 May 1999 15:44:16 +0100

As well as a batch of new reviews, (musings) now carries MP3s of
new reviews, an internal search engine, expanded links to the rest
of the world and more.

Latest reviews:
Evan Parker, Fred van Hove, Derek Bailey, Larner/Hikage/Gelb,
John Butcher/ Phil Durrant/ John Russell, Assumed Possibilities,
Michael Doneda,  Bertrand Denzler Cluster, Bonehouse, Vincenzo
Mazzone, Veryan Weston/John Edwards/ Mark Sanders,
Statements Quintet, Ueli Derendinger, Not Missing Drums Project

Thanks for your time; apologies for x-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: Pierre Toussaint <[e-mail]>
Subject: re: montreal record stores
Date: 13 May 1999 13:11:34 -0400

Other than Cheap Thrills, wich is really great,  (they have two stores,
the other is used only - 1433 bishop) there's also l'Oblique (4333
rivard). For used cd's stores that have a relatively good selection in
avant-garde, go to l'Echange (3694 St-Denis or 713 Mont-Royal-this
second one as better choice in avant-garde). On Mont-Royal street and
St-Denis they are thousands (ok, a dozen or more) of used cd stores.
For bookstores, you should check out the McGill university bookstore
(can't find the adress but it is 1 minute away from the cheap thrills on

metcalfe), Chapters (1171 Ste-Catherine), Paragraphe (2220 McGill
College). They are many used book stores between Peel and Atwater on
Ste-Catherine.
They are many cafe's on all the streets mentioned. If you're looking for

french books, they are many other good places. E-mail me for details.


-



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

From: Jason Tors <[e-mail]>
Subject: | screwgun |
Date: 13 May 1999 17:52:33 -0800

does anyone know the url offhand?

-



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

From: Eric Saidel <[e-mail]>
Subject: Re: | screwgun |
Date: 13 May 1999 17:23:34 -0500



Jason Tors wrote:
>
> does anyone know the url offhand?
>
> -

Try: http://www.screwgunrecords.com/



-



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

From: Dan Hewins <[e-mail]>
Subject: Re: | screwgun |
Date: 13 May 1999 17:35:44 -0500

http://www.screwgunrecords.com/


At 5:52 PM -0800 5/13/99, Jason Tors wrote:
>does anyone know the url offhand?
>
>-




-



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

From: Mike Chamberlain <[e-mail]>
Subject: Victo stuff: looking for musings/possible ride
Date: 13 May 1999 21:17:06 -0500

Hi all,

I'm writing a piece on Victo for HOUR, a weekly paper in Montreal.  I am
looking for zornies who have attended the schedule regularly, or at
least on several occasions over the years for their views on what Victo
means to them, and personal recs for this year's fest.  This is your
basic pithy quote search.  If you are game (I promise not to take too
much of your time), email me privately so that we can make arrangements
to hook up over the phone--my dime, of course.  I will be writing my
piece over the weekend, so if we can set up a Saturday time, that would
be best.

Also, I will be leaving downtown Montreal for Victoriaville on Thursday
the 20th at around 2-3 pm.  I have room for a couple of people.  I won't
be able to take anyone back, as I will be returning after the Brotzmann
Tentet on Sunday night, but I will not be going back to Montreal
directly.  Well, if you don't mind ending up about 20 miles north of
Malone, NY, you can take the return trip.

Lurk mode back on.

--Mike Chamberlain

-



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

From: Frank Booth <[e-mail]>
Subject: Bitchin', eh, So. Californians?
Date: 14 May 1999 16:57:32 -0700

All That Jazz
Knitting Factory Coming to Hollywood
By DON HECKMAN, Special to The LA Times


Los Angeles is about to have another major jazz club.
Michael Dorf, founder and CEO of New York City's
eclectic music venue the Knitting Factory, has signed a
lease for a 10,000-square-foot space at 7121 Hollywood Blvd.,
in the Hollywood Galaxy building.

The property, according to entertainment real estate agent
Ira Spilky, who handled the transaction, has been bought by a
new landlord and is being transformed into an entertainment
complex.

"The theaters will remain," says Spilky, "but the ground floor
will be completely remodeled, with the Knitting Factory taking
up one of two major spaces in the rear. We're also in
negotiation with another nightclub operator--not a jazz club--for
the other space."

Projected opening date for the Knitting Factory Hollywood
will be early in 2000, preceding by a year the arrival of Quincy
Jones' jazz club in the vast new entertainment complex being
built at Hollywood Boulevard and Highland Avenue.

"I'd love to say we'll be there by New Year's Eve," Dorf says,
"but we probably won't make it until a bit later than that. But our
lease starts June 1, and that's when we'll be groundbreaking to
begin our renovation."

The club will essentially follow the New York model, with a
large performance area seating between 300 and 400, and a
smaller, more intimate venue seating 40 to 50. Soundproofing
will provide complete aural isolation between the two spaces.
"It's a formula that's worked well for us," Dorf says. "The large
room to pay the bills, the other to stretch out and go
avant-garde."

There will also be a separate restaurant-bar area.
"We see that as a main schmooze, talk, hang-out,
free-to-get-into space," he adds. "I like to think of it as a place
where we can pull some of the fragmented strands of the L.A.
music community together and create a real home for
musicians--create a real nice hang."

The New York Knitting Factory initially established its
reputation as a showcase for downtown Manhattan's active jazz
avant-garde scene before expanding into broader areas. (New
York magazine calls it "a true New York original . . . the best live
Music club in New York.") Dorf expects the Knitting Factory
Hollywood location to provide a similarly broad menu of musical
programming.

"We'll attempt to mix and balance the blue-chip avant-garde
artists--Laurie Anderson, Lou Reed, Phil Glass, the Lounge
Lizards, Meredith Monk--with some of the important players in
contemporary jazz: John Zorn, Leon Parker, Henry Threadgill,
Ravi Coltrane, people like that," says Dorf.
"And we'll blend it with some of the younger influences on the
scene--Medeski Martin & Wood--stuff that moves into the more
pop and rock culture. Which is what we've done in New York.
Beck did his first New York show at the Knitting Factory, so we
won't hesitate to have the Indigo Girls or Sonic Youth--groups
with a connection to the artistic side of the music, regardless of
the style."

Dorf realizes that such a programming philosophy edges
over into areas covered by other local clubs, but doesn't feel
bothered by the overlap.

"Sure," he says, "there's some duplication with the House of
Blues and Catalina Bar & Grill. But competition is healthy, and
we expect to be in a unique position, with our New York club
and a club in Berlin, which will open around the same time that
we open in Los Angeles. Bottom line is that I think we'll be
increasing the pie, with a larger share for the artists as well as
the public."

Dorf expects numerous other projects to flow from the
Knitting Factory presence in Hollywood, among them an
eclectic variety of musical series, including one dedicated to
film and soundtrack music. In addition, he plans eventually to
create a Los Angeles jazz festival comparable to the major,
citywide event he produces every summer in Manhattan.

"And this is all going to come together technologically," he
adds. "Knitting Factory Hollywood will be one part of an Internet
strategy that will allow us to bring music from three cultural
capitals--New York, Los Angeles and Berlin--live, via the
Internet, to anyone's desktop with the click of a mouse."

-



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

From: Anish Kejariwal <[e-mail]>
Subject: the boredoms are touring
Date: 15 May 1999 09:00:40 -0700

thought this might interest some of you.  I just found the tour dates off
the following web page:
http://hamp.hampshire.edu/~ngzF92/bo/point.html

so basically, for me since I live in SF, that means within a 2 week span I
get to see 2 tom waits shows and 2 boredoms shows.  I can now die a happy
man :-)

Anish

-



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

From: "Benito Vergara" <[e-mail]>
Subject: RE: the boredoms are touring
Date: 15 May 1999 09:10:40 -0700

> -----Original Message-----
> From: [e-mail]
> [mailto:[e-mail]]On Behalf Of Anish Kejariwal
> Sent: Saturday, May 15, 1999 9:01 AM

> so basically, for me since I live in SF, that means within a 2 week span I
> get to see 2 tom waits shows and 2 boredoms shows.  I can now die a happy
> man :-)

And you, sir, are a rich man -- I love Tom Waits, but $75 a ticket is more
than I can afford... =) In any case I'm just consoling myself with the Tom
Ze / Tortoise concert coming up.

Later,
Ben

http://www.bigfoot.com/~bvergara/
ICQ# 12832406


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Bitchin', eh, So. Californians?
Date: 15 May 1999 14:01:06 -0400 (EDT)

So how will they able to tell KnitFact West from Quincy Jones new club or
The House of Blues

"I'll have a Zornburger please, please and sideorder of Tim Waits fries.
And hey, do you still have any of those Laurie Anderson and MM&W
figurines left? I brought in my coupons from the last three KFW discs I
bought."

Ken Waxman
[e-mail]

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Bitchin', eh, So. Californians?
Date: 15 May 1999 18:08:10 -0400

On Sat, May 15, 1999 at 02:01:06PM -0400, Ken Waxman wrote:
> So how will they able to tell KnitFact West from Quincy Jones new club or
> The House of Blues
>
> "I'll have a Zornburger please, please and sideorder of Tim Waits fries.
> And hey, do you still have any of those Laurie Anderson and MM&W
> figurines left? I brought in my coupons from the last three KFW discs I
> bought."

Look out for the Zornburger -- it starts out as a regular burger, but
has a little piece of everything else in the kitchen embedded in it.
And I'd be afraid of the seasonings on the Yamantaka Ribeye...

-



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

From: Risser Family <[e-mail]>
Subject: Degliantoni
Date: 15 May 1999 17:27:34 -0400

Or whatever his name is.
He's the keyboard/samplist from Soul Coughing.  Anyone heard his solo album on Tzadik?

Just curious if it's any good.

Peter

-



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

From: Sheik Connery <[e-mail]>
Subject: DeGliAntoni Balogna
Date: 15 May 1999 15:42:27 -0700

    I was more than a little disappointed with the Mark DeGliAntoni cd on
Tzadik.  To begin with, one of the tracks was just a version without vocals
of a Soul Coughing song from a promo 7" of theirs I have.  The rest of the
cd is in the same vein:  Soul Coughing throwaway stuff.  Another
disappointment is that the cd is only 38 mins or so long, INCLUDING the 5
or 6 mins of bullshit empty space which precede a "hidden track."  Some of
the tracks are okay, a little catchy, but ultimately undeveloped songs that
didn't evolve into full-blown Soul Coughing tunes.  Elliott Smith plays on
one track, unimpressively.  Unless you're a die-hard Soul Coughing fan, I'd
avoid this.
    However, anyone who doesn't own the Rough Assemblage cd on Avant should
quickly amend that.  It's a compilation of sorts, bringing together
compositions by DeGliAntoni, Norman Yamada and Eric Qin.  Mark
DeGliAntoni's compositions on this are what really brought my hopes up for
his new album.  It's brilliant stuff, mostly percussive, with lots of great
people like Mark Ribot, Chirstine Bard, Jim Pugliese, Anthony Coleman, etc.
 One track by DeGliAntoni features, amongst lots of other great noises, the
percussive sound of 4 automobile autolocks schluuuhK'ing up and down!  So
ignore Horse Tricks and go buy Rough Assemblage instead.  It's not at all
like Soul Coughing, by the way.

                                -Ethan


-



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

From: [e-mail] (otto)
Subject: JZ live?
Date: 16 May 1999 09:53:40 +0200

Does anyone have any John Zorn / Susie Ibarra-collaborations on DAT or CDR, namely
Tonic/NYC, 99-02-24?

Grateful for any help

Siegfried



-



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

From: Aaron Chee-Kean Chua <[e-mail]>
Subject: fushitsusha
Date: 16 May 1999 20:09:47 +1000 (EST)

hi,
sorry to have to ask this again, but i remember that the double live cd
was recommended as a good place  to start for fushitsusha. there are 2
double live sets out and i'm not sure which one it is. is it psf 15-16?
i tried to look up the archives but i can't find it.

thanks

aaron


-



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

From: Craig Rath <[e-mail]>
Subject: Re: fushitsusha
Date: 16 May 1999 10:08:42 -0500

>sorry to have to ask this again, but i remember that the double live cd
>was recommended as a good place  to start for fushitsusha. there are 2
>double live sets out and i'm not sure which one it is. is it psf 15-16?
>i tried to look up the archives but i can't find it.
>

In my opinion, they're both excellent, but the one you probably heard of is
the 15-16 one.  It has a decent range of their styles/volumes.  If you get
it and like it, I definitely recommend getting the other one, as well as
Pathetique which is in a similar vein to the 15-16 double live.  And then
you might as well get all the rest.  And anything else you can find by Haino.

The best place to get Haino/Fushitsusha info is:

http://www.planetc.com/users/keffer/haino/index.html




-



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

From: Rick Lopez <[e-mail]>
Subject: Re: [Avant-Garde] KNIT / Texaco CD set
Date: 16 May 1999 19:32:38 -0400

Styles Bitchly wrote:
>
> If I remember right, that interview was taken from Kilgore Trout's
> "Where Are They Now?"

