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Internet Message Format | 1999-07-31 | 766KB

From: [e-mail]
Subject: blasphemy
Date: 01 Jul 1999 02:05:57 EDT

In a message dated 6/30/99 4:51:05 PM Eastern Daylight Time,
[e-mail] writes:

<< I realize that it is blasphemy to say anything bad about on Zorn on this
 mailing list, but that's my opinion. >>

no man, it's cool, speak your mind. i'm still curious if there's any
reactions to my such remarks on "the classic guide to strategy" awhile back.
joseph

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From: Paul van Gorp <[e-mail]>
Subject: Re: Zorn List Digest V2 #688
Date: 01 Jul 1999 10:52:46 +0200

Hi,

A few days ago someone posted that Masada is going to perform in Belgium this
summer. Could someone give more info (date, venue)?

Paul.


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From: Yves Dewulf <[e-mail]>
Subject: Re: Zorn List Digest V2 #688
Date: 01 Jul 1999 11:08:10 +0200


> Hi,
> A few days ago someone posted that Masada is going to perform in
> Belgium this summer. Could someone give more info (date, venue)?

  The Masada-concert is part of the Middelheim Jazz-festival.
  They perform on Sunday August 15 , 21.00. at the Park den Brandt,
  Antwerp.

  More info at: http://www.radio1.be/jazzmiddelheim/

  YVes

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From: "Stephane Vuilleumier" <[e-mail]>
Subject: Re: belgium
Date: 01 Jul 1999 11:09:32 +0200

Sorry for the blatantly european thread...

Any recommendations on shops (vinyl!) in Brussels,
and concerts between 10 and 15 July?

Stephane

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


:A few days ago someone posted that Masada is going to perform in Belgium this
:summer. Could someone give more info (date, venue)?



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From: Richard Gardner <[e-mail]>
Subject: Re: who is Billy Jenkins?
Date: 01 Jul 1999 11:10:09 +0100

> From: "Patrice L. Roussel" <[e-mail]>
> Subject: who is Billy Jenkins?
>
>         In the intro of the PENGUIN JAZZ GUIDE, this musician is mentioned
> next to Derek Bailey. Although the guide lists a few records by this artist,
> I was puzzled to see this name for the first time (maybe an indication that I
> should go out more often). Does anybody on the list know this musician and
> have recommendation?
>
>         Thanks,
>
>         Patrice.
>

Billy Jenkins and his band the Voice of God Collective have been around for years. I
only have the Balham album but did see him live a couple of years ago. The music is
difficult to describe because I think there is a heavy streak of irony in there.
Taking jazz and pop forms he produces a loose, wild stew of sounds featuring himself
on guitar (and 'performance' - he is a performer and often very funny) and varying
bands of British improvisers. Its certainly not on my main play list but the album
and performance were certainly very entertaining.

To anyone on the list:

What is the news on the video of Masada's performance in Poland?

Richard Gardner


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From: "Marks, Andy" <[e-mail]>
Subject: Duras:Duchamp Hidden Picture
Date: 01 Jul 1999 06:51:52 -0500

What's that picture look like, the one thats hidden
underneath the CD tray?

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From: Perfect Sound Forever <[e-mail]>
Subject: photographers
Date: 01 Jul 1999 09:15:16 -0400

Since people are bringing up problems that the paparazzi has caused musicians, I
remember a recent Odyssey show at the Knit where someone was going crazy, flashing
away.  Blood Ulmer actually had to say something about it in the middle of a number.  he
was very cool about it, saying something like 'OK brother, enough now...'

At another show there, when I went with a photographer, the band's manager asked us to
take pictures during the first two numbers and then to give the band a break.  She said
that this was pretty standard procedure and I could understand that.

Let's face it- photopeople are an important part of this industry and are needed to
document it.  A little decorum though...  We don't wanna get things to the point where
we're locusts (i.e. Lady Di).

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


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From: Joseph Zitt <[e-mail]>
Subject: Re: blasphemy
Date: 01 Jul 1999 10:09:26 -0400

On Thu, Jul 01, 1999 at 02:05:57AM -0400, [e-mail] wrote:

> no man, it's cool, speak your mind. i'm still curious if there's any
> reactions to my such remarks on "the classic guide to strategy" awhile back.

A heads-up to those who like or are interested in The Classic Guide to
Strategy: Zorn will be performing it this coming Tuesday night at Tonic.

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

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From: patRice <[e-mail]>
Subject: Re: classic guide to strategy
Date: 01 Jul 1999 16:16:17 +0200

Joseph Zitt wrote:
>
> A heads-up to those who like or are interested in The Classic Guide to
> Strategy: Zorn will be performing it this coming Tuesday night at Tonic.
>

hi y'all.

i don't have the "classic guide..." cd, so i can't look this up myself.

anyway: do any of you if said cd is based on the book of the same name
by the greatest samurai of all times, miyamoto musashi?

patRice

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From: "Michael Berman" <[e-mail]>
Subject: Re: Duras:Duchamp Hidden Picture
Date: 01 Jul 1999 10:26:14 -0400

The picture beneath the tray is the last work ever done by Marcel =
Duchamp. It is titled "Given: 1. The Illuminated Gas  2. The Waterfall"  =

1969.
It wasn't revealed until after he died (he had claimed that he had given =
up art in favor of chess in 1923, but from 1946 until his death in 69 he =
was secretly working on this piece).  It can only be seen at the =
Philadelphia Museum of Art, in the Duchamp room.  It is hidden in the =
corner of the room.  it is not a painting, its an instillation.  You =
must peer through a tiny hole in an old wooden door, to view the seen =
(as the picture suggests).  The figure itself is painted leather over =
plaster relief, mounted on velvet.
Most any book on Duchamp would have info on this piece and its relation =
to his main body of work, most notably "Large Glass  (The Bride Stripped =
Bare By Her Bachelors, Even"  his most celebrated "unfinished" work, =
also in the Philly Museum.  The best essay is by Octavio Paz.
"Given" in french (how he titled the piece) is Etant Donnes.  The title =
of Zorns composition.


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From: Joseph Zitt <[e-mail]>
Subject: Re: Duras:Duchamp Hidden Picture
Date: 01 Jul 1999 10:25:08 -0400

On Thu, Jul 01, 1999 at 10:26:14AM -0400, Michael Berman wrote:

> It wasn't revealed until after he died (he had claimed that he had given up art in favor of chess in 1923, but from 1946 until his death in 69 he was secretly working on this piece).  It can only be seen at the Philadelphia Museum of Art, in the Duchamp room.  It is hidden in the corner of the room.  it is not a painting, its an instillation.  You must peer through a tiny hole in an old wooden door, to view the seen (as the picture suggests).  The figure itself is painted leather over plaster relief, mounted on velvet.

I was at the Philly Museum a while back with some friends who'd never been
there. Looking at the Duchamp exhibit, one wandered into a small room which
was empty except for one wall being made of wood. He asked why it was
emtpy. I told him to look through the knothole. The look of revelation
was priceless :-)

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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From: [e-mail]
Subject: Billy Jenkins
Date: 01 Jul 1999 12:19:09 +0100

> Does anybody on the list know
> [Billy Jenkins] and have recommendation?

I know a little of his stuff. He's a London-based guitarist who I
suppose you could put in a similar camp with Eugene Chadbourne,
without the country influences; a scrabbly, but very technically able
player whose music is full of jokes, ridiculous conceptual things
and so on. He did a series of gigs based on boxing, for example, in
which he duetted with someone in three-minute "rounds", each of
which would be rudely interrupted by a bell. It was funnier than it
sounds, and musically interesting, too, since it put into question
that idea of improvisations having a "natural" length. He's widely
regarded as an underrated, "difficult" but brilliant musician -- difficult
mot because he has an extreme aesthetic, but because his
aesthetic is too complex to embrace mere volume, atonality or
noise.

My own favourite disc is "Scratches of Spain", vaguely a Miles
tribute of course. Not very free-improv-esque, though; funky big
band jazz compositions with wild, free-form solos. Too much fun.
It's on Babel Label, which has a web site, but I don't offhand know
the URL.

Hope this is of some help.

> [George Lewis] has a cd on Avant called "Voyager,"

I'd forgotten I had this album. What a fine and unique disc it is, too,
if you can find it.

Rich

http://come.to/musings.com
NOTE: reply to [e-mail] if possible;
the address this message has come from is not permanent!

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From: [e-mail]
Subject: Krucifly's 'trane
Date: 01 Jul 1999 11:09:59 -0500


I'll take a stab at the Coltrane recs. First off, it's hard to go wrong, and for
my money (which has been a good bit invested) he got better and better year
after year like few do, culminating in the phenomenal last recording
"Expression." But I wouldn't start there. There's a few chrysalis points in his
arc. One happened in 1962 or 3 with the Live at the Village Vanguard recordings,
where he established before the audience what would be one of the tightest, most
sympathetic quartets in all of jazz history. Really. The permutations leading to
that night are on a 4cd set called Live at the Village Vanguard. The original
record of that name is phenomenal, and costs less. But the real starting point
for new ears is 1965. The year began with the quartet's best work and ended with
the addition of Pharoah Sanders, the remarkable Kulu Se Mama, and the final
trajectory into Live in Japan, Live at the Village Vanguard Again and
Intersellar Space. There was a 4cd set of all works from 1965 -- maybe someone
can help with the title -- that, if you can drop the $35-40 or whatever it
costs, is the place to begin, I think. From there you can decide if you want to
go back into the classic jazz or forward into the definition of free blowing.



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From: [e-mail]
Subject: Re: classic guide to strategy
Date: 01 Jul 1999 11:26:45 EDT

In a message dated 7/1/99 10:16:34 AM Eastern Daylight Time, [e-mail]
writes:

<< hi y'all.

 i don't have the "classic guide..." cd, so i can't look this up myself.

 anyway: do any of you if said cd is based on the book of the same name
 by the greatest samurai of all times, miyamoto musashi?

 patRice >>

having it would not particularly help answer your question. as i mentioned
before the liner notes are frustratingly near-impossible to read. i may be
being fussy, but putting the notes out like that, to me, has a whiff thumbing
their noses at the very people who buy their work and pay to see them play.
joseph

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From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Billy Jenkins
Date: 01 Jul 1999 08:44:59 -0700


    I wanted to thank all the people who shed some light on this
musician.

    Patrice.

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From: Scott Handley <[e-mail]>
Subject: Re: Krucifly's 'trane
Date: 01 Jul 1999 15:49:44 GMT

Kurt wrote:
>But the real starting point
>for new ears is 1965....There was a 4cd set of all works from 1965 -- maybe
>someone
>can help with the title...

Unless this is a new release, within the last year, I don't believe there
was ever a 4CD of the 1965 work.  There _was_ a double disc called THE MAJOR
WORKS OF JOHN COLTRANE which includes two versions of the incredible
ASCENSION, OM, KULU SE MAMA, and SELFLESSNESS.  It's definitely worth
having; a real "top five" for the casual yet adventurous Coltrane listener.
There was the 4CD LIVE IN JAPAN.

>From there you can decide if you want to
>go back into the classic jazz or forward into the definition of free
>blowing.

Perhaps I've said this before, but I would recommend the blindingly intense
SUN SHIP (last "classic" quartet record together, I believe, before Elvin
and McCoy got the jitters and split...though I' not sure of that disco
detail...) before ANY other record, if I were recommending  to listeners
with moderately ecperimental ears and a taste for the non-casualty pomo
variety.  TRANSITION is record number two.  Maybe LOVE SUPREME would be
three, or four.  SUPREME may get props from the Marsalis and Redman camps,
but it isn't the end-all-be-all, though its religiosity and mystification
say an awful lot about the end-all and the be-all.  Nothing wrong w/Trane's
p.o.v. (please don't go there: we've already covered that...), I'm just
suggesting that LOVE SUPREME sows seeds that get reaped in _spades_ on
records like TRANSITION and SUN SHIP and (in an amazing way) MEDITATIONS.
And for some strange reason I find it fun to listen to those records and
then put on Parker/Guy/Lytton/Crispell's NATIVES AND ALIENS.  I mean, as far
as I know, Trane was a decisive influence for both Evan Parker and Marilyn
Crispell (she even locates her "conversion" experience back to her first
time hearing LOVE SUPREME and her first time hearing Cecil).

Which, since obviously I'm on an EP fixation/kick, leads me to loudly
proclaim vis-a-vis Trane: NATIVES AND ALIENS is a great way in to Evan
Parker's "thing".  Beautifully recorded, and the band sounds so good.
Marilyn Crispell is so scary...I can only imagine what a live performance by
her would be like.  (FORCES IN MOTION leads me to believe she has a pretty
diminutive, generous personality as well.)

Cheers to all,

---s


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

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From: [e-mail]
Subject: as vague as i wanna be
Date: 01 Jul 1999 12:17:26 -0500


OK, I glossed over a coupla issues in my comments about whether or not JZ should
be able to have a temper or whatever, and have received some questions for
clarification. These have been discussed here before, but we always have new
folks. These might be good candidates (with revisions, please) for the faq, if
they're not there already.

Zorn's purported misogyny -- this comment related to the controversy surrounding
some of the naked city record covers, and also the show of japanese "porn" movie
posters that was up during the monthlong retrospective at the old knit 6 yrs
ago. This is still, surprisingly, a hot issue in some NYC activist circles, and
the Coalition Against Anti-Asian Violence for one was most outspoken about it. I
have strong feelings about not restricting ugliness which I won't get into here.
Zorn, to my knowledge, has never commented on the subject, but some of the
records in question were rereleased as "black box," the cover art was inside.
same with the painkiller box, for what it's worth, which had much more
disturbing imagery on the original releases.

Zorn and Madeleine -- this has gone round and round, and was even on the knit's
web site. i guess about 2 yrs ago or so, vaclev havel and madeleine albright
were hanging with havel's pals (i suppose) lou reed and laurie anderson. they
went to see masade at the knit, sat in the balcony and yammered away all night.
zorn fucked them off, loud and clear, apparently knowing and not caring who the
disrupters were.

these are both interesting and telling events that get at the motivations of an
artist who talks little about himself. they deserve better tellings than i've
given them, but like i said, hopefully they're well told on the faq.

bye.



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From: Tom Pratt <[e-mail]>
Subject: Re: Krucifly's 'trane
Date: 01 Jul 1999 12:46:58 -0400

> Perhaps I've said this before, but I would recommend the blindingly intense
> SUN SHIP

Absolutely. This seems to be a very neglected record, but it's definitely
mindblowing.

> And for some strange reason I find it fun to listen to those records and
> then put on Parker/Guy/Lytton/Crispell's NATIVES AND ALIENS.

I think 'Natives & Aliens' is good (though I'm not much of a Crispell fan), but
I'd recommend checking out 'Imaginary Values' by the Parker/Guy/Lytton trio.
It's my favorite of all their discs and is some of the most incredible group
improv I've ever heard.

                    -Tom Pratt


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From: "Benito Vergara" <[e-mail]>
Subject: RE: as vague as i wanna be
Date: 01 Jul 1999 09:54:51 -0700

> -----Original Message-----
> From: [e-mail]
> [mailto:[e-mail]]On Behalf Of
> [e-mail]
> Sent: Thursday, July 01, 1999 10:17 AM
> These might be good candidates (with revisions, please)
> for the faq, if
> they're not there already.

The part about the CAAAV protest and the album covers (now, was it "Leng
T'che" or "Torture Garden" which provoked this specifically?) are in the
FAQ. Reminds me of how I told an Asian friend in NYC, whom I was going to
visit, that I wanted to see some Zorn concert, and his response was, "Oh,
*that* racist guy." Suffice it to say I went to the concert without him...

As for Zorn and Albright, there was a nice, succinct retelling of the
incident in that issue of The New Yorker a few weeks ago.

Later,
Ben

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


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From: uranus musickness <[e-mail]>
Subject: I promise to be good to your eyeholes...
Date: 01 Jul 1999 18:49:36 GMT


I am an artist based a little bit North of Seattle. I am trying to keep
myself
busy doing what I love, playing sick music and drawing bizarre pictures. I
just
wanted to let you know I am available to help you out with the visual end of
promoting your music. (Flyers, Cd covers etc.)
  I am currently working for Timothy Young (Zony Mash, Very Special Forces)
doing flyers for his projects. I am available fairly inexpensively and take
pride in what I turn out.
  My style is sick and twisted in the style of Mad Magazine or other pieces
of
filth like that. Although I can draw cute bunnies as well. I do things the
old
fashioned way. I draw it...

If you would like to see examples let me know...

(Influences: Don Martin, Basil Wolverton, Roman Dirge, Raymond Pettibone)

John Schuller



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

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From: [e-mail]
Subject: DENVER--COBRA--MORE...
Date: 01 Jul 1999 15:21:12 EDT

Hello Zorn-list!

My name is Nathan Fuhr. I created the COBRA Ensemble - Cincinnati, in
September of last year. Although Zorn's Cobra has been the focus of the
group, we've done a few other projects, an original piece w/ dancers,
arrangements/pieces of mine; all more-or-less within, and (almost!) touching
both extremes of, the spectrum of the Zorn aesthetic. (By the way, for the
record, the name and concept of the group is based on that of the COBRA
artists of 1948-51.)

Although I may continue work with the Cincinnati group on a less frequent
basis, I will be moving to Denver in the fall for a position with the
Colorado Symphony (i'm a conductor). Providing I can hook up with the right
kind of musicians, I seek to create a group there; perhaps similar but not
the same. Not only have I learned a tremendous amout this first time around,
but whatever the group takes on is determined exclusively by the strengths,
artistic sensibilities, and personalities of the players at hand, which could
be quite different on the Denver scene. In addition to Cobra and other Zorn
works, pieces such as Stockhausen's Stimmung, Kagel's Exotica, or Uri Caine
type projects would be worthwhile foci--and if it feels right, originals. I
would be content just doing Cobra too, but only if doing it damn well;
uniquely and sincerely--of course having fun, but not mindlessly mimicking
the KF disc or just goofing off.

If you're in Denver and interested, drop me a line. Also, if you know of any
players on the scene, please feel free to let me know of them, or pass the
word on. I'm looking forward to meeting potential collaborateurs and open to
ideas, but certainly making no promises at this point. I'm just testing the
waters, hoping to get a head start getting acquainted with serious musicians
in Denver/Boulder that may be hip to this; musicians I obviously would not
find via my work with the symphony. This project is not a must, if I don't
feel I've found the right players/chemistry, I'll let it go.  But,
admittedly, I wouldn't mind out-doing what we've done here in Cincinnati thus
far.

Thanks!
Nathan Fuhr
[e-mail]

P.S. - I have been warned. Please do not contact me just to get copies of
Cobra. It's not my place to do anything with it but make music.






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From: "Vanheumen, Robert" <[e-mail]>
Subject: RE: Zorn Q&A at Tonic
Date: 01 Jul 1999 16:02:05 -0400

>Did anyone attend Zorn's question and answer session at Tonic?
yes. some 40 people did. and it was great.
he really was in a good mood, telling some great stories, answering
questions like 'why did naked city stop', 'can you tell us something about
the compositional aspects of duras', 'do you really have 32,000 lp's'...
this last question was the trigger for zorn to clarify that he thought the
article in the new yorker was a piece of shit, written by some moron he
trusted and who obviously misused this trust. he was not happy about it. to
say the least.

he also elaborated about how he started his 'carreer', making his own tapes,
having gigs in his own appartement for a handful of people, being screwed by
recording companies... and in a way encouraging some musicians in the
audience (at least myself) to keep believing in yourself, keep on going. and
hope you'll be lucky one time.

this was a great, and rare, opportunity to hear his thoughts firsthand.

robert

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From: Jason Tors <[e-mail]>
Subject: RE: Zorn Q&A at Tonic
Date: 01 Jul 1999 16:25:10 -0800

So why did naked city stop?

>>Did anyone attend Zorn's question and answer session at Tonic?
>yes. some 40 people did. and it was great.
>he really was in a good mood, telling some great stories, answering
>questions like 'why did naked city stop', 'can you tell us something about
>the compositional aspects of duras', 'do you really have 32,000 lp's'...
>this last question was the trigger for zorn to clarify that he thought the
>article in the new yorker was a piece of shit, written by some moron he
>trusted and who obviously misused this trust. he was not happy about it. to
>say the least.
>
>he also elaborated about how he started his 'carreer', making his own tapes,
>having gigs in his own appartement for a handful of people, being screwed by
>recording companies... and in a way encouraging some musicians in the
>audience (at least myself) to keep believing in yourself, keep on going. and
>hope you'll be lucky one time.
>
>this was a great, and rare, opportunity to hear his thoughts firsthand.
>
>robert
>
>-


-



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From: King Wilson <[e-mail]>
Subject: RE: Zorn Q&A at Tonic
Date: 01 Jul 1999 17:39:27 -0500

>>Did anyone attend Zorn's question and answer session at Tonic?
>yes. some 40 people did. and it was great.
>he really was in a good mood, telling some great stories, answering
>questions like 'why did naked city stop', 'can you tell us something about
>the compositional aspects of duras', 'do you really have 32,000 lp's'...
>this last question was the trigger for zorn to clarify that he thought the
>article in the new yorker was a piece of shit, written by some moron he
>trusted and who obviously misused this trust. he was not happy about it. to
>say the least.


  Do you remember his answer for the "Why did Naked City stop?" question?



-



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From: Jason Tors <[e-mail]>
Subject: RE: Zorn Q&A at Tonic
Date: 01 Jul 1999 16:25:10 -0800

So why did naked city stop?

>>Did anyone attend Zorn's question and answer session at Tonic?
>yes. some 40 people did. and it was great.
>he really was in a good mood, telling some great stories, answering
>questions like 'why did naked city stop', 'can you tell us something about
>the compositional aspects of duras', 'do you really have 32,000 lp's'...
>this last question was the trigger for zorn to clarify that he thought the
>article in the new yorker was a piece of shit, written by some moron he
>trusted and who obviously misused this trust. he was not happy about it. to
>say the least.
>
>he also elaborated about how he started his 'carreer', making his own tapes,
>having gigs in his own appartement for a handful of people, being screwed by
>recording companies... and in a way encouraging some musicians in the
>audience (at least myself) to keep believing in yourself, keep on going. and
>hope you'll be lucky one time.
>
>this was a great, and rare, opportunity to hear his thoughts firsthand.
>
>robert
>
>-


-



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From: dennis summers <[e-mail]>
Subject: Christian Marclay
Date: 01 Jul 1999 16:29:51 -0700

Just wanted to drop a quick note to all you folks. I just came back from
Italy and the Venice Bienale. In the show is a video piece by Christian
Marclay, which was simply brilliant. As much as I enjoy his music, this was
better. What he did was take short clips from many, many movies, mostly from
the 30s, 40s but incl. all periods. It was like a "cubist" telephone call.
It started with a bunch of very short clips of people dialing a telephone,
then a bunch of clips of other people hearing a phone ringing, then
answering hello, then a kind of emotional response and then hanging up. It
had a fantastic "musical" rhythm both in its visuals and its sounds. Just
extraordinary. If anyone on this list knows if it's possible to get a copy
of this piece somewhere, please let me know.

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


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From: "Patrice L. Roussel" <[e-mail]>
Subject: what Mujician to buy first?
Date: 01 Jul 1999 16:31:02 -0700


    Still under the shock of their performance at the Victoriaville
festival, but unfamiliar with this project of Keith, could anybody advice me
on the first Mujician record that I should buy?

    Thanks,

    Patrice.

-



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From: Jason Tors <[e-mail]>
Subject: RE: Zorn Q&A at Tonic
Date: 01 Jul 1999 16:25:10 -0800

So why did naked city stop?

>>Did anyone attend Zorn's question and answer session at Tonic?
>yes. some 40 people did. and it was great.
>he really was in a good mood, telling some great stories, answering
>questions like 'why did naked city stop', 'can you tell us something about
>the compositional aspects of duras', 'do you really have 32,000 lp's'...
>this last question was the trigger for zorn to clarify that he thought the
>article in the new yorker was a piece of shit, written by some moron he
>trusted and who obviously misused this trust. he was not happy about it. to
>say the least.
>
>he also elaborated about how he started his 'carreer', making his own tapes,
>having gigs in his own appartement for a handful of people, being screwed by
>recording companies... and in a way encouraging some musicians in the
>audience (at least myself) to keep believing in yourself, keep on going. and
>hope you'll be lucky one time.
>
>this was a great, and rare, opportunity to hear his thoughts firsthand.
>
>robert
>
>-


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Christian Marclay
Date: 01 Jul 1999 16:39:29 -0700


On Thu, 1 Jul 1999 16:29:51 -0700  dennis summers wrote:
>
> Just wanted to drop a quick note to all you folks. I just came back from
> Italy and the Venice Bienale. In the show is a video piece by Christian
> Marclay, which was simply brilliant. As much as I enjoy his music, this was
> better. What he did was take short clips from many, many movies, mostly from
> the 30s, 40s but incl. all periods. It was like a "cubist" telephone call.
> It started with a bunch of very short clips of people dialing a telephone,
> then a bunch of clips of other people hearing a phone ringing, then
> answering hello, then a kind of emotional response and then hanging up. It
> had a fantastic "musical" rhythm both in its visuals and its sounds. Just
> extraordinary. If anyone on this list knows if it's possible to get a copy
> of this piece somewhere, please let me know.

Could it be?


047 - PIECES POUR STANDARDS ET REPONDEURS TELEPHONIQUES: various artists

  This record features Karl Biscuit, Jean-Baptiste Bruant/Maria Spangaro,
  Paul Lovens, Albert Marcoeur, Maurice Roche, Christian Marclay, Guigou
  Chenevier, Gerard Buquet, Sylvia Bossu, Bernard Perrot, Roland Helie, Marc
  Lauras, Association Notoire, Le Quan Ninh, Heiner Goebbels, Marylene Negro,
  Eric Ferrand, Hans-Ulrich Obrist, Nicolas Collins, Eric Maillet, Noritoshi
  Hirakawa, Kasper T. Toeplitz, Edmund Campion, Daunik Lazro, Jerome
  Noetinger, Lawrence Weiner, Paul De Marinis, Bertrand Lavier, Christian
  Boltanski, Guy Sapin, Jacques Rebotier.

    6/ Busy                                     (Marclay)                1:00

    Recorded 1992

  Christian Marclay: turntables.

    1992 - Nouvelles Scenes, NS 01 (CD)


I will listen to it to see if it matches your description.

-



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

From: "allen j huotari" <[e-mail]>
Subject: Re: what Mujician to buy first?
Date: 01 Jul 1999 20:14:40 +0100

>
>Still under the shock of their performance at the Victoriaville
>festival, but unfamiliar with this project of Keith, could anybody advice
me
>on the first Mujician record that I should buy?
>
> Thanks,
>
> Patrice.


I'd recommend the first, entitled "The Journey"

a continuous 55 minute piece of wonderfulness...*sigh*...unfortunately, now
out of print (?)

failing to locate this, begin with the most recent, "Colours Fulfilled", and
work backwards...

also worthwhile is the Paul Dunmall Octet "Bebop Starburst" (although all of
Mujician participate, this is only tangentially similar)

ajh









-



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

From: "Zachary J. Griffin" <[e-mail]>
Subject: Re: classic guide to strategy
Date: 01 Jul 1999 23:25:49 -0400



> hi y'all.
>
> i don't have the "classic guide..." cd, so i can't look this up myself.
>
> anyway: do any of you if said cd is based on the book of the same name
> by the greatest samurai of all times, miyamoto musashi?
>
> patRice
>
> -

Right author, wrong book. According to the Zorn-written liner notes "The
Classic Guide to Strategy" is a five volume project, following the five
chapters of "The Book of Five Rings".

Zach Griffin


-



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

From: "Zachary J. Griffin" <[e-mail]>
Subject: Re: Zorn Q&A at Tonic
Date: 01 Jul 1999 23:35:49 -0400


--------------44724B62C78C75FB95542B3F
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit



Jason Tors wrote:

> So why did naked city stop?

>From the Zornfest 1993 Program Notes written by John Zorn
(which are availiable at
http://www.nwu.edu/jazz/performance/zornfest/zornfest-p-zorn.html)

Naked City
This band was basically a composition workshop.  When I stopped hearing/writing
for this band, we broke up.  Compositionally the challenge I set for myself was
to see how much I could come up with given the limitations of the simple sax,
guitar, keyboard, bass, drums format.  These are, as promised, our last live
performances.

Hope this helps you out,

Zach Griffin

--------------44724B62C78C75FB95542B3F
Content-Type: text/html; charset=us-ascii
Content-Transfer-Encoding: 7bit

<!doctype html public "-//w3c//dtd html 4.0 transitional//en">
<html>

<p>Jason Tors wrote:
<blockquote TYPE=CITE>So why did naked city stop?</blockquote>
>From the Zornfest 1993 Program Notes written by John Zorn
<br>(which are availiable at <u><a href="http://www.nwu.edu/jazz/performance/zornfest/zornfest-p-zorn.html">http://www.nwu.edu/jazz/performance/zornfest/zornfest-p-zorn.html</a></u>)
<p>Naked City
<br>This band was basically a composition workshop.  When I stopped
hearing/writing for this band, we broke up.  Compositionally the challenge
I set for myself was to see how much I could come up with given the limitations
of the simple sax, guitar, keyboard, bass, drums format.  These are,
as promised, our last live performances.
<p>Hope this helps you out,
<p>Zach Griffin</html>

--------------44724B62C78C75FB95542B3F--


-



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

From: * % <[e-mail]>
Subject: blasphemy?
Date: 01 Jul 1999 23:24:41 CDT

well, it's not exactly anything of Zorn's but... it was on Tzadik.

   Teiji Ito's "King Ubu" i dearly regret buying.  yuck.  i find it to be
boring, uneventful and an approach to avant garde that displeases me.
(however, i can imagine it sounding good with the movie if done properly,
though i've never seen the movie.  and perhaps that would change my view of
the music as well.)

                            -Samuel Yrui



>
>In a message dated 6/30/99 4:51:05 PM Eastern Daylight Time,
>[e-mail] writes:
>
><< I realize that it is blasphemy to say anything bad about on Zorn on this
>  mailing list, but that's my opinion. >>
>
>no man, it's cool, speak your mind. i'm still curious if there's any
>reactions to my such remarks on "the classic guide to strategy" awhile
>back.
>joseph
>
>-
>


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

-



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

From: patRice <[e-mail]>
Subject: Re: Zorn Q&A at Tonic
Date: 02 Jul 1999 09:43:27 +0200

Zachary J. Griffin wrote:=A0
>=20
> Jason Tors wrote:
>=20
>      So why did naked city stop?

> Naked City
> This band was basically a composition workshop.=A0 When I stopped
> hearing/writing for this band, we broke up.=A0 Compositionally the
> challenge I set for myself was to see how much I could come up with
> given the limitations of the simple sax, guitar, keyboard, bass, drums
> format.=A0 These are, as promised, our last live performances.
>=20
> Hope this helps you out,
>=20
> Zach Griffin

i also remember reading what you quote above.

however, i talked to joey baron after the second last ever naked city
gig on their last tour.

he said that another reason for them stopping naked city was that they
were simply becoming too popular, and that they didn't want to fall into
the trap of "recording album-touring-recording album-touring". joey said
that everyone involved in the band felt that they were - back then -
getting to a point where they didn't have enough time for their other
projects.

patRice


-



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

From: patRice <[e-mail]>
Subject: Re: classic guide to strategy
Date: 02 Jul 1999 09:38:24 +0200

Zachary J. Griffin wrote:
>

> > anyway: do any of you if said cd is based on the book of the same name
> > by the greatest samurai of all times, miyamoto musashi?
> >
> > patRice
> >
> > -
>
> Right author, wrong book. According to the Zorn-written liner notes "The
> Classic Guide to Strategy" is a five volume project, following the five
> chapters of "The Book of Five Rings".
>
> Zach Griffin

thanks for your answer, zach.

it is the right book then. because the full title is: "a book of five
rings. the classic guide to strategy." (and, to any of you who might be
interested: it is available as one single book; amazon.com has it
listed.)

patRice



-



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

From: Yves Dewulf <[e-mail]>
Subject: Re: Zorn Q&A at Tonic/Joey Baron
Date: 02 Jul 1999 11:01:46 +0200



> however, i talked to joey baron after the second last ever naked city
> gig on their last tour.

> he said that another reason for them stopping naked city was that they
> were simply becoming too popular, and that they didn't want to fall into
> the trap of "recording album-touring-recording album-touring". joey said
> that everyone involved in the band felt that they were - back then -
> getting to a point where they didn't have enough time for their other
> projects.

  I believe this was the same reason Baron gave
  for leaving the Bill Frisell Trio some years ago.
  He wanted to concentrate on his own projects like Barondown.

  YVes

-



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

From: patRice <[e-mail]>
Subject: Re: Zorn Q&A at Tonic
Date: 02 Jul 1999 11:55:08 +0200

[e-mail] wrote:
>
> In a message dated 7/2/99 3:54:06 AM Eastern Daylight Time, [e-mail]
> writes:
>
> > however, i talked to joey baron after the second last ever naked city
> >  gig on their last tour.
>
> So the Sept. 18, 1993 Knit show wasnt their last gig? Where did you see them
> after that?
>
> -Jody


don't know about the september 18, 1993, show at the knit.

i was talking about the very last tour they did in 1992. that year i saw
them in zurich on may 6.

the knit show in 1993, as far as i remember, was a one-off thing.

patRice

-



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

From: Scott Handley <[e-mail]>
Subject: Re: Christian Marclay
Date: 02 Jul 1999 13:49:20 GMT

Patrice wrote:

>047 - PIECES POUR STANDARDS ET REPONDEURS TELEPHONIQUES: various artists
>
>   This record features Karl Biscuit, Jean-Baptiste Bruant/Maria Spangaro,
>   Paul Lovens, Albert Marcoeur, Maurice Roche, Christian Marclay, Guigou
>   Chenevier, Gerard Buquet, Sylvia Bossu, Bernard Perrot, Roland Helie,
>Marc
>   Lauras, Association Notoire, Le Quan Ninh, Heiner Goebbels, Marylene
>Negro,
>   Eric Ferrand, Hans-Ulrich Obrist, Nicolas Collins, Eric Maillet,
>Noritoshi
>   Hirakawa, Kasper T. Toeplitz, Edmund Campion, Daunik Lazro, Jerome
>   Noetinger, Lawrence Weiner, Paul De Marinis, Bertrand Lavier, Christian
>   Boltanski, Guy Sapin, Jacques Rebotier.
>
>     6/ Busy                                     (Marclay)
>1:00
>
>     Recorded 1992
>
>   Christian Marclay: turntables.
>
>     1992 - Nouvelles Scenes, NS 01 (CD)


Does anyone know where one could get a copy of this CD?  I couldn't find it
at Forced Exposure.

Thanks,

Scott


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

-



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

From: Jeni Dahmus <[e-mail]>
Subject: RE: Zorn Q&A at Tonic
Date: 02 Jul 1999 10:09:00 -0400 (EDT)

On Thu, 1 Jul 1999, Vanheumen, Robert wrote:

> >Did anyone attend Zorn's question and answer session at Tonic?
> yes. some 40 people did. and it was great.

Was it videotaped?


> 'do you really have 32,000 lp's'...
> this last question was the trigger for zorn to clarify that he thought the
> article in the new yorker was a piece of shit, written by some moron he
> trusted and who obviously misused this trust. he was not happy about it. to
> say the least.

Did Zorn say exactly why he dislikes the article?  I wonder if Kaplan
showed it to him before it was published.

Jeni



-



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

From: Dan Given <[e-mail]>
Subject: Re: both: Mujician question and Jazz with electronics
Date: 02 Jul 1999 10:44:10 -0400

>>Still under the shock of their performance at the Victoriaville
>>festival, but unfamiliar with this project of Keith, could anybody advice
>me
>>on the first Mujician record that I should buy?
>>
>> Thanks,
>>
>> Patrice.
>
>
>I'd recommend the first, entitled "The Journey"
>
>a continuous 55 minute piece of wonderfulness...*sigh*...unfortunately, now
>out of print (?)
>
>failing to locate this, begin with the most recent, "Colours Fulfilled", and
>work backwards...

Oddly, I would recommend going for either the middle two - Poem about the
Hero and Birdland - before The Journey or Colours Fulfilled.  The Journey
at times seems a bit tentative, like they weren't really comfortable with
one another by  this point. With the next two, things just seemed to have
clicked. The most recent, for some reason, I have never been inspired to
give a third listen. Don't know why. Maybe I'll put it on next and try again.

I would also recommend Dunmall's double disc on Slam - I think merely
called Quartet/Sextet or something like that. Tippett isn't on it, but
Rogers and Levin are, as well as Simon Picard (I think) and some others.

Off this topic, but back to another one- jazz/improv with electronics.

Just got done listening to Vario 34-2 "Water always writes as plural", with
Gunter Christmann, Mats Gustafsson, Paul Lovens, Alexander Frangenheim,
Christian Munthe and electronics by Thomas Lehn. Love it. Noisy, crazy,
wacky Euro improv, grounded at times in jazz, with Lehn playing (I think)
analogue synth and I don't know what else.  With a line-up like that, they
can't go wrong.
It's been a Gustafsson morning, as I just got the Vario disc, the duet with
Christmann on OKKA, and The Education of Lars Jerry, and have listened to
them in sequence. Much to the dismay of my wife and cats all of whom are
hiding out in other rooms.

Dan


-



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

From: [e-mail]
Subject: Tonic Q&A--Duras
Date: 02 Jul 1999 10:47:19 EDT



<<  'can you tell us something about
 the compositional aspects of duras >>

Please share JZ's answer to this one!!

Joseph

-



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

From: "Michael Berman" <[e-mail]>
Subject: shannon jackson
Date: 02 Jul 1999 11:07:03 -0400

does anyone know what Ronald Shannon Jackson is up to these days?


-



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

From: [e-mail]
Subject: Re: both: Mujician question and Jazz with electronics
Date: 02 Jul 1999 11:10:23 EDT


In a message dated 7/2/99 10:44:06 AM, [e-mail] writes:

<< Just got done listening to Vario 34-2 "Water always writes as plural", with
Gunter Christmann, Mats Gustafsson, Paul Lovens, Alexander Frangenheim,
Christian Munthe and electronics by Thomas Lehn. Love it. Noisy, crazy,
wacky Euro improv, grounded at times in jazz, with Lehn playing (I think)
analogue synth and I don't know what else.  With a line-up like that, they
can't go wrong. >>

yeah, this is a nice record, on Frangenheim's Concepts Of Doing label. Lehn
also appears on a just-released CD, Beinhaltung, on an Italian label called
Fringes, which includes two long live pieces along with Phil Durrant and Radu
Malfatti, both of whom stick to their acoustic instruments on this one,
violin and trombone respectively. this one's interesting, very quiet and
filled with silences, somewhat along the lines of the solo Malfatti piece on
his own CD. the e-mail contact for the label is [e-mail], and I got
mine through Anomalous.

and, in a few months, my new label, Erstwhile, will be putting out a duo CD
of Mr. Lehn and Gerry Hemingway. more info to come on my web site.

Jon
www.erstwhilercords.com

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: shannon jackson
Date: 02 Jul 1999 08:14:15 -0700


On Fri, 2 Jul 1999 11:07:03 -0400  "Michael Berman" wrote:
>
> does anyone know what Ronald Shannon Jackson is up to these days?

Steve Smith should be able to help, but I have not seen any mail by him in
a while. Still there?

    Patrice.

-



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

From: [e-mail]
Subject: Re: shannon jackson
Date: 02 Jul 1999 11:14:27 EDT

In a message dated 7/2/99 10:59:38 AM Eastern Daylight Time, [e-mail]
writes:

> does anyone know what Ronald Shannon Jackson is up to these days?

He made a rare live US appearance on June 11th at the Knitting Factory, with
Melvin Gibbs and Vernon Reid.  A trimmed down Decoding Society. It was
amazing!!  Other than that, I have no idea.
-Jody

-



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

From: [e-mail]
Subject: new zorn
Date: 02 Jul 1999 11:19:25 EDT

hey everyone. I found this at the CDNOW site. It looks like there are
reconfigured versions of Spillane, Goddard and Blues Noel coming out.
It's not on the Tzadik site yet.

CD  $15.99
List $ 16.97  Add to Cart
Save to Wish List

CD Expected Release Date: July 20, 1999




 NOTES

Label: TZADIK
Catalog: 7324
Number of Discs: 1
SPAR: ADD
Mono/Stereo: Stereo
Category: Classical Crossover

FRISELL/WEINSTEIN/LURIE/&



 TRACK INFO

 Godard

Composer
 John Zorn (1953 - )
Artist(s)
 Frisell, Bill , Electric Guitar
 Coleman, Anthony , Keyboards
 Weinstein, David , Keyboards
 Emanuel, Carol , Harp
 Marclay, Christian , Turntables
 Lurie, John
 Shioi, Luli
 Foreman, Richard
 Shao-Ying, Wu
 Hofstra, David
 James, Bob , Tapes
 Staley, Jim , Trombone
 Quine, Robert , Electric Guitar
 Blair, Michael
 Mori, Ikue
 Frith, Fred , Guitar


 Spillane

Composer
 John Zorn (1953 - )
Artist(s)
 Frisell, Bill , Electric Guitar
 Coleman, Anthony , Keyboards
 Weinstein, David , Keyboards
 Emanuel, Carol , Harp
 Marclay, Christian , Turntables
 Lurie, John
 Shioi, Luli
 Foreman, Richard
 Shao-Ying, Wu
 Hofstra, David
 James, Bob , Tapes
 Staley, Jim , Trombone
 Quine, Robert , Electric Guitar
 Blair, Michael
 Mori, Ikue
 Frith, Fred , Guitar


 Blues Noel

Composer
 John Zorn (1953 - )




-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: blasphemy?
Date: 02 Jul 1999 11:28:33 -0400

On Thu, Jul 01, 1999 at 11:24:41PM -0500, * % wrote:

>    Teiji Ito's "King Ubu" i dearly regret buying.  yuck.  i find it to be
> boring, uneventful and an approach to avant garde that displeases me.

What approach does it take?

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: Scott Handley <[e-mail]>
Subject: Re: shannon jackson
Date: 02 Jul 1999 16:02:12 GMT

M. Berman wrote:
>does anyone know what Ronald Shannon Jackson is up to these days?

I heard about a year ago from an acquaintance in Dallas that Jackson was
living in the Dallas/Fort Worth area and doing too much.  I can't verify
that and have not since spoken to my friend, who owns, or used to own, Out
to Lunch Music at www.outtolunch.net.

----s


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

-



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

From: John Dikeman <[e-mail]>
Subject: Re: Zorn Q&A at Tonic
Date: 02 Jul 1999 11:36:21 -0600

I tried posting this here a while ago, and, once again used the reply button so
it didn't go to the list at all.
This is stuff Zorn said about Naked City.


There's some more in depth statements Zorn made about it in his interview with
Carla Chiti from
the Sonora book:


       ...
       Carla- Let's take the Naked City experience, perhaps it is the clearest
and most
       meticulous of your projects, in it you gave an Edgard Varese-style
definition of
       yourself as "organizer of sounds".  Music which has composition as it's
       cornerstone, but which is then entrusted to an unchanging number of
people who
       improvise.  Almost paradoxical... Using a fixed set could be dangerous...

       Zorn- No, that has never been a problem.  The music I wrote for Naked
City is
       the kind of music that gets better the more it is played.  I wanted to
improve the
       quality of my live performances and using the same musicians served
precisely
       this end.  The Naked City project (which, compared to the completely
improvised
       ones, is based on composition) was to see how many kinds of music can be
       made with the same ensemble, to write very different things for the same
group.
       The problem with Naked City was that I had these five musicians as a
starting
       point, a reference point, them alone, every time, exceptional
improvisators always
       on the lookout for new sonorities, I tried to make use of their abilities
to the full
       by working very hard, pushing very hard until it was truly possible to go
in any
       and every direction.

       Carla- And, in fact, in Naked City you ventured into the most disparate
of
       areas:experiment with and research into sound, fragmentation of styles,
until you
       brushed with serious music like in Absinthe...

       Zorn-Yes, with the seven albums of Naked City we explored what we could
       and made a great deal of progress.  But it's like getting to the
terminus: arriving at
       a place that you cannot go beyond.  I started listening to other kinds of
music and
       saw that there was no reason to go on working with these musicians.  How
       many years of working together were they?  Six, seven, I don't know
exactly,
       anyway, years and years spent together.  Now I feel the need to write
music for
       other ensembles, in other contexts, with new ideas.  So the Naked City
project
       has come to an end, like all projects: they have a beginning and an end.
I'm not
       the kind of musician who likes traveling for years on tour, performing
the same
       repertoire every evening.  On the other hand I think that my other
projects like
       Elegy or Kristallnacht express themselves in many different ways, from
       classical to jazz to rock  and they link up with many points of view with
Naked
       City.  But I'll say it again, in my opinion Naked City has become too
well
       known, too popular for my liking.  It had become something dangerous: I
felt
       like the audience was sucking my blood...  They used to ask for their
favorite
       piece.  They just wanted the same things, they weren't looking for
something
       new.  And I can't keep on going in a situation like that even if it would
seem to
       be very attractive on the surface.  The same things I said for cinema go
for music:
       if the budget is low, then the quality is better, imagination and ideas
       predominate.  It is very difficult to do something creative in the
majors: it is all
       based on business, money... That is why I fled to Japan.


So, that's the rest of the story.
john


-



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

From: James Hale <[e-mail]>
Subject: Re: shannon jackson
Date: 02 Jul 1999 13:49:55 -0500

Michael Berman wrote:
>
> does anyone know what Ronald Shannon Jackson is up to these days?
>
> -

He's living in his home state of Texas.
Played recently in a Decoding Society semi-reunion at the Bell Atlantic
Fest in New York.

James Hale

-



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

From: dennis summers <[e-mail]>
Subject: Re: Christian Marclay
Date: 02 Jul 1999 11:07:16 -0700


>>  In the show is a video piece by Christian
>> Marclay, which was simply brilliant.
>
>Could it be?
>
>------------------------------------------------------------------------------
>
>047 - PIECES POUR STANDARDS ET REPONDEURS TELEPHONIQUES: various artists
>  Christian Marclay: turntables.
>
>    1992 - Nouvelles Scenes, NS 01 (CD)
>
>------------------------------------------------------------------------------
>
>I will listen to it to see if it matches your description.

Doubtful that this could be it, as it was only edited film clips and nothing
more. Thanx anyway.

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


-



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

From: * % <[e-mail]>
Subject: RE: Zorn Q&A at Tonic
Date: 02 Jul 1999 14:11:25 CDT

reply to Jeni, or anyone:
  i too am curious why Zorn disliked the article.  i know in part some of
the reasons i didn't like it.  but it did provide me with information i
didn't know about which i found interesting.  the article reminded me of
people at my school. (it's an Arts High School, i suppose similiar to the
one in Fame or something.)
    well, the music department puts on concerts at least four times every
quarter.  most people don't do very experimental or unique things.  but
there was an experimental group.  once they played an improvisational piece
with Cello, clarinet, jazz guitar, metal guitar, and lots of strict noise.
the teachers of the music department would not allow this group to put their
own words in the liner notes where they're piece was listed.  instead they
put there own.  they wrote something like: "a unique piece which challenges
what is listenable."  bullshit, i found it very easy to listen too.  and
then another time they did a intricately composed hardcore piece and the
music department had to write another thing.  they all seemed like
disclaimers to me.  i forgot what point i was getting to people, sorry.

     -samuel yrui
>
> > 'do you really have 32,000 lp's'...
> > this last question was the trigger for zorn to clarify that he thought
>the
> > article in the new yorker was a piece of shit, written by some moron he
> > trusted and who obviously misused this trust. he was not happy about it.
>to
> > say the least.
>
>Did Zorn say exactly why he dislikes the article?  I wonder if Kaplan
>showed it to him before it was published.
>
>Jeni



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

-



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

From: * % <[e-mail]>
Subject: blasphemy?
Date: 02 Jul 1999 14:18:03 CDT


> >
> >On Thu, Jul 01, 1999 at 11:24:41PM -0500, * % wrote:
> >
> > >    Teiji Ito's "King Ubu" i dearly regret buying.  yuck.  i find it to
> >be
> > > boring, uneventful and an approach to avant garde that displeases me.
> >
> >What approach does it take?
>
>
>   reply to J:
>
>whoa.  you caught me saying something stupid.  what am i saying?  i don't
>understand avant garde music clearly enough to say something like that. (i
>realize this because i have no idea how it "approaches" avant garde.  silly
>me)  let me simplify and correct what i said:  i just don't like it. i'll
>just keep it to i find it boring and uneventful and i don't like the songs,
>nor do i like the tone color he acheived through his method of
>recording/mixing.  there, that's a little better, i hope.
>
>      -samuel yrui
>
>
>
>_______________________________________________________________
>Get Free Email and Do More On The Web. Visit http://www.msn.com


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

-



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

From: [e-mail]
Subject: Leng Tch'e in Mr. Rogers' Neighborhood
Date: 02 Jul 1999 15:19:02 EDT


i saw guy klucevsek on mr. rogers' neighborhood this morning. fred initiated
a conversation about "imagination" after guy played.

now imagine zorn on this show.
FR (picture the voice!): "We love to talk about imagination and fantasy on
this show Mr. Zorn. As I listened, that piece brought all kinds of exciting
images to my mind. Please share what images were in your imagination when you
wrote this music."

JZ: "Japanese S/M bondage." (or!) "A Chinese execution technique which dates
back to the Manchu dynasty, in where the victim is given opium to extend his
life while he is dismembered into 100 piece."
(hahaha...)

-



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

From: "Michael Berman" <[e-mail]>
Subject: Re: shannon jackson
Date: 02 Jul 1999 15:32:46 -0400

thanks for the web site. from the comments of the cds/lps, hes obviously =
a big shannon fan like myself.  its a great used cd list btw.  ill be =
ordering.


M. Berman wrote:
>does anyone know what Ronald Shannon Jackson is up to these days?

I heard about a year ago from an acquaintance in Dallas that Jackson was =

living in the Dallas/Fort Worth area and doing too much.  I can't verify =

that and have not since spoken to my friend, who owns, or used to own, =
Out=20
to Lunch Music at www.outtolunch.net.




-



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

From: Paul Audino <[e-mail]>
Subject: Bell Atlantic Jazz Fest Custom CDs Now Available
Date: 02 Jul 1999 14:45:46 -0500 (CDT)


Hello all,

I just finished ordering a custom CD made up of performances at the 1999
Jazz Festival.  You can get to the ordering page via a link at

http://www.jazfest.com

There isn't too much available as of yet -- a set each from Charles Gayle,
Charles Lloyd and the Brilliant Coroners.

You get to pick a total of 12 tracks and/or 70 minutes running length.
Total price comes to $17 shipped to your door (in the U.S.).


Paul
[e-mail]

  GROOVE
----------
One Nation



-



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

From: "Vanheumen, Robert" <[e-mail]>
Subject: RE: Zorn Q&A at Tonic
Date: 02 Jul 1999 15:52:56 -0400


>Do you remember his answer for the "Why did Naked City stop?" question?
he simply didn't write music for this band anymore. the reason for writing
this kind of music was the anger he felt (when he was in japan) because no
matter how hard he tried to adept to their culture he felt he wasn't
accepted by the japanese people. that kind of frustrated him, which got him
into hardcore. i guess this anger was over after a while.
this shows how much he makes the music he wants to make, as opposed to
making music because it is 'hot'.

robert



-

-



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

From: "Vanheumen, Robert" <[e-mail]>
Subject: RE: Zorn Q&A at Tonic
Date: 02 Jul 1999 16:01:59 -0400


>Did Zorn say exactly why he dislikes the article?  I wonder if Kaplan
>showed it to him before it was published.
i don't think so. he mentioned that the day the new yorker came out, he
called kaplan to ask hime what the *&%#*$ he was thinking. he was really
pissed off. he basically thought that the article did not do justice to him
and his music, it portrais him as some strange guy who doesn't even has a
kitchen in his appartement. difficult to put down his grief here. i guess
you better ask him yourself some time. he also mentioned that he did not
really liked these kind of workshops, but that it enabled him to get the
information out as direct as possible, without somebody inbetween to screw
up his words. so i'll stop doing that.

robert

-



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

From: "Vanheumen, Robert" <[e-mail]>
Subject: RE: Tonic Q&A--Duras
Date: 02 Jul 1999 16:07:32 -0400


<<  'can you tell us something about
 the compositional aspects of duras >>
>Please share JZ's answer to this one!!

wow. that's too hard. it went pretty deep, in how he uses specific 'themes'
to build a piece around. using a chord from an existing piece (sometimes
from himself) to build a melody, using an existing melody to build chords.
maybe the guy who asked this question is also on this list? he might be able
to elaborate. as he's a composer and i'm not (or maybe i should call myself
a beginning composer).

robert

-



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

From: "lava" <[e-mail]>
Subject: shannon jackson
Date: 02 Jul 1999 17:15:39 -0400

hey yall,

here's the official site for ronald shannon jackson:
www.shannonshouse.com

also look out for major tribute coming up in january at k.fact. for his 60th
birthday (jan.12)
including big band and all kinda goodies--

love
lava


-



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

From: David Beardsley <[e-mail]>
Subject: polite
Date: 02 Jul 1999 21:05:51 -0400

[e-mail] wrote:

> I saw Toni Morrison read in a park, got
> there early, sat on the ground, and was soon stomped by photographers forcing
> their way past me to stand in front of me.

Once at a composers concert at Princeton U.,
I shushed her during a performance. She was being
*nice* to a fan who couldn't shut the fuck up.


--
* 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: "Julian" <[e-mail]>
Subject: previte mystery
Date: 03 Jul 1999 17:41:23 +1000

Hmm I just checked cdnow and cduniverse for previte cds and it listed only
2 as leader "Dangerous Rip" and "My Man In Sydney", and three
collaborations (the 2 with Zorn, and one with Ducret). So, what's happened
to his other stuff??


-



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

From: "david rothbaum" <[e-mail]>
Subject: solo saxophone
Date: 03 Jul 1999 01:03:23 -0700

if anyone can recommend a few recordings of solo saxophone id appreciate it.
i am familiar with anthony braxton, steve lacy, evan parker, ned rothenberg,
jason dumars, claude delangle and eric dolphy.  id like to check out anyone
im not familiar with,  jazz or classical etc..

thanks,

david


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: previte mystery
Date: 03 Jul 1999 07:01:12 -0400

At 05:41 PM 7/3/99 +1000, Julian wrote:
>Hmm I just checked cdnow and cduniverse for previte cds and it listed only
>2 as leader "Dangerous Rip" and "My Man In Sydney", and three
>collaborations (the 2 with Zorn, and one with Ducret). So, what's happened
>to his other stuff??

Most of his earlier work was on Gramavision, a label which is now sadly
defunct (or swallowed up by a major, who only releases the most popular
items -- amounts to the same thing).  I keep hoping that the current owners
will re-release LaMonte Young's Well Tuned Piano as well.

--
Caleb Deupree
[e-mail]

It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing.  There is more
than one way to conquer a country.

-- Raymond Chandler

-



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

From: Steve Smith <[e-mail]>
Subject: Re: cd collections
Date: 03 Jul 1999 10:33:38 -0400

"* %" wrote:

> would all the people who have 1000+ please tell
> me how long they've been collecting and basically what's your job or
> whatever.

I'm currently in the midst of cataloging my collection into a database (using
Filemaker Pro) and have just passed 1000 pieces on CD and LP (haven't gotten to
cassettes, singles or video yet).  And I'd say I'm about halfway through.  I'd
also add that I had a lot more about two years ago, but had to liquidate a great
deal of less-desired stuff to add to the cashflow (ouch, I know) over the last
year.  I also got rid of perhaps four-fifths of my vinyl when I moved to New
York six years ago, and my classical music collection is a mere shadow of what
it was two or three years ago, a diminution I now very much regret.

Part of that change has to do with the rise of second hand stores... not so much
for purchases, but for ready liquidation on a whim or on necessity, when I can
only make the rent by liquidating the dead wood.  I'd go through the collection
once or twice a year and weed it out... I'm not a collector who hangs on to
absoutely anything anymore.  (Five moves in the last six years have also made me
see the value of being able to travel just a bit lighter, for one thing...)

And, as has been previously established in years gone by on this list (I am not
nearly as active at present as I was a year ago and prior), I work in the music
business and have done so in some capacity for over ten years, and that does
mean that much of what I've amassed, I've done so without paying full retail,
with plenty added for free.  I also admit that I've indulged in that verboten
practice of trading in freebies towards stuff I actually wanted.

> are any of you college students?

No, but that's when the habit started...  I once owned a lot of rare free jazz
and improv stuff that I bought secondhand in Houston where the demand wasn't as
high so the prices were laughably low.  I think there's still a price sticker
for $4.99 on my copy of "The Topography of the Lungs" (Incus LP 1, by Derek
Bailey, Evan Parker and Han Bennink), to name but one glaring example.  Nowadays
you couldn't even find that in Houston, but 12 years ago...

> and if so how do you manage to
> afford buying so much without eating?  there's been a few times where i had
> to choose between a cd or eating properly and i would buy the CD.  silly me.

I'd guess that this is common to many of us.  But these days I do so far less
often.  I'll typically allow myself perhaps one or two new discs per weekly
paycheck, a little more now or then depending on overall fiscal health or if I'm
buying used.

I do have one friend who still goes out and buys armfuls of used vinyl on a
regular basis, and would have to guess that he's got upwards of 20K on vinyl and
perhaps 1000 CDs.  Don't know how he does it...

Steve Smith
[e-mail]


-



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

From: "Zachary J. Griffin" <[e-mail]>
Subject: Re: classic guide to strategy
Date: 03 Jul 1999 10:42:56 -0400

My apologies, my copy of the book didn't have the "Classic Guide..."
subtitle.  Leading me to believe that they were two different books.

patRice wrote:

> Zachary J. Griffin wrote:
> >
>
> > > anyway: do any of you if said cd is based on the book of the same name
> > > by the greatest samurai of all times, miyamoto musashi?
> > >
> > > patRice
> > >
> > > -
> >
> > Right author, wrong book. According to the Zorn-written liner notes "The
> > Classic Guide to Strategy" is a five volume project, following the five
> > chapters of "The Book of Five Rings".
> >
> > Zach Griffin
>
> thanks for your answer, zach.
>
> it is the right book then. because the full title is: "a book of five
> rings. the classic guide to strategy." (and, to any of you who might be
> interested: it is available as one single book; amazon.com has it
> listed.)
>
> patRice


-



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

From: Steve Smith <[e-mail]>
Subject: Lou, Laurie, Vaclav and Maddie
Date: 03 Jul 1999 10:58:24 -0400

[e-mail] wrote:

> Zorn and Madeleine -- this has gone round and round, and was even on the knit's
> web site. i guess about 2 yrs ago or so, vaclev havel and madeleine albright
> were hanging with havel's pals (i suppose) lou reed and laurie anderson. they
> went to see masade at the knit, sat in the balcony and yammered away all night.
> zorn fucked them off, loud and clear, apparently knowing and not caring who the
> disrupters were.

I was the official mouthpiece at the Knit at the time, and Kurt's got the story
right.  Here's a little more detail for the curious and the non-old timers, who got
all of this stuff first hand two years ago:

1. Vaclav Havel, aging hipster, was coming to the U.N. for some sort of official
function.  Wanting to get some cutting edge culture while in town, he approached his
old pal, underground icon Lou Reed.
2. Lou Reed, aging hipster who'd just bolstered his indie cred with two sold-out
shows at the Knit in February of that year, approached his new friend Michael Dorf
for some suggestions of what to do with Havel.
3. Dorf, savvy marketing genius, realizes that he's got the ne plus ultra of the NYC
avant-garde in his own crib that night - Bar Kokhba.  He has Lou invite Havel down.
Havel accepts.
4. In passing conversation during the day, aging non-hipster Madeleine Albright asks
Havel what he's doing that evening.  Havel gives her a brief precis.  Albright,
who's only recently disovered her Jewish heritage (this had just been in the news
recently), decides to schlep along for some Radical Jewish Culture.
5. Hurried preparations are made, including clearing the private party in the
balcony with Zorn.  He does indeed know who's going to be in the house that night.
6. You've never seen so many dark suits, walkie-talkies and guns in the Knit as on
that evening.
7. Reed, Laurie Anderson (the Eydie to his Steve) and Havel arrive for the show.
Albright arrives slightly later.
8. Havel and Albright carry on in the balcony, seemingly oblivious to the intent
music listening going on downstairs.  Irritation grows.  Finally Zorn fires off the
shot heard around the world:  "Hey, you up there in the balcony, shut the fuck up!
We're trying to play down here!"
9. Shutting up occurs, but no major multinational incidents follow.
10. After making a few phone calls the next morning, I'm able to get the incident
reported on the gossip pages of the Post and the Daily News.  It also goes out on
the wire and is picked up by papers from Seattle to London.  And I get a photo from
Havel's staff photographer to supply to Rolling Stone for the "Random Notes" page -
I distinctly recall that the Spice Girls were on the cover.

In my line of work, that's both a job well done and about as tough as shooting fish
in a barrel with a bazooka.

Shameless,
Steve Smith
[e-mail]

NP - Joni Mitchell, "Refuge of the Roads," _Hejira_


-



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

From: Steve Smith <[e-mail]>
Subject: Gramavision mystery
Date: 03 Jul 1999 11:16:09 -0400

"Caleb T. Deupree" wrote:

> Most of his earlier work was on Gramavision, a label which is now sadly
> defunct (or swallowed up by a major, who only releases the most popular
> items -- amounts to the same thing).  I keep hoping that the current owners
> will re-release LaMonte Young's Well Tuned Piano as well.

Not likely.  Gramavision was purchased by Rykodisc a few years ago, and the guy
they hired to run it, Hans Wendl, a well-known figure from the Bay Area, had
all the right ideas, issuing some nice stuff like the live Frisell Trio disc
and Myra Melford's The Same River, Twice.  But it eventually became clear to
Wendl that he wasn't going to be able to do all he wanted to do, and I seem to
recall hearing that he missed the Bay Area, as well.  So back he went, and
Gramavision returned to inactivity.  Alas.

I recently wrote a massive feature piece for an upcoming issue of Gramophone's
"Explorations" quarterly - kind of a silly survey of the history of "serious
composers in jazz" or some equally meaningless nomenclature.  I had to select
only a handful of composers, naturally.  Two of those I chose were John Carter
(for "Roots and Folklore") and Previte (not a conflict of interest since we
aren't working together anymore).  And when I went to write up the discography
for the piece, it galled me to realize that all of the discs I cited by these
two were on Gramavision, and therefore pretty much unavailable.

Steve Smith
[e-mail]


-



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

From: Steve Smith <[e-mail]>
Subject: Re: solo saxophone
Date: 03 Jul 1999 11:25:41 -0400

david rothbaum wrote:

> if anyone can recommend a few recordings of solo saxophone id appreciate it.

You've mentioned most of the heavies, esp. Lacy, Braxton and Evan Parker, who
are the three I'd most readily cite as creating a significant body of work for
the solo saxophone.

To these I'd only add that Peter Brotzmann has recorded a series of solo
saxophone recitals which often shed new light on his overall conception and
range.  Try "14 Love Poems" (FMP, vinyl only) or "No Nothing" (FMP CD).

And John Butcher has also created some valuable and otherworldly racket on his
solo albums, although these are likely to be hard to find.  I've seen Butcher
dismissed as a pale imitation of Parker, but to my ears he goes in some
distinctly different directions: lots of quasi-mechanical sounds, some
interesting multi-tracking experiments.  I remember that his debut, "13 Friendly
Numbers" (Acta) really did a number on my ears, and "London and Cologne"
(Rastascan) can also be readily recommended.  Try finding these in Cadence if
you've not got a Tower nearby.

Mats Gustafsson has also recently released a solo disc, but so far I'm less
drawn to his work... others will disagree.

And let's not forget Zorn's "Classic Guide to Strategy," unreadable liner notes
or no... ;-)

Steve Smtih
[e-mail]


-



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

From: Steve Smith <[e-mail]>
Subject: Re: previte mystery
Date: 03 Jul 1999 11:39:42 -0400

Julian wrote:

> Hmm I just checked cdnow and cduniverse for previte cds and it listed only
> 2 as leader "Dangerous Rip" and "My Man In Sydney", and three
> collaborations (the 2 with Zorn, and one with Ducret). So, what's happened
> to his other stuff??

I'm not working with Bobby anymore (time constraints and whatnot), but we're
still in touch, and I can clear this up.

As previously mentioned by another poster, the Gramavision stuff is out of
print.  And, although you can probably still find it in stores, the three
Weather Clear Track Fast discs on Enja (Weather Clear Track Fast, Hue and Cry,
Too Close to the Pole) are also currently out of print.  But this is only
because Bobby bought the masters back from Enja to re-release on Depth of
Field.

Bobby is planning to release a series of three box sets compiling his work.
The first will include the previously-released Dull Bang, Gushing Sound, Human
Shriek (reclaimed from Koch Jazz) and Bump the Renaissance (reclaimed from
Sound Aspects) along with his very first album, Pull to Open, previously on
Rift vinyl and not available on CD at all.  The second will include the three
WCTF discs mentioned above, and the third will be the long-awaited Horse box,
which, according to Bobby's website, has been delayed, "although the first
volume will be out in June."

Last I heard, there was no bonus material planned for the WCTF box, though I
do recall urging him to investigate licensing the amazing live tracks issued
by Jazz a Go-Go magazine in Poland to add some value to the box for those who
already own one or more of the WCTF discs.  Don't know if he followed up on
that...

Sadly, Depth of Field was dropped by Koch recently, so there's no telling just
how long any of his his discs will be easy to find, but I do believe that
Bobby's trying to shore up his website to make direct ordering easier.  By the
way, the site now lists a special offer through Downtown Music Gallery: if you
order either of the Latin for Travelers CDs from Bruce you'll get a FREE copy
of Weather Clear Track Fast.  See www.bobbyprevite.com for details.