Haven't seen that...

Okay folks. I've got refeence and copied liner notes from the "Texaco New York
Jazz Festival Radio Series Live at the Knitting Factory." It was a 5 or 6 disc
promo item, (and yes if anyone has one they want to let or know of one hiding
in a used bin somewhere-- please alert me to it) and disc 3, "exploring the
bounderies (sic) of free and composition", has a few tracks I need detailed
info on. Or a tape of.

Any help out there?

Thanks, and please forgive the x-post,
RL

--
Marilyn Crispell, Susie Ibarra, William Parker, 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: "Douglas Clarke" <[e-mail]>
Subject: Re: Bitchin', eh, So. Californians?
Date: 17 May 1999 13:36:32 +0200

> Knitting Factory Coming to Hollywood

This is among the most disturbing news I've heard all year. Whatever
happened to the San Francisco plans?

-



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

From: Jeni Dahmus <[e-mail]>
Subject: Re: the boredoms are touring
Date: 17 May 1999 13:48:57 -0400 (EDT)

> thought this might interest some of you.  I just found the tour dates off
> the following web page:
> http://hamp.hampshire.edu/~ngzF92/bo/point.html

The Washington, D.C. show date is incorrect. The Boredoms are playing at
the 9:30 Club on June 13, not June 12.

Jeni




-



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

From: [e-mail] (Chris Westphal)
Subject: Re: the boredoms are touring
Date: 17 May 1999 13:27:55 -0700

At 01:48 PM 5/17/99 -0400, Jeni Dahmus wrote:
>> thought this might interest some of you.  I just found the tour dates off
>> the following web page:
>> http://hamp.hampshire.edu/~ngzF92/bo/point.html
>
>The Washington, D.C. show date is incorrect. The Boredoms are playing at
>the 9:30 Club on June 13, not June 12.
>
>Jeni

The San Francisco venue is incorrect.  The Boredoms will be at Slim's still
in SF.  Dates are correct.

 - Chris

-



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

From: David Beardsley <[e-mail]>
Subject: Friends, Romans, Countrymen...
Date: 17 May 1999 16:13:35 -0400

...lend me your ears!

*

Wednesday, May 19th 7pm. I'll be netcasting in Real Audio
with Jason Gross, host of Perfect Sound Forever's Internet
Broadcasting Division. We'll be playing CDs and talking a
bit about musical tunings, just intonation and microtonality.
I'll even be doing the first broadcast of my newly revised
work Ttoet in 47 limit just intonation.

    Remember to tune in and tune up:

    http://www.furious.com/perfect/radio.html

also....on Sunday, May 23rd 7pm,
I'll be the 2nd performer at this years
American Festival of Micrtonal Music Microthon @
NYU's Physics Auditorium, 6 Washington Place
10am to 9pm. Come and go as you please:

    * * * admission $5 for the day! * * *

I'll be performing Sonic Bloom for about 20 min.
a little bit after 10AM. That's not a typo! 10AM!!!

JOHN CAGE'S Sonatas and Interludes for Prepared Piano.
HARRY PARTCH'S Barstow. There are over 35 composers
represented in the 9 complete hours of microtonal music.
Remember: microtonal is not a style!

There's also AFMM concerts at Columbia U. May 20 & 27.

For details and more information about microtonal events in NYC
in the coming weeks check here:

    http://www.virtulink.com/immp/jux/j_index.htm#events

and AFMM here:

    http://www.echonyc.com/~jhhl/AFMM/



--
* D a v i d         B e a r d s l e y
*           [e-mail]
*
* J u x t a p o s i t i o n     E z i n e
* M E L A  v i r t u a l  d r e a m house monitor
*
* http://www.virtulink.com/immp/lookhere.htm



-



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

From: Dante Sawyer <[e-mail]>
Subject: tom waits tour dates
Date: 17 May 1999 16:41:59 +0000

does anyone know where i can find a list of tom waits tour dates?

dante

-



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

From: Jason Tors <[e-mail]>
Subject: | WAITS TOUR URL |
Date: 17 May 1999 16:51:56 -0800

http://www.officialtomwaits.com/frame/tour.htm

hoping for some east coast dates to come.

-



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

From: s~Z <[e-mail]>
Subject: Re: tom waits tour dates
Date: 17 May 1999 13:57:59 -0700

Dante Sawyer wrote:
>
> does anyone know where i can find a list of tom waits tour dates?
>
> dante

I was first in line this morning at my TicketMaster outlet and by the
time she got the computer turned on and my request entered, the Sat,
June 12 at the Wiltern in LA had sold out and i was lucky enough to get
a couple of seats in the balcony for the Sunday show. There's also a
Monday June 14 show but I'll bet it's sold out. Maybe more dates to be
added? Two dates in Oakland CA before the LA dates and 9 unspecified
dates in Europe last time I heard. Ticket prices are obscene, but I must
see him.

-



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

From: David Beardsley <[e-mail]>
Subject: Re: Friends, Romans, Countrymen...
Date: 17 May 1999 17:01:20 -0400

If you don't know why you're getting this
get back to me, I'll clue you in.

*

Ok everybody:

I screwed that up:

> also....on Sunday, May 23rd 7pm,

NO, NOT 7PM! IT'S AN ALL DAY FESTIVAL STARTING AT 10AM!!!

> I'll be the 2nd performer at this years
> American Festival of Micrtonal Music Microthon @
> NYU's Physics Auditorium, 6 Washington Place
> 10am to 9pm. Come and go as you please:

> I'll be performing Sonic Bloom for about 20 min.
> a little bit after 10AM. That's not a typo! 10AM!!!

Sorry 'bout that.


--
* D a v i d         B e a r d s l e y
*           [e-mail]
*
* J u x t a p o s i t i o n     E z i n e
* M E L A  v i r t u a l  d r e a m house monitor
*
* http://www.virtulink.com/immp/lookhere.htm

-



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

From: Michael Howes <[e-mail]>
Subject: Tom Ze/Tortois
Date: 17 May 1999 14:32:46 -0700 (PDT)

> > so basically, for me since I live in SF, that means within a 2 week span I
> > get to see 2 tom waits shows and 2 boredoms shows.  I can now die a happy
> > man :-)
>
> And you, sir, are a rich man -- I love Tom Waits, but $75 a ticket is more
> than I can afford... =) In any case I'm just consoling myself with the Tom
> Ze / Tortoise concert coming up.

 I have my tickets to see Tom Ze here in SF!!!! What I'm curious about is the Tortoise
participation. I've heard that Tortoise is Tom Ze's backing band on this tour and that
they don't open up or play by themselves during this tour. This true?

 I'm not heart broken or anything, since Tortoise totally lost me with their last release. It
was to adult contemporary/new agey for me. The listing and tickets say the opening band is TBA.
Is this truely to-be-announced or is it the awful bay area band that chose the name TBA? :)

 I'm very excited about seeing Tom Ze...

mike
[e-mail]

-



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

From: Brad Syna <[e-mail]>
Subject: Masada live Tapei 95
Date: 17 May 1999 17:44:18 -0400

I picked up the new Masada live 95 disc and was disappointed by the sound.
It's very muddy and not a great recording. I was wondering what everyone
else's thoughts were on this. The Israel 94 is much better ( although would
have liked a bit more bottom end ), this one is a bit weak, too bad because
the performance is wonderful.
Brad


-



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

From: [e-mail]
Subject: masada in boston
Date: 17 May 1999 19:43:00 -0400

does anyone know when masada is playing boston? did i miss it?
jt


-



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

From: Steve Smith <[e-mail]>
Subject: Re: masada in boston
Date: 17 May 1999 19:58:04 -0400

[e-mail] wrote:

> does anyone know when masada is playing boston? did i miss it?

Saturday the 29th at the Somerville Theater, $25 on a double bill with
Don Byron.

http://www.jazfest.com

Steve Smith
[e-mail]


-



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

From: "m. rizzi" <[e-mail]>
Subject: Re: the boredoms are touring
Date: 17 May 1999 18:40:28 -0700 (PDT)

>so basically, for me since I live in SF, that means within a 2 week span I
>get to see 2 tom waits shows and 2 boredoms shows.  I can now die a happy
>man :-)

    God damn, did you get tix for both Tom Waits
    shows? Me and three friends all tried and
    got NOTHING...it was sold out less than
    20 minutes. Fuck. He is playing in the
    Oakland Paramount (just down the street from
    me), home to the most outstanding art-deco
    architecture I have ever seen. Any excuse
    to see a show there...oh well, you lucky
    bastard.

    rizzi

-



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

From: [e-mail]
Subject: Re: masada in boston
Date: 17 May 1999 22:37:35 EDT


In a message dated 5/17/99 7:59:38 PM, [e-mail] writes:

<< > does anyone know when masada is playing boston? did i miss it?

Saturday the 29th at the Somerville Theater, $25 on a double bill with
Don Byron. >>

does anyone else find it amusing how often Masada plays live, for a band
that's allegedly defunct?

just an idle thought,
Jon

-



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

From: [e-mail]
Subject: Re: Masada live Tapei 95
Date: 18 May 1999 00:39:18 EDT


<<I picked up the new Masada live 95 disc and was disappointed by the sound.
It's very muddy and not a great recording.>>

What?! I knew some people would find the sound as cheap, or muddy, or dirty,
or muffled and see it as a bad thing, but I (because I am so hip) love this X
rated dirtyness. I admit it, it has character. Good old lo-finess. Like the
old Rolling Stones albumes, or Monk/Coltrane at The Five Spot, or Ween's The
Pod albume, even independent punk groups. After getting used to all the
muddying it would sound wrong without it. I'm sure some people would agree
with me. Tapei is everything I wished Jerusalem to be like. They really
smoke. After hearing Jerusalem, which I really love btw, I wasn't prepared
for stuff like Tekufah or Debir. I do like the memories of Jerusalem a lot:
teens with AK47s, felafel, the checkpoint at Jericho, kosher fruitshakes at
midnight. I bet there was no kosher fruitcakes at midnight in Tapei.

Do da dee da do da see saw do da day,
Marcus Staniec


-



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

From: Yves Dewulf <[e-mail]>
Subject: Re: Masada live Tapei 95
Date: 18 May 1999 10:12:10 +0200


> I picked up the new Masada live 95 disc and was disappointed by the sound.
> It's very muddy and not a great recording. I was wondering what everyone
> else's thoughts were on this. The Israel 94 is much better ( although would
> have liked a bit more bottom end ), this one is a bit weak, too bad because
> the performance is wonderful.

  Indeed, the sound of the Taipei 96 is not very good, but
  the music is way better than the Israel one. Lots of songs over 8
  minutes long on the Taipei one, so expect long and brilliant solos
  (especially Douglas is in a great shape). I think this one is
  a more welcome addition to the studio-albums, than the Jerusalem
  disc was.

  Any opinions on the live CD of Marc Ribot and the Tom Cora-tribute
  on Tzadik ?

  YVes








-



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

From: "Scott" <[e-mail]>
Subject: Masada and Ghost reviews
Date: 18 May 1999 10:50:59 +0100

Just for info, I've recently posted reviews of Ghost's Snuff box Immanence
and Tune in Turn on Free Tibet and Masada's Live in Jerusalem and Live in
Taipei on my website. You can find them under the reviews section at the url
below.

Scott Russell


White Noise
For experimental events in Scotland
http://www.burntweeny.freeserve.co.uk

-



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

From: DR S WILKIE <[e-mail]>
Subject:       Haino
Date: 18 May 1999 11:55:52 GMT0BST

anyone actaully heard "keep on breathing"?

-



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

From: [e-mail]
Subject: David Tudor's 'Rainforest'
Date: 18 May 1999 12:08:26 -0500


     Picked this up recently and thought it worth a high recommendation
     here. 'Rainforest' was a sound-environment created by Tudor in 1968
     consisting of a wide variety of objects hung from the ceiling and
     acting as their own loudspeakers for vibrations passed through them.
     The disc (on Mode) is made up of two pieces, one the original 22
     minute dance score with the piece recorded in situ and the second a 52
     minute reconstruction by Tudor who samples the sounds and recycles
     them back into the room, building dense sonic layers.

     The overall sensation perceived does in fact remind one of rainforest
     sounds, complete with various insectile and avian chitterings.
     Crucially, and saving it from being a mere new agey soundscape, is a
     fascinating richness and density, a complexity that makes one think
     that there's a lot more going on than one can hear. It unfolds in a
     wonderfully unforced manner, with occasional repetitions of elements
     that provide cohesion but never become a crutch. I can only imagine
     what it must be like to physically wander around in the room.

     Great stuff and gives one pause to realize how ahead of the game the
     late Tudor was in 1968.

     Brian Olewnick (looking forward to attaching names to faces at Victo
     and finding out how ridiculously far off my guesses were!)