Steve Smith
[e-mail]


-



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

From: Steve Smith <[e-mail]>
Subject: Where's Steve Smith Been? [was Re: shannon jackson]
Date: 03 Jul 1999 12:13:59 -0400

"Patrice L. Roussel" wrote:

> Steve Smith should be able to help, but I have not seen any mail by him in
> a while. Still there?

Since someone already mentioned www.shannonshouse.com there's no need for me
to address the original question.  But I figured I'd at least step in and
address Patrice's question for the four or five people to whom it matters...
;-)  To anyone else, this might be a little long, so just hit "delete" and I
apologize for wasting your bandwidth...

Yes, I'm still here, and always have been.  Life has been really... ummm...
different in the last nine months since my wife and I separated, and that's
kept me from being as active a participant in the Z-List as I'd once been,
back in the days when I fired up the computer for three or four hours every
single night.  Nowadays my day job consumes my days, my freelance writing has
absorbed many of my night hours, and a new girlfriend has also occupied much
of my time and attention.  So it's not uncommon for three or four days to pass
without my going online at all.

(Can I just take a moment out to mention what a wonder it is to have a
girlfriend who's keenly interested in attending Zorn/Frith/Laswell/Lombardo
and Cecil Taylor shows with me, who is able to discuss them with me
intelligently and vigorously afterward, and who takes me to hear things like
Abbey Lincoln and a recent Vernon Reid-led multi-artist tribute to Joni
Mitchell in return?  Yes, of course I'm bragging, but Jody McAllister can
actually back me up on this one...  I feel like I've finally got a real live
soul mate...)

Still, I've been reading every single post to the Z-List with the same
customary interest, and still taking copious shopping list notes, if not
jumping in with answers and opinions quite as fervently as in years past.  In
fact, I hadn't really realized how absent I've seemed until bumping into a
pair of prominent 'listers at a concert the other night (more in a separate
post) and they both mentioned it.  (Thanks, guys...  I've missed bumping into
you as well.)   And at the same show Jim O'Rourke (who was with said 'listers)
looked at me like he was surprised I was even still *alive*...  whereas,
having been able to keep up with him through the mass media and the Z-List, I
just looked at him in amazement at his newly shaggy hair...  :-)

Anyway, Patrice, thanks for the prod.  You've no doubt noticed that I've spent
most of this morning swinging back into action with a vengeance.  But speaking
of absence... did Jeff Spirer totally bail on us when the Laswell list got
started?  I've missed his posts greatly - he led me to some swell literature.

That's my story and I'm sticking to it...
Steve Smith
[e-mail]
NP - Joni Mitchell, "Judgement of the Moon and Stars," _For the Roses_
(awwww.... he's *WHIPPED!!!*)


-



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

From: Steve Smith <[e-mail]>
Subject: Cecil Taylor at 70
Date: 03 Jul 1999 12:58:26 -0400

Last Wednesday I caught Cecil Taylor's first set at the Orensanz Center
on the lower east side of NYC.  It's been awhile since I'd heard CT and
the first time with an almost entirely new band, charmingly/comically
billed as the Desperados.  The band, as previously detailed, included
soprano saxophonist Harri Sjostrom (who worked with CT's previous
group), bassist Teppo Hauta-aho, and percussionist Paul Lovens.  The
group played two sets per night for three nights.  Here are a few
thoughts about the set I saw, for those unable to attend (I note that
Jon Rosenberg was present to record everything, so you'll be able hear
some of this sooner or later):

1. Taylor at 70 remains a consistent and unassailable force of nature,
for all of his quirks and eccentricities.  There are many fine pianists
on the contemporary scene, but for my money there's still no one who can
touch CT on a good night.

2. A friend who'd heard the previous night told me that the sets had
been quite unusual: a prompt start, much romantic and reflective playing
by CT, including a long solo piece to open, then a quartet piece of some
40 minutes, and absolutely no glossolalia poetry.  But for the first set
of the second night, CT began half an hour late, started with poetry and
vocalisms, then plunged into a set that lasted some 90 minutes, the
longest non-stop set by him I've ever personally witnessed.

2. The piano was miked atrociously in the first set.  Tons of detail was
lost.  This was my girlfriend's first time to hear CT and she felt that
she missed out on a great deal that would have added to her
appreciation, especially in CT's deployment of harmonic voicings,
although she did enjoy it for the most part.  I thought CT himself was
typically breathtaking, but occasionally I felt the performance was
running a tad too long when a seeming resolution plunged back into
furious activity.

3. Saxophonist Sjostrom was largely shrill and monochromatic.  I've
thought that he made some decent contributions to the two Iridium CDs
and the FMP disc that also has Charles Gayle.  But on this night the
only time he really did anything stellar for me was on the two occasions
when he played lyrically, creating slow, ballad-like lines that gave the
impression of massive cathedral windows viewed through a torrential
windstorm.  And that was mainly impressive for the change of pace and
density.  Those two moments were amazing, but they were only two
moments.  Still, perhaps the overall shrillness was in part due to the
strain of being heard over CT and Lovens.

I wish I could understand why Cecil has seemingly avoided strong sax
players since Jimmy Lyons died.  Sure, he's been recorded with Gayle,
Parker, Brotzmann and so on.  But I'm talking about the inclusion of
such a player as a regular working member of the band.  I loved the
sound of that '80s band with Carlos Ward and Leroy Jenkins because it
was so sensual and delicate coming out of the band with Lyons and Bakr.
But Ward wasn't really the right player for CT, and on evidence Sjostrom
doesn't really cut it on his own either.

4. Bassist Hauta-aho was largely inaudible for much of the evening.  A
shame, because
even if he was no William Parker, he was certainly much more musical
than Dominic Duval ever was.  He played some very original textural
things and employed some unorthodox percussive manipulations of his
instrument, only a few of which could be heard clearly.

5. Paul Lovens was phenomenal.  I've always loved his playing but had
never seen him live before.  That was a revelation... I'm fond in
general of that quirky Euro-clatter school of drummers (Tony Oxley,
Jamie Muir, Han Bennink, Paul Lytton, etc.) and Lovens struck me
strongly... he's busy, inventive, and makes it all seem as effortless as
Billy Higgins and Lewis Nash do in their respective styles.  In general
I think the Euro-drummers CT has used in the '90s do his conception a
lot more justice than Jackson Krall did (although to his credit Jackson
was sounding really good with CT at the end of the last band).

However, as great as I thought Lovens was, it galled me that on more
than one occasion CT and the rest of the band got swamped and
overwhelmed, again presumably due to the bad miking and the vast
acoustic of the room.  It looked as if they were making microphone
adjustments after the first set, so maybe the second at least sounded
better.

6. In a final section of CT glossolalia, the other band members hummed,
howled and moaned along.  Lovens in particular was wailing like a lonely
hound towards the end.  It added a fresh new dimension to the music.

I can't say that this was my favorite live CT performance of the five
I've witnessed - that still has to be the stellar trio set delivered at
the Cooler with Duval and Krall (!) immediately prior to an almost
equally excellent collaboration with Thurston Moore and Tom Surgal.  But
there was much to appreciate about the performance, and, given the
splendid job Rosenberg did in capturing the Iridium recordings issued on
Cadence, I expect that the recordings yielded by this run will prove
well worth hearing.  And I do hope that CT and Lovens will continue this
valuable collaboration for some time - in many ways it's as valuable as
his excellent and superficially similar but actually quite different
work with Tony Oxley.

Other voices?
Steve Smith
[e-mail]
NP - Cecil Taylor, "First Part," _Looking (Berlin Version) The Feel
Trio_


-



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

From: * % <[e-mail]>
Subject: Young's Well Tuned Piano
Date: 03 Jul 1999 11:57:26 CDT

question: what is the basic idea or concept behind Young's well tuned piano?
  there's is a library near me that has it.  all five cds.  anyone want to
tell me about it?
\                              -samuel yrui



>Most of his earlier work was on Gramavision, a label which is now sadly
>defunct (or swallowed up by a major, who only releases the most popular
>items -- amounts to the same thing).  I keep hoping that the current owners
>will re-release LaMonte Young's Well Tuned Piano as well.
>
>--
>Caleb Deupree
>[e-mail]
>
>It is pretty obvious that the debasement of the human mind caused by a
>constant flow of fraudulent advertising is no trivial thing.  There is more
>than one way to conquer a country.
>
>-- Raymond Chandler
>
>-
>


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

-



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

From: [e-mail]
Subject: Re:  Cecil Taylor at 70
Date: 03 Jul 1999 13:08:49 EDT

ok, i decided it's about time to ask (even though i REALLY need to put a hold
on buying music) : can anyone recommend me some good places to start in
regards to cecil taylor recordings? actually, throw in some ayler recs., too!
thanks in advance for any help anyone can offer. good to some steve smith
posting going on, too.

peace,
dave

np : the music of islam volume 6 - gnawa music (killer set of cds!)
___________________________________________________________
bill laswell, eraldo bernocchi, mick harris and lori carson discographies at :
http://www.geocities.com/SunsetStrip/Underground/7093/index.html
___________________________________________________________

-



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

From: * % <[e-mail]>
Subject: Re: Where's Steve Smith Been?
Date: 03 Jul 1999 12:14:11 CDT

  well... welcome back Steve... even though i wasn't here when you left.  so
you're a composer and writer?

                            -samuel yrui





Life has been really... ummm...
>different in the last nine months since my wife and I separated, and that's
>kept me from being as active a participant in the Z-List as I'd once been,
>back in the days when I fired up the computer for three or four hours every
>single night.


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

-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: New derek bailey reissue
Date: 03 Jul 1999 19:19:10 +0200


Yes,
finally back on the zornlist again after some months.... what a good
feeling.

Anyway, i recently purchased a new record by derek bailey on the emanem
label.

The record is 'THE INTRODUCTION' to everybody who would like to have a good
compilation on this wonderful musician. It really covers all his musical
approaches to the guitar:
`the six string guitar with pedal controlled amplification

`the six string guitar combined with 2 loudspeakers and 2 volume pedals

`the 19 string guitar

`the electric guitar

But there is one damn good reason that everyone should buy this record: THE
ALBUM CONTAINS A TRACK (IN WHOSE TRADITION) WHERE DEREK DID NOT KNOW THAT
THE TAPE RECORDER WAS RUNNING----------------- AND THAT IS I THINK THE ONLY
RECORDING WHERE DEREK PLAYS THE GUITAR IN A NORMAL WAY---------- BELIEVE ME
IT IS A REAL GEM------------ A VERY BEATIFUL BLUES SONG

Best wishes

Stefan Verstraeten



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

From: Perfect Sound Forever <[e-mail]>
Subject: Re: Where's Steve Smith Been?
Date: 03 Jul 1999 13:22:35 -0400

Steve, you went to see Cecil and didn't tell me?  Oh man, I thought we were
buds!

I went to the Thursday night show (first one).  Cecil was banging the hell
outta his Bosendorfer but the mixing was pretty screwed up.  He had a great
drummer with him but he kept drowning out Cecil.  They had a guy up in
front recording the show (why so close?) so that's maybe why they weren't
as concerned with getting the instruments balanced for the audience.
Still, we were right up near Cecil and I couldn't imagine that everyone
else in back of us would have heard him any better.

Don't get wrong- it was a great show and wouldn't have missed it for
anything (I even liked the venue though it looked like it might collapse at
any minute).

Best,
Jason

P.S. Nice story about Havel and Reed and company.  You know when Havel was
coming to the White House last year and wanted Reed to perform, they balked
at first?  They thought that Reed would be inappropriate because of the sex
and drug references in his lyrics (remember that this is Clinton's staff
objecting).  Havel had to throw a fit and say that it would be a great
insult to the Czech people if Lou didn't perform.  They caved in and let him.

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

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: solo saxophone
Date: 03 Jul 1999 13:41:21 -0400 (EDT)

Try Carlo Actis Dato's Urartu on the Leo label, which mostly features him
on baritone saxophone and bass clarinet, as well as some overdubbing,
humming and a special part for a barking dog. John Butcher alkso has a
couple of solo discs, the one that springs most quickly to mind is 13
Fiendly Numbers.

And, if you want to go to two saxophones, Cingihale, which is Mars
Williams and Ken Vandermark, duet on a whole arsenel of reeds on Hoofbeats
of the Snorting Swine on 8th Day Music.

Ken Waxman
[e-mail]



On Sat, 3 Jul 1999, david rothbaum wrote:

> if anyone can recommend a few recordings of solo saxophone id appreciate it.
> i am familiar with anthony braxton, steve lacy, evan parker, ned rothenberg,
> jason dumars, claude delangle and eric dolphy.  id like to check out anyone
> im not familiar with,  jazz or classical etc..
>
> thanks,
>
> david
>
>
> -
>
>

-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: Cecil Taylor at 70
Date: 03 Jul 1999 14:04:01 -0400

Steve Smith wrote:

(a whole bunch)

Steve covered just about everything in fine fashion. Glad to see he's
lost none of his aural acuity during his vacation!

It may have been partially due to the poor sound system, but with the
bassist all but inaudible and Sjostram rarely interjecting anything of
much note, I found myself listening to the set as a Taylor/Lovens duo
performance, which was rewarding enough! It was also my first time
catching Lovens live, and he was extraordinarily impressive both for his
percussive antics in and of themselves (I particularly enjoyed his
well-timed tossing of bells and gongs onto the pile of same on the
floor) and, more importantly, for his cheerful unwillingness to be
overly deferential to Taylor. On several occasions where it seemed like
Cecil was taking charge, Lovens would instigate an alternate pathway and
"force" Taylor to adjust, a tactic which, judging by the grins breaking
out on his face, Taylor greatly enjoyed.

I agree with Steve's bafflement as to why Taylor doesn't employ stronger
horn players on a regular basis (and, heresy of heresies, I'm not even
an enormous fan of the late Jimmy Lyons). One might hesitatingly guess,
at least in the context of small groups, that ego has something to do
with it, which ego apparently showed up in the second set on Wednesday
when, as per a report filed on the avant list, Cecil broke short the
set, angrily scolding his bandmates for not letting him play solo or
somesuch.

Quibbles aside, it was wonderful just seeing what fine shape, physically
and creatively, Cecil remains in at 70. May he continue for many, many
years.

Brian Olewnick

-



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

From: Steve Smith <[e-mail]>
Subject: Cecil Taylor Primer (long)
Date: 03 Jul 1999 14:19:07 -0400

[e-mail] wrote:

> can anyone recommend me some good places to start in
> regards to cecil taylor recordings?

Always a good question.  This is my personal and quirky Taylor primer:

1. The easiest place to start is the Blue Note recording _Conquistador_.  It's a
fine recording, with excellent playing by trumpeter Bill Dixon and saxophonist
Jimmy Lyons (for decades CT's essential right hand man).  It's just approachable
enough for the newcomer, yet more outside than the deceptive early recordings of
the late '50s and early '60s.  (Blue
Note, 1966, possibly "officially" out of print but most likely readily found.)

2. If you enjoyed that one, take one step back to "Unit Structures," one of the
true touchstones in CT's discography.  It balances chaotic tumult with passages of
chamber-like transparency; Ken McIntyre's oboe and bass clarinet go a long way to
furthering the chamber music analogy.  (Blue Note, 1966, currently available.)

3. For a final test, try out one of CT's best recent recordings, _Looking (Berlin
Version) The Feel Trio_, featuring the exceptional interplay of bassist William
Parker and percussionist Tony Oxley.  This will give you an exceptional taste of
Taylor's recent work. (FMP, 1990)

If you've made it over those three hurdles, you're ready to take the plunge.  Here
are some touchstones from the complete discography:

EARLY PERIOD:  _Jazz Advance_ (Blue Note, 1956), _Looking Ahead_ (Contemporary,
1959), _Love for Sale_ (Blue Note, 1959) - All of these showcase CT's earliest
work, when he was still nominally working within the tradition.  Unless you're a
fanatic, one of these may be enough for you.  The 1960-61 discs on Candid with
Steve Lacy, Buell Neidlinger, Denis Charles and sometimes Archie Shepp are also
recommendable but are currently out of print, I believe.  Be advised that all of
these are far more conservative than anything else he's done.  The three tracks
recorded for Impulse in 1961, currently available on an Impulse compilation called
_Mixed_, are very fine and make for a good transition to the next listing.

CAREER TURNING POINT:  _Nefertiti, The Beautiful One Has Come_ - The advent of
drummer Sunny Murray enabled CT to finally and decisively break through to the
conception he's been refining ever since.  The piano sucks and the sound is
modest, but this is the Rosetta Stone of CT recordings.  (Revenant, recorded 1962)

OTHER IMPORTANT GROUP RECORDINGS:

_3 Phasis_ - A bracing, challenging sextet featuring some incredible playing from
the leader, Lyons and trumpeter Raphe Malik, some of the most idiosyncratic
drumming in the CT ouerve thanks to Ronald Shannon Jackson, and a gripping,
insightful set of liner notes that make you feel as though you were there.  (New
World, 1978)  The same group can be heard at greater length on _One Too Many Salty
Swift and Not Goodbye_ (hat Art, 1978).

_Winged Serpent (Sliding Quadrants)_ - A remarkable large-ish ensemble with some
surprisingly approachable compositions.  The band includes Lyons, Enrico Rava,
Tomasz Stanko, Frank Wright, John Tchicai, Gunter Hampel, William Parker, Rashid
Bakr and others.  (Soul Note, 1985)

_Live in Bologna_ - A fine, underrated band.  CT was thrown for a loop by the
death of partner Lyons, and there was a far different cast to his first post-Lyons
band: much more delicate, thanks to the lyrical bent of altoist/flutist Carlos
Ward, plus the organic textures provided by violinist Leroy Jenkins and
percussionist Thurman Barker.  William Parker completes the band.  Vinyl is better
than CD in this case, as it's 22 minutes longer.  (Leo, 1988)

_Alms/Tiergarten (Spree)_ - Taken from the monumental _Cecil Taylor in Berlin '88_
boxset which featured CT in the company of Europe's greatest improvisers, this is
a Taylor-lover's wet dream of orchestral proportions.  (All of the discs from the
Berlin box are available separately, and several of them are highly recommendable,
particularly _Spots, Circle and Fantasy_, a duet with percussionist Han Bennink.
A duo with guitarist Derek Bailey, _Pleistozaen Mit Wasser_, might possibly be one
of the most odd and idiosyncratic discs in the entire CT catalog).  (FMP, 1988)

_Always a Pleasure_ - It's been rare to hear a group larger than a quartet in the
'90s.  This excellent sextet recording from '93 includes wonderful contributions
from Charles Gayle, Tristan Honsinger and Sirone, among others.  The trumpeter
Longineau Parsons, previously unknown to me, is especially good, and for those who
are counting such matters, this is the first appearance of Harri Sjostrom, who's
still with Taylor six years later (a truly long stint with CT by recent
standards).  (FMP, released 1996)

_Qu'a: Live at the Irridium [sic], Vol. 1_ - The best representation of CT's last
group prior to the new one he debuted this week.  Not amongst his best-ever
recordings, but worth hearing for the most recent developments in his style - a
growing romanticism has crept into his playing, as if there are finally as many
blossoms as thorns in this particular rose garden.  Duval, Krall and Sjostrom all
sound good here, and it's a better set than the second volume.

SOLO TAYLOR:  Solo performance has been an important part of Taylor's output since
the early '70s, at least, and one of the earliest solo discs, _Silent Tongues_, is
still one of the best introductions to this part of CT's ouerve.  (Freedom, 1975)
_Garden_, recorded in 1981 and reissued on CD in 1990, is widely considered CT's
best solo recording, but can be hard to find and is available only in two separate
volumes.  (hat Art, 1990)  _For Olim_ is a magnificent solo recording, CT's first
issue after the death of Lyons, and most approachable due to the short length of
the pieces.  (Soul Note, 1987)  And the recently-issued _The Tree of Life_ is also
highly recommendable. (FMP, recorded 1991, issued 1998).

> actually, throw in some ayler recs., too!

Start with _Spiritual Unity_ on ESP and continue from there...

Happy listening,
Steve Smith
[e-mail]
NP - CT, "Qu'a Yuba," _Qu'a Yuba: Live at the Iridium, Vol. 2_ (Cadence Jazz,
1998)


-



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

From: Steve Smith <[e-mail]>
Subject: Re: New derek bailey reissue
Date: 03 Jul 1999 14:24:12 -0400

Stefan Verstraeten wrote:

> Anyway, i recently purchased a new record by derek bailey on the emanem
> label.

The CD you describe is the one titled _Fairly Early with Postscripts_, right?
Recommendation seconded.

Steve Smith
[e-mail]
NP - Metallica, "Helpless," _Garage, Inc._


-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: Cecil Taylor Primer (long)
Date: 03 Jul 1999 14:38:21 -0400

Steve Smith wrote:

> SOLO TAYLOR:  Solo performance has been an important part of Taylor's output since
> the early '70s, at least, and one of the earliest solo discs, _Silent Tongues_, is
> still one of the best introductions to this part of CT's ouerve.  (Freedom, 1975)
> _Garden_, recorded in 1981 and reissued on CD in 1990, is widely considered CT's
> best solo recording, but can be hard to find and is available only in two separate
> volumes.  (hat Art, 1990)  _For Olim_ is a magnificent solo recording, CT's first
> issue after the death of Lyons, and most approachable due to the short length of
> the pieces.  (Soul Note, 1987)  And the recently-issued _The Tree of Life_ is also
> highly recommendable. (FMP, recorded 1991, issued 1998).

I'd only add 'Indent' (originally on Unit Core, subsequently on
Arista/Freedom) and 'Spring of Two Blue-J's' (also Unit Core, don't know
if any else has picked it up--saw a vinyl copy in Other Music last
week). The latter is one side solo (incredible!) and one quartet
(Lyons/Sirone/Cyrille--equally amazing).

The other session that's mandatory (and not just for Cecil) is his
contributions to Mantler's 'Communications' masterwork. Perhaps THE
great avant big band recording.

Brian Olewnick

-



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

From: David Beardsley <[e-mail]>
Subject: Re: Young's Well Tuned Piano
Date: 03 Jul 1999 14:40:37 -0400

* % <[e-mail]> wrtes:

> question: what is the basic idea or concept behind Young's well tuned piano?
>   there's is a library near me that has it.  all five cds.  anyone want to
> tell me about it?
> \                                                         -samuel yrui

He plays a piano tuned to intervals from the harmonic
series (just intonation tuning) instead of 12 tone equal
temperament. Although La Monte is known as the father of
minimalism, the WTP isn't realy minimalism. Many themes
that he improvises on for 5 hours. The last performance
was in 1986 and lasted for more than 6 hours.

You're lucky to find it in a library, it's out of print.
I suggest making a CD-R copy because it's impossible to find
used.

I'm a big fan, I've listened to it many times. I suggest
playing it loud!

Caleb Deupree wrote:

> >Most of his earlier work was on Gramavision, a label which is now sadly
> >defunct (or swallowed up by a major, who only releases the most popular
> >items -- amounts to the same thing).  I keep hoping that the current owners
> >will re-release LaMonte Young's Well Tuned Piano as well.

I don't think so. La Monte doesn't have a record contract right now.
I hope this changes in the near future.

And visit the MELA web page: http://www.virtulink.com/mela/main.htm

And visit the Dream House too - it'll be open again in the fall,
but if you're in town, give them a call and ask for them to
open it up for you (a contribution is suggested). Dream House
is right around the corner from the Knitting Factory on
Church Street. Tell 'em I sent you.


--
* 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: Steve Smith <[e-mail]>
Subject: Re: Cecil Taylor Primer (long)
Date: 03 Jul 1999 14:52:26 -0400

Brian Olewnick wrote:

> 'Spring of Two Blue-J's' (also Unit Core, don't know
> if any else has picked it up--saw a vinyl copy in Other Music last
> week). The latter is one side solo (incredible!) and one quartet
> (Lyons/Sirone/Cyrille--equally amazing).

_Spring of Two Blue-Js" can be found on a presumably unauthorized CD on the Italian
label Jazz View.  You can usually find it really, really cheap at the Tower Annex, even
though it's allegedly a limited edition.  I don't have it... it's most likely mastered
from vinyl, I'd hazard to guess.  The same label has issued the "Nuits de la Fondation
Maeght" concert with Lyons, Cyrille and Sam Rivers on three CDs.

_Indent_ is indeed fine... if I remember the anecdote correctly, it was for presenting
that concert that a young Gary Giddins got tossed off the live music presenting
committee at Antioch.

Steve Smith
[e-mail]
NP - Metallica, "Am I Evil?" _Garage, Inc._


-



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

From: [e-mail]
Subject: Re: Cecil Taylor at 70
Date: 03 Jul 1999 15:43:16 EDT

In a message dated 7/3/99 1:11:59 PM Eastern Daylight Time, [e-mail]
writes:

<< ok, i decided it's about time to ask (even though i REALLY need to put a
hold
 on buying music) : can anyone recommend me some good places to start in
 regards to cecil taylor recordings?  >>

I'm in a similar situation too, and would also appreciate some
insights....and maybe along with the "whats", people could include a few
"hows" as to how to approach CT's stuff.

Thanks!

Dale.

-



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

From: [e-mail] (Martin Wisckol)
Subject: Record collections
Date: 03 Jul 1999 13:35:02 -0700

Initially, I thought most of the talk here about Zorn's collection was
tedious. Now, however, I find myself thinking a bit more clearly about
the various motivations I have to buy. There was a time when I would
routinely sell off anything I didn't listen to much, particularly when
I was hitting the road or leaving the country for extended periods
(needing cash and needing to minimize my possessions). One good long
time friend picked up a bunch of these -- I'm unfortunately reminded of
the error with some regularity (although glad to know they're in good
hands and are accessible). Now, I have the luxury and knowledge ...
it's not necessarily how many times they get played, but having them
when I want to hear them. I can go a year or more without listening to
Braxton, for instance, but when I get in that mood, I greatly enjoy
each of the 20 or so I have of him.

To the college student, I have to second the other respondent who
recalled the days of $1.99-$3.99 LPs. Despite inflation, $7.99 for a
used CD seems significantly more when money is slim. ... But I too have
gotten a lot of free music, some great stuff among it and some crap
that got traded into the used shop for what I want but couldn't hustle
for free. If you don't have much money and are really into the music,
here's my advice: Start writing about music, particularly CD reviews.
Write up some reviews of recent albums you have and take them to the
college paper. They probably won't pay you, but if you're friendly and
you write to their format and the reviews are readable and not stuff
they're already reviewing, they'll probably print them at least
occasionally. They may start passing demo copies your way -- but more
importantly, with a couple of reviews in print, you can start
contacting the PR people at record companies yourself and requesting
promo copies. The bigger ones can be extremely generous, particularly
if you're reviewing regularly and regularly sending them copies of what
you're writing (my strategy is pretty much only to review things I
like, I won't get in to that philosphy now though). There have been
times when CBS (jazz) and ECM and Blue Note were sending me everything
they released. Man, that was great. Others, you'll have to request
specific CDs and get a feel for how generous they'll be. Some of my
favorite labels -- Hat and Black Saint particularly -- I've never been
able to get promo copies from....

The college paper is usually the easiest way to get in print, but other
local publications are also worth a try if they have record reviews. My
strategy is to have some samples in hand, be friendly and persistent
and act like a responsible and reliable person. Another option is a
e-zine -- lots of them run reviews, although record companies are
sometimes reluctant since a lot of sites don't get much exposure (this
has been my source for the last couple of years, altho the site is
apparently going down for the count now). Feel free to contact me off
list if you have other questions. I'm a political journalist, but try
to keep a mostly avocational hand in the music writing arena.

All that said, I am 42 and have a mere 2,500 or so albums on vinyl, CD
and tape. I've probably sold near to 1,000 more. I could go online
right now a find 2,500 more I'd like at the drop of a hat, but I feel
that even at my current rate I'm on the frontier of being too
comsumption-oriented. If I could never buy another recording, I could
be happy the rest of my life with what I have. There is so much music
in my collection yet to be fully digested. I remember with some
fondness being a youngster with 10 or 15 albums and knowing every note
on every one! That is extremely rare for me these days. Although I am
in the information business, I don't believe that more information
necessarily enriches your life. It's what you do with it, and there's a
point of diminishing returns. On the other hand, learning about music
and what's going on in music is a very satisfying hobby, and
necessitates a certain measure of consumerism, particularly given the
sad state of radio in most of the US.

Martin

np: Raul Planas "Te invito un momento"




-



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

From: "Jose Felix" <[e-mail]>
Subject: Zorn Q&A and Prelapse
Date: 03 Jul 1999 23:31:16 +0200

>        Zorn-Yes, with the seven albums of Naked City we explored what we
could
>        and made a great deal of progress.  But it's like getting to the
> terminus: arriving at
>        a place that you cannot go beyond.  I started listening to other
kinds of
> music and
>        saw that there was no reason to go on working with these musicians.
How
>        many years of working together were they?  Six, seven, I don't know
<SNIP>

I'm just sad that I never got to see Naked City play live. They must have
been really awesome! Oh well, I can only hope that Prelapse will tour Europe
sometime, and maybe, just maybe, come to this little country.
Speaking of Prelapse (and TO them), will their debut be distributed in
Europe?

FΘlix


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: previte again
Date: 03 Jul 1999 18:54:48 -0400

After perusing the Previte area of my shelves, I see his album on Avant,
Slay the Suitors, with his 'rock' band Empty Suits.  Although I prefer the
Gramavision Empty Suits album, this one is still available (although
perhaps not from cdnow, try the Downtown Music Gallery) and worth hearing.


--
Caleb Deupree
[e-mail]

It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing.  There is more
than one way to conquer a country.

-- Raymond Chandler

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Young's Well Tuned Piano
Date: 03 Jul 1999 18:59:33 -0400

At 11:57 AM 7/3/99 CDT, * % wrote:
>question: what is the basic idea or concept behind Young's well tuned piano?
>  there's is a library near me that has it.  all five cds.  anyone want to
>tell me about it?

There was a big article about him in the Wire several months ago, where
they mentioned that he tunes the piano for the performance space, so that
each performance can have a different tuning.  He requires a guaranteed
commitment of a certain number of concerts in order to make it worth while.
 If your library has the CDs, they may have back issues of the Wire, and
the article is very interesting.

And a strong second to David's recommendation to make copies of the above
mentioned disks.  My local library only has the cassettes, and I no longer
have the capability to play anything in that medium.

--
Caleb Deupree
[e-mail]

It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing.  There is more
than one way to conquer a country.

-- Raymond Chandler

-



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

From: [e-mail]
Subject: Re: Cecil Taylor at 70
Date: 03 Jul 1999 19:47:04 EDT

well, I don't have too much to add to what Steve and Brian have already said
about the Cecil set on Wednesday. I felt like the miking of the music was so
poor that it was hard to even judge the music because there was a lot
happening that wasn't making its way to our ears.

Steve said:

<<Lovens struck me
strongly... he's busy, inventive, and makes it all seem as effortless as
Billy Higgins and Lewis Nash do in their respective styles.>>

a dead-on comparison here, I think.

as far as Cecil not wanting to work with great horn players, it seems to me
that more and more in the last few years, Cecil has begun to subscribe to the
Sonny Rollins school of hiring inferior musicians, and then dominating them
on stage. I only saw the trio with Duval and Krall once, but this was the
strong feeling I left with, although I may have seen them on a bad night from
other reports. so, I was very glad to see that he was working with Lovens,
although the blowup in the second set on Wednesday may have put an end to
that collaboration.

the Erik M CD on Sonoris that Forced Exposure just got in is one of the best
turntablist records yet. fairly indescribable, from sampladelics to noise
sections to one piece that sounds like a godspeed you black emperor! outtake.
highly recommended.

anyone else having trouble getting much out of this new Evan Parker
Electroacoustic Ensemble record on ECM? I'm starting to think Mr. Eicher has
ruined another record.

Jon
www.erstwhilerecords.com

NP: Nuno Canavarro-Plux Quba (Moikai)

-



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

From: Peter Risser <[e-mail]>
Subject: Digest Catch Up
Date: 03 Jul 1999 17:59:48 -0700 (PDT)

Stop typing so damn fast y'all!

As far as building collections:

I've got almost 1000 CDs.  That came from working in a Record Store for
two years in college, then being single with a decent salaried income
for a while, then working as a review, which was nifty because I got
free CDs to review, which I could keep or sell, then I took the cash I
got for the reviews and bought more CDs.  A nice setup if you can get
it, but a lot of work to hustle them discs.

As for rekkids, I've been collecting Exotica type stuff for about two
years now and have recently shot my collection up from about 50 random
records (from 80's to jazz) to about 500, mostly from hitting thrift
stores and record stores that don't give a damn about vinyl anymore.
Nothing particularly Zorn-related, except the one DNA self-titled
record I found in Hicksville, Ohio.

===

As far as Stravinsky, I don't know much else by him, but Rite of Spring
kicks ass.  Carl Stalling is good, but I only like him in small doses.
I can't get past the cartoons myself.  Ennio Morricone has a bunch of
stuff.  I'd do two things: one, get the Rhino 2-disc comp (I think),
and two, get the Zorn-Morricone tribute discs, the Big Gundown.
Excellent.

Also, I don't know much about Varese, but many people have mentioned
that there are a few double disc sets that have his entire works.  You
want to make sure you have the one that has ... Crap.  The
electro-acoustic piece, the name of which suddenly escapes me.

Sigh.

Peter
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: * % <[e-mail]>
Subject: Re: Young's Well Tuned Piano (harmonic? intonation tuning?)
Date: 03 Jul 1999 22:59:13 CDT

Thanks Dave,
  could you or anyone else either explain to me the technicalities of this
harmonic series (which i don't think i've ever heard of.)  because i'm
studying intensely in so called "atonality"  and also microtonality.  oh...
i'm sorry but... intonation tuning?  please try to explain this to me.

            -samuel yrui
>
>He plays a piano tuned to intervals from the harmonic
>series (just intonation tuning) instead of 12 tone equal
>temperament. Although La Monte is known as the father of
>minimalism, the WTP isn't realy minimalism. Many themes
>that he improvises on for 5 hours. The last performance
>was in 1986 and lasted for more than 6 hours.
>
>You're lucky to find it in a library, it's out of print.
>I suggest making a CD-R copy because it's impossible to find
>used.
>
>I'm a big fan, I've listened to it many times. I suggest
>playing it loud!

>
>
>--
>* 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
>
>-
>
>


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

-



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

From: * % <[e-mail]>
Subject: Steve said: Antioch
Date: 03 Jul 1999 23:24:49 CDT

i have some interest in Antioch.  i was wondering if you or anyone on the
list had any info on the college as far as music goes. (jazz composition,
classical, music theory, etc.)  i've read about them and had the college
counselors talk about them and all that but it's nice to get as many
opinions as possible and i'm sure some of you have gone there, have been
there or knows someone who has, whatnot... yadda yadda.  i would really
appreciate it.  be honest.

                                                -samuel yrui


Steve said:

if I remember the anecdote correctly, it was for presenting
>that concert that a young Gary Giddins got tossed off the live music
>presenting
>committee at Antioch.


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

-



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

From: * % <[e-mail]>
Subject: Prelapse and Horvitz
Date: 03 Jul 1999 23:28:09 CDT

2 questions for anyone:

    1)what is Prelapse?  Who is in it?  etc etc.

     2)what happened to Horvitz? i've heard a few of his compositions and i
like "With the Hammer Down"  enough to be interested in more.  what else
does he have of his own stuff?  and who else has he played with besides
Zorn/Naked City?



Hose Felix wrote:

Zorn-Yes, with the seven albums of Naked City we explored what we
>could
> >        and made a great deal of progress.  But it's like getting to the
> > terminus: arriving at
> >        a place that you cannot go beyond.  I started listening to other
>kinds of
> > music and
> >        saw that there was no reason to go on working with these
>musicians.
>How
> >        many years of working together were they?  Six, seven, I don't
>know
><SNIP>
>
>I'm just sad that I never got to see Naked City play live. They must have
>been really awesome! Oh well, I can only hope that Prelapse will tour
>Europe
>sometime, and maybe, just maybe, come to this little country.
>Speaking of Prelapse (and TO them), will their debut be distributed in
>Europe?
>
>FΘlix
>
>
>-
>


_______________________________________________________________
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-



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

From: * % <[e-mail]>
Subject: Prelapse and Horvitz
Date: 03 Jul 1999 23:27:50 CDT

2 questions for anyone:

    1)what is Prelapse?  Who is in it?  etc etc.

     2)what happened to Horvitz? i've heard a few of his compositions and i
like "With the Hammer Down"  enough to be interested in more.  what else
does he have of his own stuff?  and who else has he played with besides
Zorn/Naked City?

                                -samuel yrui



Hose Felix wrote:

Zorn-Yes, with the seven albums of Naked City we explored what we
>could
> >        and made a great deal of progress.  But it's like getting to the
> > terminus: arriving at
> >        a place that you cannot go beyond.  I started listening to other
>kinds of
> > music and
> >        saw that there was no reason to go on working with these
>musicians.
>How
> >        many years of working together were they?  Six, seven, I don't
>know
><SNIP>
>
>I'm just sad that I never got to see Naked City play live. They must have
>been really awesome! Oh well, I can only hope that Prelapse will tour
>Europe
>sometime, and maybe, just maybe, come to this little country.
>Speaking of Prelapse (and TO them), will their debut be distributed in
>Europe?
>
>FΘlix
>
>
>-
>


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

-



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

From: Lang Thompson <[e-mail]>
Subject: Witches & Devils reissue
Date: 04 Jul 1999 00:47:23 -0400

I saw an upgraded (to 24-bit if I remember correctly) reissue of Ayler's
"Witches & Devils," my favorite of his if only because it was my first.
Has anybody heard this & can tell if the sound is indeed any better than
the Freedom CD (which I never bought).

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

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


-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: anaother cecil taylor review
Date: 04 Jul 1999 09:52:27 +0200

>From: Steve Smith <[e-mail]>
>Subject: Cecil Taylor at 70
>Other voices?


Yes indeed,

a few months ago, Cecil Taylor performed here in antwerp with gerry
hemimgway. It was a really good show: first it had a solo set by
hemimgway... marvellous, he did everything from accoustic playing to working
with his sound signal processor (same working process that AUBE does, you
know). Then it had a very dense solo performance by cecil.
There was a break..... quite some people left (now you understand the word
'dense playing') but those who stayed.... whow, a good duo performace

But as far as i know, this was the only duo performance of them, and it
never made it to record, or am I incorrect???????

Best wishes

stefan

NP Gary Smith: Forgotten room with chairs


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Prelapse and Horvitz
Date: 04 Jul 1999 08:04:34 -0400

At 11:27 PM 7/3/99 CDT, * % wrote:
>
>what happened to Horvitz? i've heard a few of his compositions and i
>like "With the Hammer Down"  enough to be interested in more.  what else
>does he have of his own stuff?  and who else has he played with besides
>Zorn/Naked City?

His current group is Zony Mash.  Other groups with which he has been
involved include Pigpen and the President (the latter was pre-NC, I think).
 I'm not familiar with Zony Mash, but Pigpen and President fall into a sort
of jazz-rock axis, a good deal lighter than NC.  He lives and works in the
Seattle area.

Patrice maintains a discography at
http://www.nwu.edu/jazz/artists/horvitz.wayne/discog.html, which will give
you all the information you could possibly need.

--
Caleb Deupree
[e-mail]

It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing.  There is more
than one way to conquer a country.

-- Raymond Chandler

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Young's Well Tuned Piano (harmonic? intonation tuning?)
Date: 04 Jul 1999 08:09:09 -0400

At 10:59 PM 7/3/99 CDT, * % wrote:
>  could you or anyone else either explain to me the technicalities of this
>harmonic series (which i don't think i've ever heard of.)  because i'm
>studying intensely in so called "atonality"  and also microtonality.  oh...
>i'm sorry but... intonation tuning?  please try to explain this to me.

There's a good site at
http://www-math.cudenver.edu:80/~jstarret/microtone.html which should
answer all your questions (it's not responding at this moment, but I hope
that's a temporary situation).  It has technical explanations and examples.

But a short answer is that the current 12-tone scale (aka equal
temperament) is based on the requirements of keyboard players (where the
keyboard is divided into 12 equal steps), but a more correct (or just)
intonation would follow the mathematical requirements more closely.
Following from this premise, you can divide the octave up into as many
steps as you want.  The maverick American composer Harry Partch, for
example, divided the octave into 43 steps, and built his own instruments to
play his music.

--
Caleb Deupree
[e-mail]

It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing.  There is more
than one way to conquer a country.

-- Raymond Chandler

-



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

From: [e-mail]
Subject: Re: Merzbow
Date: 04 Jul 1999 08:48:48 EDT

50 CD boxset the price is $500 I believe. Merzbow - 1930 is great! Mike
Patton & Masami Akita (Merzbow) will be releasing a project group Maldoror -
She in September.

-



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

From: "Scott" <[e-mail]>
Subject: White Noise update
Date: 04 Jul 1999 16:27:48 +0100

White Noise, Scotland's experimental music listings and reviews site has
just been updated featuring reviews of Beta Band and Dig Block 454 together
with a bunch of other stuff. More updates to follow later this week so keep
checking.

Thanks

Scott Russell


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

-



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

From: [e-mail]
Subject: note to nyers
Date: 04 Jul 1999 12:30:16 -0500


If you didn't know already, and i just discovered this yesterday, both manhattan
tower stores are selling everything priced up to $21.99 for $13.99. Sale ends
Monday. This means imports too. I picked up some HatArt, Avant and DIW titles,
also Jap AACM rereleases.

As for Ayler recs, the complete live in greenwich village is excellent -- a
diverse selection, even if it doesn't really represent his whole, sadly short,
career. And Cecil, the Han Benink duet on FMP previously mentioned I think will
say more about what Cecil's doing -- humor, thunder and minutia than any others
I've heard.



-



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

From: * % <[e-mail]>
Subject: Re: Merzbow
Date: 04 Jul 1999 11:47:39 CDT

and what record label will they be releasing this on?

                            -samuel yrui




>50 CD boxset the price is $500 I believe. Merzbow - 1930 is great! Mike
>Patton & Masami Akita (Merzbow) will be releasing a project group Maldoror
>-
>She in September.
>
>-
>


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

-



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

From: Diego Gruber <[e-mail]>
Subject: Re: Prelapse and Horvitz
Date: 04 Jul 1999 10:33:43 -0500

As for Horvitz, i recommend you visit Zony Mash's website,
www.zonymash.com, they have some really cool mp3s from live
performances, and these are always rotating. I think Zony Mash is a
great band, Wayne's sound is just so clear.

D


> >what happened to Horvitz? i've heard a few of his compositions and i
> >like "With the Hammer Down"  enough to be interested in more.  what else
> >does he have of his own stuff?  and who else has he played with besides
> >Zorn/Naked City?
>
> His current group is Zony Mash.  Other groups with which he has been
> involved include Pigpen and the President (the latter was pre-NC, I think).
>  I'm not familiar with Zony Mash, but Pigpen and President fall into a sort
> of jazz-rock axis, a good deal lighter than NC.  He lives and works in the
> Seattle area.
>



-



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

From: [e-mail]
Subject: re: steve smith digest #663
Date: 04 Jul 1999 12:05:43 -0500


what laswell list? how do i subscribe?






-



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

From: Rick Lopez <[e-mail]>
Subject: I am so sorry...
Date: 28 Jun 1999 21:03:25 -0400

...but, my iMac, into which I had stuffed a few incompatible extensions,
crashed *loud* and wiped my hard-drive. Lost about 30 unanswered
e-mails-- questions, answers, trader biz, assistance, info, etcetera...
Other things too, but I won't burden you.

And so you must forgive the cross-posting, I hope.

Could anyone out there who retained copies of their last e-mails to me
please re-send? Or if you're waiting for a response that hasn't come
just update me me on where the hell we were?

I do appreciate it.

Thanks for your patience,
Rick Lopez
------------------------
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: David Beardsley <[e-mail]>
Subject: Re: Young's Well Tuned Piano
Date: 04 Jul 1999 14:25:41 -0400

"Caleb T. Deupree" <[e-mail]> wrote:

> At 11:57 AM 7/3/99 CDT, * % wrote:
> >question: what is the basic idea or concept behind Young's well tuned piano?
> >  there's is a library near me that has it.  all five cds.  anyone want to
> >tell me about it?
>
> There was a big article about him in the Wire several months ago, where
> they mentioned that he tunes the piano for the performance space, so that
> each performance can have a different tuning.  He requires a guaranteed
> commitment of a certain number of concerts in order to make it worth while.
>  If your library has the CDs, they may have back issues of the Wire, and
> the article is very interesting.

No, each performance has the same tuning, although he's changed
the tuning twice. In 1973 and 1981 he changed a few notes of
the tuning.

He does require a performance space with:

One month for tuning and letting the piano sit to stabilize the tuning,
One month for practice and
One month for performances.

He told me that on the day after a performance, he doesn't even get out
of bed!


* % <[e-mail]> aka samuel yrui writes:

> Thanks Dave,
>   could you or anyone else either explain to me the technicalities of this
> harmonic series (which i don't think i've ever heard of.)  because i'm
> studying intensely in so called "atonality"  and also microtonality.  oh...
> i'm sorry but... intonation tuning?  please try to explain this to me.


For a definition: http://www.dnai.com/~jinetwk/whatisji.html

For more information: http://www.dnai.com/~jinetwk/

To hear some microtonal music, I do a live net cast
every Sunday, 11am-1pm EDST here:

http://www.eroplay.com/luver/luver.html

The play lists & real audio archives here:

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

Check out part one of the June 13, 1999 show, I played
disc 5 of the Well Tuned Piano.


--
* 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: [e-mail]
Subject: ken vandermark
Date: 04 Jul 1999 15:40:44 -0500


i was a little surprised to read here a couple weeks ago the kv won the
macarthur "genius" grant. i've always liked him, but having lived in chicago
(about 6 yrs ago) i couldn't help thinking about more deserving players back
there that should get the prize: ed wilkerson, ernest dawkins, kahil el'zabar...
i'm not going to get into comparisons, but i just got "simpatico" on atavistic
from last year, and kv is fully deserving. it's an amazing disc. strong, rockin,
swingin. he's truly found his voice since i used to see him at lounge ax in the
early 90s. "blow horn" on okkadisc is also great, but not as varied.

somebody here mentioned that this was the 2d macarthur to go to a jazz
performer, but i forgot who it was.

john sayles won a macarthur several years back. now in interviews he refers to
the time "back when i was a genius."



-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: some downtowners go pop
Date: 04 Jul 1999 21:57:41 +0200

Dear all,

Yesterday i picked up an amazing rock record that might be interesting to a
lot of people on this list... believe it or not.

The album is by Jeremy Toback (i believe he is the bass player in a band
called Brad) and the album is called Perfect Flux Thing.

Why is it amazing??? Well just check out the backing-band he is playing
with: Melvin Gibs on bass, Dogie Bowne on drums (so this is probably one of
his latest albums where he plays drums and not drummachines), David Torn on
guitar and Cyro Baptista on percussion. CAN YOU BELIEVE SUCH A THING?????

What the album sounds like: definitely not jazz and thank god, no grunge as
well.. It is an album in the best singer songwriter tradition... quiet,
beautifully arranged songs.

I still have one question... why does this guy have such a great backing
band.... is he somehow downtown connected, and did this band ever performed
live????

I'd like to find out

Best wishes

stefan


-



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

From: "Rick Lopez" <[e-mail]>
Subject: <no subject>
Date: 04 Jul 1999 18:03:59 -0400



Working on the Willi'm Parker discog-- can anyone date the Prima Materia:
Peace on Earth (music of John Coltrane) session at the Knit for me?

Nothing on the disc, the bastards.

Thanks,
RL

Oh, and btw, this is the list of lists, isn't it? And-- good to have you
back, Steve.


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

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: Ken Waxman <[e-mail]>
Subject: Re: Record collections/Reviewing
Date: 04 Jul 1999 18:14:13 -0400 (EDT)

I'm even older than Martin and dabbled in the voodoo of album reviewing
for 20-odd years, besides my regular editing/writing jobs, but
had to give it up for a couple of reasons.

1)Your idea of what is a worthwhile record to review usually differs from
the publication wants and what the record company is pushing. Thus you
end up writing about stuff you really wouldn't want to listen to some
(often, most) of the time and have to wade through acres of second rate
sessions all the time.

2)More seriously, I couldn't "just write about stuff I liked", which Martin
said he did. To me that may add to your record collection, by not pissing
off your record company source, but it's a disservice to your readers. If
averything is an unqualified rave (like the work of certain reviewers),
than everything is suspect because *no one* maks masterpieces every time
out. Sometimes, in fact, arists you like create a session that isn't
that good. To refrain from warning people abouit it (as well as other,
lesser efforts) you've sentencing them to spend their hard-earned cash on
something that isn't worth it.

On a more positive note and talking about something that is good. Sabir
Matten gave a monsyer performance here in Toronto last night when he
sat in for a set with local improv (Toronto) band Spiritual Alignment.
Using all of his horns (alto, tenor, clarinet and flute) and even scat
singing a bit, Sabir was "out there" and ferocious from the word go,
weaving and "dovening" as he played. He spurred the band, to
greater efforts, especially
leader Mark Hundevad whose vibes and drum work has rarely been more incisive.

Those in Toronto can even see them again tonight at All Sass Lorraine at
29 Stafford St. (near King and Strauchan) at 10 p.m.

Ken Waxman

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Bennik/Bailey
Date: 04 Jul 1999 18:32:31 -0400 (EDT)

Talking about Han and derek B. anyone have a strong opinion pro or con
about their dup CD on Incus, han?

ken waxman

-



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

From: [e-mail]
Subject: Re[2]: Bennik/Bailey
Date: 04 Jul 1999 18:40:38 -0500


han, derek and cecil are all of a common stripe for me, and one that's hard for
me to put a finger on. i think they all have languages so unique and personal
that, as a listener, one performance can bring you nearly to tears and the next
leave you cold. i'll take the brunt and say sometimes i don't get it (rather
than sometimes they don't do it). and the distinction is even stronger on
record. that said, the han and derek duo disc didn't really speak to me. if
you're looking for some new derek plastic, rush out and get the duet with joelle
leandre that came out last year (sorry i don't have title/label info with me at
work). beauty.
________________



-



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

From: "Dave Egan" <[e-mail]>
Subject: Han Bennik at Vancouver
Date: 04 Jul 1999 15:59:17 -0700

Speaking of Han Bennick, I had the treat of seeing him yesterday at the
DuMaurier Jazz Festival in Vancouver.  I hadn't seen or heard of him before,
so it was definitely a delightful treat.  In fact, I'd say it was the
highlight of my weekend up there.  The group was Paul Plimley, a pianist
from Vancouver, Greg Cohen on bass and Han, playing drums and uh, objects.
Han is Dutch, and maybe 50, and I heard someone refer to him as an elf.  I
was thinking of him as more like a mountain goat though, with a crew cut,
big floppy hiking shorts and vibram-soled boots.  At the beginning of the
set, he leapt onto the stage, landed cross-legged in the front, and played a
piece of cardboard, his shoes and the stage with his sticks.  Later in the
set, he was playing the drums and juggling a towel at the same time.  I
think he also could have cooked an egg on his forehead at the same time, had
there been one available.  He certainly looks fit, and I know where he gets
his workouts.  Unfortunately, I'm not a reviewer, so I don't really have
words to describe the music.  I can tell you though that it was as fun and
exciting to listen to as it was to watch.  Certainly a worthwhile listen.
Plimley plays in kind of a Cecil Taylor vein, but a little more accessible,
as he sprinkles in a lot of quotes.  Han was a great match for Paul's style,
as he played lots of cluster-rhythyms as well.  It WAS an exciting show!  At
one point, Han broke one of his sticks.  He was playing so hard that one
piece of the stick flew out into the audience and hit someone in the row in
front of us.  I mean, like a line drive to her forehead!  Han leapt off the
stage and into the audience to see if she was OK, which fortunately she was.
A small child was frightened by this, and had to leave, but I certainly had
more fun at the show than I've had in quite a while.

In a little over 24 hours, I saw the above show, Charlie Hunter, Zony Mash
and Dave Douglas.  Quite a weekend, and I can't wait for next year.  Viva
Vancouver!

- Dave


-----Original Message-----
[mailto:[e-mail]]On Behalf Of Ken Waxman
Sent: Sunday, July 04, 1999 3:33 PM
Cc: [e-mail]


Talking about Han and derek B. anyone have a strong opinion pro or con
about their dup CD on Incus, han?

ken waxman

-


-



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

From: [e-mail]
Subject: Re: Bennink/Bailey
Date: 04 Jul 1999 19:21:45 EDT


In a message dated 7/4/99 6:43:27 PM, [e-mail] writes:

<< the han and derek duo disc didn't really speak to me. if
you're looking for some new derek plastic, rush out and get the duet with
joelle
leandre that came out last year (sorry i don't have title/label info with me
at
work). beauty. >>

yeah, I'd agree more or less with both of these assessments. the Leandre duo
is called No Waiting (Potlatch).

the Derek/Han duo CD which I prefer to Han is Derek Bailey/Han Bennink (Organ
of Corti). Han was recorded in 1986, while the Organ of Corti one was
recorded in 1972.

if you haven't picked up the new Beefheart box on Revenant yet, save yourself
the 80 or so bucks. the book is unbelievably great, both in terms of content
and packaging, but the music isn't something I'm going to come back to much.
for serious hard-core fans only. borrow a friend's and read the book, though.

damn, it's hot out.

Jon

NP: Paul Panhuysen-Partitas For Long Strings (XI)

-



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

From: [e-mail]
Subject: Re: Han Bennink at Vancouver
Date: 04 Jul 1999 19:32:22 EDT


In a message dated 7/4/99 7:24:03 PM, [e-mail] writes:

<< Han is Dutch, and maybe 50, >>

57, for what it's worth. 50 would have made him 15 years old when he played
on Dolphy's Last Date in 1964. being 22 on that date is impressive enough.

<<At one point, Han broke one of his sticks.  He was playing so hard that one
piece of the stick flew out into the audience and hit someone in the row in
front of us.  I mean, like a line drive to her forehead!>>

one of the handful of best shows I've ever seen was the Clusone Trio at
midnight a bunch of What Is Jazz? festivals ago. we were in the front row,
and during the set, one of Bennink's sticks whizzed by my friend's head,
sitting on the end of the row, missing him by no more than an inch. he was
writing on his pad at the time and didn't even notice. just thought I'd share.

Jon
www.erstwhilerecords.com

-



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

From: David Beardsley <[e-mail]>
Subject: Re: Zorn List Digest V2 #696
Date: 04 Jul 1999 19:44:47 -0400

"Caleb T. Deupree" <[e-mail]> wrote:

> There's a good site at
> http://www-math.cudenver.edu:80/~jstarret/microtone.html which should
> answer all your questions (it's not responding at this moment, but I hope
> that's a temporary situation).  It has technical explanations and examples.
>
> But a short answer is that the current 12-tone scale (aka equal
> temperament) is based on the requirements of keyboard players (where the
> keyboard is divided into 12 equal steps)

...to modulate in to all 12 keys - in tune. Before the time
of 12tet there were meantone tunings and well temperaments
which were designed to to give in-tune thirds and fifths
in *most* keys. Just Inonation gives intervals in tune
with the natural harmonic series (it's always in tune)
and 12tet is always a compromise.

>, but a more correct (or just)
> intonation would follow the mathematical requirements more closely.
> Following from this premise, you can divide the octave up into as many
> steps as you want.  The maverick American composer Harry Partch, for
> example, divided the octave into 43 steps, and built his own instruments to
> play his music.

You can divide the octave any way. Harry used just intonation,
but folks also divide it with temperaments other than 12 like
19 o 31 or 96 or whatever.

And to make this thread Zorn-worthy...

I really love that Tzadik cd Patterns of Plants,
it's much better that the previous Fujieda cd
on Tzadik. Very Lou Harrison influenced.


--
* 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: [e-mail] (Dave Trenkel)
Subject: Re: Beefheart box, was Bennink/Bailey
Date: 04 Jul 1999 17:14:56 -0700

At 7:21 PM 7/4/99, [e-mail] wrote:
>
>if you haven't picked up the new Beefheart box on Revenant yet, save yourself
>the 80 or so bucks. the book is unbelievably great, both in terms of content
>and packaging, but the music isn't something I'm going to come back to much.
>for serious hard-core fans only. borrow a friend's and read the book, though.
>
Much as I wanted to like the Beefheart box, I have to agree here. There's
some really great material among the 4 and a bit CD's, but it's really
tiresome slogging through all of it. But the book is a great read, I'd like
to see it extended and published seperately. Speaking of which, has anyone
read Bill Harkleroad's book on the Beefheart experience yet?

The Buddah extended re-issue of Beefheart's Mirror Man, however, is excellent!

________________________________________________________
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: Joseph Zitt <[e-mail]>
Subject: Re: Young's Well Tuned Piano (harmonic? intonation tuning?)
Date: 04 Jul 1999 20:51:18 -0400

On Sat, Jul 03, 1999 at 10:59:13PM -0500, * % wrote:
> Thanks Dave,
>   could you or anyone else either explain to me the technicalities of this
> harmonic series (which i don't think i've ever heard of.)  because i'm
> studying intensely in so called "atonality"  and also microtonality.  oh...
> i'm sorry but... intonation tuning?  please try to explain this to me.

Try these: http://home.earthlink.net/~kgann/tuning.html
           http://home.earthlink.net/~kgann/wtp.html

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: s~Z <[e-mail]>
Subject: Re: Beefheart box
Date: 04 Jul 1999 18:22:26 -0700

> At 7:21 PM 7/4/99, [e-mail] wrote:
> >
> >for serious hard-core fans only. borrow a friend's and read the book, though.

Agreed. Serious hard-core fans will have non-stop delight. Just returned
from a vacation with a friend with whom I saw Beefheart live a half
dozen times. We listened to the entire set straight through during a 7
hour drive. Absolute ecstasy. What a documentation of the evolution of a
rare artist. But, again...anyone less than a serious hard-core fan need
not apply.

-



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

From: "Matthew" <[e-mail]>
Subject: Record Advice
Date: 13 Jun 1999 22:31:14 -0400


Can anyone recommend/ comment upon the following:

solos works from E. Friedlander or Mark Feldman?

New and Used?



where should one start with John Lurie/Lounge Lizards?


-



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

From: "Julian" <[e-mail]>
Subject: Re: Record Advice
Date: 05 Jul 1999 12:26:11 +1000

> where should one start with John Lurie/Lounge Lizards?

The first album, self-titled. An amazing blend of arrangement and
improvisation.


-



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

From: Diego Gruber <[e-mail]>
Subject: Re: Merzbow
Date: 04 Jul 1999 12:34:10 -0500

mike patton's ipecac

D

* % wrote:
>
> and what record label will they be releasing this on?
>
>                                                         -samuel yrui
>
> >50 CD boxset the price is $500 I believe. Merzbow - 1930 is great! Mike
> >Patton & Masami Akita (Merzbow) will be releasing a project group Maldoror
> >-
> >She in September.
> >
> >-
> >
>
> _______________________________________________________________
> Get Free Email and Do More On The Web. Visit http://www.msn.com
>
> -


-



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

From: Perfect Sound Forever <[e-mail]>
Subject: Re: Record collections/Reviewing
Date: 04 Jul 1999 23:36:15 -0400

Ken- you are 800% right with what you've said about music
reviewing/writing.  One reason I do a zine myself is because if I truly
believe in an artist or an opinion or idea, I don't have to get some stupid
bastard to believe that it is something legitimate and worthwhile.  I've
hounded editors for MONTHS about a good idea only to be told to do the
assignment at the last minute or blown off as someone else is given the job.

Like the rest of the music industry, writing is a huge circle-jerk of
knowing the right people and smooching the right butts.  Anyone who ever
tells you otherwise is either sadly deluded or a damned liar.  Sorry to
sound so bitter and negative but it's the truth- people I know who've
worked at this before I was born have much worse stories and are even more
disgusted than I am (if you can imagine that).

Best,
Jason

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

-



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

From: Steve Smith <[e-mail]>
Subject: Dissonant Characters [was Re: Han Bennik at Vancouver]
Date: 05 Jul 1999 00:31:31 -0400

While we're all on the subject of Han Bennink, I'd like to wholeheartedly
recommend the new hatOLOGY issue 'Dissonant Characters' by Han and Ellery
Eskelin.  Having been a part of the process by which these two characters were
first introduced, I earned a "thank you" on the CD.  The liner notes indicate
that the two developed a great mutual respect for one another in their initial
duo performance at the Knitting Factory in early 1997 (this is where my
involvement took place - I got Ellery that gig, on the advice of writer John
Corbett), and it's really exciting to see that this one-time occasion not only
blossomed into a musicial relationship but also has been documented for all to
hear.

But even if I had not been in any way involved, I'd still recommend the disc as
a great example of two musicians who work the outside informed by a deep
knowledge of the inside.  They play freely, but they swing hard as well.

The more I hear of Ellery, the fonder I become.  Just during the last few weeks
I've heard him playing free improvs with Gerry Hemingway and Matt Moran at the
Internet Cafe.  I missed him last week with Drew Gress, but plan to catch him
with William Parker on Tuesday night.  In every such instance I've found him to
be a unique and singular player.  And his hatOLOGY discs with Andrea Parkins and
Jim Black, 'One Great Day...' and 'Kulak, 29 & 30' are both quite exceptional.
(I have to suspect that the Songlines release by the same trio, 'Jazz Trash,' is
just as good, but I've not heard it in a long, long time, as someone borrowed my
copy and never returned it...).

Steve Smith
[e-mail]


-



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

From: [e-mail]
Subject: Re: Dissonant Characters [was Re: Han Bennink at Vancouver]
Date: 05 Jul 1999 01:06:01 EDT


In a message dated 7/5/99 12:33:07 AM, [e-mail] writes:

<< While we're all on the subject of Han Bennink, I'd like to wholeheartedly
recommend the new hatOLOGY issue 'Dissonant Characters' by Han and Ellery
Eskelin.  Having been a part of the process by which these two characters were
first introduced, I earned a "thank you" on the CD.  The liner notes indicate
that the two developed a great mutual respect for one another in their initial
duo performance at the Knitting Factory in early 1997  >>

I remember this show as being disappointing, especially because I'm a big fan
of both musicians. but since it was their initial performance, I wouldn't be
surprised at all if the CD is great.

my Eskelin recommendation is The Sun Died (Soul Note), a superb Gene Ammons
tribute record with Marc Ribot and Kenny Wolleson. one of my favorite more
"mainstream" records of the nineties, keeping in mind that my definition of
the mainstream is pretty uniquely skewed.

Jon
NP: The Sun Died

-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Merzbow
Date: 04 Jul 1999 22:25:27 -0700 (PDT)

On Sun, 4 Jul 1999, Diego Gruber wrote:

> mike patton's ipecac

actually, i believe the 50 CD boxset will be
released by Extreme (in Australia), if it ever happens.

hasta.

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


-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: Re: jeremy toback
Date: 05 Jul 1999 07:26:21 +0200


This is an interesting response i got concerning jeremy tobback

best wishes

stefan verstraeten
-----Original Message-----


>well, i can answer yr question, but i have 2 send it 2 u
>directly cuz i am not @ home and my mail will not post 2
>the zorn list. if u like, u can copy this and post it 2
>the list.
>
>i used 2 work @ bearsville studios, where a great deal of
>this record was done. it was produced by craig street,
>correct? melvin was hysterical. the record was recorded in
>the barn and he said, "i can't work here. there's deer
>here." (the studio is out in the woods surrounded by
>nature, wildlife, etc).
>
>craig was really big into the downtown scene. he used
>these guys on tons of projects that he produced. it was
>always the same people. i only worked on it for the 1st
>couple days, then i had 2 go help on the jewel record, but
>my friend scott worked on the whole thing. i worked w/
>craig and danny (the engineer) on another record by jeb
>loy nichols. cyro showed up on that session also. john
>medeski did some stuff on that also. so, the downtown
>lineup is craig's doing.
>
>ironically, i don't know if craig was entirely pleased w/
>how that record came out.
>


-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: merzbow label release
Date: 05 Jul 1999 07:18:57 +0200

>From: * % <[e-mail]>
>Subject: Re: Merzbow
>
>and what record label will they be releasing this on?
>>50 CD boxset the price is $500 I believe.

it will be out on the extreme label

www.xtr.com

if you pay 500$ in advance, you will receive a double cd of unissued tracks
by merzbow

best wishes

stefan


-



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

From: [e-mail]
Subject: Re: merzbow label release
Date: 05 Jul 1999 01:48:05 EDT


In a message dated 7/5/99 1:29:45 AM, [e-mail] writes:

<< it will be out on the extreme label

www.xtr.com

if you pay 500$ in advance, you will receive a double cd of unissued tracks
by merzbow >>

this was supposed to be the case if you ordered one in advance a couple of
years ago, but they've stopped answering their e-mails for months now. I'll
believe this is actually coming out when I see one.

I'm not a huge Merzbow fan, although I know plenty of them, but there's a
very common misconception that all his discs sound the same, a wall of
largely undifferentiated noise. this is true for a lot of them, granted, but
there are some that are pretty great electroacoustic music. the ones I'd
suggest are the two volumes of Music For Bondage Performance (Extreme) and
The Prosperity Of Vice, The Misfortune Of Virtue (Che), which is under the
name Masami Akita.

I know I'm going to get massive disagreement on this, but I thought his Victo
concert was actually not loud enough. I heard that's what he thought also.
don't get me wrong, it was still massively loud, and when it ended,
re-entering a world without his overpowering music filling it was pretty
shocking. but I still expected him to push it further.