-



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

From: [e-mail]
Subject: Re: David Tudor's 'Rainforest'
Date: 18 May 1999 15:17:28 EDT


In a message dated 5/18/99 1:02:42 PM, [e-mail]
writes:

<< I can only imagine
     what it must be like to physically wander around in the room. >>

there was an installation done of this a year or so ago in a room somewhere
in the vast Lincoln Center complex (not trying to be enigmatic, just don't
remember exactly where), and it was indeed really fun to wander around,
checking out the natural resonances of garbage pails, pieces of wood, and
whatever else the numerous composers had miked. they had it set up for the
whole weekend, and I checked it out for an hour or two after work one day,
and found it very interesting and relaxing.

<<(looking forward to attaching names to faces at Victo
     and finding out how ridiculously far off my guesses were!)>>

yeah, me too. this reminds me: if anyone's interested in picking up a copy of
Denman Maroney's Hyperpiano, I'll have copies at Victo for 10 bucks. just get
in touch with me through my room at the Motel Colibri.

Jon

-



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

From: Matthew Moffett <[e-mail]>
Subject: Doug Wimbish/Jungle Funk
Date: 18 May 1999 15:50:17 -0400

The new issue of Bass Player has a decent article on Wimbish.  I know
his stuff with Sugar Hill, Living Color and Tackhead, but didn't know
about any of his more improv oriented stuff.  Is anyone familiar with
his other projects, particularly the new Jungle Funk?  It sounds
interesting, at least based on the article.


matt

-



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

From: Matt Moran <[e-mail]>
Subject: Re: Bitchin', eh, So. Californians?
Date: 18 May 1999 15:57:22 -0400 (EDT)

> Subject: Bitchin', eh, So. Californians?
>
> All That Jazz
> Knitting Factory Coming to Hollywood

Let's hope that the new Knit won't be run in the manner that currently
elicits "Bitchin'" from downtowners in NY.  This list (of all people)
should be sensitive to that...





-



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

From: [e-mail] (Martin Wisckol)
Subject: Good Braxton discography?
Date: 18 May 1999 12:59:14 -0700

Is there a good Braxton discography online?

Thanks.

-



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

From: s~Z <[e-mail]>
Subject: Re: Bitchin', eh, So. Californians?
Date: 18 May 1999 13:01:39 -0700

Matt Moran wrote:
>
> Let's hope that the new Knit won't be run in the manner that currently
> elicits "Bitchin'" from downtowners in NY.  This list (of all people)
> should be sensitive to that...

Please say more. In what manner is it being run, and why does it elicit
"bitchin'?"

-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: Doug Wimbish/Jungle Funk
Date: 18 May 1999 14:02:39 -0700

At 3:50 PM 5/18/99, Matthew Moffett wrote:
>The new issue of Bass Player has a decent article on Wimbish.  I know
>his stuff with Sugar Hill, Living Color and Tackhead, but didn't know
>about any of his more improv oriented stuff.  Is anyone familiar with
>his other projects, particularly the new Jungle Funk?  It sounds
>interesting, at least based on the article.
>
>
I really like Wimbush, but I was pretty disappointed with the Jungle Funk
disc. Definitely some stellar playing, and very interesting arrangements,
to make the tunes in a trio + loops format (about 1/2 the disc is live),
but the tunes themselves are just not that great. Some of the lyrics are
pretty vapid as well. I've listened to Wimbush for years, but I've never
heard him in any really improv settings, though I bet he'd be great.

________________________________________________________
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: [e-mail] (Theo Klaase)
Subject: The Artistry of Bill Frisell...
Date: 18 May 1999 17:49:25 -0500 (CDT)

I've got the VHS Video called "the Guitar Artistry of Bill Frisell."  Is
anyone willing trade a copy of this VHS tape with a copy of some other
Frisell performance?  Of course I'll accept Naked City.

The tape features 4 songs and 3 brief improvs.  All of which are
performed by Frisell, Joey Baron, and Kermit Driscoll.  + an interview
with Frisell about his playing/sound/structure/rhythm/etc.   And a very
brief interview with Joey and Kermit.


}Theodorus--



-



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

From: [e-mail]
Subject: new Columbia UK CDs
Date: 19 May 1999 01:13:16 EDT

the following are taken from Other Music's list of new releases for the last
week:

<<OXLEY, TONY    4 COMPOSITIONS FOR SEXTET    COLUMBIA UK    CD    18.99
OUT
RICOTTI, FRANK QUARTET    OUR POINT OF VIEW    COLUMBIA UK    CD    18.99
OUT
RUSSELL, RAY    RITES AND RITUALS    COLUMBIA UK    CD    18.99    OUT
RUSSELL, RAY QUARTET    DRAGON HILL    COLUMBIA UK    CD    18.99    OUT
SCOTT, RONNIE     LIVE AT RONNIE SCOTTS    COLUMBIA UK    CD    18.99    OUT>>

now, thanks to Patrice's killer Evan Parker discography (and to hearing it
during the WKCR Evan Parker marathon a few years back), I know what the Tony
Oxley is:

011 - FOUR COMPOSITIONS FOR SEXTET: Tony Oxley Sextet

    1/ Saturnalia                               (Oxley)                 10:00
    2/ Scintilla                                (Oxley)                  8:53
    3/ Megaera                                  (Oxley)               |
    4/ Amass                                    (Oxley)               | 19:08

    Recorded in London (UK), February 7, 1970

  Kenny Wheeler: trumpet, fluegelhorn; Evan Parker: soprano, tenor; Paul
  Rutherford: trombone; Derek Bailey: guitar; Jeff Clyne: bass; Tony Oxley:
  drums.

    1970 - CBS (UK), 64071 (LP)

so clearly I'll be buying that tomorrow.

and I know that Ray Russell is a British guitarist from the seventies, who
Jim O'Rourke has favorably compared to Sonny Sharrock, although I don't know
how these two records fit into his discography. so I'd love any additional
info on these from a Ray Russell fan. and, does anyone know anything about
either of the other two?

off to hunt for a Columbia UK website,
Jon

-



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

From: Eric Martens <[e-mail]>
Subject: Re: new Columbia UK CDs
Date: 18 May 1999 23:20:07 -0700 (PDT)



--- [e-mail] wrote:
> and I know that Ray Russell is a British guitarist
> from the seventies, who
> Jim O'Rourke has favorably compared to Sonny
> Sharrock,

Isn't O'Rourke also supposed to be releasing a Russell
anthology on Moikai at some point?

Eric
===
Free music (more forthcoming):
http://www.mp3.com/discodown
_____________________________________________________________
Do You Yahoo!?
Free instant messaging and more at http://messenger.yahoo.com

-



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

From: "Andreas Dietz" <[e-mail]>
Subject: Re: Ornette Bootleg 'Stating The Case'
Date: 19 May 1999 09:42:58 CEST

>I haven't listened to it lately, but my copy sure seems to be different on
>both sides and says on the sleeve (incorrectly perhaps) that it was
>recorded
>early 60's.
>
>--ds
>***Quantum Dance Works***
>****http://ic.net/~denniss****
>
>
according to Peter Niklas Wilson, author of a Ornette-book, the titles on
both sides are:

1/ The Word Became Music
2/ Unknown Races
3/ Love Eyes
4/ The Good Life
5/ Skies Of America
6/ Stand By For The News

Andreas Dietz


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

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: new Columbia UK CDs
Date: 19 May 1999 11:27:32 -0400 (EDT)

Jon:

I'd assume that Ronnie Scott's Live At Ronnie Scott's is just that. Scott
was British hard bop tenor saxophonist, who played in a modified Stan
Getz style and was known for the ownership of his club (sorta a London
Village Vanguard --complete with prices) and his bad jokes.

He committed suicide about three years ago in his sixties.

Ken Waxman
[e-mail]

-



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

From: [e-mail]
Subject: Masada Live in Taipei 1995
Date: 19 May 1999 12:26:28 EDT

Yes, the performances are marvelous, but unfortunately, the sound is not. It
sounds to me like a bootleg recorded made from the audience. The drums and
(especially) bass suffer in this regard. It's not awful, but it is not as
good as, say, a bootleg soundboard tape or a good radio broadcast. Zorn comes
through clearly, as does Douglas, and it is still easy to enjoy the
performances, but just a warning to those assuming it would be up to the
(technical) higher standard of Live in Jerusalem.

Again, the performances are excellent. Also, the program, though it doesn't
include anything new to the Masada songbook, does include a performance of
Gevorah, which otherwise only appears on the Circle Maker chamber ensemble
set. Also, only 5 of the 19 tunes from Taipei appear on the live Jerusalem
set, so the overlap isn't bad, though two of these non-overlapping Taipei
tunes are on the Jazz Door bootleg, however (different versions, of course).

Dave Royko

-



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

From: Ken Waxman <[e-mail]>
Subject: new Wheeler/Parker
Date: 19 May 1999 17:28:09 -0400 (EDT)

According to ECM's Web page, skedded for mid-June is a new Kenny Wheeler
large ensemble CD, *produced* by Evan Parker and a new Evan Parker
electronic project CD.

I must admit I find Wheeler's most recent discs too*too*ECM,
ifyaknowwhatimean,
and was less than impressed with electric Evan a couple of years ago at
Victo. But then again, I sure there will be some (many) who will be
excited by this news.

Parenthically, considering the Lytton/Washmann and Guy/Homberger ECM
discs have yet to appear in Canada, it will probably be an overcast
EC-like cloudy day before the other two (and maybe L/W,G/H)
appear on these shores.

(At least we finally got Roscoe Mitchell's Nine To Get Ready, which IMHO is
among the best of his recent work).

Ken Waxman
[e-mail]

-



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

From: Tom Pratt <[e-mail]>
Subject: Maroney
Date: 19 May 1999 21:40:43 -0400

[e-mail] wrote:

> yeah, me too. this reminds me: if anyone's interested in picking up a copy of
> Denman Maroney's Hyperpiano, I'll have copies at Victo for 10 bucks. just get
> in touch with me through my room at the Motel Colibri.

I would definitely recommend picking this disc up. It's curious that while Henry
Cowell was scraping the inside of the piano by the late '20s and John Cage was
preparing it by the early '40s, there haven't, to my knowledge, been any
improvising pianists to really explore that territory since. So, for me, it's
very nice to see someone like Maroney come along. The disc is all solo piano with
three long compositions showcasing different aspects of his playing. This guy
hardly leaves the innards alone, altering the strings in different ways to create
an assortment of wonderful sounds. He has a great musical concept including a
rhythmic element I find particularly appealing. Well, I suggest checking it out!
Jon will correct me if I'm wrong (I'm sure I'm not), but he'll sell you a copy
through the mail too so you don't have to go to Victoriaville to buy one!

listening to: Mal Waldron's 'Hard Talk' (Enja). Some super playing by Steve Lacy
right now.

                -Tom Pratt


-



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

From: Lang Thompson <[e-mail]>
Subject: video "Half Japanese"
Date: 20 May 1999 00:14:32 -0400

On a Japanese video company website there's a listing for a tape called
"Half Japanese" but nearly everything except the title is in Japanese.
Does anybody know if this is related to the band?  It's from 1993, in
stereo, runs 107 minutes and seems to be from a company called Uplink.

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

World Cinema Review needs readers & writers
http://www.tcf.ua.edu/wlt4/wcr.htm


-



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

From: [e-mail] (otto)
Subject: RE: new Columbia UK CDs
Date: 20 May 1999 08:14:04 +0200

I can at least give you the line-up (from "Simply not Cricket" - Catalogue du jazz
britannique 1964 / 1994):

RICOTTI (1969): Frank Ricotti (perc, vib, as); Chris Spedding (g); Chris Laurence (b); Bryan
Spring (dm)
SCOTT (1968): Ronnie Scott (ts); John Surman (ss, bs); Ray Warleigh (as, fl); Gordon Beck
(p, org); Tony Oxley (dm); Kenny Wheeler (tp, flh); Chris Pyne (tb); Ron Matheson (b); Kenny
Clarke (dm),
obviously from two differnet club dates.


Regards

Siegfried





-



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

From: "lava" <[e-mail]>
Subject: ze
Date: 20 May 1999 06:07:51 -0400

really enjoyed tom ze last night in nyc, a total show-- reminded me of
hermeto pascual at times, with some truly innovative and exuberant
approaches to music and performance.  overall i was wanting more dance
music-- it was more like cabaret... but excellent!


-



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

From: Dan Given <[e-mail]>
Subject: Re: new Columbia UK CDs
Date: 20 May 1999 08:10:20 -0400

>Date: Wed, 19 May 1999 01:13:16 EDT
>From: [e-mail]
>Subject: new Columbia UK CDs
>
>the following are taken from Other Music's list of new releases for the last
>week:
>
><<OXLEY, TONY    4 COMPOSITIONS FOR SEXTET    COLUMBIA UK    CD    18.99
>OUT

According to someone on another list, Oxley's The Baptised Traveller has
also been reissues, which I think has pretty close to the same line-up.
How is Other Music for mail order? I want to get these, and can't see any
Canadian retailer getting them any time soon.