Jon

-



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

From: Herb Levy <[e-mail]>
Subject: Zorn in RealAudio
Date: 04 Jul 1999 23:01:22 -0700

Hi all,

This week's edition of Mappings, my weekly Internet radio show, presents
five compositions by Zorn created and performed by other players.  Works
include Road Runner, Aporias, Que Tran, Carny, & Music for Children.

<http://www.antennaradio.com/avant/mappings/index.htm>

Hope y'all like it.

Bests,

Herb


Herb Levy
[e-mail]



-



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

From: Stephen Fruitman <[e-mail]>
Subject: Ponga (w/ Horvitz & Previte)
Date: 05 Jul 1999 12:15:57 +0200

Ponga (Loosegroove Records)

I haven=B4t seen any comments about this terrific record on the list -
veterans Bobby Previte and Wayne Horvitz team up with younger talents
Skerik (on sax and electronic manipulation) and Dave Palmer (keys) and
create a rough and ready, powerful and yet not overpowering mix of avant
jazz and illbient. Not an idle moment or unsuccessfully realized idea, and
there=B4s even a bonus track to rumble you back to your senses at the end.
One of the year=B4s nicest surprises.

Stephen Fruitman




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

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



-



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

From: [e-mail]
Subject: Re: Where's Steve Smith Been? [was Re: shannon jackson]
Date: 05 Jul 1999 10:22:05 EDT

In a message dated 7/3/99 12:45:10 PM Eastern Daylight Time,
[e-mail] writes:

> Can I just take a moment out to mention what a wonder it is to have a
>  girlfriend who's keenly interested in attending Zorn/Frith/Laswell/Lombardo
>  and Cecil Taylor shows with me, who is able to discuss them with me
>  intelligently and vigorously afterward, and who takes me to hear things
like
>  Abbey Lincoln and a recent Vernon Reid-led multi-artist tribute to Joni
>  Mitchell in return?

Stop braggin' already!  :-)  Some of us would settle for a girlfriend whos
into Ricky Martin (or anything else for that matter).

BTW- I'm dying to know how that Joni mitchell tribute show was.

-Jody

-



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

From: [e-mail]
Subject: Re:  Zorn List Digest V2 #696
Date: 05 Jul 1999 11:16:14 EDT

Hello Zorn list. My name is Patrick Brown and I live in Denver. I have been
subscribed for a while here and just "listening" to what's been going on.
This is a really swell list that I hope I can contribute to in some way. I
used to live in NYC from 1987-1991 (going to NYU) and saw Zorn a few times in
that period - best show was probably a spring '91 show of Naked City on the
"Torture Garden" tour. I got into Zorn through Fred Frith (who I learned
about through the Residents and Ralph Records), but really didn't develop
much of a taste for Knit-type artists until 1990, so I missed tons and tons
of phenomenal shows in the early Knit years, many by artists who are now dead
(Sun Ra, Sonny Sharrock, did get to see tom Cora at least once, but maybe
only once if I remember right). Anyway, recent discussions have prompted me
to jump in with my two cents here:

Ken Waxman wrote re: CD collections and reviewing:
<<I couldn't "just write about stuff I liked", which Martin said he did. To
me that may add to your record collection, by not pissing off your record
company source, but it's a disservice to your readers. If averything is an
unqualified rave (like the work of certain reviewers), than everything is
suspect because *no one* maks masterpieces every time out. Sometimes, in
fact, arists you like create a session that isn't that good. To refrain from
warning people abouit it (as well as other,
lesser efforts) you've sentencing them to spend their hard-earned cash on
something that isn't worth it.>>

Just writing about stuff you like doesn't mean giving a rave every time out.
I prefer a reviewer who mainly sticks to what they're interested in so that
they provide me with a body of critical work from which to assess their
opinion. If someone shows me repeatedly that they like and respect P-Funk and
related projects, their opinion on such matters (both P-Funk and funk in
general) will carry more weight than someone who's reviewing the latest pop
splash alongside the new Dave Douglas alongside some Lou Reed reissue. I
admire the breadth of the latter person, but I'd go to the former for P-Funk
advice, especially if, as you suggest, they can make the distinction between
greater and lesser sessions. But IMO, any aritst worth their salt is going to
be worth hearing even in their worst moments, although maybe not owning,
which is where the job of said reviewer would come in. Who knows? The role of
the critic in the larger scheme of things is pretty ill-defined.

Patrick M. Brown
[e-mail]

-



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

From: Rich Williams <[e-mail]>
Subject: Re: Cecil Taylor at 70
Date: 05 Jul 1999 11:34:45 -0400

>Steve smith wrote;
>
>2. The piano was miked atrociously in the first set.  Tons of detail was
>lost.  This was my girlfriend's first time to hear CT and she felt that
>she missed out on a great deal that would have added to her
>appreciation, especially in CT's deployment of harmonic voicings,


and Brian Olewnick wrote

>
>It may have been partially due to the poor sound system, but with the
>bassist all but inaudible and Sjostram rarely interjecting anything of
much note,

and Jon Abbey wrote;
>
>I felt like the miking of the music was so
>poor that it was hard to even judge the music because there was a lot
>happening that wasn't making its way to our ears.


    It's the Cecil Taylor curse I tell ya!!....seriously though,
after seeing Cecil a few times, I'm beginning to think that that kind
of stuff is part of his concept.  I spent a couple of nights around
1987 at the old Carlos 1 club, trying to spur Cecil's interest in a
collaboration w/Sonny Sharrock.
He had a potentially killer band w/ The rev Frank Wright, Karen
Borca, William Parker...but what a sonic disaster! Cecil opened one
set with a long solo piece...while the restaraunts background music
was still playing, and was not shut off until well into the piece,
Cecil didn't seem to bat an eyelash. The Rev. Wright seemed to be in
a state of disrepair,  Karen Borca played her Bassoon next to an amp
that had the wire hanging off, disconnected (prompting Sonny to
nickname her Linda MaCartney....;-). and the houses attempt at
miking/amplification was atrocious.
    Has Anyone seen a well mixed, well presented CT gig?

RW


-



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

From: Rich Williams <[e-mail]>
Subject: LP set-sale (Shameless self promotion)
Date: 05 Jul 1999 11:14:02 -0400



    I've finally decided to take the axe to the last of my Vinyl
collection, as well as some CD's, tapes, periodicals and  memorabilia
that's cramping my living space....so anyone interested in such stuff
as the Ogun label material, Recommended records, Keith Tippett,
Frith, Sharrock, a bit of zorn etc... and a whole bunch more obscure
and mostly out-of-print stuff should check out my sale pages at;

www.geocities.com/SunsetStrip/Venue/4306/garage/index.html

    I think the prices are fair(at least compared to what I've
seen on the net and in used shops),
and I expect the good stuff to go fast. and hey...where else are you
going to find an Art Bears single?

Thanks,

RW




-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Han Bennik at Vancouver
Date: 05 Jul 1999 11:50:23 -0400 (EDT)

Yes, Bennik is ok in small doses. But, unfortunately, the schtick you
saw in Vancouver is his usual "show". I've seen him two or three times
and find what is interesting the first couple of run throughs, becomes
vaudeville when it's done too often.

Plimley is a quirky, humorous, experimental pianist who has recorded in a
variety of settings. He has a new, bang-up trio session on Victo (with
Lisle Ellis-b and Scott Amedola-d) called Safe Cracker and is about to
record a solo piano disc of Zappa material for hatArt.

BTW what happend to Plimley's other trio? He was supposed to play in
Vancouver with William Parker and Gerry Hemingway? Was what you saw an
addendum or a replacement?

Additionally, it would seem that improv keeps you young. Han is a lot
closer to 60 than 50.

Ken Waxman

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Significanr others and music
Date: 05 Jul 1999 12:09:04 -0400 (EDT)

Well if we have to have bragging rights, I'll jump right iere. My wife,
besides her other attributes is a talented photographer. One of his
specialities (guess why) is jazz/improv musicians in performance, work
that has impressed among others Barry Guy, Gerry Hemingway, David Murray,
Kidd Jordan, Domenic Duval, Mario Schiano, John Butcher and Burton Greene.

If you want to see an example of her work check John Butcher's entry in
his section of the European Free Improvisers Page or the pix on his new
CD with Georg Graewe on Nuscope.

Come to think of it, if anyone's looking for an excellent photo of some
musican, for a present or to use on a CD, e-mail me and I can send you
her list. Her prices for reproductions are quite reasonable.

Ken Waxman
[e-mail]





On Mon, 5 Jul 1999 [e-mail] wrote:

> In a message dated 7/3/99 12:45:10 PM Eastern Daylight Time,
> [e-mail] writes:
>
> > Can I just take a moment out to mention what a wonder it is to have a
> >  girlfriend who's keenly interested in attending Zorn/Frith/Laswell/Lombardo
> >  and Cecil Taylor shows with me, who is able to discuss them with me
> >  intelligently and vigorously afterward, and who takes me to hear things
> like
> >  Abbey Lincoln and a recent Vernon Reid-led multi-artist tribute to Joni
> >  Mitchell in return?
>
> Stop braggin' already!  :-)  Some of us would settle for a girlfriend whos
> into Ricky Martin (or anything else for that matter).
>
> BTW- I'm dying to know how that Joni mitchell tribute show was.
>
> -Jody
>
> -
>
>

-



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

From: [e-mail]
Subject: Re: Cecil Taylor at 70
Date: 05 Jul 1999 12:08:27 EDT


In a message dated 7/5/99 11:36:16 AM, [e-mail] writes:

<< Has Anyone seen a well mixed, well presented CT gig? >>

sure. he sounded great at a couple of solo sets at the Knitting Factory over
the last few years. and also at the Vanguard a few years back, with a band
including Tristan Honsinger, Harry Sjostrom, and I can't remember who else.

Jon

-



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

From: s~Z <[e-mail]>
Subject: Re: Where's Steve Smith Been? [was Re: shannon jackson]
Date: 05 Jul 1999 09:18:27 -0700

[e-mail] wrote:
>
> Stop braggin' already!  :-)  Some of us would settle for a girlfriend whos
> into Ricky Martin (or anything else for that matter).

My wife can't stand listening to the likes of Cecil Taylor on
recordings, but put her next to me in the front row face to face with
the master and her mouth's hanging open and she's covered with
gooseflesh. She  thoroughly enjoys every performance I (no longer have
to) drag her to.

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: re: laswell list
Date: 04 Jul 1999 13:53:56 -0400

At 12:05 PM 7/4/99 -0500, [e-mail] wrote:
>
>what laswell list? how do i subscribe?

http://www.onelist.net/viewarchive.cgi?listname=laswell

--
Caleb Deupree
[e-mail]

It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing.  There is more
than one way to conquer a country.

-- Raymond Chandler




-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: han ..... the hit guy
Date: 05 Jul 1999 18:52:37 +0200

>From: [e-mail]
>Subject: Re: Han Bennink at Vancouver
><<At one point, Han broke one of his sticks.  He was playing so hard that
one
>piece of the stick flew out into the audience and hit someone in the row in
>front of us.  I mean, like a line drive to her forehead!>>


ahem, this sounds familiar:
when he performed with clusone in ghent.... same stuff... playing so hard
that a stick broke, went into the audience.... and the end hit me
forehead...

han looked up.... looked at my head and saw a little blood and answered.....
i'll aim for your eye next time........

that day, han became god for me

stefan verstraeten


-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: merzbox release.........
Date: 05 Jul 1999 19:05:20 +0200

>From: [e-mail]
>Subject: Re: merzbow label release
>
>In a message dated 7/5/99 1:29:45 AM, [e-mail]
writes:
>
><< it will be out on the extreme label
>
>www.xtr.com
>
>if you pay 500$ in advance, you will receive a double cd of unissued tracks
>by merzbow >>
>
>this was supposed to be the case if you ordered one in advance a couple of
>years ago, but they've stopped answering their e-mails for months now.

Yes i know of this problem.
During the time I was not on the zornlist.... Yves Dewulf (my belgian buddy
in crime..... hi Yves) mentioned the problems concerning the extreme label.
I have to admit it, I was quite in schock when I heard the news.... what
about the 500$ that was paid? Anyway, I contacted the labelowner on his
private email address, and he did admit that he was not responding to his
emails. Anyway he is back on track now, and apologized for being absent. He
told me he had to leave for some time because of personal reasons (whatever
that might be).

As a lot of people, I am looking forward seeing the release of that box

Best wishes

stefan


-



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

From: "David J. Keffer" <[e-mail]>
Subject: George Lewis Rec
Date: 05 Jul 1999 13:24:21 -0400


Somebody on this list recommended George Lewis's
"Homage to Charles Parker" last week or the week
before.  I picked this and it is, as was predicted,
just fantastic.  Whoever made the rec, thanks!

How about comments on 2 other George Lewis records:
"Changing with the Times" on New World Records
"Monads-Triple Slow Mix-Cycle" on Black Saint

David K.


-



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

From: "Dave Egan" <[e-mail]>
Subject: RE: Han Bennik at Vancouver
Date: 05 Jul 1999 10:25:31 -0700

> Yes, Bennik is ok in small doses. But, unfortunately, the schtick
> you saw in Vancouver is his usual "show". I've seen him two or
> three times and find what is interesting the first couple of run
> throughs, becomes vaudeville when it's done too often.
No doubt part of my delight at the show was that I had no idea what to
expect.  Aside from the schtick though, I thought the music stood well on
its own.  Plimley and Bennink are a very sympathetic pair, and Cohen
certainly kept up as well.  OK, Bennink is pretty over-the-top.  Humor
definitely has a place on stage though.  Some of the best shows I've seen
are ones where people are obviously having a lot of fun on stage.  One that
comes to mind is a Bill Frisell and Joey Baron duo from a couple of years
ago.  They were grinning and mugging at each other and pulling the (musical)
rug out from under each other all night.  For me at least it was an
exceptional show, in no small part because of the humor.  Both guys were
taking chances that enriched the music tremendously.

> BTW what happend to Plimley's other trio? He was supposed to
> play in Vancouver with William Parker and Gerry Hemingway?
> Was what you saw an addendum or a replacement?
Actually, Plimley played in six different groups during the run of the
festival.  I live in Seattle, and was only up there during this one show.  I
definitely plan on spending more time in Vancouver next year though.

- Dave


-



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

From: Yves Dewulf <[e-mail]>
Subject: Re: han ..... the hit guy
Date: 05 Jul 1999 19:27:06 +0200


> ahem, this sounds familiar:
> when he performed with clusone in ghent.... same stuff... playing so hard
> that a stick broke, went into the audience.... and the end hit me
> forehead...

  I'm glad he missed me....(I was sitting in the frontrow, and
  the stick just missed my right ear!)...or maybe not so glad,
  it must be a beautiful piercing you're having!
  What a way to impress your friends.

  By the way, Bennink is also making little artworks with the remnants
  of his demolished drum-skins and sticks, and he has a lot of them.

  YVes



-



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

From: "Dave Egan" <[e-mail]>
Subject: RE: Ponga (w/ Horvitz & Previte)
Date: 05 Jul 1999 10:30:15 -0700

I'd certainly second your recommendation of the Ponga CD.  Very sharp.

Definitely in the rumor category, I heard that there might be a west coast
tour this fall.  I'll keep my ears bent for details.

- Dave


-



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

From: William York <[e-mail]>
Subject: Lounge Lizards
Date: 05 Jul 1999 13:36:26 -0400 (EDT)

> > where should one start with John Lurie/Lounge Lizards?
>
> The first album, self-titled. An amazing blend of arrangement and
> improvisation.

I agree.  I've listened to this about 100 times in the last year, although
I actually just have a tape copy.  Is this still officially in print on
CD?  Alos, its worth pointing out that they've changed a lot from the
first one (1981?) where they were a five piece and mostly doing
head-solos-head stuff, to the recent 9 (?) piece group which uses more
elaborate arrangements (see "Queen of all Ears").

WY


-



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

From: William York <[e-mail]>
Subject: Merzbow, Dumitrescu
Date: 05 Jul 1999 13:49:16 -0400 (EDT)

> I'm not a huge Merzbow fan, although I know plenty of them, but there's a
> very common misconception that all his discs sound the same, a wall of
> largely undifferentiated noise. this is true for a lot of them, granted,but
> there are some that are pretty great electroacoustic music. the ones I'd
> suggest are the two volumes of Music For Bondage Performance (Extreme) and
> The Prosperity Of Vice, The Misfortune Of Virtue (Che), which is under the
> name Masami Akita.

I've been meaning to ask about this, because I recently heard some of his
from 1985-6 (something with a long title, starting with the letter 'B'),
and it was surprisingly un-extreme.  In the liner notes he called it 'fake
electro-acoustic music', I think, dedicated to the INA-GRM, Wergo, and
(some other that I'm forgetting) labels.  Very different than _1930_ on
Tzadik, which is much more relentless and brutal, yet still not
undifferentiated.  What about the _Rainbow Electronics_ CD?  I've heard
that this is a good one but noticed that there are two different versions
of it.

While I'm at it, can anyone who has heard Iancu Dumitrescu's "Pierres
Sacrees" tell me if there is anything similar in either his or anyone
else's work?  Specifically, it's the distortion sound that I'm interested
in - I've never heard anything like it.  I've heard two other CDs of his
(Medium III and another that's split with Ana Maria Avram) and haven't
heard anything in this vein.

Thanks,

WY



-



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

From: "Artur Nowak" <[e-mail]>
Subject: Anthony Coleman live in Cracow
Date: 05 Jul 1999 19:54:16 +0200

Hi Philozorners!

A week ago I was lucky to see Antony Coleman's Sephardic Tinge performing
live in Cracow at the 9th Jewish Art Festival. The show was almost 2 hours
long and ended with three encores. Anthony played piano (for those of you
who heard none of his two Tzadik records) with Ben Street (bass), who was
late because his missed the flight to Cracow and Michael Sarin (drums), who
had surgery a week ago - now you know what I mean saying "I was lucky"  ;-)

The played sephardic tunes mostly, and Anthony mixed them with latin rhythms
and samba, cha-cha or mambo elements. Jazz was only a platform for free
inprovisation and movement between different influences. His playing was
very rytmic, practicly, he is using the piano as multiple percussive
instrumets (if you think of the hammers in it, piano almost is a percussive
instrument) hitting fast very near or the same notes. It reminded me of a
mentally ill person who spends hours making tremolos with fingers on the
table. This was very "scary" element in Anthony's playing. Most of the
melodies he played were just beautifull, very harmonic, and this "banging on
the piano" was a kind of counterweight for the melodies. Because there was
not much space left for the drum patterns Michael was playing different
percussive instruments, practicly making noisy textures, not rythms.
Sometimes he used one instrument just for one sound. It was far away from
his playing with Dave Douglas in the string project. Some moments were very
quiet, you could hardly hear the instruments (and one f$%# photographer was
making pictures), some moments very loud, when Anthony fell into a kind of
"trance" at the keyboard. He also played by picking the strings inside of
the piano, but to my suprose, he played melodies, to the usual noise like
some other "avant" piano players.

Coleman was in a good mood, drinking somethin between the tunes and telling
funny stories like "when I was in ex-Yugoslavia with my ex-wife..." and
jewish jokes. He wanted to say more, or even stop playing and concentrate on
the dialog with the audience. I met Anthony once again on Wednesday during
the intermission before Michael Alpert's performance, he was very nice,
talking to almost everybody who met him there. I can say that he is a very
interresting person, not only very original musician.

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


-



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

From: s~Z <[e-mail]>
Subject: [Fwd: [Fwd: URGENT/SY GEAR STOLEN! --> please forward!]]
Date: 05 Jul 1999 11:35:51 -0700

[e-mail] wrote:

> >
> >>Date: Sun, 04 Jul 1999 22:05:58 -0700
> >>From: bofus? <[e-mail]>
> >>Organization: http://hootpage.com
> >>MIME-Version: 1.0
> >>To: [e-mail]
> >>Subject: URGENT/SY GEAR STOLEN! --> please forward!
> >>
> >>[e-mail] wrote:
> >>>
> >>>
> >>>  URGENT/SY GEAR STOLEN!
> >>>
> >>>  july 4 1999 LA/Orange County
> >>>
> >>>
> >>>  Hello all, this is Lee from Sonic Youth
> >>>  here, we have had a fucked up situation
> >>>  come down on us over this last night--a
> >>>  brand new Ryder truck parked at a Ramada
> >>>  Inn in Orange County with ALL OF OUR GEAR
> >>>  IN IT was STOLEN! All of our guitars,
> >>>  tools, amplifiers, drums, synth --
> >>>  EVERYTHING. We are fucked, both for the
> >>>  show tonight at the "This Ain't No Picnic"
> >>>  here in Orange Co., and for shows upcoming
> >>>  this week in Austin and Santa Fe. Our
> >>>  guitars are all mostly older and either
> >>>  very modified and/or fucked up/beat up.
> >>>  They are unmistakably ours, as are some of
> >>>  the amps, including my own 60s Fender
> >>>  Concert with the red/blue/yellow "Jasper
> >>>  Johns-style" target on it.
> >>>
> >>>  We are asking ANYONE with ANY INFORMATION
> >>>  about this to get in touch with us as soon
> >>>  as possible by calling our man Aaron
> >>>  Blitzstein in New York City at
> >>>  212.343.2314, or via email to
> >>>  "[e-mail]". Call collect if you
> >>>  want to. Please no pranks, all, this is
> >>>  really serious--all the gear we've used to
> >>>  write our last few LPs worth of stuff,
> >>>  instruments used for songs old and new
> >>>  which if truly lost will mean those songs
> >>>  will be lost forever.
> >>>
> >>>  Help us out if you can, there will be a
> >>>  reward for any info, I'm sure. All our road
> >>>  cases, etc, are fully marked up with our
> >>>  name on them, the gtrs are so unusual that
> >>>  they won't really be too hard to mistake.
> >>>  ANY info at all will be appreciated.
> >>>
> >>>  If the thieves themselves read this, I'm
> >>>  sure we'd rather buy the stuff back from
> >>>  you than lose it forever (you fukkerz).
> >>>
> >>>  here are some descriptions of gear:
> >>>
> >>>  drums: green satin flame 60s Gretch kit (w
> >>>  "paisley" glow in dark kik head
> >>>
> >>>  Fender ToneMaster head and 4x12 cabinet
> >>>
> >>>  Fender blackface Concert (4x10) w "Target
> >>>  design" spraypainted on front
> >>>
> >>>  PeeVey RoadMaster Head
> >>>
> >>>  Marshal 4x12 cab
> >>>
> >>>  Mesa Boogie 400+ bass head/4x10 cab/18" cab
> >>>
> >>>  Fender Bassman head (two!)/ 2x12 fender cab
> >>>
> >>>  Fender presicion Bass
> >>>
> >>>  Gibson Les Paul Jr w snoopy sticker
> >>>
> >>>  Fender Jazzmasters and Jaguars--lots of
> >>>  'em, mostly modified to hell (orig
> >>>  electronix pulled, diff p/u's etc) and
> >>>  usually way beat up.
> >>>
> >>>  Travis Beans--1 koa wood, one red beat to
> >>>  shit
> >>>
> >>>  White roadcase/briefcase full of gtr tools
> >>>
> >>>  we will post more equip info later...
> >>>  thanks in advance for any help...
> >>>
> >>>  PLEASE PASS THIS LIST ON TO ANYONE WHO
> >>>  MIGHT BE OF HELP!
> >>>
> >>>  ---Lee/Sonic Youth
> >>>

-



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

From: [e-mail]
Subject: Re: George Lewis Rec
Date: 05 Jul 1999 14:49:44 EDT


In a message dated 7/5/99 1:25:03 PM, [e-mail] writes:

<< "Changing with the Times" on New World Records
"Monads-Triple Slow Mix-Cycle" on Black Saint >>

Changing With The Times is disappointing, a lot of spoken word pieces over
the music. Monads is a lot closer to Homage, although not quite as good. the
Lewis record I like the most is the duet record he did last year with
contrabassist Bertram Turetzky on Incus, Conversations.

Jon

-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Merzbow, Dumitrescu
Date: 05 Jul 1999 12:32:54 -0700 (PDT)

On Mon, 5 Jul 1999, William York wrote:

> I've been meaning to ask about this, because I recently heard some of his
> from 1985-6 (something with a long title, starting with the letter 'B'),
> and it was surprisingly un-extreme.  In the liner notes he called it 'fake

do you mean "Echobondage" on O'Rourke's Distemper label?

> undifferentiated.  What about the _Rainbow Electronics_ CD?  I've heard
> that this is a good one but noticed that there are two different versions
> of it.

i haven't heard "Rainbow Electronics II" (on Dexter's Cigar)
but the original (on Alchemy) and "Crash for Hi-Fi" are
both some of his best work.

personally, my favorite Merzbow is "Artificial Invagination",
a 3" CD released by Vanilla now out of print.

hasta.

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


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Cecil Taylor at 70
Date: 05 Jul 1999 13:09:56 -0700


On Sat, 3 Jul 1999 19:47:04 EDT  [e-mail] wrote:
>
> the Erik M CD on Sonoris that Forced Exposure just got in is one of the best
    ^^^^^^^^^^^
And I thought that you did not like him at all at Victoriaville? Was it the
"quotation" aspect of his turntable playing (as opposed to the new trend
illustrated by Otomo, Martin, etc)?

    Patrice.

-



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

From: [e-mail]
Subject: Re: Cecil Taylor at 70
Date: 05 Jul 1999 16:18:55 EDT


In a message dated 7/5/99 4:11:58 PM, [e-mail] writes:

<< And I thought that you did not like him at all at Victoriaville? Was it
the
"quotation" aspect of his turntable playing (as opposed to the new trend
illustrated by Otomo, Martin, etc)?  >>

yeah, his performance at Victo seemed very one-dimensional, mostly digital
drone, as I remember. plus it didn't help that Montera and Doneda were both
pretty boring, especially Montera.

there's some "quotation" style on this disc, but it's more that it's very
varied, with tons of wildly different styles, most of which are done quite
nicely. I've only heard it a couple of times, but it struck me as very fresh,
a rarity in this subgenre.

Jon
www.erstwhilerecords.com

NP: Loren Mazzacane's Haunted House-Up In Flames (erstwhile 002, available in
the next month or two)

-



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

From: Sean Terwilliger <[e-mail]>
Subject: Re: some downtowners go pop
Date: 05 Jul 1999 16:42:34 -0400

Stefan Verstraeten wrote:

> I still have one question... why does this guy have such a great backing
> band.... is he somehow downtown connected, and did this band ever performed
> live????

Well, a short answer is that Brad had Stone Gossard, from Pearl Jam in it.
Stone runs Loosegroove records who put out Critters Buggin releases. The
Drummer and Bass Player from CB have played with torn before...

Sean


-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: George Lewis Rec
Date: 05 Jul 1999 16:47:42 -0400

David J. Keffer wrote:

> How about comments on 2 other George Lewis records:

Though 'Homage' ranks as an all-time fave of mine in any genre and, imo,
nothing Lewis has done as leader really comes all that close, one to
definitely hear is "Chicago Slow Dance", performed with Doug Ewart, J.D.
Parran and Teitelbaum on Lovely Music. More fine use of electronics, but
here in an edgy, skittering fashion on much of the album. Also well
worth hearing from his early works are the duo with Ewart on Black Saint
("Jila-Save! Mon.-The Imaginary Suite") and his "Solo Trombone Record"
on Sackville. As usual, I haven't kept up on the CD availability of
these, though the Sackville's certainly not been re-issued.

Anyone heard music from Ewart in recent years?

Brian Olewnick

-



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

From: s~Z <[e-mail]>
Subject: Re: George Lewis Rec
Date: 05 Jul 1999 14:12:03 -0700

And at the risk of rehashing old territory, don't miss Lewis with
Braxton on the Dortmund Quartet CD. Braxton may be the leader, but Lewis
is so much more than a follower. Stunning performance by all.

-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: George Lewis Rec
Date: 05 Jul 1999 17:22:20 -0400

s~Z wrote:
>
> And at the risk of rehashing old territory, don't miss Lewis with
> Braxton on the Dortmund Quartet CD. Braxton may be the leader, but Lewis
> is so much more than a follower. Stunning performance by all.
>
> -
And....in similar fashion, do not, I repeat, do not miss getting
Braxton's "News from the 70's"; great all around but especially for an
astonishing 16 minute, 1976 performance of Holland's "Four Winds" (track
one on 'Conference of the Birds') featuring the quartet with Lewis.
Lewis was still new to the group here (and, what, 22 years old?) but
plays spectacularly!

Brian Olewnick

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: previte mystery
Date: 05 Jul 1999 14:33:13 -0700


    Thanks a lot for the news about Previte (and yourself)!

On Sat, 03 Jul 1999 11:39:42 -0400  Steve Smith wrote:
>
> The first will include the previously-released Dull Bang, Gushing Sound, Human
> Shriek (reclaimed from Koch Jazz) and Bump the Renaissance (reclaimed from
> Sound Aspects) along with his very first album, Pull to Open, previously on
> Rift vinyl and not available on CD at all.  The second will include the three

Tiny correction, PULL TO OPEN was released on Zoar -- E#' label.

    Patrice.

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: ken vandermark
Date: 05 Jul 1999 14:54:57 -0700


On Sun, 04 Jul 99 15:40:44 -0500  [e-mail] wrote:
>
> somebody here mentioned that this was the 2d macarthur to go to a jazz
> performer, but i forgot who it was.

No, a few jazz musicians got it before (non exhaustive list):

    Max Roach
    Cecil Taylor
    Ornette Coleman
    Anthony Braxton
    Steve Lacy
    Ran Blake
    Gunter Schuller

Also, contrary to what I used to believe, Stanley Crouch did not get it for
playing drums behind David Murray :-).

    Patrice.

-



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

From: "Heather and Jeff" <[e-mail]>
Subject: Mark Sandman Dies
Date: 05 Jul 1999 18:12:29 -0400

Lead singer and "bassitarist" of the Boston band Morphine died of a heart
attack onstage yesterday at a festival outside Rome.  He apparently
collapsed mid-song and efforts to revive him failed.  He was 47.

JK



-



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

From: Tom Benton <[e-mail]>
Subject: Re: some downtowners go pop
Date: 05 Jul 1999 17:28:15 -0500 (CDT)


> The album is by Jeremy Toback (i believe he is the bass player in a band
> called Brad) and the album is called Perfect Flux Thing.
>
> Why is it amazing??? Well just check out the backing-band he is playing
> with: Melvin Gibs on bass, Dogie Bowne on drums (so this is probably one
> of his latest albums where he plays drums and not drummachines), David
> Torn on guitar and Cyro Baptista on percussion. CAN YOU BELIEVE SUCH A
> THING?????
>
> I still have one question... why does this guy have such a great backing
> band....

Well, Bowne and company gotta pay those bills...I think in a lot of
cases, as a previous response stated, it has to do with the producers.
For instance, Ron Sexsmith's 'Other Songs' very curiously features
the talents of Dave Douglas, Greg Cohen, Kenny Wollesen, Chris Speed, Josh
Roseman, and some others I'm sure I'm forgetting.  This likewise seems
pretty weird, but then you realize that Mitchell Froom was producer on the
session and his solo album 'Dopamine' features most of these same cats.

Though I'm still curious about the whole Holly Palmer/downtown connection.
Her first (and only I think) record has Frisell, Jamie Saft, and Andrew
D'Angelo - to further confuse things, she actually sang a Billie Holiday
tune on Human Feel's most recent album and, if I recall an old Tonic
schedule correctly, has sung in one of Cuong Vu's bands as well.  Let's
see if the freshly resurrected from obscurity Steve "Sagacious" Smith can
unravel this one...