Dan


-



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

From: [e-mail]
Subject: Re: new Columbia UK CDs
Date: 20 May 1999 10:10:19 EDT

I'm a bit of a Ray Russel fan, he's a contemporary fusion sounding guitarist,
doesnt sound anything like Sonny Sharrock to me.  I have one CD of his, which
is from the early 90's I think, called A Table Near the Band, and features
other British players like Iain Ballamy, Mo Foster, Tony Hymas and Simon
Phillips.  Ray is also on drummer Philliips' live CD called Force Majeure.
Maybe his stuff from the seventies is completely different, but I dont think
he would appeal to many readers of this list-- but I will be checking out
these new reissues (or are they new releases?).
-Jody

-



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

From: [e-mail]
Subject: Klezmatics
Date: 20 May 1999 12:08:28 -0300

Last night I enjoyed The Klezmatics live, for the first time, in Buenos
Aires; good show, nice playing here and there, very soulful
klezmer-tinged.
Though I recognized Frank London on trumpet; Lorin Sklamberg (if I spell
it correctly) on accordion, keyboards and vocals and Alicia (can't
remember now her surname) on violin and vocals (she played very well
indeed); I have a question: which is the rest of the line-up?
The host of the show announced a Klezmer Festival in Canada; can anybody
provide any further information this? I mean dates, place, etc, groups?
And the last question, so far: Do The Klezmatics change their repertoire
if the play -for instance- in the Knit or they always play the same kind
of traditional like they did in B.A.?

Thanks in advance

Hugo

PS: At the end of the show someone of their crew -I guess- was selling
their cds and the last Hasidic New Wave for 25 bucks. Why so expensive?

-



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

From: [e-mail]
Subject: haino/waits
Date: 20 May 1999 12:03:32 -0500


"Keep on Breathing" is one of my fave Haino discs, and as a general rule, any
solo PSF disc is going to be among his best, I believe. With the exception of
Milky Way, I guess. The way early stuff I've heard doesn't do it for me. (I
don't have the box set, which I believe is also a lot of early stuff. Is that
right?)

Also, any info on Waits NYC dates? I checked the Web site, but didn't see
anything beyond CA. I heard Ribot will join him in NY, but I don't know when.

Also also, I saw an ad for Waits on VH1 Storytellers last night. No date, it was
just among the shows airing this summer. Ah, summer...



-



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

From: [e-mail]
Subject: Nels Cline/Devin Sarno in NYC
Date: 20 May 1999 12:29:43 EDT

Two quick improv shows to mention in the NY area:

June 9 @ TONIC (NY): Group improvisations with: Thurston Moore, Nels Cline,
Devin Sarno (of Crib), Carla Bozulich (of Geraldine Fibbers), Tom Surgal & Lin
Culbertson (of White Out)

June 10 @ MAXWELL'S (NJ): Nels Cline + Devin Sarno duet & Scarnella

Thanks!
http://www.winrecords.com/winroster/cline_sarno.html
http://www.winrecords.com/winroster/crib.html


-



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

From: "Benito Vergara" <[e-mail]>
Subject: RE: haino/waits
Date: 20 May 1999 09:50:52 -0700

> -----Original Message-----
> From: [e-mail]
> [mailto:[e-mail]]On Behalf Of
> [e-mail]
> Sent: Thursday, May 20, 1999 10:04 AM

> Also also, I saw an ad for Waits on VH1 Storytellers last night.
> No date, it was
> just among the shows airing this summer. Ah, summer...

Sunday, June 13, at whatever time Storytellers usually shows...

Later,
Ben


-



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

From: s~Z <[e-mail]>
Subject: Re: haino/waits
Date: 20 May 1999 10:30:46 -0700

> Sunday, June 13, at whatever time Storytellers usually shows...
>
> Later,
> Ben

He'll be crooning live at the Wiltern that same night. Interesting
timing.

-



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

From: [e-mail]
Subject: Wynton Masada?
Date: 20 May 1999 13:53:06 -0400




Wynton Marsalis is releasing 7 CDs between now and year's end.  "Collect all 7
CDs in the series and get a special
8th CD free that's not available in stores anywhere until the year 2000!   (see
CD package for details.)"  (ad copy)



-



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

From: John Howard <[e-mail]>
Subject: RE: Hat City Intuitive in DC Area
Date: 20 May 1999 16:27:57 -0500

This is the right web page:
http://www.wizard.net/~tarquam/hatcitycollective.htm

Everything else is true...I swear!! See you May 23rd at Galaxy Hut (I
hope).   john

> -----Original Message-----
> From: John Howard
>
>
> For DC area Zornsters:
>
> You've seen them at the Knitting Factory, heard them on WFMU
> and now, the Hat City Intuitive is playing a set of
> improv/experimentia at the Galaxy Hut in Arlington VA (2711
> Wilson Blvd, in Clarendon) for more info go:
>
http://www.galaxyhut.com/

http://www.pressroom.com/~lartis/transparent/AllSched.html


it is free and starts at about 9:30pm.  john

-



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

From: Joseph Zitt <[e-mail]>
Subject: Comma this weekend at the Washington DC Art-o-Matic
Date: 20 May 1999 22:14:21 -0400

Zornlisters and others in the Washington, DC area may enjoy these
performances, happening Friday and Saturday:

Improv music performances this Friday and Saturday at the Washington
Art-O-Matic http://www.washingtonart.com/artomat/home.html
Manhattan Laundry bldg, 1346-1348 Florida Av NW, Washington, DC
near the U Street Metro (Green Line); open to the public, donations
requested

Composer/performer trio Comma  (Joe Zitt, Matt Davis, Tom Bickley)
Friday 8 pm Second Stage avant-vocal sound improv/performance
poetry/instruments and voices followed at 9 pm by the Labyrinth of Music
by Guillermo Silveira performed by Guillermo, Comma and others

Saturday 6 pm the Labyrinth of Music by Guillermo Silveira performed by
Guillermo, Comma and others followed at 7 pm by Comma performing
electro-acoustic music reminiscent of minimalism, Morton Feldman, and, of
course, John Cage.

The review by Andy Hamilton in The Wire (London) issue 175 (Sept.98):

"... This is sound poetry as much as singing; and where it is singing, the
influence is Early Music as much as Stockhausen and Xenakis. But despite
the humorous effects -- which Comma must fully intend -- this is even more
of a "theatre of voices" than Paul Hillier's album, and in the end no less
rewarding. ...The sound stage is fully exploited and the sonic effects are
dazzling, ranging from howling, chanting and shrieking to coughing and
licking of lips. Trademark effects, often hilarious, reappear in the
different original compositions. ... This is an original, wacky and
exuberant album, and not to be taken too profoundly."

[e-mail]
http://www.artswire.org/tbickley
http://www.artswire.org/comma
http://www.metatronpress.com

In addition to our album, "(voices)", we have a heap'o' MP3s up at
http://www.metatronpress.com/mp3/

Enjoy!

-



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

From: "Stephane Vuilleumier" <[e-mail]>
Subject: Re: haino/waits
Date: 21 May 1999 08:32:31 +0200

I'm so disappointed. I thought you were going
to announce a Haino/Waits collaboration...

Stephane

-----Original Message-----


:"Keep on Breathing" is one of my fave Haino discs
:
(snip)
:
:Also, any info on Waits NYC dates?


-



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

From: [e-mail]
Subject: WWW recommendations?
Date: 21 May 1999 10:28:37 +0100

Sorry for x-postings on this one...

I'm looking for web sites on all kinds of experimental music.
(musings) already has a lot of links but the page is due to be re-
fried with, particularly, a breakdown by country. So I'm especially
interested in organisations outside the US and EU.

I'm always interested in artist and label homepages but (musings)
doesn't link to them (there's too many and other sites do it already)
so organisations, e-zines, shops and other resources are more
useful.

Probably best to post to me personally; I can send a digest to the
list if it's of interest.

Thanks,

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

-



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

From: [e-mail]
Subject: Re: Maroney
Date: 21 May 1999 14:50:08 +0100

> It's curious that while
> Henry Cowell was scraping the inside of the piano by the late '20s and
> John Cage was preparing it by the early '40s, there haven't, to my
> knowledge, been any improvising pianists to really explore that territory
> since.

London pianist Chris Burn has been doing inside-piano improv for a
good while here in London, though his international profile seems
not to be too high. I'd recommend _Music for Three Rivers_, a solo
session on Victo, as a way into his playing. He's also something of
a Cowell expert, though his improvisations are a lot more "out
there". I've seen him live on a number of occasions in different
groupings and been impressed.

The Confront CD "Assumed Possibilities", which features Burn, is
reviewed on (musings), along with a 1-minute MP3 extract, fwiw.
Not sure offhand how much piano can be heard in that extract,
tho...

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

-



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

From: Matthew Ross Davis <[e-mail]>
Subject: Re: Maroney
Date: 21 May 1999 14:08:35 -0400

> It's curious that while
> Henry Cowell was scraping the inside of the piano by the late '20s and
> John Cage was preparing it by the early '40s, there haven't, to my
> knowledge, been any improvising pianists to really explore that territory
> since.

I suggest you check out Irene Schweitzer, who utilizes the internals of the
piano quite often in her improvisations. Also, Victoria Jordanova has been
known to do simiar things.

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

-



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

From: s~Z <[e-mail]>
Subject: Re: Maroney
Date: 21 May 1999 07:26:25 -0700

Has anyone mentioned Keith Tippett?

Une Croix Dans L'Oc=E9an [solo] (1994, Victo) is essential listening.

-



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

From: [e-mail]
Subject: Re: Maroney
Date: 21 May 1999 16:00:14 +0100

> Has anyone mentioned Keith Tippett?
>
> Une Croix Dans L'Oc=E9an [solo] (1994, Victo) is essential listening.

Does this include playing directly on the strings, or just prepared
piano? He's a great player, but I haven't heard him getting his
hands under the lid before.

Rich


-



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

From: s~Z <[e-mail]>
Subject: Re: Maroney
Date: 21 May 1999 09:24:28 -0700

> Does this include playing directly on the strings, or just prepared
> piano? He's a great player, but I haven't heard him getting his
> hands under the lid before.
>
> Rich

I don't have visuals to accompany the sounds, but it sure sounds like
fingers to strings during several passages. He is at least putting his
hands under the lid to pluck the frame. Whether all the string sounds
are made solely by pressing pads to prepared strings I'm not sure. It is
a stunning performance regardless.

From liner notes: ". . .or plucking at the frame of the instrument
beneath the lid with one hand whilst playing the keyboard with the
other."

-



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

From: ChiniJi <[e-mail]>
Subject: Free Jazz Music
Date: 22 May 1999 07:17:07 +0700

Hi All,

I would like to tell you guy a cool link.
It's link of Thai free jazz musician, Nop Sotthibandhu.
The site address is http://listen.to/TheInnerSpace
Take a look at it.
Best Regards,
ChiniJi

-



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

From: "jack partain" <[e-mail]>
Subject: the residents in london - info please
Date: 22 May 1999 02:38:34 PDT

i've heard that the residents will be playing at the forum in london on july
19...i live in the states but will be in london at that time...is there
anyone out there that knows how much tickets will cost and how i could get
some...?...
thanks
jack.


_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com

-



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

From: "Julian" <[e-mail]>
Subject: a few nc questions/ponga
Date: 22 May 1999 21:11:11 +1000

Firstly I was wondering about the use of Bob Dorough on "The Cage" - where
did Zorn get him from? Did they have any previous collaboration? I just
listened to some soundclips of his from 1967 and they sound like really bad
attempts at bluegrass.
Also on some bootleg Zorn says Diamanda Galas is going to be on Grand
Guignol - I can only assume that she was going to sing that song, but he
went with Dorough. Can anyone confirm this?

And can anyone tell me which Mingus stuff (if any) is noticeably an
influence on "Asylum"? I have some of his stuff but nothing that really
fits into that category.

I also just stumbled across a 1999 release, Ponga which some of you may be
interested in - it features Wayne Horvitz and Bobby Previte, plus Skerik
and someone called Dave Palmer. At CDnow the clips sound pretty
techno-ish...

Julian.

-



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

From: "Steve Lord" <[e-mail]>
Subject: Re: the residents in london - info please
Date: 22 May 1999 19:22:48 +0100



>i've heard that the residents will be playing at the forum in london on
july
>19...i live in the states but will be in london at that time...is there
>anyone out there that knows how much tickets will cost and how i could get
>some...?...


The Forum is part of the Mean Fiddler group  Tel No. [phone]
This telephone number will give you menu options (you need a touch-tone
phone) for all the Mean Fiddler venues - you should, after a few options, be
able to make a booking with a credit card - i guess you would pick the
tickets up at the door. Hope it's of use.
Steve


-



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From: [e-mail]
Subject: Fwd: Imports from Japan?
Date: 22 May 1999 21:49:02 EDT


--part1_ad19f831.2478b88e_boundary
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Content-Transfer-Encoding: 7bit



--part1_ad19f831.2478b88e_boundary
Content-Type: message/rfc822
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Return-path: [e-mail]
Full-name: User384726
Message-ID: <[e-mail]>
MIME-Version: 1.0
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: 7bit
X-Mailer: AOL 4.0 for Windows 95 sub 13

Does any one know of any good sites to get imported CD's from Japan?