-



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

From: "lava" <[e-mail]>
Subject: Fw: [Fwd: URGENT/SY GEAR STOLEN! --> please forward!]
Date: 05 Jul 1999 19:08:39 -0400


----- Original Message -----
Sent: Monday, July 05, 1999 12:54 PM


> Saturnians:
>
> Thurston used to be a member of this group, he may still
> lurk. In any event, anyone who works with instument
> resale should be on the lookout:
>
> Dan Rigney
> http://www.moths.com
>
>
> [e-mail] wrote:
>
> > >
> > >>Date: Sun, 04 Jul 1999 22:05:58 -0700
> > >>From: bofus? <[e-mail]>
> > >>Organization: http://hootpage.com
> > >>MIME-Version: 1.0
> > >>To: [e-mail]
> > >>Subject: URGENT/SY GEAR STOLEN! --> please forward!
> > >>
> > >>[e-mail] wrote:
> > >>>
> > >>>
> > >>>  URGENT/SY GEAR STOLEN!
> > >>>
> > >>>  july 4 1999 LA/Orange County
> > >>>
> > >>>
> > >>>  Hello all, this is Lee from Sonic Youth
> > >>>  here, we have had a fucked up situation
> > >>>  come down on us over this last night--a
> > >>>  brand new Ryder truck parked at a Ramada
> > >>>  Inn in Orange County with ALL OF OUR GEAR
> > >>>  IN IT was STOLEN! All of our guitars,
> > >>>  tools, amplifiers, drums, synth --
> > >>>  EVERYTHING. We are fucked, both for the
> > >>>  show tonight at the "This Ain't No Picnic"
> > >>>  here in Orange Co., and for shows upcoming
> > >>>  this week in Austin and Santa Fe. Our
> > >>>  guitars are all mostly older and either
> > >>>  very modified and/or fucked up/beat up.
> > >>>  They are unmistakably ours, as are some of
> > >>>  the amps, including my own 60s Fender
> > >>>  Concert with the red/blue/yellow "Jasper
> > >>>  Johns-style" target on it.
> > >>>
> > >>>  We are asking ANYONE with ANY INFORMATION
> > >>>  about this to get in touch with us as soon
> > >>>  as possible by calling our man Aaron
> > >>>  Blitzstein in New York City at
> > >>>  212.343.2314, or via email to
> > >>>  "[e-mail]". Call collect if you
> > >>>  want to. Please no pranks, all, this is
> > >>>  really serious--all the gear we've used to
> > >>>  write our last few LPs worth of stuff,
> > >>>  instruments used for songs old and new
> > >>>  which if truly lost will mean those songs
> > >>>  will be lost forever.
> > >>>
> > >>>  Help us out if you can, there will be a
> > >>>  reward for any info, I'm sure. All our road
> > >>>  cases, etc, are fully marked up with our
> > >>>  name on them, the gtrs are so unusual that
> > >>>  they won't really be too hard to mistake.
> > >>>  ANY info at all will be appreciated.
> > >>>
> > >>>  If the thieves themselves read this, I'm
> > >>>  sure we'd rather buy the stuff back from
> > >>>  you than lose it forever (you fukkerz).
> > >>>
> > >>>  here are some descriptions of gear:
> > >>>
> > >>>  drums: green satin flame 60s Gretch kit (w
> > >>>  "paisley" glow in dark kik head
> > >>>
> > >>>  Fender ToneMaster head and 4x12 cabinet
> > >>>
> > >>>  Fender blackface Concert (4x10) w "Target
> > >>>  design" spraypainted on front
> > >>>
> > >>>  PeeVey RoadMaster Head
> > >>>
> > >>>  Marshal 4x12 cab
> > >>>
> > >>>  Mesa Boogie 400+ bass head/4x10 cab/18" cab
> > >>>
> > >>>  Fender Bassman head (two!)/ 2x12 fender cab
> > >>>
> > >>>  Fender presicion Bass
> > >>>
> > >>>  Gibson Les Paul Jr w snoopy sticker
> > >>>
> > >>>  Fender Jazzmasters and Jaguars--lots of
> > >>>  'em, mostly modified to hell (orig
> > >>>  electronix pulled, diff p/u's etc) and
> > >>>  usually way beat up.
> > >>>
> > >>>  Travis Beans--1 koa wood, one red beat to
> > >>>  shit
> > >>>
> > >>>  White roadcase/briefcase full of gtr tools
> > >>>
> > >>>  we will post more equip info later...
> > >>>  thanks in advance for any help...
> > >>>
> > >>>  PLEASE PASS THIS LIST ON TO ANYONE WHO
> > >>>  MIGHT BE OF HELP!
> > >>>
> > >>>  ---Lee/Sonic Youth
> > >>>
>


-



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

From: "Mason Wendell" <[e-mail]>
Subject: RE: Prelapse and Horvitz
Date: 05 Jul 1999 19:45:02 -0400

I can handle the Prelapse question, since I'm in the band.

Prelapse is:
Alex Lacamoire - piano,organ,samples and such
Mason Wendell - bass and vocals
Dane Johnson - guitar, dobro and fretless guitar
Jeff Hudgins - sax, clarinet
Andy Sanesi - drums

No superstars. We all met in Boston and transcribed the Naked City tunes =
for
fun. when we gave Zorn a tape of our versions of Naked City songs, he gav=
e
us the originals and and lot of pieces he never performed. Prelapse has
three tracks on Zorn's "Music for Children" CD and will have our own
full-length CD on Avant/DIW this fall.

</Mason.Prelapse>

-=3DBlinder
-=[e-mail]
-=3DBlinder - http://blinder.pair.com
-=3DMP3 - http://www.mp3.com/blinder

> -----Original Message-----
> From: [e-mail]
> [mailto:[e-mail]]On Behalf Of * %
> Sent: Sunday, July 04, 1999 12:28 AM
> To: [e-mail]
> Subject: Prelapse and Horvitz
>
>
> 2 questions for anyone:
>
>     1)what is Prelapse?  Who is in it?  etc etc.
>
>      2)what happened to Horvitz? i've heard a few of his
> compositions and i
> like "With the Hammer Down"  enough to be interested in more.  what els=
e
> does he have of his own stuff?  and who else has he played with besides
> Zorn/Naked City?
>
>
>
> Hose Felix wrote:
>
> Zorn-Yes, with the seven albums of Naked City we explored what we
> >could
> > >        and made a great deal of progress.  But it's like
> getting to the
> > > terminus: arriving at
> > >        a place that you cannot go beyond.  I started
> listening to other
> >kinds of
> > > music and
> > >        saw that there was no reason to go on working with these
> >musicians.
> >How
> > >        many years of working together were they?  Six, seven, I don=
't
> >know
> ><SNIP>
> >
> >I'm just sad that I never got to see Naked City play live. They must h=
ave
> >been really awesome! Oh well, I can only hope that Prelapse will tour
> >Europe
> >sometime, and maybe, just maybe, come to this little country.
> >Speaking of Prelapse (and TO them), will their debut be distributed in
> >Europe?
> >
> >F=E9lix
> >
> >
> >-
> >
>
>
> _______________________________________________________________
> Get Free Email and Do More On The Web. Visit http://www.msn.com
>
> -
>


-



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

From: "Mason Wendell" <[e-mail]>
Subject: RE: Zorn Q&A and Prelapse
Date: 05 Jul 1999 19:55:07 -0400

You (or your record store) will be able to get it where ever you get reco=
rds
on DIW or Avant records. That's our record company, and they are based in
Japan and distribute very well all over the world. We don't have have pla=
ns
right now to go to Europe, but we are open to the idea. I'll let the list
know when we have gigs and touring plans.

</Mason.Prelapse>

> I'm just sad that I never got to see Naked City play live. They must ha=
ve
> been really awesome! Oh well, I can only hope that Prelapse will
> tour Europe
> sometime, and maybe, just maybe, come to this little country.
> Speaking of Prelapse (and TO them), will their debut be distributed in
> Europe?
>
> F=E9lix


-=3DBlinder
-=[e-mail]
-=3DBlinder - http://blinder.pair.com
-=3DMP3 - http://www.mp3.com/blinder



-



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

From: * % <[e-mail]>
Subject:  Prelapse
Date: 05 Jul 1999 22:24:28 CDT

hope you're coming to Minneapolis this fall, winter, or spring, Prelapse.
Zorn/Naked City/Masada etc. following is growing in Minneapolis, so i think
it would be worth your while. you'd at least have me in your audience.  and
if that's not enough i don't know what is... ;)

                -samuel yrui


Mason Wendell wrote:

>You (or your record store) will be able to get it where ever you get
>records
>on DIW or Avant records. That's our record company, and they are based in
>Japan and distribute very well all over the world. We don't have have plans
>right now to go to Europe, but we are open to the idea. I'll let the list
>know when we have gigs and touring plans.


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

-



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

From: Diego Gruber <[e-mail]>
Subject: Re: Merzbow
Date: 05 Jul 1999 08:25:02 -0500

oops, right, i thought he referred to the maldoror project (hope not
wrong once again). must read emails carefully.

D

SUGAR in their vitamins? wrote:
>
> On Sun, 4 Jul 1999, Diego Gruber wrote:
>
> > mike patton's ipecac
>
> actually, i believe the 50 CD boxset will be
> released by Extreme (in Australia), if it ever happens.
>
> hasta.
>
> Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.



-



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

From: christopher hoffman <[e-mail]>
Subject: Re: Record Advice
Date: 05 Jul 1999 20:34:19 PDT




>From: "Matthew" <[e-mail]>
>CC: <[e-mail]>
>Subject: Record Advice
>Date: Sun, 13 Jun 1999 22:31:14 -0400
>
>
>Can anyone recommend/ comment upon the following:
>
>solos works from E. Friedlander or Mark Feldman?
>


E.F. has a couple of interesting recordings out. 2 with his group chimera.
the first is titled "Chimera" (can't remember the label off hand)  the
second is "The Watchman" on Tzadik.  Recently, his group Topaz came out with
a recording on Siam records. I think he told me that he'd be releasing a new
recording every year for the next four years on Siam.

If you want to check out stuff he's done with Feldman, i'd recommend his
work with Zorn's Masada String Trio/Masada Ensemble "The Circle Maker" on
Tzadik.  he appears on a couple other zorn things such as "film works"
"Masada"  and Myra Melford's last two releases.  might want to check out
www.erikfriedlander.com


-chris


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

-



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

From: pjm <[e-mail]>
Subject: Ponga
Date: 05 Jul 1999 20:39:26 -0700

I wholeheartedly third the recommendation of Ponga's CD! I was about 6 feet
away from Dave Palmer at the Bellingham show (where "Bookin" was recorded)
and it was phenomenal. Most of the time i spent looking around trying to
figure out WHERE these crazy sounds were coming from. Bobby Previte's
drumming is the highlight of the disc and the live show for me. He seems to
be having so much fun!
    Re the recent photog discussion: At the Ponga gig isaw there was an
obnoxious college kid with a MONSTER flash blasting the band through out
the first set. It was a really bright room and he didn't need to be
blinding the band and crowd every 3o seconds. Previte waved him away good
naturedly after about 12 shots and mouthed "Thats enough" but the shitheel
ducked behind a pillar and kept shooting. It was really distracting to me
and obviously to the band.

                    A few cents

                        pjm


-



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

From: [e-mail] (Martin Wisckol)
Subject: Partch, reviewing
Date: 05 Jul 1999 21:29:47 -0700

[e-mail] (Zorn List Digest) writes:
> The maverick American composer Harry Partch, for
>> example, divided the octave into 43 steps, and built his own
>instruments to
>> play his music.

Perhaps I'm splitting hairs, but it would be more accurate to say that
Partch STOPPED at 43 tones per octave. Many of the instruments have
fewer pitches per octave. The increase in the number came from Partch's
inclusion of higher harmonic offspring in the octave. With Partch's
approach, you could add pitches to the octave indefinitely.

Regarding CD reviewing, I agree with a most of what Ken said. One
reason I haven't spent more of my journalistic career in music is
because I don't want to write about many of the pop stars du jour, or
even pop jazz stars. But not having to make a living writing about
music -- being able to write for smaller publications (and recently, an
e-zine) for little money (often just for CDs or for the credibility to
hustle CDs) means I can write what I want to write about. I don't think
I'm misleading anybody. There's so much good music out there that I
rarely find it necessary to write about the other. (One exception not
too long ago was Sonny Rollins' latest, which did little for me -- but
I did enjoy having the opportunity to talk about my favorite Newk
albums and what made them special.) I feel good writing about what I
write about because I feel it deserves more exposure, and -- like most
zornlisters -- enjoy talking about music and musicians that enrich my
life.

Martin

np: Roscoe Mitchell "Sound" (on the "how do you afford thread," I see
from the price tag that I picked this up for $6.99 used in Miami.
Incredible, the gems yu can find now and then.)

-



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

From: [e-mail]
Subject:  Re: some downtowners go pop
Date: 06 Jul 1999 00:32:47 EDT


Though I'm still curious about the whole Holly Palmer/downtown connection.
Her first (and only I think) record has Frisell, Jamie Saft, and Andrew
D'Angelo - to further confuse things, she actually sang a Billie Holiday
tune on Human Feel's most recent album and, if I recall an old Tonic
schedule correctly, has sung in one of Cuong Vu's bands as well.  Let's
see if the freshly resurrected from obscurity Steve "Sagacious" Smith can
unravel this one...

**Though I don't know Holly all that well, I know that she met up with many
of these cats (the Human Feel guys, in particular) while studying in Boston.
Believe it or not (judging from the poppy little turd which was her first
release, which I heard some of) she actually had fairly heavy avant
leanings....she did some great stuff with this Balkan/Yugoslav group Sveti
Sava when I first moved here around 6 years ago that was pretty sick.  Quite
a talented lass, actually...I was disapointed when I heard the stuff she
released...but, what was it that someone said..."you gotta pay the bills?"  I
actually find my day job liberating in this regard...

Jonathan LaMaster
Sublingual Records
http://www.sublingual.com
NEW RELEASE: Saturnalia String Trio
  with Daniel Carter (limited edition 7" Vinyl)

-



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

From: Brent Burton <[e-mail]>
Subject: administrative question
Date: 06 Jul 1999 09:25:13 -0400 (EDT)

hey mike rizzi,

could you email me off list?

thanks,
brent

-



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

From: [e-mail]
Subject: Llizards
Date: 06 Jul 1999 10:30:26 -0500


It's been said that:

> > where should one start with John Lurie/Lounge Lizards?

> The first album, self-titled.

I must digress. While the first record is certainly ballsy and fun, it's little
more than that. Arto, as was so often happening to him back then, seems used for
novelty and to little effect (that may be a factor of his approach at the time,
however, as opposed to his brilliant run of four records in the last 2 yrs or
so). And interestingly, it doesn't really hint at the composer/arranger Lurie
would become. Studio recordings got steadily better, peaking with Voice of
Chunk, which is definitely my recommedation for a 1st purchase (although I've
heard it's out of print, and that Lurie will be rereleasing it on his Strange &
Beautiful). Queen of all Ears is also quite nice, and Jane Scarpantoni is a very
strong addition. But there's nothing quite like the fun and cohesiveness the
band seemed to have for Chunk. The band has gone through several total
reworkings, and the current version, I think, is weaker than the group that
recorded Queen. Scarpantoni, Calvin Weston, Michael Blake, Steve Berenstein
remain, and of course brother Evan, but the loss of guitarist Dave Tronzo was a
setback. To me, that band has always been about strong guitars, and Doug
Wieselman -- an excellent clarinetist -- doesn't fill the Tronzo/Ribot/Arto
chair.




-



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

From: [e-mail]
Subject: Record Advice/ Friedlander
Date: 06 Jul 1999 13:25:58 -0300

>second is "The Watchman" on Tzadik. Recently, his group Topaz came out
>with a recording on Siam records.

Topaz is a nice cd worth checking out. Friedlander is superb as always
though I prefer his work with the Masada String Trio.
You can also check him out in Douglas' Convergence, one of my top ten
now.

H

-



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

From: [e-mail] (Jonathan Mooneyham)
Subject: Re: Llizards
Date: 06 Jul 1999 12:11:45 -0500

>Studio recordings got steadily better, peaking with Voice of
>Chunk, which is definitely my recommedation for a 1st purchase (although I've
>heard it's out of print, and that Lurie will be rereleasing it on his Strange &
>Beautiful).

_VoC_ has been re-released - I can even find it in the crummy chain stores
here in Oklahoma...

Jon M.



-



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

From: [e-mail]
Subject: Llizards
Date: 06 Jul 1999 15:00:20 -0300

Kurt wrote:

>would become. Studio recordings got steadily better, peaking with Voice
>of Chunk, which is definitely my recommendation for a 1st purchase=20

Seconded; but I suppose there's not a Lounge Lizards weak recording; so
you=B4d start with any of them.
On the other hand their Monk's "Well we needn't" version and Harlem
Nocturne on their self titled album worths the cd.

>(although I've heard it's out of print, and that Lurie will be
>rereleasing it on his Strange & Beatiful)

As fas as I know it was already released on his Strange & Beautiful
Music with better sound quality.

>Queen of all Ears is also quite nice, and Jane Scarpatoni is a very
>strong addition

Seconded. Even she's awesome in the last Ben Neill's Goldbug.
By the way, and speaking of Lizards, which is the best live L.L.
recording?

H


>the band has gone through


-



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

From: [e-mail]
Subject: Reviewing/collecting (longish)
Date: 06 Jul 1999 14:25:51 EDT

I've been reviewing recordings and gigs, and writing features and related
articles on music, for about 7 years for a handful of publications, but most
consistently for the Chicago Tribune (up until January, under a pen name of
David Duckman) and a magazine called Bluegrass Unlimited. This is a very
part-time thing, and bears little relation to my day job (psychologist and
mediator, director of the court's divorce mediation department). For the
first 4 or 5 years of Trib work, my editor was a guy who had strong acoustic
music sympathies, and since nobody else in the Chicago area was writing about
bluegrass, and it was one of the areas (with classical and jazz) that I
started out writing about, I got pigeon holed somewhat as the "bluegrass
guy," though when Howard Reich (the Trib's staff jazz critic) would go on
vacation, I'd get to cover the Jazz Showcase or some other things.
   And because nobody else on the paper had much of a clue about bluegrass, I
was virtually my own assignment editor when it came to picking what discs I
would review. And believe me, if you think jazz labels are happy to send
promos, just tell a bluegrass label that their stuff might end up getting
reviewed in a major metropolitan paper. . .
   Though I review less now because the Trib has seriously curtailed the
space allotted to record reviews, even when I was reviewing 60 or 70 CDs a
year, more than half were bluegrass, and I was receiving probably 600 promo
CDs a year, and probably 400 were bluegrass.
   And with that many to choose from, my unspoken policy has always been to
write about those that I like, and I see no good reason to change this
philosophy. If I have 5 CDs in front of me, and space for 2 reviews, and 2
CDs are good, one is so-so, and two stink, I'd much rather give my (and
readers') attention to the good ones, and ignore the lousy ones. The
exception would be if somebody truly prominent (and in bluegrass, especially
in the Chicago area and in a mass market publication, there aren't many
people who would be considered 'prominent') put out a sub-par CD.
   It is a different story completely when someone else assigns you CDs to
review, and the magazine work I do has given my "opportunities" to write
negative reviews, as have disappointing concerts. Also, for a very short
time, I reviewed 'contemporary/smooth jazz' CDs for the Trib, apparently
because nobody else there wanted to and they asked if I would. I posted a
message over at RMB asking if anyone knew if there were pockets of good
players doing decent stuff in that vein, at least to make the job more
palatable since I don't by nature get off on slamming people in print (even
those people), and also, I don't enjoy listening to music I don't enjoy.
Funny thing was, most of the handful of reponses I got to my question were
that I shouldn't review this stuff at all if I couldn't be more open-minded
to the genre--a valid point, which would have been more valid if any of the
staff critics wanted to do it. So as it stands, for the most part I have not
bothered reviewing it, and the stuff is still basically ignored by the paper.
   As for collecting, I dump many more of the CDs than I keep, but I'd be
lying if I said that my collection doesn't have a fair share of stuff that
has come my way for free (at least the CDs--my LP collection happened
pre-reviewing, so all of those 9000 slabs of vinyl were paid for). As for how
I afford it, I've rarely spent a cent of spare change on anything else, and
over the years, I (like most collectors) develop a routine of knowing how to
get what you want cheaply, between cut-outs, used, trade, record clubs,
sales, burglary (only kidding on that last one), etc., and sure, over the
last half-dozen years (coincidently coinciding with having kids and much less
spare change), reviewing has helped. I'm 40, btw, if it matters.

Dave Royko

-



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

From: samuel yrui <[e-mail]>
Subject: Re: Email Legislation
Date: 06 Jul 1999 13:45:17 CDT

um... thought i'd send this to people. it scares me.
                        -samuel yrui



>Here's another bit about the Email Legislation...
>
>Dear Internet Subscriber:
>
>Please read the following carefully if you intend to
>stay online and continue using email: The last few
>months have revealed an alarming trend in the
>Government of the United States attempting to quietly
>push through legislation that will affect your use of
>the Internet. Under proposed legislation the U.S.
>Postal Service will be attempting to bilk email users
>out of "alternate postage fees". Bill 602P will permit
>the Federal Govt to charge a 5 cent surcharge on
>every email delivered, by billing Internet Service
>Providers at source. The consumer would then be
>billed in turn by the ISP. Washington D.C. lawyer
>Richard Stepp is
>working without pay to prevent this legislation from
>becoming law. The U.S. Postal Service is claiming that
>lost revenue due to the proliferation of email is
>costing nearly $230,000,000 in revenue per year. You
>may have noticed their recent ad campaign "There is
>nothing like a letter". Since the average citizen
>received about 10 pieces of email per day in 1998, the
>cost to the typical individual would be an additional
>50 cents per day, or over $180 dollars per year, above
>and beyond their regular Internet costs. Note that
>this would be money paid directly to the U.S. Postal
>Service for a service they do not even provide. The
>whole point of the Internet is democracy and
>non-interference. If the federal government is
>permitted to tamper with our
>liberties by adding a surcharge to email, who knows
>where it will end. You are already paying an
>exorbitant price for snail mail because of bureacratic
>efficiency. It currently takes up to 6 days for a
>letter to be
>delivered from New York to Buffalo. If the U.S. Postal
>Service is allowed to tinker with email, it will mark
>the end of the "free" Internet in the United States.
>One congressman, Tony Schnell (r) has even suggested a
>"twenty to forty dollar per month surcharge on all
>Internet service" above and beyond the government's
>proposed email charges. Note that most of the major
>newspapers have ignored the story, the only exception
>being the Washingtonian which called the idea of email
>surcharge "a useful concept who's time has come"
>March 6th 1999 Editorial) Don't sit by and watch your
>freedoms erode away!
>
>Send this email to all Americans on your list and tell
>your friends and relatives to write to their
>congressman and say "No!" to Bill 602P.
>
>Kate Turner
>Assistant to Richard Stepp, Berger, Stepp and Gorman
>Attorneys at Law 216 Concorde Street, Vienna, Va.
>


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


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

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Email Legislation
Date: 06 Jul 1999 12:11:49 -0700


On Tue, 06 Jul 1999 13:45:17 CDT  samuel yrui wrote:
>
> um... thought i'd send this to people. it scares me.

But what is better than a little bit of thrill to spice up our boring and
over-secure life?

    Patrice.

PS: BTW, the supposed "Email Legislation" looks like a total joke,
destined to freak out those who like to be freaked out.

-



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

From: "Dave Egan" <[e-mail]>
Subject: RE: Email Legislation
Date: 06 Jul 1999 12:17:59 -0700

This is a hoax.  Check out what they have to say about this at
http://www.urbanlegends.com/ulz/emailtax.html

- Dave

-----Original Message-----
[mailto:[e-mail]]On Behalf Of samuel yrui
Sent: Tuesday, July 06, 1999 11:45 AM


um... thought i'd send this to people. it scares me.
                        -samuel yrui



>Here's another bit about the Email Legislation...
>
>Dear Internet Subscriber:
>
>Please read the following carefully if you intend to
>stay online and continue using email: The last few
>months have revealed an alarming trend in the
>Government of the United States attempting to quietly
>push through legislation that will affect your use of
>the Internet. Under proposed legislation the U.S.
>Postal Service will be attempting to bilk email users
>out of "alternate postage fees". Bill 602P will permit
>the Federal Govt to charge a 5 cent surcharge on
>every email delivered, by billing Internet Service
>Providers at source. The consumer would then be
>billed in turn by the ISP. Washington D.C. lawyer
>Richard Stepp is
>working without pay to prevent this legislation from
>becoming law. The U.S. Postal Service is claiming that
>lost revenue due to the proliferation of email is
>costing nearly $230,000,000 in revenue per year. You
>may have noticed their recent ad campaign "There is
>nothing like a letter". Since the average citizen
>received about 10 pieces of email per day in 1998, the
>cost to the typical individual would be an additional
>50 cents per day, or over $180 dollars per year, above
>and beyond their regular Internet costs. Note that
>this would be money paid directly to the U.S. Postal
>Service for a service they do not even provide. The
>whole point of the Internet is democracy and
>non-interference. If the federal government is
>permitted to tamper with our
>liberties by adding a surcharge to email, who knows
>where it will end. You are already paying an
>exorbitant price for snail mail because of bureacratic
>efficiency. It currently takes up to 6 days for a
>letter to be
>delivered from New York to Buffalo. If the U.S. Postal
>Service is allowed to tinker with email, it will mark
>the end of the "free" Internet in the United States.
>One congressman, Tony Schnell (r) has even suggested a
>"twenty to forty dollar per month surcharge on all
>Internet service" above and beyond the government's
>proposed email charges. Note that most of the major
>newspapers have ignored the story, the only exception
>being the Washingtonian which called the idea of email
>surcharge "a useful concept who's time has come"
>March 6th 1999 Editorial) Don't sit by and watch your
>freedoms erode away!
>
>Send this email to all Americans on your list and tell
>your friends and relatives to write to their
>congressman and say "No!" to Bill 602P.
>
>Kate Turner
>Assistant to Richard Stepp, Berger, Stepp and Gorman
>Attorneys at Law 216 Concorde Street, Vienna, Va.
>


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


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

-


-



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

From: Herb Levy <[e-mail]>
Subject: Re: E-Mail Legislation
Date: 06 Jul 1999 12:30:44 -0700

This is a hoax; total bullshit, the legislators and attorney's listed by
name do not exist, no bill in the US Congress has this identifier number.

See this URL for more info on this one (about the fifth one down) & many
more:  <http://urbanlegends.tqn.com/library/blhoax.htm>




Herb Levy
[e-mail]



-



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

From: [e-mail]
Subject: Re: Email Legislation
Date: 06 Jul 1999 15:25:24 EDT

This is a scam, it is NOT real!!!

In a message dated 7/6/99 2:48:31 PM Eastern Daylight Time,
[e-mail] writes:

<< um... thought i'd send this to people. it scares me.
                         -samuel yrui



 >Here's another bit about the Email Legislation...
 >
 >Dear Internet Subscriber:
 >
 >Please read the following carefully if you intend to
 >stay online and continue using email: The last few
 >months have revealed an alarming trend in the
 >Government of the United States attempting to quietly
 >push through legislation that will affect your use of
 >the Internet.  >>

-



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

From: "starke" <[e-mail]>
Subject: Ponga
Date: 06 Jul 1999 12:54:26 -0700



re:Ponga

Nice to hear good words on Ponga on the list. The Seattle show with
Unit33(Palmer's other band) was great mindblowing stuff. The whole band went
OFF for almost 2hours non stop, incredible show. They recorded the show and
a bunch of studio stuff for a new LP and to suppliment a remix cd that is
comming out soon-ish. There is even rummor of a west coast tour !

richard/loosegroove


-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: Looking for help... AUBE cd wanted
Date: 06 Jul 1999 21:45:04 +0200

Dear Zornies

For a few months allready, I am looking for a cd by AUBE called 'Infinitely
Orbit'. It was released on the alchemy label (japan).

I have been looking everywhere, wrote to quite some ditributors, but i
allways got the same response.... OUT OF PRINT.

So, does anyone on this list ownes this cd (or knows someons that has this
cd), please let me know. I'd like to buy his or her original copy or even a
cd-r or minidisc copy.

Help would be appreciated.

Best wishes

Stefan


-



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

From: David Beardsley <[e-mail]>
Subject: Re: Partch
Date: 06 Jul 1999 15:56:57 -0400

[e-mail] (Martin Wisckol) writes on Partch:

> >"Caleb T. Deupree" <[e-mail]> wrote: writes:
> > The maverick American composer Harry Partch, for
> >> example, divided the octave into 43 steps, and built his own
> >instruments to
> >> play his music.
>
> Perhaps I'm splitting hairs, but it would be more accurate to say that
> Partch STOPPED at 43 tones per octave. Many of the instruments have
> fewer pitches per octave. The increase in the number came from Partch's
> inclusion of higher harmonic offspring in the octave. With Partch's
> approach, you could add pitches to the octave indefinitely.

If you're going to split hairs, you should be a bit more accurate
in your terminology. Partch used an 11 limit tuning on
his instruments and in his tunings. However, he did theorize
13 limit tuning (diagram 28, page 454, Genesis of a Music) and
17 limit tuning (pages 123-125, Enclosure 3).

Now that we have split ends, this disscussion really belongs
on the Tuning list at Onelist.com. They really chop it fine.


--
* 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: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Looking for help... AUBE cd wanted
Date: 06 Jul 1999 13:43:13 -0700 (PDT)

On Tue, 6 Jul 1999, Stefan Verstraeten wrote:

> For a few months allready, I am looking for a cd by AUBE called 'Infinitely
> Orbit'. It was released on the alchemy label (japan).
>
> I have been looking everywhere, wrote to quite some ditributors, but i
> allways got the same response.... OUT OF PRINT.

have you tried contacting Amoeba Records in Berkeley?
last time i was there (a month ago) they had
a copy for sale - $18.99 USD.

www.amoebamusic.com

alternately, you might wanna also try Aquarius Records.
Allan is very into the Japanese bands and
has been able to track down a number of things for
me. and they do mailorder.

aquarius.bianca.com

good luck.

hasta.

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


-



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

From: Charles Gillett <[e-mail]>
Subject: A Real Live Zorn 'n' Tonic
Date: 06 Jul 1999 18:05:20 -0500 (CDT)

   According to my Tonic mailing and a comment from someone here, Zorn
will be playing "The Classic Guide To Strategy" tonight (actually, the
Tonic mailing says "The Classical Guide To Strategy").  Does anyone
know what exactly this might mean?  I could see him using it as a
general term for one of his solo concerts--does anyone remember the
last one he did?  I recall him stating that volume three of "The
Classic Guide To Strategy" was to be solo alto saxophone, but that he
didn't feel confident enough in his abilities at that time to record
it.  Perhaps he does now, after all the regular playing with Masada?

   I ask so enthusiastically because I like Zorn's early work, the
conceptual music and the explorations of solo music.  I like Masada,
but most of the recent work of Zorn The Composer ends up being a few
nice tunes and not much else for me.  As I look at the 35-40 Zorn CDs
I've amassed over the past few years, I'm somewhat chagrined to realize
that I really only like a few of them beyond the Masada discs, and I've
reached my saturation level with Masada (haven't gotten the Taipei set,
and I probably won't unless I get it as a gift).

   A little solo work would do him good in my opinion.  I look forward
to a review from one of you insightful folks.

   While I'm at it, could people trim the fat from their replies?
Scrolling through three pages of stuff I've already read to see "Yeah,
me too" or the equivalent at the end is annoying.


-- Charles



-



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

From: [e-mail]
Subject: Re: Email Legislation
Date: 06 Jul 1999 18:36:57 EDT

In a message dated 7/6/99 2:48:31 PM Eastern Daylight Time,
[e-mail] writes:

<< Bill 602P will permit
 >the Federal Govt to charge a 5 cent surcharge on
 >every email delivered, by billing Internet Service
 >Providers at source. >>

This is the key to this piece of BS, which makes the rounds every few months
or so.

Bills originating in the House follow this number scheme: HRxxxx, where the
"xxxx" is the bill number.

Bills originating in the Senate follow the same scheme: SRxxxx.

IIRC (and it's been a long time since my college government classes...),
taxation bills *must* start in the House.

Can you imagine having to pay tax on the spam you receive?

=dg=

-



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

From: ajda snyder <[e-mail]>
Subject: Holly Palmer
Date: 06 Jul 1999 16:25:46 PDT


Hello again, Zorn list.  I, too, was disappointed in that Holly Palmer
record.  I bought it because of Frisell, but no matter how good he may be -
the disc still sucked.  Good thing it was like $1.99.  I had no clue she had
anything to do with the downtown scene, and figured Frisell was merely a
label ploy for marquee value.


                              Ajda the Turkish Queen


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

-



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

From: Steve Smith <[e-mail]>
Subject: Re: Cecil Taylor at 70
Date: 06 Jul 1999 20:20:50 -0400

Rich Williams wrote:

> Has Anyone seen a well mixed, well presented CT gig?

Yes, just once... the solo concert he gave at Alice Tully Hall on his 65th
birthday.  Magnificent.  I also remember the sound balances at the Cooler for
the collaboration with Thurston and Surgal to have been pretty fine.  And the
trio with Duval and Krall was presented in exemplary sound at the Village
Vanguard a few years ago, but the trio itself hadn't really gelled into
anything you'd want to write home about.  My wife at the time was with me at
that show and it soured her on any future involvement with Cecil...

Steve Smith
[e-mail]


-



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

From: Steve Smith <[e-mail]>
Subject: Re: Where's Steve Smith Been? [was Re: shannon jackson]
Date: 06 Jul 1999 20:25:17 -0400

s~Z wrote:

> My wife can't stand listening to the likes of Cecil Taylor on
> recordings, but put her next to me in the front row face to face with
> the master and her mouth's hanging open and she's covered with
> gooseflesh. She  thoroughly enjoys every performance I (no longer have
> to) drag her to.

Now THAT'S worth bragging about!

Steve Smith
[e-mail]


-



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

From: Joseph Zitt <[e-mail]>
Subject: Dave Douglas MP3 at rollingstone.com
Date: 06 Jul 1999 22:10:09 -0400

----- Forwarded message from "RollingStone.com Update" <[e-mail]> -----

[snip]

Dave Douglas Quartet - "Everyman"
http://www.rollingstone.com/sections/dds/text/members/recording.asp?afl=mail1&Artist=1959&RecID=3208

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: Mike Chamberlain <[e-mail]>
Subject: Re: Record collections/Reviewing
Date: 06 Jul 1999 23:01:48 -0400

Ken Waxman wrote:
>
> I'm even older than Martin and dabbled in the voodoo of album reviewing
> for 20-odd years, besides my regular editing/writing jobs, but
> had to give it up for a couple of reasons.
>
> 1)Your idea of what is a worthwhile record to review usually differs from
> the publication wants

Depends who you're writing for.  I get far more CDs than I have room to
review, and my editor gives me carte blanche.

>and what the record company is pushing.

Again, I'm not obligated to review all the shite that comes my way.

 Thus you
> end up writing about stuff you really wouldn't want to listen to some
> (often, most) of the time and have to wade through acres of second rate
> sessions all the time.

This is definitely an occupational hazard.  Not to mention the way in
which you become mercenary in your listening habits.

>
> 2)More seriously, I couldn't "just write about stuff I liked", which Martin
> said he did. To me that may add to your record collection, by not pissing
> off your record company source, but it's a disservice to your readers. If
> averything is an unqualified rave (like the work of certain reviewers),

Name them, please.  I don't know who you're talking about.

And there's a huge difference between an unqualified rave and a
qualified rave, and a qualified dis, and an unqualified dis.  Stuff I
really hate I don't generally review, except to run up the flag every
once in a while or to get some musician whose work I don't like to stop
bothering me to review his/her CD.  I'm chicken-hearted enough to tend
not to give bad reviews to work by locals; my silence is my
condemnation.

> than everything is suspect because *no one* maks masterpieces every time
> out. Sometimes, in fact, arists you like create a session that isn't
> that good. To refrain from warning people abouit it (as well as other,
> lesser efforts) you've sentencing them to spend their hard-earned cash on
> something that isn't worth it.

No, that's something that they sentence themselves to.

If my readers pay attention to what I write, they might legitimately
assume that if I don't write about something, then it's not worth
plunking down cash for. (Excluding, of course, the wonderful music out
there that doesn't get sent to me.) This involves building up a track
record, which takes time.  It's only over time that the audience can get
a sense of what a particular reviewer is all about and come to trust his
judgment or not.

--Mike

-



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

From: samuel yrui <[e-mail]>
Subject: apology for email legislation
Date: 06 Jul 1999 23:03:00 CDT

Hey,
sorry listers.  i am relatively email/net naive so i do not know how to
recognize hoaxes.  i was genuinly frightened by it and felt a slight
responsibility to send the information on to others.  i'll have to tell a
few other people that it's a hoax, as well as the person who sent it to me.
(who wouldn't have sent it to me if he had known, i am pretty sure.)  also,
sorry to m. rizzi.  i thought the news was alarming enough to permit a
subject breach.  it won't happen again.

                    -samuel yrui




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

-



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

From: "brazen stupidity" <[e-mail]>
Subject: Re: Reviewing/collecting (longish)
Date: 07 Jul 1999 01:20:18 -0400

I suppose I'll throw my hat in. At the moment, I'm listeing to the
Vandermark 5's Simpatico with the intetion of reviewing it. I write for a
biggish independant music magazine (Ink19) and I'm wondering if i can do
this disc justice. I'm but a wee 17 year old, and I'm faced with the dilemna
of lettiing this cd go to someone else who (most likely) knows more about
jazz than me, or just to step up, and try to feel this one out. I'm going
with the latter, but I hesitiate, and think, "Shouldn't I try to give the
artist the best exposure I can?" Ah well,  lets hope no one can see through
my paltry attempts at music journalism.

Something else: I just picked up the split Organum/Eddie Prevost-
Flayed/Crux LP. This being my introduction to Prevost, should I expect
similar with AMM? That is, monstruosly thick music with intense precussion,
with dense instrumentation?

Cheers,
Nirav
--
OnNow- Vandermark 5- Simpatico
"Don't try to make me consistent. I am learning all the time."  - R.
Buckminster Fuller




-



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

From: [e-mail]
Subject: Re: A Real Live Zorn 'n' Tonic
Date: 07 Jul 1999 01:23:58 EDT

In a message dated 7/6/99 7:07:25 PM Eastern Daylight Time,
[e-mail] writes:

>    According to my Tonic mailing and a comment from someone here, Zorn
>  will be playing "The Classic Guide To Strategy" tonight (actually, the
>  Tonic mailing says "The Classical Guide To Strategy").  Does anyone
>  know what exactly this might mean?  I could see him using it as a
>  general term for one of his solo concerts--does anyone remember the
>  last one he did?

I think he did a solo concert about a year (maybe two) ago at the Knit.
Anyhow, the show at Tonic last night was very good (especially if you like to
roast).  I can't say there were any surprises, I think we all know what Zorn
sounds like.  He did two short sets, and on the second, he did a couple of
improv pieces with a Japanese female pianist (cannot remember her name, but
she played at Tonic last week).  Then he did a couple of improv pieces with
Ravi Coltrane on soprano sax.  It sounded great to me, and it's only the
third time Ive heard him play duo with another saxophonist, but first with a
soprano.  I'm not at all familiar with Ravi Coltrane, but I would have liked
to have stayed for his set, because I know the caliber of the musicians that
he was playing with.    Instead I caught the late set at the Internet Cafe
with Ellery Eskelin and William Parker, which was also very good.  First time
seeing William and he is impressive.

-Jody

-



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

From: "Heather and Jeff" <[e-mail]>
Subject: Re: Where's Steve Smith Been? [was Re: shannon jackson]
Date: 07 Jul 1999 07:49:19 -0400


--->> My wife can't stand listening to the likes of Cecil Taylor on
>> recordings, but put her next to me in the front row face to face with
>> the master and her mouth's hanging open and she's covered with
>> gooseflesh. She  thoroughly enjoys every performance I (no longer have
>> to) drag her to.
>
My wife had the exact same reaction to Zorn when I took her to see the last
Cobra at the old Knit!!!!

Jeff



-



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

From: [e-mail]
Subject: Re: Reviewing/collecting (longish)
Date: 07 Jul 1999 08:25:43 EDT

In a message dated 7/7/99 1:26:47 AM Eastern Daylight Time,
[e-mail] writes:

<<  I write for a
 biggish independant music magazine (Ink19) and I'm wondering if i can do
 this disc justice. I'm but a wee 17 year old, and I'm faced with the dilemna
 of lettiing this cd go to someone else who (most likely) knows more about
 jazz than me, or just to step up, and try to feel this one out. >>

Nirav,

If you feel you've reached a comfortable opinion with whatever you've chosen
to write about/review, I say go ahead and do it!! I spent several years in
college in the situation you're in now, and from my point of view, I would
LOVE to see a review by someone younger, because the frequently give me some
insight into something I'm not familiar with. By all means go for it!!

Dale.

-



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

From: "Zachary J. Griffin" <[e-mail]>
Subject: Re: A Real Live Zorn 'n' Tonic
Date: 07 Jul 1999 12:08:33 -0400

Charles:  If you went to the show last night, you don't need to read this.
The show was a partially solo saxophone show.  He did a solo set that was
great.  It was based on the Classic Guide to Strategy.  He took a break
after about 30-40 minutes.  He came back and played in a duo with a piano
player (I never got the woman's name). The music was good, beautiful
stuff.  Then he traded sax riffs with Ravi Coltrane.  They did improv for
two pieces.  That was great.  I can't say how Ravi Coltrane's 10pm set was,
because I was unable to stay.   I am unable to answer your other
questions.  Hopefully, someone on this list can help you out.

The List:  Did anyone on the list catch the name of the piano player last
night at Tonic?

Zach


Charles Gillett wrote:

>    According to my Tonic mailing and a comment from someone here, Zorn
> will be playing "The Classic Guide To Strategy" tonight (actually, the
> Tonic mailing says "The Classical Guide To Strategy").  Does anyone
> know what exactly this might mean?  I could see him using it as a
> general term for one of his solo concerts--does anyone remember the
> last one he did?  I recall him stating that volume three of "The
> Classic Guide To Strategy" was to be solo alto saxophone, but that he
> didn't feel confident enough in his abilities at that time to record
> it.  Perhaps he does now, after all the regular playing with Masada?
>
>    I ask so enthusiastically because I like Zorn's early work, the
> conceptual music and the explorations of solo music.  I like Masada,
> but most of the recent work of Zorn The Composer ends up being a few
> nice tunes and not much else for me.  As I look at the 35-40 Zorn CDs
> I've amassed over the past few years, I'm somewhat chagrined to realize
> that I really only like a few of them beyond the Masada discs, and I've
> reached my saturation level with Masada (haven't gotten the Taipei set,
> and I probably won't unless I get it as a gift).
>
>    A little solo work would do him good in my opinion.  I look forward
> to a review from one of you insightful folks.
>
>    While I'm at it, could people trim the fat from their replies?
> Scrolling through three pages of stuff I've already read to see "Yeah,
> me too" or the equivalent at the end is annoying.
>
> -- Charles
>
> -


-



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

From: [e-mail]
Subject: brazen lucidity
Date: 07 Jul 1999 12:37:25 -0500


Kick it, Nirav! You've got at least as much to say as any old crotchet that's
still lamenting the closing of the five spot! I used to do some music
journalism, now I'm in daily news coverage. my advice to you is listen to the
music and be honest about what you think. don't try to fake like you know things
you don't because people will see through that. one of the best parts about the
zine revolution is it has allowed writers to approach reviews by saying things
like "i never heard of this, but my older brother used to listen to the
minutemen, and that's what this reminds me of." it's your insight, not your
factual knowledge, that makes a review interesting.


>>>At the moment, I'm listeing to the Vandermark 5's Simpatico with the intetion
of reviewing it. I write for a biggish independant music magazine (Ink19) and
I'm wondering if i can do this disc justice. I'm but a wee 17 year old, and I'm
faced with the dilemna of lettiing this cd go to someone else who (most likely)
knows more about jazz than me, or just to step up, and try to feel this one out.
I'm going with the latter, but I hesitiate, and think, "Shouldn't I try to give
the artist the best exposure I can?" Ah well,  lets hope no one can see through
my paltry attempts at music journalism.



-



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

From: [e-mail]
Subject: Re: Reviewing/collecting (longish)
Date: 07 Jul 1999 12:54:34 EDT

In a message dated 99-07-07 12:24:44 EDT, you write:
>From: "brazen stupidity" <[e-mail]>
>I suppose I'll throw my hat in. At the moment, I'm listeing to the
>Vandermark 5's Simpatico with the intetion of reviewing it. I write for a
>biggish independant music magazine (Ink19) and I'm wondering if i can do
>this disc justice. I'm but a wee 17 year old, and I'm faced with the dilemna
>of lettiing this cd go to someone else who (most likely) knows more about
>jazz than me, or just to step up, and try to feel this one out. I'm going
>with the latter, but I hesitiate, and think, "Shouldn't I try to give the
>artist the best exposure I can?" Ah well,  lets hope no one can see through
>my paltry attempts at music journalism.

I think your reviewing the CD is OK as long as you come clean at the outset
of the review (as you did here) regarding the limitations of your own
experience thus far with Vandermark and/or related music. In other words,
what you should do is definitely let everyone "see through" to who you are at
the moment. And also, evocative and accurate discriptions of the music become
more important than ever if you can't provide an assessment of the music in a
historical or stylistic context.

Dave Royko

-



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

From: [e-mail]
Subject: Il Gruppo?
Date: 07 Jul 1999 14:10:12 -0500


     Anyone heard of an album by Il Gruppo (I assume this is an Italian new
     music ensemble) called "Private Sea of Dreams"? On it, they perform an
     otherwise-unknown-to-me Rzewski composition called "Lip Service"
     (one's imagination reels). Don't know what else might be included.
     Came across it in a reference on the Kalvos and Damien page, an
     interesting new music site, btw.

     Thanks.

     Brian Olewnick



-



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

From: [e-mail]
Subject: zorn at tonic
Date: 07 Jul 1999 13:18:19 EDT

did anyone who went to the show last night tape it?
please respond privately. thanks. jt

-



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

From: [e-mail]
Subject: Saalfelden Jazz Fest schedule
Date: 07 Jul 1999 15:35:36 EDT

This year the Saalfelden Jazz Fest has one of the best lineups ever.  No
Zorn, but check it out:
http://www.jazzsaalfelden.at/festival/jazz.htm
Check out the Short Cuts link too.

-Jody

-



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

From: "Sean Terwilliger" <[e-mail]>
Subject: RE: Saalfelden Jazz Fest schedule
Date: 07 Jul 1999 15:43:09 -0400

> This year the Saalfelden Jazz Fest has one of the best
> lineups ever.  No Zorn


Zorn will be there on Saturday with:
Punk Funk Harmelodic: Ribot, Zorn, Gaugh, Tacuma, Weston

I'd love to see that show...

-Sean
http://www.geocities.com/BourbonStreet/Quarter/3732/


-



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

From: Eric Martens <[e-mail]>
Subject: Fwd: NoiseInTheNet World Noise Compilation
Date: 07 Jul 1999 13:03:03 -0700 (PDT)

Sorry for the bandwidth, but I figure this might be of
interest to some of you on this list. I haven't gotten
around to listening to all of the other songs yet, but
the ones I've heard (I-O, KAK, Stimbox, Ion Es) are
all good.

Thanks,
Eric (Disco Down)

> > NOISE IN THE NET
> > World Wide Noise Music Compilation CD
> > featuring artists found on www.mp3.com.
> > available for $5.99 US at
> > http://www.mp3.com/NoiseInTheNetComp
> >
> > The line up for artists on the CD is as follows
> (in
> > no particular order)...
> >
> > Flatline Construct -from Ontario, Canada
> > Cornucopia         -from Ponce, Puerto Rico
> > Stimbox            -from San Francisco, CA, USA
> > KAK                -from Perth, Western Australia
> > The Bran()Pos      -from San Francisco, CA, USA
> > NimB               -from Ekaterinburg, Russia
> > Disco Down         -from Columbia, SC, USA
> > I-O                -from Yokohama, Japan
> > pan                -from Chicago, IL, USA
> > Pzuto              -from Miramichi, Canada
> > Orgy Of Noise      -from Boston, MA, USA
> > Ion Es             -from San Diego, CA, USA
> >
> > "After months of listening to the music available
> in
> > the Noise genre at
> > MP3.com and being consistantly blown away by what
> i
> > had heard, I thought it
> > would be great to take advantage of what mp3.com
> has
> > to offer with their
> > 'D.A.M CD' technology and create an online
> > compilation featuring a bunch of
> > Noise Artists from around the globe"
> > DrAlienSmith
> > KAK
> >
> > Noise In The Net was organised by DrAlienSmith
> from
> > Australian noise trio
> > KAK, and features 12 tracks clocking in at 57
> > minutes of music. The 12
> > different noise artists featured on the CD all
> come
> > from very different
> > areas of extreme experimental music as well as
> > different cultural
> > backgrounds including Russia, Puerto Rico, Japan,
> > Canada, the US and
> > Australia, making this CD a truely international
> > head trip of NOISE like
> > preportions.
> >
> > "Not being sure of the response I would get, I
> > listened to most of the noise
> > stuff on mp3.com and picked out 20 artists who I
> > thought would be perfect to
> > be on the compilation. I then put together my
> ideas
> > and emailed out a basic
> > concept for the whole project. The response I got
> > was overwhelming but
> > unfortunately there was only room for 12 tracks.
> > Once the artists were
> > selected, it was up to them to upload whatever
> > twisted sounds they wanted,
> > the only limitation was that their pieces had to
> be
> > under 6 minutes long.
> > Once I had heard the results of the final CD,
> well,
> > I realised that I
> > couldn't have asked for a more diverse and extreme
> > collection of
> > experimental noise."
> >
> > For those unfamiliar with the www.mp3.com D.A.M CD
> > concept, the music is
> > uploaded to the mp3.com website, allocated and
> > created to a CD and when
> > someone orders a copy, it is pressed, printed and
> > posted out automatically
> > within 24 hours. Every stage of this process is
> > handled over the world wide
> > web. As well as D.A.M CD's having the traditional
> > audio content of an
> > ordinary CD, they also feature all of the tracks
> in
> > the mp3 format as well
> > as a multi media section that provides details of
> > each track and artist on
> > your screen if you choose to listen to it on your
> > computer.
> >
> > The CD is available by online secure credit card
> > purchase from the Noise In
> > The Net page on MP3.com and costs only $5.99 US.
> > Most of the songs can be
> > downloaded as mp3's for free but a few of the
> tracks
> > are exclusive to the CD
> > version. All money made on this CD will be pumped
> > straight back in the
> > project to help spread the word. Anyone interested
> > in finding out more about
> > Noise In The Net should contact
> > DrAlienSmith
> > [e-mail]
> >
> > CHEERS!
> > Noise In The Net Compilation CD
> > http://www.mp3.com/NoiseInTheNetComp
> >
> >
> >
>
______________________________________________________
> > Get Your Private, Free Email at
> > http://www.hotmail.com
> >
>
> ===
> "On her radio, she'll turn the Disco Down"
>                                   Saint Etienne
>
> Home:
> http://www.geocities.com/SunsetStrip/Pavilion/7140/
> Free Music: http://www.mp3.com/discodown
>
> http://www.riffage.com/Bands/1,2939,828,00.html
>
_________________________________________________________
> Do You Yahoo!?
> Get your free @yahoo.com address at
> http://mail.yahoo.com
>
>

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: [e-mail]
Subject: Re: Saalfelden Jazz Fest schedule
Date: 07 Jul 1999 18:07:35 EDT

In a message dated 7/7/99 3:46:27 PM Eastern Daylight Time,
[e-mail] writes:

> Zorn will be there on Saturday with:
>  Punk Funk Harmelodic: Ribot, Zorn, Gaugh, Tacuma, Weston
>
>  I'd love to see that show...

D'oh! I forgot about that one.   Ive seen them before, they've played a few
gigs in NY.  There are quite a few other groups on the bill that havent
played NY however.  Like Ponga-- or maybe they played here and I just missed
it?

-Jody

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Merzbow, Dumitrescu
Date: 07 Jul 1999 18:22:00 -0400

> While I'm at it, can anyone who has heard Iancu Dumitrescu's "Pierres
> Sacrees" tell me if there is anything similar in either his or anyone
> else's work?  Specifically, it's the distortion sound that I'm interested
> in - I've never heard anything like it.  I've heard two other CDs of his
> (Medium III and another that's split with Ana Maria Avram) and haven't
> heard anything in this vein.

I love "Pierres Sacrees" and most of what Dumitrescu's written.

Dumitrescu's label, Edition Modern, has released some 13 volumes of his work
(many of which are split with the not-as-interesting Ana-Maria Avram). I would
highly recommend picking up EDMN 1001 (Medium III, etc.) and EDMN 1005 (Galaxy,
etc.). All Dumitrescu and some of his best stuff, I think. Amazing.

                    -Tom Pratt

listening to: Fred Neil - The Many Sides Of Fred Neil


-



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

From: [e-mail]
Subject: Re: Reviewing/collecting (longish)
Date: 07 Jul 1999 23:51:38 EDT


In a message dated 7/7/99 1:26:47 AM, [e-mail] writes:

<< Something else: I just picked up the split Organum/Eddie Prevost-
Flayed/Crux LP. This being my introduction to Prevost, should I expect
similar with AMM? That is, monstruosly thick music with intense precussion,
with dense instrumentation? >>

no, Flayed, which is Prevost's contribution to this disc, is a lot closer to
the music of Organum than it is to AMM.

some of the earlier AMM releases (The Crypt, AMMusic 1966, the first disc of
Laminal) are very dense, but Prevost is always just one element of the mix,
which inevitably is more varied with the addition of Keith Rowe on prepared
guitar and John Tilbury on piano. and most of the more recent output of AMM
(Newfoundland, Allentown, From A Strange Place) could be described as fairly
spacious and beautiful, at least by me.

Flayed/Crux isn't really the best Organum or Prevost on disc. I'd suggest
Loci Of Change (Matchless) for solo Prevost and the compilation Volume 1
(Robot) for Organum, although I haven't yet heard the one just released last
week.

Jon
www.erstwhilerecords.com

NP: a CD-R of Earl Howard, Georg Grawe and Gerry Hemingway of a concert from
Merkin Hall in late '97 that Howard gave me today. did anyone see this show?
I'd love to hear feedback from someone who was in attendance.

-



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

From: Steve Smith <[e-mail]>
Subject: Re: A Real Live Zorn 'n' Tonic
Date: 08 Jul 1999 00:56:14 -0400

"Zachary J. Griffin" wrote:

> The List:  Did anyone on the list catch the name of the piano player last
> night at Tonic?

I wasn't there, but might it have been Satoko Fujii, whose first Tzadik CD came
out last month?

Steve Smith
[e-mail]


-



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

From: Steve Smith <[e-mail]>
Subject: Re: some downtowners go pop
Date: 08 Jul 1999 01:13:38 -0400

[e-mail] wrote:

> From: Tom Benton <[e-mail]>
>
> Let's see if the freshly resurrected from obscurity Steve "Sagacious" Smith can
>
> unravel this one...

Hee hee hee!  Thanks, Tom.

> **Though I don't know Holly all that well, I know that she met up with many
> of these cats (the Human Feel guys, in particular) while studying in Boston.

That sounds about right.  Chris Speed speaks extremely highly of Holly, and she
has worked, as has been mentioned, in one of Cuong Vu's recent groups.  I caught
her at the Knit some time back on a triple bill with Speed's yeah, no and a solo
bass-and-effects set by Skuli Sverrisson... Holly attracted a mostly-female
audience that at least tolerated the sets by Speed and Sverrisson.  And I heard
her sing with Cuong Vu at Tonic some time later, and this was fairly impressive.

> I was disapointed when I heard the stuff she
> released...but, what was it that someone said..."you gotta pay the bills?"

I understand what you're saying.  But in this case, judging from the set I heard
at the Knit, the pop stuff would seem to be rather close to her heart - it was a
pretty straightforward affair - and it's not necessarily the case that she's
"selling out" to a major label to record such material  Maybe that's just the
music she "feels" the way we feel the outer fringes.  And there would seem to be
ample precedent of artists who enjoyed, and even dabbled or took part in, music
considerably more avant-garde than their own, from John Lennon to Sean Lennon.

And to my mind that's not entirely regrettable.  It is not a bad thing to have
pop artists who are willing and able to lead listeners to more challenging fare.
I'd love to think, for example, that a Sean Lennon or Cibo Matto record might
lead someone to Dave Douglas, and so on.

Steve Smith
[e-mail]


-



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

From: [e-mail]
Subject: Re: some downtowners go pop
Date: 08 Jul 1999 01:34:38 EDT

In a message dated 7/8/99 1:13:56 AM Eastern Daylight Time,
[e-mail] writes:

 > I was disapointed when I heard the stuff she
 > released...but, what was it that someone said..."you gotta pay the bills?"

 I understand what you're saying.  But in this case, judging from the set I
heard
 at the Knit, the pop stuff would seem to be rather close to her heart - it
was a
 pretty straightforward affair - and it's not necessarily the case that she's
 "selling out" to a major label to record such material  Maybe that's just the
 music she "feels" the way we feel the outer fringes.  And there would seem
to be
 ample precedent of artists who enjoyed, and even dabbled or took part in,
music
 considerably more avant-garde than their own, from John Lennon to Sean
Lennon.

 And to my mind that's not entirely regrettable.  It is not a bad thing to
have
 pop artists who are willing and able to lead listeners to more challenging
fare.
 I'd love to think, for example, that a Sean Lennon or Cibo Matto record might
 lead someone to Dave Douglas, and so on.

 Steve Smith
 [e-mail]

**Yea, Steve, I completely agree with you here, I must say, though perhaps my
sentiments seemed to indicate otherwise...and I guess I was letting my GUT
reaction lead the way there in terms of my own SUBJECTIVE taste...I would
never begrudge another musician a living...also, I'm an appreciator of FINE
pop crafting (again, subjective)....and I absolutley agree with the idea that
it's important for "avant garde ideas" to populate the mainstream (as
subversion, in particular).

Jonathan LaMaster
Sublingual Records
http://www.sublingual.com
NEW RELEASE: Saturnalia String Trio
  with Daniel Carter (Limited Edition 7" vinyl)

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: A Real Live Zorn 'n' Tonic
Date: 08 Jul 1999 11:00:25 -0400 (EDT)

Considering I just saw her play solo here in Toronto a couple of weeks
ago and she seemed to be pretty much in the Bill Evans/Keith Jarett
school, Satoko doesn't seem like a Zornie.

Perhaps (and more likely) it was Yuko Fujiyama, who has recorded with
such people as Sabir Mateen, Daniel Carter and Susie Ibarra.

Ken Waxman
[e-mail]
[one of 12 blind men trying to describe an elephant]



On Thu, 8 Jul 1999, Steve Smith wrote:

> "Zachary J. Griffin" wrote:
>
> > The List:  Did anyone on the list catch the name of the piano player last
> > night at Tonic?
>
> I wasn't there, but might it have been Satoko Fujii, whose first Tzadik CD came
> out last month?
>
> Steve Smith
> [e-mail]
>
>
> -
>
>

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: some downtowners go pop
Date: 08 Jul 1999 11:05:47 -0400 (EDT)

Right, exactly. Just the way Chuck Mangione records have lead people to
Miles Davis and then Roy Campbell and Kenny G. discs have brought people
to John Coltrane and Charles Gayle. Not to mention the thousands of
Billy Joel fans who now jam Cecil Taylor concerts.

Ken Waxman




On Thu, 8 Jul 1999, Steve Smith wrote:

> I'd love to think, for example, that a Sean Lennon or Cibo Matto record might
> lead someone to Dave Douglas, and so on.
>
> Steve Smith
> [e-mail]
>
>
> -
>
>

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: some downtowners go pop
Date: 08 Jul 1999 08:23:20 -0700


On Thu, 8 Jul 1999 11:05:47 -0400 (EDT)  Ken Waxman wrote:
>
> Right, exactly. Just the way Chuck Mangione records have lead people to
> Miles Davis and then Roy Campbell and Kenny G. discs have brought people
> to John Coltrane and Charles Gayle. Not to mention the thousands of
> Billy Joel fans who now jam Cecil Taylor concerts.

From the above I guess that Ken has not the slightest clue who Sean and
Cibo Matto are. But (correct me if I am wrong) that does not prevent him
from this cheap shot :-).

Yes Ken, there are interesting things done these days in non-jazz music
(but I am afraid that you might interpret the last pair of words as an
oxymoron).

    Patrice (a fan of Sean and Cibo Matto, and rock/pop in general).

-



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

From: [e-mail]
Subject:  Fujii
Date: 08 Jul 1999 12:07:30 EDT

To clear it up, it was indeed Fujii who played the two duets with Zorn at
Tonic. She was hanging around and was asked to play to "save [Zorn's] ass"
(as was Ravi Coltrane & Briggan Krauss)... Her set last Friday night with her
big band was amazing too.

Cheers,
David

-



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

From: uranus musickness <[e-mail]>
Subject: Avant/DIW Recommendations?
Date: 08 Jul 1999 17:03:53 GMT

Hello,

I am currently scooping up tons of imports at a Tower sale going on right
now. All cd's $13.99.

I am a fan of Marc Ribot, Zorn, Frith, Chadbourne, Horvitz, Kang, Ullmer,
Frisell, Bailey, Lacy and the likes...

I already have lots of the Avant/DIW releases by these and other artists.
Does anyone have any import releases that are special to them that they
could recommend?

My top f0ur recommendations right now are-

1. Marc Ribot- SHREK (one tweaked ass piece of guitar rock)
2. Masada- Four (mega short and energetic Masada work)
3. Dying Ground (Heavy Heavy violin album? Kang and Hideki)
4. James Blood Ullmer- Tales of Captain Black (essential harmolodic madness)


John Schuller


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

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Avant/DIW Recommendations?
Date: 08 Jul 1999 14:03:17 -0400

On Thu, Jul 08, 1999 at 05:03:53PM +0000, uranus musickness wrote:

> I am currently scooping up tons of imports at a Tower sale going on right
> now. All cd's $13.99.

Is this sale across the chain or only at one store? I was at the Tower in
Rockville, MD last night and didn't see any mention of it.

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: "Benito Vergara" <[e-mail]>
Subject: RE: some downtowners go pop
Date: 08 Jul 1999 12:17:13 -0700

> -----Original Message-----
> From: [e-mail]
> [mailto:[e-mail]]On Behalf Of Ken Waxman
> Sent: Thursday, July 08, 1999 8:06 AM

> Right, exactly. Just the way Chuck Mangione records have lead people to
> Miles Davis

Actually, that's pretty much how it happened for me, believe it or not. Or,
to put it more accurately, Steely Dan --> Chuck --> Miles. Surely some of
the people on this list first heard of Zorn through Bill Laswell, Mr.
Bungle, or heck, maybe even Half Japanese. Never underestimate the power of
pop. Or "smooth jazz" [blech], for that matter. Well, maybe not the latter.

(The first time I heard Zorn was from a "Spillane" excerpt on that
Elektra/Nonesuch comp, "Late in the 20th Century" -- I'm so grateful I
bought that album, as it was my first exposure as well to the Kronos
Quartet, Glass and Reich as well...)

Later,
Ben

np: mainliner, "mainliner sonic"

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


-



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

From: Don Chambers <[e-mail]>
Subject: Re: Avant/DIW Recommendations?
Date: 08 Jul 1999 10:07:16 -1000 (HST)

The sale here in Hawaii only lasted from 7/1-7/5. I picked up The first
Arcana w/ Derek Bailey, Joey Baron's Crack shot and the Baron disc w/
Keiji Haino for 13.99 each. Also found Harras for 50% off in the bargain
bin at Borders.

Don

> > I am currently scooping up tons of imports at a Tower sale going on right
> > now. All cd's $13.99.
>
> Is this sale across the chain or only at one store? I was at the Tower in
> Rockville, MD last night and didn't see any mention of it.



-



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

From: [e-mail]
Subject: Re: A Real Live Zorn 'n' Tonic
Date: 08 Jul 1999 16:31:46 EDT

Actually,
It *was* Satoko Fujii, I couldnt recall the name, but that is it.

-Jody

-



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

From: [e-mail]
Subject: Re: some downtowners go pop
Date: 08 Jul 1999 16:51:00 EDT

In a message dated 7/8/99 11:48:01 AM Eastern Daylight Time,
[e-mail] writes:

> Yes Ken, there are interesting things done these days in non-jazz music
>  (but I am afraid that you might interpret the last pair of words as an
>  oxymoron).
>
>      Patrice (a fan of Sean and Cibo Matto, and rock/pop in general).

Has Sean Lennon done anything worthwhile? (Outside Cibo Matto.)  Has he
released a solo record yet, and if so, how is it.  I saw a gig of his a
couple of years ago, playing with the girls from Cibo Matto, and was
unimpressed.  He sang out of tune, and Miho doesn't belong behind a drum kit.


-Jody  (also a fan of pop)

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: some downtowners go pop
Date: 08 Jul 1999 17:26:16 -0400

On Thu, Jul 08, 1999 at 04:51:00PM -0400, [e-mail] wrote:

> Has Sean Lennon done anything worthwhile? (Outside Cibo Matto.)  Has he
> released a solo record yet, and if so, how is it.  I saw a gig of his a
> couple of years ago, playing with the girls from Cibo Matto, and was
> unimpressed.  He sang out of tune, and Miho doesn't belong behind a drum kit.

I haven't heard his solo work, but I like his playing with his mother
a lot. It fits in well, if not particularly memorable on its own,
providing a good context for her. Check out especially "Franklin
Summer" from their "Rising Mixes" EP.

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: some downtowners go pop
Date: 08 Jul 1999 14:58:45 -0700


On Thu, 8 Jul 1999 16:51:00 EDT  [e-mail] wrote:
>
> Has Sean Lennon done anything worthwhile? (Outside Cibo Matto.)  Has he
> released a solo record yet, and if so, how is it.  I saw a gig of his a
> couple of years ago, playing with the girls from Cibo Matto, and was
> unimpressed.  He sang out of tune, and Miho doesn't belong behind a drum kit.

I like quite a bit his record INTO THE SUN. It is fairly self-conscious
and his voice sometimes almost sounds feminine. There is a fragile quality
in it and a very personal vision. In short, it is a very sweet record with a
few downtowners (which does not hurt :-).

I am just thinking about how high expectations are for John Lennon's son
and I am afraid that the heavy machinery of big record business will
eat him and throw him away before letting him accomplish what I think he can.
Fortunately, he has been moving very carefully, and taking his time. Time
will show us.

But improv addicts and free-jazz die-hard can save some money by sticking to
their usual brand of tea.

    Patrice.