                                     Thank
You

--part1_ad19f831.2478b88e_boundary--

-



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From: [e-mail] (Theo Klaase)
Subject: Bill Frisell
Date: 23 May 1999 09:16:57 -0500 (CDT)

    Just letting everyone know that Bill Frisell's latest album "Good
Dog, Happy Man" is brilliant.  It has the feel of "Gone, Just like a
Train," with a few more musicians hangin' in the background.  Wayne
Horvitz is on the album...and listening to it is like having your
ear-drums showered with sugar.  Pure bliss.  Emotionally, the album is
very moving.  I recommend it to all who enjoy laid back, I mean really
laid back, vintage Frisell...


}Theodorus--



-



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

From: Mark Perlson <[e-mail]>
Subject: Avant Auctions
Date: 23 May 1999 13:34:13 -0400

I'm cleaning out my pad and put a bunch of CDs y'all might be interested in up
for auction at eBay.  Check them all out at:

http://cgi3.ebay.com/aw-cgi/eBayISAPI.dll?ViewListedItems&userid=[e-mail]

Good luck bidding!!  Includes the very hard to find Zorn rarity "Possible
Fruit" by Mia Zabelka with Zorn on two tracks.

Sorry for commercial interruption.

Thanks

Mark

-



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

From: "Artur Nowak" <[e-mail]>
Subject: FW: Masada Live in Taipei "1995"--Date Correction
Date: 23 May 1999 22:29:22 +0200

Just forwarding:

David J. Toman <[e-mail]> wrote in message
news:<[e-mail]>...
> I have heard that John Zorn will release/has released a recording of
> Masada, live in Taipei. The year is given as 1995. However, while Zorn
> did play in Taipei in 1995, he came here with Yamatsuka Eye. He did not
> play here with Masada until a four-night run at the Crown Theater from
> May 21-24, 1996. Just for the record.
>
> David in Taipei, Taiwan
>


-



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

From: mugishima tetsuya <[e-mail]>
Subject: RE: video "Half Japanese"
Date: 24 May 1999 08:44:35 +0900

> On a Japanese video company website there's a listing for a tape called
> "Half Japanese" but nearly everything except the title is in Japanese.
> Does anybody know if this is related to the band?  It's from 1993, in
> stereo, runs 107 minutes and seems to be from a company called Uplink.

Yes, it's the video of the band called Half Japanese.
"The Band That Would Be King" a film by Jeff Feuerzeig.
I have it, and love it...

--
ZZZZ  mugishima tetsuya(seven Z)
ZZZz  mailto:[e-mail]
ZZzz  http://www.st.rim.or.jp/~seven/index.html
Zzzz  ------------------------------------------

-



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

From: Richard Gardner <[e-mail]>
Subject: Re: Live in Taipei
Date: 24 May 1999 09:24:48 +0100

Does anyone close to Tzadik or John Zorn know the policy for these
releases? It would appear that Zorn records Masada regularly at gigs
even if only on a Walkman as documents of their career.
With no miking for the P.A. at some gigs this would account for the
variation quality. Tzadik then
will release the best gigs regardless of the quality.

I have no argument with this but perhaps the company could explain how
it will work.

Personally, call me old fashioned, but I would like the occasional
picture of the gig and a real
date for when it happened.


-



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

From: Jan-wen Lu <[e-mail]>
Subject: Masada Live in Taipei "1995"--Date Correction
Date: 24 May 1999 19:51:21 +0800


> David J. Toman <[e-mail]> wrote in message
> news:<[e-mail]>...
> > I have heard that John Zorn will release/has released a recording of
> > Masada, live in Taipei. The year is given as 1995. However, while Zorn
> > did play in Taipei in 1995, he came here with Yamatsuka Eye. He did not
> > play here with Masada until a four-night run at the Crown Theater from
> > May 21-24, 1996. Just for the record.
> >
> > David in Taipei, Taiwan

David was right. Zorn came to Taipei with Yamatsuka Eye in '95, with
Masada in '96, with Ikue Mori and Mike Patton in '97. In fact, Masada
played five nights here. May 21 to 25.


Jan-wen Lu
Taipei County, Taiwan

-



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

From: [e-mail]
Subject: Re:  Zorn List Digest V2 #664
Date: 24 May 1999 21:02:22 EDT

Does anyone have an opinion on the 2 live Masada cd's as compared to the
"BOOT" "Masada Live" 1994 in NYC with Kenny Wollesen on drums? I like this
NYC recording.

Andrew

-



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

From: Lang Thompson <[e-mail]>
Subject: Sadistic City
Date: 24 May 1999 22:27:12 -0400

If anybody's interested I've got a tape of this Japanese film with a Zorn
score (though there's not a whole lot of music).  However, it's been dubbed
into Cantonese but has Chinese & English subtitles.  Despite the lurid
title, it's a pretty stylish psychological story of a married man who gets
caught up in sexual games.  E-mail me directly but I will only trade.

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

World Cinema Review needs readers & writers
http://www.tcf.ua.edu/wlt4/wcr.htm


-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Maroney
Date: 25 May 1999 01:19:12 -0400

Of course there are some pianists using the inside of their instrument,
but I'm not aware of anyone exploring this territory to the extent or
with the creativity of Maroney.

Speaking of Keith Tippett, he played nicely with Mujician this weekend at
Victo. I just got home from all that and can report I.S.O. and the Peter
Brotzmann Tentet as having put on some particularly awesome shows.
Definitely the festival highlights for me. It was also very cool to
finally meet all the big dudes of this list! Some incredibly nice
people...

listening to: my dad snore.

                    -Tom Pratt


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Wynton Masada?
Date: 25 May 1999 10:01:01 -0400 (EDT)

He's also featured in a newspaper ad for some very expensive Swiss watch
as an indication of its quality. Think if we hand in all eight, we can
get the valuable watch instead?

Ken Waxman
[e-mail]



On Thu, 20 May 1999 [e-mail] wrote:
>
> Wynton Marsalis is releasing 7 CDs between now and year's end.  "Collect all 7
> CDs in the series and get a special
> 8th CD free that's not available in stores anywhere until the year 2000!   (see
> CD package for details.)"  (ad copy)
>
>
>
> -
>
>

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Maroney/Tippett
Date: 25 May 1999 10:09:00 -0400 (EDT)


Yup and he and Mujician --Paul Dummell (ts, bagpipes[!]); Tippett, Paul=20
Rogers (b) and Tony Levin (d) just did a great show at Victoriaville=20
(and I also understand in Toronto), with plenty of prepared piano. An=20
excellent view of it (and them -- plus) is a Cuneiform CD called Bladik wit=
h=20
that group playing in a sextet filled out by Elton Dean (as) and Roswell=20
Rudd (tmb).

Ken Waxman
[e-mail]

On Fri, 21 May 1999, s~Z wrote:

> Has anyone mentioned Keith Tippett?
>=20
> Une Croix Dans L'Oc=E9an [solo] (1994, Victo) is essential listening.
>=20
> -
>=20
>=20

-



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

From: Risser Family <[e-mail]>
Subject: Re: Maroney
Date: 25 May 1999 18:13:23 -0400

>Does this include playing directly on the strings, or just prepared
>piano? He's a great player, but I haven't heard him getting his
>hands under the lid before.

Ya know, there's always Ferrante & Teicher's early albums...

Also, I've heard Chick Corea play under the lid before.

Peter


-



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

From: Risser Family <[e-mail]>
Subject: Re: a few nc questions/ponga
Date: 25 May 1999 18:16:00 -0400

> Firstly I was wondering about the use of Bob Dorough on "The Cage" -
> where did Zorn get him from? Did they have any previous collaboration?
> I just listened to some soundclips of his from 1967 and they sound =
like
> really bad attempts at bluegrass. Also on some bootleg Zorn says
> Diamanda Galas is going to be on Grand Guignol - I can only assume =
that
> she was going to sing that song, but he went with Dorough. Can anyone
> confirm this?

Bob Dorough is the guy who originally wrote and sang on most of the =
Schoolhouse Rock stuff.  He's the nasally-voice guy who sang Three Is =
the Magic Number, Little Twelvetoes and all those others you remember.  =
In addition, the liners to that set say he was a jazz pianist and decent =
enough in his own right, as well as doing some bluegrass stuff.

So, I imagine that that's how he heard of him.  As for Diamanda, dunno.

Peter

-



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

From: [e-mail] (clint nixon)
Subject: bungle [?]
Date: 25 May 1999 22:23:16 GMT


i browsed through this list and did not see this posted, so if it is,
kindly press delete.

was posted to the IDM mailing list.

http://www.humboldt1.com/~mimicry/bungle.htm

has short snippit MP3's from the upcoming album, carni once again.

..  dot dot



-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: a few nc questions/ponga
Date: 26 May 1999 02:00:48 -0400

On Tue, May 25, 1999 at 06:16:00PM -0400, Risser Family wrote:

> Bob Dorough is the guy who originally wrote and sang on most of the Schoolhouse Rock stuff.  He's the nasally-voice guy who sang Three Is the Magic Number, Little Twelvetoes and all those others you remember.  In addition, the liners to that set say he was a jazz pianist and decent enough in his own right, as well as doing some bluegrass stuff.

Dorough is also well known for having recorded with Miles, among others.
More info at http://www.bluenote.com/bobdorough/

-



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

From:    [e-mail] (Patrick Carey)
Subject: Non-Zorn: Laswell related FS list ...
Date: 26 May 1999 07:19:54 -0400

Hello ...

I have the following *as new* Laswell related items for sale.

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

If you don't like the prices, please make me an OFFER.

# Azonic - "Halo" US CD (Subharmonic/Strata 0002-2) 1994   $10
 [Andy Hawkins & Gabe Katz of Blind Idiot God prod. by Laswell]
# Buckethead - "The Day Of The Robot" US CD (Sub Meta SM 9804) 1996   $10
 [Buckethead w/ Ninj (keys, d'n'b rhythm tracks) & Laswell (bass, dms)]
# Chaos Face - "Doom Ride" US CD (Subharmonic SD 7004-2) 1995   $10
 [Laswell w/ Musso, Mick Harris & Shin Terai (vocals) & Peter Wetherbee]

more at:
http://www.astro.utoronto.ca/~carey/sofa/sale.html

Thanks for looking.


-Patrick
[e-mail]



-



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

From: <[e-mail]>
Subject: Re[2]: Zorn List Digest V2 #664
Date: 26 May 1999 08:11:04 -0500

     I could not say which is the best, in fact the themes contained on
     each of them are different except a few ones.  From my point of view
     the Tzadik has a better recording quality.

     Gustavo


______________________________ Reply Separator _________________________________
Author:  [e-mail] at INTERNET


Does anyone have an opinion on the 2 live Masada cd's as compared to the
"BOOT" "Masada Live" 1994 in NYC with Kenny Wollesen on drums? I like this
NYC recording.

Andrew

-


-



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

From: Brian Olewnick <[e-mail]>
Subject: Some Victo Views
Date: 26 May 1999 11:23:08 -0400

My first time there, and I'm kicking myself for waiting so long. Had a
wonderful time, enjoying healthy quantities of fine and unusual music
and, just as importantly, greatly enjoying the company of z-listers,
their spouses and others in attendance. I can't recommend this festival
highly enough.

I made it to 21 concerts, three of which I left early, either because
the music blew chunks (hey, there've gotta be a _few_ clunkers in any
event this large) or simply because a given show followed on the heels
of this or that amazing concert and was tough to devote proper attention
to. I'll offer brief descriptions of the shows that I deeply enjoyed;
others were fine in parts (eg. Le Quan Ninh himself was extraordinary,
but his two collaborators left much to be desired), some disappointing
(Terraplane) and some, a small handful, outright lousy (not to name
names, but if I never hear a certain Spanish diva again, it'll be too
soon). There were at least five other z-listers at the festival, who may
well have very different takes; hope to hear from them.

I'm no note-taker and this is all from memory, so if I make any factual
errors, well, sue me. In chronological order, my standout shows:

PEGGY LEE ENSEMBLE

A good example of me having a completely wrong idea of her work; I was
expecting spiky improv and, with this sextet at least(trombone, trumpet,
cello--Ms. Lee--, guitar, bass, percussion), she was well into
Previte/Frisell territory, exploring lovely folkish themes with clear
pleasure and conviction, occasionally interrupting the proceedings with
equally persuasive noise-bursts. A fine ensemble that deserves wider
hearing.

MILFORD GRAVES/JOHN ZORN

I admit to approaching this concert with misgivings as to how well these
two would blend. I needn't have worried. Zorn stayed largely to the high
energy end of his vocabulary, only rarely falling into his usual ruts
and generally extricating himself quickly. But Graves was incredible, a
firestorm of non-stop inventiveness whether at the drums, exploring
glossolalia, telling stories or even giving audience members piggy-back
rides. The man's lost none of his creative fire or humor.

HOAHIO

For me, one of the most pleasant surprises of the festival. The trio is
Sachiko M. (electronics) and Michiyo Yagi and Haco on either koto or
guitar and vocals (don't know which is on which). They performed a set
mixing noise, Kogal pop songs and semi-traditional koto music in a very
appealing and off-hand manner, tending towards the spare and closing
with a lovely, brooding anthem. Zorn was watching from the wings with
apparent appreciation; wouldn't be surprised to see a Tzadik release
from this band in the future.

I.S.O.

Another big highlight of the festival. Otomo Yoshihide with Sachiko M.
from Hoahio and electric percussionist Ichiraku Yoshimitsu. Contrary to
many other presenters of electronic music at Victo (and there were a
_lot_ of them; every other show seemed to feature at least one performer
squinting into his or her laptop), Otomo seems to reject the kitchen
sink approach and instead concentrates with enormous intensity on a tiny
sliver of the sound world, investigating and unearthing unexpectedly
vast and rich sonics. Spare, beautiful and with a wealth of subtle
detail that held this listener's attention riveted.  It was amusing/sad
to listen to a panel discussion with noted jazz critics the next morning
who, with a few exceptions, were baffled and irritated by Otomo's
performance. Criticism was on the order of, "If I wanna listen to a sine
wave for an hour..." For me, Otomo remains one of the key composers to
watch in the music.

JIM O'ROURKE/GUNTER MULLER

Difficult to describe the music, O'Rourke crouched at his powerbook (as
Patrice noted, it looked like he might be answering his e-mail),
generating odd bits of sound, sometimes long snatches of French pop
songs, Muller listening closely and responding with either acoustic
percussion sounds or, more often, with tweakings from his own seemingly
low-fi set-up. Three pieces, the first of which was especially
engrossing, again sustaining attention simply by navigating through
fascinating areas of sound-worlds. Good, subtle music, perhaps easier to
appreciate in the quiet comfort of one's living room than in a concert
hall.

MUJICIAN

Keith Tippett's quartet (Paul Dunmall, tenor and bagpipes; Paul Rogers,
bass; Tony Levin, drums) played an inspired single piece set of lyrical
free improv. Dunmall and Rogers were especially impressive; why the
former receives one tenth the ink of other tenorists in the free scene
(like, oh, say Ivo Perelman, who turned in a lackluster show earlier) is
beyond me. Nice to see bagpipes getting some time in situations like
this!

PETER BROTZMANN TENTET

Well, I've stated here before that I like the 3-CD set on Okkadisk very
much but...this concert blew that recording out of the water. Three days
later and I still get a giddy feeling when thinking about it. The reed
line of Herr Brotz, Vandemark and Gustafsson and the percussion duo of
Drake and Zerang were especially powerful but the group as a whole just
killed. Conviction, confidence, great humor, relentlessness--all on
display. I sometimes get weary of current incarnations of "ecstatic"
free jazz, but this band shows that, with the right individuals, there's
life in the old dog yet. As the reader may have guessed, this concert
was my personal festival highpoint.

GODSPEED YOU BLACK EMPEROR!

This Canadian nonet (guitars, basses, percussion and strings) is a band
to watch. Their style shifts from soft, elegiac sections that sound
somewhere between Badalamenti and Bryars to rave-ups that approximate a
more tonal Branca. I think they have a small problem in that their music
tends to alternate pretty much between these two areas but, to
paraphrase Harry Partch, they do exactly two things, but those two
things they do superbly. I'm greatly looking forward to hear what they
develop into. (Side note to Mike Chamberlain--when you catch this band
eventually, the cellist will erase the memory of Iva Bittova from your
shiny pate!).

If anyone was particularly curious about an event I didn't mention, I'd
be happy to give some opinions (if I heard it).

Can hardly wait 'til next year.

Brian Olewnick

-



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

From:    [e-mail] (Patrick Carey)
Subject: SALE: Lowered prices on MERZBOW vinyl & CDs
Date: 27 May 1999 07:54:12 -0400

Please pardon the intrusion ...

I have a bunch of MERZBOW vinyl (7"s, 10"s, LPs) and an
autographed Alchemy 4CD box set up for grabs.  All items
are in great shape and all must go!!

PRICES have been LOWERED on everything that has appeared
in any previous postings.

If you're at all interested, please email me for the list,
and if you'd like more details about the sale, just ask.

The list has been posted to a few usenet groups, so you
may also find it there.

Thank you for your time.


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



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: SALE: Lowered prices on MERZBOW vinyl & CDs
Date: 27 May 1999 08:41:12 -0700


    Patrick,

    Do you listen to the music that you are selling?

    Just curious...

    Patrice.

On Thu, 27 May 1999 07:54:12 -0400  Patrick Carey wrote:
>
> Please pardon the intrusion ...
>
> I have a bunch of MERZBOW vinyl (7"s, 10"s, LPs) and an
> autographed Alchemy 4CD box set up for grabs.  All items
> are in great shape and all must go!!
...[deleted]...

-



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

From: [e-mail]
Subject: Victo
Date: 27 May 1999 13:31:12 EDT

rather than go through show by show, especially since Brian did such a nice
job with that, and many of my opinions would simply echo his, here are a few
random thoughts from my Victo experience.

this festival, as Brian noted, contained a lot of electronics, much more than
previous festivals. one of the problems with many electronic shows I've seen
is that there's often very little of visual interest from the performers;
it's typically just guys staring intently into their Powerbooks like O'Rourke
and David Kristian and many others did here. what was nice about some of the
electronic shows here is that there was a visual component; from Maxime
Rioux's electrically driven dancing automata to Atau Tanaka's dance-inspired
movements to create sounds through the use of sensors attached to his muscles
to the Shonen Knife meets Steven Stapleton performance by the three women in
HOAHIO.

some major label should sign Godspeed You Black Emperor! one of the tightest
rock bands I've ever seen with unbelievably fluid transitions. I wouldn't
mind a few less of the pseudo-classical string interludes, but when they
build to a rolling, driving crescendo, not only do they get further than most
other bands, but they're able to maintain the intensity for a much longer
time.

just as I was ready to proclaim the death of "energy" jazz, Hamid Drake and
the other members of the Brotzmann tentet to a lesser extent, resparked the
excitement I used to feel for much of this music, so much so that I'm going
to go see him again tonight at the Vision Fest. if you get a chance to see
Drake, don't pass it up.

Otomo's ISO trio was the first fully realized electronic concert I've seen,
more so than Ryoji Ikeda or Stillupsteypa or Farmer's Manual, to name a few.
what I'd like to find out is if Tom Pratt was right in saying that Otomo
sampled from Ikeda's +/- during the course of the set. after Tom said that, I
heard the sound he was referring to again, and tend to agree with him, but it
kind of amazes me that not only is Otomo clearly following in Ikeda's
footsteps with this style, but he's also possibly borrowing his sounds.

one thing that I found kind of funny was watching and listening to all of the
improv writers trying to make sense of ISO, Merzbow, and Godspeed you Black
Emperor!, to name a few. the musicians are very open-minded about the
cross-fertilization of electronics and acoustics, and a lot of the fans are
also. but many of the writers just don't quite get it yet. it'll be really
interesting to read Howard Mandel's review of the festival in the Wire.

Jon

NP: Turntable Solos (Amoebic)

-



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

From: [e-mail]
Subject: Re: Victo
Date: 27 May 1999 14:22:28 -0500


Jon wrote:

>one thing that I found kind of funny was watching and listening to all of the
>improv writers trying to make sense of ISO, Merzbow, and Godspeed you Black
>Emperor!, to name a few. the musicians are very open-minded about the
>cross-fertilization of electronics and acoustics, and a lot of the fans are
>also. but many of the writers just don't quite get it yet. it'll be really
>interesting to read Howard Mandel's review of the festival in the Wire.

I'm curious to read that myself. Walking between venues after the ISO show, I
passed along to someone Patrice's joking comment that he thought he recognized
one of the records that Otomo was abusing as 'Les Stances a Sophie' ;-0 !
Apparently, Mr. Mandel was nearby.

The next day, at the panel discussion, Mandel expressed bewilderment that
someone who knew as obscure and fine a record as 'Les Stances...' could at the
same time appreciate (or more) Otomo's spartan electronica forays. I refrained
from arguing, but geez Howard, there _are_ some people around who enjoy more
than one type of music! And Otomo is a known huge jazz fan, who has covered
Rahsaan, etc. With that kind of knowledge, how could he possibly be wasting his
time on "sine wave music" (as his concert was disparagingly referred to). *sigh*
The more things change....

Incidentally, at the Moore/Renaldo/Marclay show, one of the records utilized by
Marclay was the Mantler/JCOA Communications piece which features Roswell Rudd.
Interesting choice. Wonder if Mandel picked that up and, if so, what he made of
it?

In fairness, at least three of the writers present (Michael Rosenstein, Stuart
Broomer and our own Mike Chamberlain) evinced very big ears. So there's hope...

Brian Olewnick



-



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

From: "Vince Bonavoglia" <[e-mail]>
Subject: Re: Zorn List Digest V2 #666
Date: 27 May 1999 14:55:44 -0400

Hey, guys...

It's not jazz. It may not be art. But it sure as hell is improvisation:

http://www.mindspring.net/~ufo1/plastic.htm

Do me a favor, willya?  Waste some time. If you like what you see, tell a
friend. I'd really like to see this edition go to press. If I don't get the
orders, I can't go to press. If I'm completely off my rocker, please let me
know. Life in a vacuum sure can be difficult...

Thanks and sorry for being off topic,
Vince
--
Nobrow Graphics!:
http://www.mindspring.net/~ufo1/plastic.htm

Ain't no good thing ever dies -- Tom Waits


-



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

From: Todd Bramy <[e-mail]>
Subject: Bob Dorough
Date: 27 May 1999 14:02:22 -0700

On a "jazzier" note - Dorough was also the vocalist on Miles Davis' "Blue
Xmas (To Whom It May Concern)".

>Bob Dorough is the guy who originally wrote and sang on most of the =
>Schoolhouse Rock stuff.  He's the nasally-voice guy who sang Three Is =
>the Magic Number, Little Twelvetoes and all those others you remember.  =
>In addition, the liners to that set say he was a jazz pianist and decent =
>enough in his own right, as well as doing some bluegrass stuff.



-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Victo
Date: 27 May 1999 18:36:58 -0400

> what I'd like to find out is if Tom Pratt was right in saying that Otomo
> sampled from Ikeda's +/- during the course of the set. after Tom said that, I
> heard the sound he was referring to again, and tend to agree with him, but it
> kind of amazes me that not only is Otomo clearly following in Ikeda's
> footsteps with this style, but he's also possibly borrowing his sounds.

I couldn't find an e-mail address for Otomo, but I did find one for Yoshimitsu
Ichiraku. I sent him a note asking if Otomo did in fact sample from Ikeda, though
I'm not sure he'll know. Of course, there's really no question in *my* mind that
he did. I'm asking more to entertain you, Jon!

                -Tom Pratt


-



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

From:    [e-mail] (Patrick Carey)
Subject: Re: SALE: MERZBOW vinyl & CDs
Date: 27 May 1999 19:23:03 -0400

>> I have a bunch of MERZBOW vinyl (7"s, 10"s, LPs) and an
>> autographed Alchemy 4CD box set up for grabs.  All items
>> are in great shape and all must go!!
>...[deleted]...

On Thu, 27 May 1999 08:41:12 -0700 <[e-mail]> wrote:
>Do you listen to the music that you are selling?
>Just curious...

If you mean do I listen to Merzbow, then the answer
is yes.  Often times I sell duplicate copies that
haven't been played, but I have heard everything I sell.
As for why I'm selling it, well ... I have WAY too much
noise (Japanese or otherwise)!  After being into it
for over a decade now, I'm kind of bored with the genre
(there are exceptions of course).


-Patrick



-



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

From: Mike Chamberlain <[e-mail]>
Subject: Re: Some Victo Views
Date: 27 May 1999 20:37:37 -0500

Brian Olewnick wrote:
>
> My first time there, and I'm kicking myself for waiting so long. Had a
> wonderful time, enjoying healthy quantities of fine and unusual music
> and, just as importantly, greatly enjoying the company of z-listers,
> their spouses and others in attendance. I can't recommend this festival
> highly enough.

Seconded. A wonderful festival and a great hang.


> JIM O'ROURKE/GUNTER MULLER
>
> Difficult to describe the music, O'Rourke crouched at his powerbook (as
> Patrice noted, it looked like he might be answering his e-mail),
> generating odd bits of sound, sometimes long snatches of French pop
> songs, Muller listening closely and responding with either acoustic
> percussion sounds or, more often, with tweakings from his own seemingly
> low-fi set-up. Three pieces, the first of which was especially
> engrossing, again sustaining attention simply by navigating through
> fascinating areas of sound-worlds. Good, subtle music, perhaps easier to
> appreciate in the quiet comfort of one's living room than in a concert
> hall.

This one didn't do anything for me as a performance, and though the
sounds were pretty, they didn't add up to anything IMHO.
>
> MUJICIAN
>
> Keith Tippett's quartet (Paul Dunmall, tenor and bagpipes; Paul Rogers,
> bass; Tony Levin, drums) played an inspired single piece set of lyrical
> free improv. Dunmall and Rogers were especially impressive; why the
> former receives one tenth the ink of other tenorists in the free scene
> (like, oh, say Ivo Perelman, who turned in a lackluster show earlier) is
> beyond me. Nice to see bagpipes getting some time in situations like
> this!

This was what I would call a cleansing concert.  Four fine musicians who
know each other inside out.  Definitely a highlight of the fest and a
perfect lead-in to...

> PETER BROTZMANN TENTET
>
> Well, I've stated here before that I like the 3-CD set on Okkadisk very
> much but...this concert blew that recording out of the water. Three days
> later and I still get a giddy feeling when thinking about it. The reed
> line of Herr Brotz, Vandemark and Gustafsson and the percussion duo of
> Drake and Zerang were especially powerful but the group as a whole just
> killed. Conviction, confidence, great humor, relentlessness--all on
> display. I sometimes get weary of current incarnations of "ecstatic"
> free jazz, but this band shows that, with the right individuals, there's
> life in the old dog yet. As the reader may have guessed, this concert
> was my personal festival highpoint.

Worth the trip all by itself.  A momentous concert, and those who were
there should all feel privileged.

>
> GODSPEED YOU BLACK EMPEROR!
>
> This Canadian nonet (guitars, basses, percussion and strings) is a band
> to watch. Their style shifts from soft, elegiac sections that sound
> somewhere between Badalamenti and Bryars to rave-ups that approximate a
> more tonal Branca. I think they have a small problem in that their music
> tends to alternate pretty much between these two areas but, to
> paraphrase Harry Partch, they do exactly two things, but those two
> things they do superbly. I'm greatly looking forward to hear what they
> develop into. (Side note to Mike Chamberlain--when you catch this band
> eventually, the cellist will erase the memory of Iva Bittova from your
> shiny pate!).

Just what I need--another crush.  She'd have to go some to top Iva.  I
was already in love before she caressed my head.

I also particularly enjoyed Klaxon Gueule.  The concert was different
than their album on Ambiances Magnetiques.  They are now moving into
more work with prepared instruments and the use of somewhat randomly
generated analog sounds.  Paul Plimley, Lisle Ellis, and Scott Amendola
gave what I thought was a scintillating performance of completely
improvised pieces.  Plimley and Ellis have uncanny communication, and
Amendola is a smart player who knows when to stay out of the way, though
his bag of tricks is still somewhat limited.  You didn't mention Kampec
Dolores, who played right after the Brotzmann Tentet.  Funky Hungarian
rock 'n roll with a Central European woman playing violin, singing, and
telling funny stories (a theme emerges, no?) was the perfect comedown
from one of the transcendent concert experiences of my life.  Oh yes,
and I have to mention Iva Bittova, who charmed everyone, especially
me--and that was before I met her.

Other highlights:

--meeting Howard Mandel, James Hale, Stuart Broomer, and Michael
Rosenstein

--meeting Brian, Tom, Jon, Ken, Patrice, and Ken and Patrice's wives

--talking hockey with Mats Gustafsson

--speaking with Peter Brotzmann for about 30 minutes over breakfast
(sausages and eggs for me, white wine for Herr Brotzmann) on Monday
morning

--Iva Bittova (think I mentioned her already)

> Can hardly wait 'til next year.

I'm hooked now too.

--Mike
>

-



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

From: Herb Levy <[e-mail]>
Subject: Dorough (was Re: Zorn List Digest V2 #666)
Date: 27 May 1999 15:19:49 -0700

>Bob Dorough is the guy who originally wrote and sang on most of the =
>Schoolhouse Rock stuff.  He's the nasally-voice guy who sang Three Is =
>the Magic Number, Little Twelvetoes and all those others you remember.  =
>In addition, the liners to that set say he was a jazz pianist and decent =
>enough in his own right, as well as doing some bluegrass stuff.
>
>So, I imagine that that's how he heard of him.

While asll of the above is true, Zorn's old enough & has been interested in
jazz long enough, to have heard Dorough in his jazz mode before his
schoolhouse rock period.

Dororugh's was fairly readily available in the vinyl days of yore as a
vocalist on two tracks with Miles Davis Blue Xmas & Nothing Like You
(recently recorded by Dave Douglas with the string quintet). I don't know
if these tracks have been re-issued, they're both pretty good.

Bests,

Herb



Herb Levy
[e-mail]



-



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

From: Mike Chamberlain <[e-mail]>
Subject: Re: Victo
Date: 27 May 1999 20:57:04 -0500

[e-mail] wrote:
>
> Jon wrote:
>
> >one thing that I found kind of funny was watching and listening to all of the
> >improv writers trying to make sense of ISO, Merzbow, and Godspeed you Black
> >Emperor!, to name a few. the musicians are very open-minded about the
> >cross-fertilization of electronics and acoustics, and a lot of the fans are
> >also. but many of the writers just don't quite get it yet. it'll be really
> >interesting to read Howard Mandel's review of the festival in the Wire.
>
> I'm curious to read that myself. Walking between venues after the ISO show, I
> passed along to someone Patrice's joking comment that he thought he recognized
> one of the records that Otomo was abusing as 'Les Stances a Sophie' ;-0 !
> Apparently, Mr. Mandel was nearby.
>
> The next day, at the panel discussion, Mandel expressed bewilderment that
> someone who knew as obscure and fine a record as 'Les Stances...' could at the
> same time appreciate (or more) Otomo's spartan electronica forays. I refrained
> from arguing, but geez Howard, there _are_ some people around who enjoy more
> than one type of music!

I took Mandel's statement to mean that he was impressed by the range of
musical knowledge among the fans at the festival.  But he sure wasn't
impressed by I.S.O., who I thought were exploring some very interesting
terrain, although I must admit that I cut out about halfway through due
to fatigue.

 And Otomo is a known huge jazz fan, who has covered
> Rahsaan, etc. With that kind of knowledge, how could he possibly be wasting his
> time on "sine wave music" (as his concert was disparagingly referred to). *sigh*
> The more things change....

A side note.  The Doneda/Montera/Erik M performance divided the critics.
Mandel and I walked out.  It was the only concert where I broke the
15-minute minimum rule.  Broomer, Rosenstein, and Marc Chenard came back
raving about the energy and intensity of the performance.  I still
halfway think Broomer was jiving us, but I know that Chenard at least
was serious.
 >
> In fairness, at least three of the writers present (Michael Rosenstein, Stuart
> Broomer and our own Mike Chamberlain) evinced very big ears.

I've gotta give credit where it's due.  What I've learned from reading
this list has helped a lot.  It's my lack of knowledge that I have to
overcome.  But I can say that Victo rearranged most of my molecular
structure--I may never be the same.

--Mike
>
> -

-



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

From: [e-mail]
Subject: Re: Victo
Date: 27 May 1999 23:24:35 EDT


In a message dated 5/27/99 6:35:49 PM, [e-mail] writes:

<< Of course, there's really no question in *my* mind that
he did. I'm asking more to entertain you, Jon! >>

well, thanks for indulging me, Tom.

brief report from tonight's Vision Fest:

I only saw the first set, the Brotzmann Die Like A Dog quartet. I went
because I wanted to see more of Hamid Drake and Toshinori Kondo than I got to
in the Tentet, and I got my wish. it was much freer than the Tentet
performance and featured some superb work by Brotzmann on bass clarinet.
Drake and Kondo were both in superb form again, and William Parker played his
customary bass, and added percussion to Drake's seriously funky drums at
times. they played two half hour long pieces, and the crowd went crazy after
each one, giving them a standing O at the end. I would have liked to have
seen the Leandre/McPhee/Hemingway trio also, but they weren't coming on for
another three hours or so.

Jon

-



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

From: [e-mail]
Subject: Re: Victo
Date: 27 May 1999 23:32:45 EDT


In a message dated 5/27/99 11:25:38 PM, [e-mail] writes:

<< A side note.  The Doneda/Montera/Erik M performance divided the critics.
Mandel and I walked out.  It was the only concert where I broke the
15-minute minimum rule.  Broomer, Rosenstein, and Marc Chenard came back
raving about the energy and intensity of the performance.  I still
halfway think Broomer was jiving us, but I know that Chenard at least
was serious. >>

there certainly was a ton of energy, but that's about it. I thought that
Montera was fairly wanky, Doneda blew his head off most of the time with no
discernible purpose, and Erik M wasn't too impressive. I was really looking
forward to this one, and found it pretty disappointing.

Jon

-



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

From: Steve Smith <[e-mail]>
Subject: Re: Bob Dorough
Date: 27 May 1999 23:59:51 -0400

> >Bob Dorough is the guy who originally wrote and sang on most of the =
> >Schoolhouse Rock stuff.  He's the nasally-voice guy who sang Three Is =
> >the Magic Number, Little Twelvetoes and all those others you remember.  =
> >In addition, the liners to that set say he was a jazz pianist and decent =
> >enough in his own right, as well as doing some bluegrass stuff.

In the last sentence, the word "was" should be replaced by "is" - Dorough's
quite alive and active, doing jazz stuff and also occasionally doing
performances of the "Schoolhouse Rock" material.

Steve Smith
[e-mail]
NP - nothing... Peter Brotzmann's Die Like a Dog is still ringing in my ears
from earlier this evening at the Vision Fest...  first time to hear Hamid Drake
live... geez, what a monster...


-



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

From: [e-mail]
Subject: Re: Dorough (was Re: Zorn List Digest V2 #666)
Date: 28 May 1999 08:03:39 -0500


>Dororugh's was fairly readily available in the vinyl days of yore as a
>vocalist on two tracks with Miles Davis Blue Xmas & Nothing Like You
>(recently recorded by Dave Douglas with the string quintet). I don't know
>if these tracks have been re-issued, they're both pretty good.

Isn't Dorough also responsible for the all-time best baseball song, 'Van Lingo
Mungo'? You know, the one whose lyrics consist of nothing but the names of
ballplayers and which always gets passed over for the sappy 'Talkin' Baseball'?

Brian Olewnick



-



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

From: [e-mail]
Subject: Re: Bob Dorough
Date: 28 May 1999 09:24:41 EDT

Bob is also featured on the Jazz Passengers In Love album, on the tune Ring
the Bell.  He also wrote the lyrics.

-



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

From: Tom Pratt <[e-mail]>
Subject: ISO
Date: 28 May 1999 10:47:30 -0400

Otomo apparently didn't have '+/-' with him at the I.S.O. show, and
neither Sachiko or Ichiraku used samples. So I guess I was wrong about
that whole thing, and Jon was correct to doubt me... (grrr) I have a
hard time accepting that, though.

Regardless, they played a great show. Get their most recent disc on
Alcohol. I'm a big fan. Has anybody heard the '98 cassette on Terminal
Body by the Otomo/Sachiko/Ichiraku trio before they were I.S.O.? Judging
from the trend of this group, I doubt it's very good. I'm curious
nonetheless.

                -Tom Pratt


-



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

From: Yuri Vasiliev <[e-mail]>
Subject: science
Date: 28 May 1999 09:25:43 -0700 (PDT)


Hi everybody!
I am here for a first time. Has anyone any idea where to find SCIENCE
resourses (no labels, maillists a.o.) about "East - West" sound
connections (like Zorn, Laswell, Trane and may be earlier)in the Web?
Thank to all of You,
Yuri Vasiliev, Ass. Pr. for "Musical Cultures of the World" branch,
Institute for Asian and African Studies, Moscow,
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: "Shamez Kurji" <[e-mail]>
Subject: movie recommendation: 'funny games'
Date: 28 May 1999 11:18:36 -0700

recently saw a great German movie (on video) called "funny games" and wanted
to recommend to people on this list.  its about a couple of guys who
terrorize a well to do family on a vacation.  the movie is scary without
showing any violence on screen.  on the soundtrack are a couple of tracks by
Naked City (Grand Guignol).  see the imdb link of the movie for more info:
http://us.imdb.com/Title?0119167


shamez


-



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

From: Mike Chamberlain <[e-mail]>
Subject: Re: Victo
Date: 28 May 1999 16:31:35 -0500

[e-mail] wrote:
>
> In a message dated 5/27/99 11:25:38 PM, [e-mail] writes:
>
> << A side note.  The Doneda/Montera/Erik M performance divided the critics.
> Mandel and I walked out.  It was the only concert where I broke the
> 15-minute minimum rule.  Broomer, Rosenstein, and Marc Chenard came back
> raving about the energy and intensity of the performance.  I still
> halfway think Broomer was jiving us, but I know that Chenard at least
> was serious. >>
>
> there certainly was a ton of energy, but that's about it. I thought that
> Montera was fairly wanky, Doneda blew his head off most of the time with no
> discernible purpose, and Erik M wasn't too impressive.

It looked that way after about 6 1/2 minutes.  A lot of bad punk bands
have lots of energy and exactly the same number of ideas as these guys
showed.

 I was really looking
> forward to this one, and found it pretty disappointing.

Moi aussi.

--Mike
>
> Jon
>
> -

-



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

From: ChiniJi <[e-mail]>
Subject: Nop Music
Date: 29 May 1999 07:44:17 +0700

Hello everybody and sorry for this X-post,

I would like to tell you guy a cool web site.
It's web site of Thai modern jazz musician, Nop Music.
Url is http://nopmusic.hypermart.net
The site featuring album info., MP3-realaudio sound clip and more !
Take a look at it.

Best Regards,
ChiniJi.

-



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

From: James Hale <[e-mail]>
Subject: Re: Victo
Date: 28 May 1999 19:33:13 -0500

Mike Chamberlain wrote:

> > The next day, at the panel discussion, Mandel expressed bewilderment that
> > someone who knew as obscure and fine a record as 'Les Stances...' could at the
> > same time appreciate (or more) Otomo's spartan electronica forays. I refrained
> > from arguing, but geez Howard, there _are_ some people around who enjoy more
> > than one type of music!
>
> I took Mandel's statement to mean that he was impressed by the range of
> musical knowledge among the fans at the festival.

That was my interpretation as well. I seem to remember (though my
participation in the panel is a blur from my immediately previous five
hours of roadtime, comencing at 4:30 a.m.) that Howard was making the
point that Victo-goers interest in hard-to-find music is nothing new...
that it spanned at least a generation to include one of his favorite
recordings: Les Stances...

As for knocking us critics, by my count at least half of us were there
out of personal interest, not on assignment.

James Hale



-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: Victo
Date: 29 May 1999 12:26:55 -0400

James Hale wrote:

> That was my interpretation as well. I seem to remember (though my
> participation in the panel is a blur from my immediately previous five
> hours of roadtime, comencing at 4:30 a.m.) that Howard was making the
> point that Victo-goers interest in hard-to-find music is nothing new...
> that it spanned at least a generation to include one of his favorite
> recordings: Les Stances...

You may be right; I just picked up a general sense of "miffedness" on
the part of several of the writers as to the content of some of the
shows, both at the panel discussion and during overheard grousings
before and after. Maybe it was just the strange (it struck me then)
circumstance of having a group of, by and large, writers on jazz,
discussing a festival where, at most, one third of the concerts could
fit semi-comfortably into a "jazz" designation. But I had the strong
impression that many of them, presumably yourself not included, were all
too willing to lump the various powerbook and turntable performers under
the same "this is music?" umbrella and unwilling to differentiate
between a boring performance (like David Kristian, imho) and an exciting
one (like the much-maligned Hoahio/I.S.O.).
>
> As for knocking us critics, by my count at least half of us were there
> out of personal interest, not on assignment.

Not to pick on Mandel, but I was assuming he was there to cover the fest
for WIRE. Given the range of music that magazine covers, it seemed odd
to send a writer whose predelictions seem clearly in the jazz camp
(which is fine, of course; I wish there had been a few more concerts of
the Brotz/Mujician/Graves genre myself, and fewer of the weaker
rock/electronica types, though give me Yoshihide over Perelman any day).
Always eager to be proven wrong...

Brian Olewnick

-



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

From: James Hale <[e-mail]>
Subject: Re: Victo
Date: 29 May 1999 13:52:15 -0500

Brian Olewnick wrote:
> I just picked up a general sense of "miffedness" on
> the part of several of the writers as to the content of some of the
> shows, both at the panel discussion and during overheard grousings
> before and after. Maybe it was just the strange (it struck me then)
> circumstance of having a group of, by and large, writers on jazz,
> discussing a festival where, at most, one third of the concerts could
> fit semi-comfortably into a "jazz" designation.

Well, maybe it's unfortunate that the name of the sponsoring
organization is the JAZZ Journalists Association. Most of us on that
panel have pretty broad tastes in and out of jazz. I would say Ron
Sweetman least of all, though he is the only one among us who has been
to every single Victo and (for what it's worth) always pays his own way.
For me, I'm pretty open about my lack of sustained interest in
electronic music, and wouldn't take on an assignment to write or speak
about it, though I still enjoy seeing/hearing artists experiment with it
from time to time. I was at Victo this year to interview Mats Gustafsson
and Toshinori Kondo for profiles in Coda.

> Not to pick on Mandel, but I was assuming he was there to cover the fest
> for WIRE. Given the range of music that magazine covers, it seemed odd
> to send a writer whose predelictions seem clearly in the jazz camp

Howard was covering Victo for both The Wire and Jazziz.
As for him being in the jazz camp... if so, then he's sleeping with the
enemy 'cause his wife is an electronic avant garde composer/performer.

James Hale

-



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

From: Lang Thompson <[e-mail]>
Subject: Re: movie recommendation: 'funny games'
Date: 29 May 1999 23:14:38 -0400

>recently saw a great German movie (on video)  //  the movie is scary without
>showing any violence on screen.


Not to be too picky but it's Austrian and since we do see a man punched in
the face, a guy blown to the wall by a shotgun blast, a TV screen
splattered with blood, people tied up & threatened and a woman forced to
strip in front of her family that would probably count as violence shown on
screen.

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

World Cinema Review needs readers & writers
http://www.tcf.ua.edu/wlt4/wcr.htm


-



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

From: "Edward Lutiy" <[e-mail]>
Subject: Willem Breuker recommendations (No Zorn Content)
Date: 31 May 1999 12:32:50 +0400

    Good day!

    I want to order a Willem Breuker CD but I don't know what to choose. Can
somebody please recommend some possible to find essential records.

    Thanks in advance.

    Edward.


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Willem Breuker recommendations (No Zorn Content)
Date: 31 May 1999 07:51:32 -0400

At 12:32 PM 5/31/99 +0400, Edward Lutiy wrote:
>    I want to order a Willem Breuker CD but I don't know what to choose. Can
>somebody please recommend some possible to find essential records.

There was a discussion about Breuker about a year ago which you can find at
the archives,
ftp://ftp.xmission.com/pub/lists/zorn-list/archive/zorn-list.9807.  My own
personal favorite is Sensemaya, but I'm not a completist by any means, and
Sensemaya rated fairly far down other people's lists.  FWIW, Cadence
recommended Heibel as a place to start.

--
Caleb Deupree
[e-mail]

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

-



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

From: "Edward Lutiy" <[e-mail]>
Subject: John Stevens CDs (No Zorn Content)
Date: 31 May 1999 12:49:14 +0400

    Good day!

    Sorry for bothering you with no-Zorn-related questions but I need your
help with the folowing: I have a chance to order John Stevens' CDs: "Mutual
Benefit", "Big Band & Quintet" & "Re-Touch & Quartet" but I can't find
information about these CDs anywhere. If anybody have heard them it would
be great to know your opinion: are these records good, what music is it
(free improv, free jazz or what?) who plays on these records.

    Thanks in advance.

    Edward.


-



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

From: [e-mail]
Subject: Re: John Stevens CDs (No Zorn Content)
Date: 31 May 1999 10:20:03 EDT

In a message dated 5/31/99 7:58:01 AM Eastern Daylight Time, [e-mail]
writes:

>     Sorry for bothering you with no-Zorn-related questions but I need your
>  help with the folowing: I have a chance to order John Stevens' CDs: "Mutual
>  Benefit", "Big Band & Quintet" & "Re-Touch & Quartet" but I can't find
>  information about these CDs anywhere. If anybody have heard them it would
>  be great to know your opinion: are these records good, what music is it
>  (free improv, free jazz or what?) who plays on these records.

I can only comment on "re-touch and quartet".
tracks:
1) No Fear  36:52
2) Re-Touch  3:57
featuring: Allan Holdsworth, Jeff Young, Barry Guy, Ron Mathewson and John
Stevens, recorded 1977.  The first piece is an improv piece.

3) One, Two, Albert Ayler, Birds of a Feather, Nothing  24:35
featuring Julie Tippets, Trevor Watts, Ron Herman and John Stevens.  Recorded
in 1971.

I have two other John Stevens CDs, "Conversation Piece" and "Touching On",
both featuring similar musicians as above (all English jazz players), and
recorded in 1977.  The playing is mostly free if I remember correctly.  None
of these blow me away, but its interesting to hear a guitarist like Allan
Holdsworth playing with a clean sound, and not in his usual context.

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From: William York <[e-mail]>
Subject: Has anyone heard Sprawl?
Date: 31 May 1999 21:06:11 -0400 (EDT)

This is from the Aquarius records new releases list.  This is news to me
and I figured some others might be interested.  Has anyone heard this?

SPRAWL  s/t  (Trost)  cd  13.98
   Noise/jazz/improv/rock unit Sprawl has a lineup that includes saxophone
legend Peter Brotzmann, bassist extraordinare William Parker and reedsman
Alex Buess (of Swiss jazz-industrialists 16-17 as well as Ice and God).
Since any of those names by themselves pretty much insures top quality, we
had high expectations for this disc, and it's no disappointment. Also in
the band, guitarist Stephan Wittiuer and drummer Michael Wertmuller
(Alboth!, Caspar Brotzmann Massaker). Fans of those bands, Last Exit,
etc., must take note. Looks like a 1997 release, but we've not come across
it until now, due to it being a Austrian import, and it was only just
reviewed in The Wire last issue.

WY


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From: "Zachary J. Griffin" <[e-mail]>
Subject: [Fwd: Tonic Events: 5/31-6/6]
Date: 01 Jun 1999 00:27:17 -0400

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I figured people on this list might find this interesting...

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As part of our second annual New Music Festival Tonic will be hosting a s=
eries of workshops from June 17th through June 30th.  These workshops are=
 open to anyone interested -- from novice musicians and music enthusiasts=
 to seasoned players.  Some of the musicians teaching the workshops inclu=
de:

Milford Graves, Marc Ribot, John Zorn, Dave Douglas, Joey Baron, Meredith=
 Monk, Jim O'Rourke and so many more!!

It's a great opportunity to come learn from and interact with these great=
 musicians.  Please go to www.tonic107.com or call 212-358-7501 to get de=
tails.  Seating is limited and workshops are quickly filling...


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Monday Night Film Series
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Every Monday at 9:00pm, $4

Mon, May 31 Privilege
Peter Watkins, 1967; Paul Jones Singer Jones stars as a teen idol in a bl=
eak, futuristic England.=20


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The New Music Festival
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Curated by John Zorn

Tue, Jun 01
>>Guy Klucevsek's Songs from Hard Coal at 8:00pm ($10 )
>>Annie Gosfield & Roger Kleier at 10:00pm ($8 )

Wed, Jun 02
>>Not For Sale Trio at 8:00pm ($6 )
With Danny Zamir (saxophone), Shanir Ezra Blumenkranz (bass) & Kevin Zube=
k (drums).

Thu, Jun 03
>>Kramer at 8:00pm ($10 )
>>Cyro Baptista & Kevin Breit at 10:00pm ($10 )
>>Adam Klipple Trio at Midnight ($4 )
With Adam Klipple (keyboard), Dave Ambrosio (bass) , Eric Halvorson (drum=
s).

Fri, Jun 04
>>David Garland at 8:00pm ($8 )
With Brian Dewan (electric zither/autoharp/accordion) & Will Holshouser (=
accordion).
>>The Komodo Whirligig Orchestra at 10:00pm ($10 )
With Billy Martin, Chris Wood, Bryan Carrott, Paula Jean Potocki, Arnaldo=
 Buzack & Greg Burrows.
>>Drumotion! at Midnight ($4 )
With Ehran Elisha, Mike Sarin, John Hollenbeck & Aaron Alexander.

Sat, Jun 05
>>Brooklyn College Improvised Music Ensemble at 1:30pm ($5 )
>>Marc Ribot, John Zorn, Jamaaladeen Tacuma & Calvin Weston at 8 & 10:00p=
m ($12 )
>>Cyro Baptista & Beat The Donkey at Midnight ($10 )


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Klezmer Brunch
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Curated by David Krakauer
Every Sunday Afternoon at 1:30 and 3:00
($10 per show or $15 for both)

Sun, Jun 06 Klezperanto


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Sunday Night Series
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Curated by Amy Rigby

Sun, Jun 06 at 8:00 & 9:30pm ($8 Double Bill)
>>Joe McGinty
Joe McGinty, "keyboardist to the stars" has played with Amy Rigby, Space =
Hog, Ronnie Spector, Steve Wynn, the Ramones, the Psychedelic Furs, and m=
any others. He writes and records with his band "Baby Steps," a seven-pie=
ce orchestral pop ensemble. His melodic, piano-based material has earned =
him comparisons with Brian Wilson, Big Star, and John Cale. McGinty also =
organizes the Loser's Lounge, a long-running tribute series at Fez where =
local luminaries pay homage to the giants of pop music. McGinty, in a rar=
e solo performance, will accompany himself on piano and wander through hi=
s own catalog of pop curiosities=85
>>Martha Wainwright
Quietly usurping her formidable namesake (daughter of Loudon Wainwright I=
II and Kate McGarrigle), Martha Wainwright "has a fierce will of her own.=
..She's got a voice that deftly gives shape to the thoughts and feelings =
zooming around insider her." (Ann Powers, New York Times)


Please check our website for more details.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
TONIC=20
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
107 Norfolk Street
(Between Delancey & Rivington)
212-358-7501 / http://www.tonic107.com





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