*** - INTO THE SUN: Sean Lennon

    Recorded at Sear Sound and Magic Shop, New York
    Produced by Yuka Honda

  Sean Lennon: vocals, guitars, bass guitars, drums, keyboards, Roland CR-78,
  Omnichord, Jews harp, harmonica, musical saw, percussion, Roland SH-1000,
  mellotron; Yuka Honda: sequencing, sampling, guitars, vibes, keyboards,
  glockenspiel, mellotron, thumbtack piano, percussion, vocals; Miho Hatori
  (2): vocals, percussion; Timo Ellis (1,3,6): drums, electric guitar, bass,
  backing vocals; John Medeski (8): organ; Dave Douglas (7,13): trumpet; Josh
  Roseman (7): trombone; Greg Ribot (7): flute; EJ Rodriguez (7): Latin perc-
  ussion; Brad Jones (7): upright bass; Kenny Wollesen (7,8): drums, shaker,
  marimba, timpany; Little Eric Wood (6): intergalactic-tape-machine; Chaki
  (4): cymbal; Walter Sear (13): vocal.

    1998 - Grand Royal (USA), GR053 (LP)


*** - HALF HORSE HALF MUSICIAN: Sean Lennon

    Produced by Yuka Honda

  Sean Lennon: vocals, guitars, bass, piano, synthesizer, Roland groove box;
  Yuka Honda (1-6): keyboards, vocals; Timo Ellis (2-4,6): bass, guitars,
  drums, vocals; Smokey Hormel (3,4): guitars; Duma Love (3,4,6): percussion,
  vocals; Japa Keenon (3,4): drums, percussion; Miho Hatori (6): percussion;
  John Medeski (1): Hammond organ; Kenny Wollesen (1,5,6): drums; Josh Roseman
  (5,6): trombone; Dave Douglas (5): trumpet; Vinicius Cantuaria (6): guitar;
  Brad Jones (5): bass; E.J. Rodriguez (5): percussion; Greg Ribot (5): flute;
  Peck Allmond (6): trumpet.

    1999 - Grand Royal/Toshiba-EMI (Japan), TOCP-61010 (CD)



-



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

From: "Scott Handley" <[e-mail]>
Subject: pop (was: downtowners...)
Date: 08 Jul 1999 22:16:11 GMT

I realize this is _the Zorn List_, but just for giggles:

For those of you who like the outrageousness of, say, Zorn's Naked City or
CAT O' NINE TAILS, or Mr. Bungle, and for those of you who can appreciate
his comments about geeting to the marrow of a genre and subverting, or
better---coaxing it forth; to you, I suggest the John Spencer Blues
Explosion.  Not exactly cutting-edge news, but more fun than this too-young
fogey has had in a while with pop.  Damn.  Too bad I haven't seen them live.
  Fans of Cibo Matto and Spencer might enjoy the band Butter 08, who have at
least one record out (Yuka and the other girl from CM, a couple guys from
JSBE).  More outrageous crazy-pop action, with the same kind of strangeness
that make John Lee Hooker a big-time favorite of mine.  Or Tom Waits.

----s


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

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: pop (was: downtowners...)
Date: 08 Jul 1999 15:55:21 -0700


On Thu, 08 Jul 1999 22:16:11 GMT  "Scott Handley" wrote:
>
> I realize this is _the Zorn List_, but just for giggles:
>
> For those of you who like the outrageousness of, say, Zorn's Naked City or
> CAT O' NINE TAILS, or Mr. Bungle, and for those of you who can appreciate
> his comments about geeting to the marrow of a genre and subverting, or
> better---coaxing it forth; to you, I suggest the John Spencer Blues Explosion.
                           ^^^^^^^^^^^^^^^^^^

Not too mention that JSBE kicks ass as much as Rage Against The Machine (too
stay polite).

    Patrice.

-



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

From: Steve Smith <[e-mail]>
Subject: Re: some downtowners go pop
Date: 08 Jul 1999 19:05:14 -0400

Ken Waxman wrote:

> Right, exactly. Just the way Chuck Mangione records have lead people to
> Miles Davis and then Roy Campbell and Kenny G. discs have brought people
> to John Coltrane and Charles Gayle. Not to mention the thousands of
> Billy Joel fans who now jam Cecil Taylor concerts.

I see and take your point.  I myself may be a departure from the norm, but it was
wanting to be the drummer in Kiss that led me to music in the first place.  Peter
Criss name-dropped Gene Krupa, which make me check out big band jazz (Krupa led to
Rich and finally to the awesome Bellson).  And school percussion lessons exposed me
to... gasp... Spyro Gyra, which somehow led me to electric Miles, which led me to
acoustic Miles and to Coltrane, which led me to Ornette and Cecil.  So in theory it
certainly *can* happen.

In much the same sense, wanting to be Peter Criss led me into the school music
program in the first place, so my indoctrination in classical music also stems from
the same lust for greasepaint and flashpots.

And what led me to Zorn?  Hal Wilner's Monk and Weill tributes, and that famous
cover story in Option circa 1986.

Steve Smith
[e-mail]


-



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

From: "Benito Vergara" <[e-mail]>
Subject: RE: some downtowners go pop
Date: 08 Jul 1999 17:33:19 -0700

> -----Original Message-----
> From: [e-mail]
> [mailto:[e-mail]]On Behalf Of Steve Smith
> Sent: Thursday, July 08, 1999 4:05 PM

> it was
> wanting to be the drummer in Kiss that led me to music in the
> first place.

Speaking of which, when is that "Great Jewish Music: Chaim Witz" album ever
coming out? <chuckle>

Later,
Ben

np: igor wakhevitch, "logos (rituel sonore)"

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


-



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

From: Steve Smith <[e-mail]>
Subject: Re: some downtowners go pop
Date: 08 Jul 1999 21:44:37 -0400

Benito Vergara wrote:

> Speaking of which, when is that "Great Jewish Music: Chaim Witz" album ever
> coming out? <chuckle>

Hey, good memory, Ben!  And I *still* maintain that it's a fine idea for the
Tzadik series.  You listening, Zorn?  "Great Jewish Music: Stanley Eisen &
Chaim Witz" - YOU WANTED THE BEST - YOU *GOT* THE BEST!!!  Think of the
possibilities!

Steve Smith
[e-mail]
NP - Metallica, "Mercyful Fate," 'Garage Inc.' (yes, again...)


-



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

From: Dave Lechtenberg <[e-mail]>
Subject: Re: Avant/DIW Recommendations?
Date: 08 Jul 1999 20:36:13 -0500



uranus musickness wrote:
> My top f0ur recommendations right now are-
>
> 1. Marc Ribot- SHREK (one tweaked ass piece of guitar rock)
> 2. Masada- Four (mega short and energetic Masada work)
> 3. Dying Ground (Heavy Heavy violin album? Kang and Hideki)
> 4. James Blood Ullmer- Tales of Captain Black (essential harmolodic madness)
>

JBU's "Are you glad to be in America?" is another great one.

-Dave

-



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

From: [e-mail]
Subject: (musings) updates
Date: 09 Jul 1999 09:43:35 +0100

Last month, there really was something for everyone at (musings),
what with our John Wolf Brennan special, reviews from some
adventurous new labels and our regular selection of non-standard
releases. Due to the sheer quantity of stuff that we put up, coupled
with the usual "technical problems" :) it's being run for another
couple of weeks, so if you've not been back for a while, come and
get 'em while they're hot.

Just to whet your appetite, we have releases from relatively new
labels Takla, Unsound Automatic, True Muze and Newsonic. Free
jazz, avant rock, conceptual punk, comprovisation; it's all there.

There are also reviews of discs featuring prepared guitar wizard
Gilbert Isbin, excellent electro-noise improvisors Modisti,
shakuhachi innovator Philip Gelb (with, among others, Pauline
Oliveros), free funkateers The One King Poets, and the
proceedings of Denmark's Intuitive Music Conference 1998.

Thanks for listening, and the usual (but no less heartfelt) apologies
for x-postings,

Rich

http://come.to/musings.com
NOTE: reply to [e-mail] if possible;
the address this message has come from is not permanent!

-



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

From: "wetboy" <[e-mail]>
Subject: sovetskoe foto
Date: 09 Jul 1999 09:22:44 -0400

i recently picked up a cd called "the art of beautiful butling" by sovetskoe
foto. it features zorn on one track and frith 4 tracks. it sounds kinda like
alterna-rock, but when zorn kicks in w/his "signature wail", that's good
lovin'! its a good disc, but i think masada 10 (another recent purchase) or
the new limp bizkit record will be played more frequently.

does anybody have any nfo on sovetskoe foto (where they're from, who they
are, how they managed 2 get zorn and frith)? any nfo is appreciated.


-



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

From: Jason Tors <[e-mail]>
Subject: rashaan roland kirk
Date: 09 Jul 1999 10:35:44 -0800

What are his quitessential works?

I have rip rig and panic and kirk's work with jack mcduff.

thanks~!

-



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

From: "wetboy" <[e-mail]>
Subject: environment 4 sextet
Date: 09 Jul 1999 11:08:06 -0400

so, i recently purchased this cd called environment for sextet when i was in
europe cuz i figured, "never saw it b4 and don't know if i'll c it again."
the lineup is as follows:
- polly bradfield
- andrea centazzo
- eugene chadbourne
- tom cora
- toshinori kondo
- john zorn

so i'm in boston this past week and i saw a cd that had the same lineup but
a different cover. i don't remember how many tracks were on the one i saw in
boston, but it said something about usa. might it have been "usa concerts",
which is a different cd, but also an ictus reissue? should i call my friend
in boston and have her grab it 4 me?


-



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

From: [e-mail]
Subject: Re: rahsaan roland kirk
Date: 09 Jul 1999 10:44:57 -0500


>What are his quitessential works?

RRP is my favorite among his group works, but my all-time fave Kirk is on his
"Natural Black Inventions: Root Strata", a virtual solo album (there's a teeny
bit of piano and percussion by others) released on Atlantic in 1972, but
currently available as one disc of the 3CD set "Dog Years in the Fourth Ring" on
32Jazz. Some amazing, earthy playing therein.

Also great are 'The Inflated Tear', 'Volunteered Slavery', 'Bright Moments' and
'Blacknuss'.

Worth hearing for some moments, if not essential: 'Now Please Don't You Cry,
Beautiful Edith', 'Other Folks Music' and 'The Case of the Three-Sided Dream
in...." whatever the rest of that title is (he plays some reed-trumpet on this
one).

And, of course, his work in Mingus' groups.

Still under-rated because of his perceived gimmickry but, imho, at his best, one
of the finest reed players ever.

Brian Olewnick

He apparently shared the stage with Hendrix once in London (!!!)






-



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

From: "robert ludington" <[e-mail]>
Subject: Re: Email Legislation
Date: 09 Jul 1999 08:05:32 PDT

    i sub both to the zorn-list and [e-mail]
and someone had posted this to the anarchy list and said it was from a
pretty unreliable source. some people looked into it and it's pretty likely
a joke/scam cuz apparently they don't name bills like 602P..... and i think
at least one of the representative's names is made up as well... not that
it's not worth looking into further, but it's good that it isn't another
imminent peice of pointless legislation.  but the 'article' does bring up a
good point, and hopefully it outraged a few people enought that they'd flood
the offices of their rep/congressmen opposing such an idea. btw, complete of
topic from zorn & such, but weren't the phone companies making a big fuss
about being able to call long distances with internet confrencing? did they
ever manage to block any of this? i haven't used net meeting very much
lately, but it also doesn't seem like something they'd just give on....

peace & anarchy ;)
robert ludington

<<<<um... thought i'd send this to people. it scares me.
-samuel yrui



á á Here's another bit about the Email Legislation...

Dear Internet Subscriber:

Please read the following carefully if you intend to
stay online and continue using email: The last few
months have revealed an alarming trend in the
Government of the United States attempting to quietly
push through legislation that will affect your use of
the Internet. Under proposed legislation the U.S.
Postal Service will be attempting to bilk email users
out of "alternate postage fees". Bill 602P will permit
the Federal Govt to charge a 5 cent surcharge on
every email delivered, by billing Internet Service
Providers at source. The consumer would then be
billed in turn by the ISP. Washington D.C. lawyer
Richard Stepp is
working without pay to prevent this legislation from
becoming law. The U.S. Postal Service is claiming that
lost revenue due to the proliferation of email is
costing nearly $230,000,000 in revenue per year. You
may have noticed their recent ad campaign "There is
nothing like a letter". Since the average citizen
received about 10 pieces of email per day in 1998, the
cost to the typical individual would be an additional
50 cents per day, or over $180 dollars per year, above
and beyond their regular Internet costs. Note that
this would be money paid directly to the U.S. Postal
Service for a service they do not even provide. The
whole point of the Internet is democracy and
non-interference. If the federal government is
permitted to tamper with our
liberties by adding a surcharge to email, who knows
where it will end. You are already paying an
exorbitant price for snail mail because of bureacratic
efficiency. It currently takes up to 6 days for a
letter to be
delivered from New York to Buffalo. If the U.S. Postal
Service is allowed to tinker with email, it will mark
the end of the "free" Internet in the United States.
One congressman, Tony Schnell (r) has even suggested a
"twenty to forty dollar per month surcharge on all
Internet service" above and beyond the government's
proposed email charges. Note that most of the major
newspapers have ignored the story, the only exception
being the Washingtonian which called the idea of email
surcharge "a useful concept who's time has come"
March 6th 1999 Editorial) Don't sit by and watch your
freedoms erode away!

Send this email to all Americans on your list and tell
your friends and relatives to write to their
congressman and say "No!" to Bill 602P.

Kate Turner
Assistant to Richard Stepp, Berger, Stepp and Gorman
Attorneys at Law 216 Concorde Street, Vienna, Va. >>>>





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

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: rashaan roland kirk
Date: 09 Jul 1999 11:09:44 -0400 (EDT)

Volunteered Slavery
The Inflated Tear
Rahsaan, Rahsaan
Boogie Woogie String Along For Real
Blacknuss

(working for memory and LPs -- check CD availability)

Ken Waxman
[e-mail]



On Fri, 9 Jul 1999, Jason Tors wrote:

> What are his quitessential works?
>
> I have rip rig and panic and kirk's work with jack mcduff.
>
> thanks~!
>
> -
>
>

-



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

From: Art Andrews <[e-mail]>
Subject: To Do?
Date: 09 Jul 1999 11:10:38 -0400 (EDT)


Hey everybody, this is my first post.  I've enjoyed your posts the past
week or so (the time since I subscribed).

I've seen some cool shows the past few weeks including MMW,
Medeski/Ribot/Baron, JZ, and am going to see the Lounge Lizards tonight.
However nothing in the way of live downtown music cought my eye while
parusing upcoming events the next few weeks.  Any suggestions?  I
generally like downtown jazz, interesting straight-ahead, and indie/alt
rock, but have an open mind.

-Art



-



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

From: Mark Saleski <[e-mail]>
Subject: Re: some downtowners go pop
Date: 09 Jul 1999 11:39:51 -0400


Ken Waxman wrote:

> Right, exactly. Just the way Chuck Mangione records have lead people
to
> Miles Davis and then Roy Campbell and Kenny G. discs have brought
people
> to John Coltrane and Charles Gayle. Not to mention the thousands of
> Billy Joel fans who now jam Cecil Taylor concerts.

as other followups have pointed out, there are situations where the
music of any particular artist can lead down entirely expected paths.
(peter chriss-> gene krupa (i love it!))

but here's a related question: is it, uh, 'common' that people who like
one type of music (say, smooth jazz) don't like other types of music (
say, heavy metal)? as implied the above quote....there's no way a fan of
billy joel would be interested in cecil taylor.

i ask this because people are always telling me that i have diverse
musical tastes...so diverse that they just can't belive some of the
stuff i listen to (i've been described as 'musically promisuous'). is it
so hard to belive that i can enjoy john zorn, jack dejohnette, david s.
ware...as well as shania twain,lucy kaplansky, and letters to cleo?

i suppose that given the huge sales of pop music vs. jazz that there
isn't much of a crossover (and let's leave smooth jazz out of it...for
me at least).

mark
(today's listening so far: P. Glass - Kundun, Jack DeJohnette - Oneness,
Soundtrack: 10 Things I Hate About You)

--
Mark Saleski - [e-mail]
Where ignorance is our master, there is no possibility of real peace.
--Dalai Lama



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Email Legislation
Date: 09 Jul 1999 08:41:43 -0700


On Fri, 09 Jul 1999 08:05:32 PDT  "robert ludington" wrote:
>
> peace & anarchy ;)
> robert ludington

How do you reconcile anarchy and being on a government funded Internet
backbone?

    Patrice (just curious).

-



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

From: [e-mail]
Subject: Re: environment 4 sextet
Date: 09 Jul 1999 11:41:16 EDT


In a message dated 7/9/99 11:04:09 AM, [e-mail] writes:

<< so i'm in boston this past week and i saw a cd that had the same lineup but
a different cover. i don't remember how many tracks were on the one i saw in
boston, but it said something about usa. might it have been "usa concerts",
which is a different cd, but also an ictus reissue? should i call my friend
in boston and have her grab it 4 me? >>

Zorn is only on one track of this, about four minutes long, if I recall
correctly. look at the individual track listing if you can before you pull
the trigger on this one; the personnel is a bit misleading.

Jon

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: some downtowners go pop
Date: 09 Jul 1999 08:50:59 -0700


On Fri, 09 Jul 1999 11:39:51 -0400  Mark Saleski wrote:
>
> mark
> (today's listening so far: P. Glass - Kundun, Jack DeJohnette - Oneness,
> Soundtrack: 10 Things I Hate About You)

Did anybody buy CIVIL WARS by Glass and Wilson? Since the composition was
written almost 20 years ago, I have high expectections for it. Any opinion
before I take the dive?

    Thanks,

    Patrice.

-



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

From: "uranus musickness" <[e-mail]>
Subject: KISS: Great Jewish Music! (was Some Downtowners go pop)
Date: 09 Jul 1999 15:53:15 GMT




> > it was
> > wanting to be the drummer in Kiss that led me to music in the
> > first place.
>
>Speaking of which, when is that "Great Jewish Music: Chaim Witz" album ever
>coming out? <chuckle>
>
>Later,
>Ben
>

>Hey, good memory, Ben!  And I *still* maintain that it's a fine idea for
>the
>Tzadik series.  You listening, Zorn?  "Great Jewish Music: Stanley Eisen &
>Chaim Witz" - YOU WANTED THE BEST - YOU *GOT* THE BEST!!!  Think of the
>possibilities!
>
>Steve Smith
>
About six months ago I was all over the defunkt Tzadik message board begging
for Zorn and company to do a Great Jewish  Music set for KISS. A lot of
people probaqbly hate me for that...HA! HA! They may be completely lame
musicians, but the songs they wrote and the persona they had were very
important to me (and others) in finding a love for music.

Come on Zorn!!!!

Long live Chaim Witz and Stanley Eisen!!!

"get up and get your grandma out of here!!!"


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

-



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

From: [e-mail]
Subject: Re: rahsaan roland kirk
Date: 09 Jul 1999 11:54:55 EDT


In a message dated 7/9/99 11:06:40 AM, [e-mail]
writes:

<< RRP is my favorite among his group works, but my all-time fave Kirk is on
his
"Natural Black Inventions: Root Strata", a virtual solo album (there's a
teeny
bit of piano and percussion by others) released on Atlantic in 1972, but
currently available as one disc of the 3CD set "Dog Years in the Fourth Ring"
on
32Jazz. Some amazing, earthy playing therein.

Also great are 'The Inflated Tear', 'Volunteered Slavery', 'Bright Moments'
and
'Blacknuss'. >>

I'd agree with all of these, but my favorite single Kirk disc is Prepare
Thyself To Deal With A Miracle, which is available as one of the four (all
very good) albums collected on the 32Jazz set Aces Back to Back.

Jon

-



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

From: Mark Saleski <[e-mail]>
Subject: Re: some downtowners go pop
Date: 09 Jul 1999 11:56:57 -0400


yes! i have it.

it's pretty good. not as, um, 'glassy' as other things he's done.

if you liked 'La Belle et la Bete' then you'll like this one.

mark

"Patrice L. Roussel" wrote:

> On Fri, 09 Jul 1999 11:39:51 -0400  Mark Saleski wrote:
> >
> > mark
> > (today's listening so far: P. Glass - Kundun, Jack DeJohnette - Oneness,
> > Soundtrack: 10 Things I Hate About You)
>
> Did anybody buy CIVIL WARS by Glass and Wilson? Since the composition was
> written almost 20 years ago, I have high expectections for it. Any opinion
> before I take the dive?
>
>         Thanks,
>
>         Patrice.

--
Mark Saleski - [e-mail]
Where ignorance is our master, there is no possibility of real peace. --Dalai
Lama



-



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

From: s~Z <[e-mail]>
Subject: Re: rahsaan roland kirk
Date: 09 Jul 1999 08:58:38 -0700

[e-mail] wrote:
>
> I'd agree with all of these, but my favorite single Kirk disc is Prepare
> Thyself To Deal With A Miracle, which is available as one of the four (all
> very good) albums collected on the 32Jazz set Aces Back to Back.
>
> Jon

A hearty amen to this recommendation. My vinyl copy has been reduced to
kibble. Since it was the first RRK I heard, everything since has been at
least a little (sometimes a lot) disappointing. Glad to hear it is
available on CD.

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: some downtowners go pop
Date: 09 Jul 1999 12:11:25 -0400


On Fri, Jul 09, 1999 at 11:39:51AM -0400, Mark Saleski wrote:

> but here's a related question: is it, uh, 'common' that people who like
> one type of music (say, smooth jazz) don't like other types of music (
> say, heavy metal)? as implied the above quote....there's no way a fan of
> billy joel would be interested in cecil taylor.

Actually, yesterday I listened to both "The Stranger" and "Dark to
Themselves". (I'm listening to Rage Against the Machine now, but listened
earlier in the day to the first Lilith Fair compilation and to
Pauline Oliveros, as well as to some of my own group's MP3s.)

For that matter, while I was already a fan  of Charlie Haden and
Jamaaladeen Tacuma, the player who finally convinced me to pick up
the bass was ... Derek Smalls.

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |


-



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

From: "robert ludington" <[e-mail]>
Subject: Re: Email Legislation
Date: 09 Jul 1999 09:29:43 PDT

<<How do you reconcile anarchy and being on a government funded
Internetbackbone?
    Patrice (just curious)>>

     no problem! glad you are curious.... i'm finding there are alot of sort
of 'dualisms' in anarchist thinking... here is my explanation.
     well, as most people know by now, the internet is probablly the easiest
most effecient, and cheapest means of communication.  internet mailing list
aren't just sources for info(like newsletters), but they can offer a
relatively quick 'back & forth' between the members(ie: your quick response
to my original message).  i'm sure you realize all this, and that isn't my
argument....
     my response would be basically, why the hell not? there is nothing
inherently evil about the internet itself, and if the lines are already laid
then why shouldn't i, or anyone use every tool possible at their disposal?
no idea pleases me more than using the tools of capitalism against itself.
true, it may be funded with tax money from NASA or the military but the
people had to pay for this, and should be able to use it as they please.
just because i believe the best way to live would be in a non-statist
society doesn't mean that we shouldn't use similar services that were put
into place by the government(phone lines, public transportation, etc). they
should just be run by the people instead. i just see it as taking back what
we have a right to use freely(ex: without taxation on email). librarys are
funded by local government, but i have no qualms taking out a book to learn
more about something. the internet is in part a vast library.
   i don't know. i tend to think(and although i'm still pretty new to this
line of thinking) that i practice 'practical anarchy'.  what that means to
me is to make use of what's there, regardless of it's initial use(military)
and to use it in a way that benifits people more(information,
communication).  an example; i oppose testing medicine on animals. there are
several reasons why, and i could go into all this, but now there are more
reliable methods that don't involve harming other living creatures. but
still, this doesn't mean that i wouldn't accept established medicine just
because it most likely at one point was tested on an animal. i'd fight for
stopping the experimentation that currently goes on, but as i see it, in
past the damage has been done. it doesn't make that medicine 'invalid', and
would at least give some purpose to the suffering.
     i dunno if anyone on this list has heard about J18, but basically it
was an international demo against capitalism. there hasn't been much in the
news about it, but large numbers of protestors around the world took place
in a large, spontanious, barely organized demonstration. the only
'organization' were posts to mailing lists & a webpage to look up info. the
amount of people at the demo's surprised everone. there is no way i can see
that this isn't an effective tool to use for networking regardless of it's
origins....

i apologize to anyone inconvenienced by an off topic rant....
i guess if you want to discuss things further Patrice we should do it off
list? it takes alot of words for me to formulate what i really mean, since
i'm still rather new to anarchy in general. plus realize that this is just
*my* defense, and anarchy is as varied as each different person...


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

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: KISS: Great Jewish Music! (was Some Downtowners go pop)
Date: 09 Jul 1999 12:34:43 -0400 (EDT)

Great Jewish Music sugestions:

Herbie Mann
Shelly Manne
S. David Cohen (David Blue)
Zal Yanofsky (Lovin' Spoonful)
Graham Goldman (10Cc and wrote for Hollies)
Artie Shaw
Kinky Friedman (or has that been done?)
John Cohen (New Lost City Ramblers)
Lou Gotlieb (The Limelighters)
Sonny Berman
Terry Gibbs
Moe Koffman
Lieber-Stoller
Leslie West-Corky Laing (Mountain)
Willie "The Lion" Smith
Misha Mengelberg (Jewish grandmother)
Paul Bley
Mike Bloomfield
Al Cohn
Raphe Malik
Burton Greene
Percy Faith

(see Patrice, my interest-knowledge in wider than you realize)

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: some downtowners go pop
Date: 09 Jul 1999 12:43:35 -0400

On Fri, Jul 09, 1999 at 08:50:59AM -0700, Patrice L. Roussel wrote:

> Did anybody buy CIVIL WARS by Glass and Wilson? Since the composition was
> written almost 20 years ago, I have high expectections for it. Any opinion
> before I take the dive?

Yups, and it may be the best thing either of them has ever done. If I
were the type to keep Best of the Year lists, it would definitely be
on it.

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: "Robert A. Pleshar" <[e-mail]>
Subject: Re: KISS: Great Jewish Music! (was Some Downtowners go pop)
Date: 09 Jul 1999 11:54:20 -0500

I know we've gone through a bunch of these things before. Isn't ti the case
that Willie "The Lion" Smith was a cantor, in addition to a piano player of
renown? Does being a cantor mean that he was jewish or is it possible that
it was just a job? I don't really know.

Also, if someone converts to Sunni Muslim (Raphe Malik), and still counts
as great jewish music, then surely a convert to judaism such as Sammy Davis
Jr. would be eligable as well, no?

I totally agree that Shelly Manne and Kinky Friedman need tributes.

Did Moe Koffman ever do anything "great?" I only know his name from some
incredibly hokey flute and electronics easy listening type albums. Was
there more to his career?


Let's add:
Paula Abdul (yuck, yuck)
Bob Dylan (except for that unfortunate born-again christianity phase)
Steve Lacy
Clara Rockmore(although I guess she only played and didn't write anything)

Rob




At 12:34 PM 7/9/99 -0400, Ken Waxman wrote:
>Great Jewish Music sugestions:
>
>Herbie Mann
>Shelly Manne
>S. David Cohen (David Blue)
>Zal Yanofsky (Lovin' Spoonful)
>Graham Goldman (10Cc and wrote for Hollies)
>Artie Shaw
>Kinky Friedman (or has that been done?)
>John Cohen (New Lost City Ramblers)
>Lou Gotlieb (The Limelighters)
>Sonny Berman
>Terry Gibbs
>Moe Koffman
>Lieber-Stoller
>Leslie West-Corky Laing (Mountain)
>Willie "The Lion" Smith
>Misha Mengelberg (Jewish grandmother)
>Paul Bley
>Mike Bloomfield
>Al Cohn
>Raphe Malik
>Burton Greene
>Percy Faith
>
>(see Patrice, my interest-knowledge in wider than you realize)
>
>-
>
Robert Pleshar
Head, Serial Orders
University of Chicago Library
1100 E. 57th Street
Chicago, IL 60637

-



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

From: [e-mail] (Martin Wisckol)
Subject: rahsaan
Date: 09 Jul 1999 10:27:10 -0700

[e-mail] (Zorn List Digest) writes
[Brian O, actually]:
>>What are his quitessential works?

>RRP is my favorite among his group works, but my all-time fave Kirk is
>on his
>"Natural Black Inventions: Root Strata", a virtual solo album (there's
>a teeny
>bit of piano and percussion by others) released on Atlantic in 1972,
>but
>currently available as one disc of the 3CD set "Dog Years in the Fourth
>Ring" on
>32Jazz. Some amazing, earthy playing therein.

>Also great are 'The Inflated Tear', 'Volunteered Slavery', 'Bright
>Moments' and
>'Blacknuss'.

Let me chime in for 'volunteered slavery.' Much of this is live, with
great energy and very good sound. I don't know that Rahsaan has a
"quintessential'' work in the sense of Kind of Blue or a Love Supreme
... but I vote for the VS version of Bachrach's "Say a Little Prayer"
as the quintessential version of that song (with all due respect to,
ah, dionne warwick, right?).

Rhino has one of those 2- or 3-CD compilations of Rahsaan out, which I
haven't heard but knowing the job they did with Mingus and Eddie
Harris, this would be a good bet (I haven't gotten it because I already
have most of the cuts on LP -- the only other reason to not buy it
would be if you might collect all his work individually).

"Bright Moments'' is also a favorite. However, I disagree with Brian
about "The Case of the Three-Sided Dream in Audio Color" (so-named
because the 2-LP set had music on just three sides). Modest pickings
here -- save this for after you've collected most of the others.

But going back to "Slavery," let me acknowledge the "first album"
phenomenon -- that is, the first album of a particular artist or genre
you discover, and how huge the impact can be. Like it turns on a light
for you, and everything subsequent is sort of discovering what can be
seen within that light. This was my first Rahsaan album and while I
still think it's as good as any, there's a sentimental favoritism
involved. Other's in that category are Miles Runs the Voodoo Down (a
song in that case which opened up Miles electric period for me),
Mahavishnu's Birds of Fire, Duke's Webster/Blanton band, etc.

Do others on this list share this experience? I think the Penguin guide
selections sometimes reflect this phenomenon in its authors when it
comes to the 5-star selections. I mean, I love Herbie Hancock's
"Headhunters" -- I love it to death -- but I have a hard time calling
it one of the best 30 or so jazz albums of all time. (That said, let me
add that I think that it gets a crown from the Penguin boys is charming
-- and I like the charm of the guide. After all, music isn't an
athletic event.) ... Oh yeah, Zorn's Big Showdown gets a crown too (at
least in the second to last edition) -- another hint at the "first
album" (or at least first major album" phenomenon at work....

Or is it just that the music is more potent at the discovery stage for
the musician (as well as the listener)?....

Martin

-



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

From: "wetboy" <[e-mail]>
Subject: Re: KISS: Great Jewish Music! (was Some Downtowners go pop)
Date: 09 Jul 1999 13:42:04 -0400


-----Original Message-----


[severely edited 2 b more radio friendly]

as long as we're talkin about great jewish music, we may as well mention the
beastie boys. i don't think any1 else has.


>Let's add:
>Paula Abdul (yuck, yuck)
>Bob Dylan (except for that unfortunate born-again christianity phase)
>Steve Lacy
>Clara Rockmore(although I guess she only played and didn't write anything)



-



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

From: [e-mail] (Martin Wisckol)
Subject: rahsaan and al hibbler
Date: 09 Jul 1999 10:54:07 -0700

back in my college radio days, there was a rahsaan album with, i
believe, al hibbler, that was great fun. i haven't seen this for a long
long time, don't believe it has been released on CD. anybody have a
copy of this available for a tape swap?

thanks, martin

-



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

From: Jason Caulfield Bivins <[e-mail]>
Subject: KISS
Date: 09 Jul 1999 13:01:32 -0500 (EST)

Hi all,

I for one am giddy that this suggestion has been raised once again. Months
back I confessed to Steve that Ace Frehley was my first fave guitar hero.
And, if memory serves, isn't John Shiurba also a big fan?

Yes, this was my first music love as well (although the explosions, the
makeup, and so forth appealed to my comic book-lovin' mind in a big way).
I went from there to the Bad Brains to the Butthole Surfers, Hendrix,
Sonic Youth, electric Miles, late Coltrane, and outward from there.

And just for the genealogically scrupulous among us, a KISS tribute would
be consistent with the Zorn/Tzadik world as well. The Melvins once covered
"God of Thunder" for a tribute album; King Buzzo is in that Fantomas (sp?)
band with Mike Patton; etc.

Jason B. (who thinks the best KISS song ever is "She")

np: Olivier Messiaen, "Chronochromie"


-



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

From: "Michael Berman" <[e-mail]>
Subject: Re: rahsaan
Date: 09 Jul 1999 14:16:59 -0400

A few years back I picked up a two-fer put out by EmArcy/Polygram  =
combining  Rip Rag and Now Please Don't Cry.  It was released in 1990.  =
looking at the notes, I remember his cover of "Alfie".  seems he was =
quite the Bacharach fan.

m


-



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

From: John Dikeman <[e-mail]>
Subject: Sentimental Favorites
Date: 09 Jul 1999 12:25:03 -0600

I think this has happened to me a lot.  When you are new to something, if
you really get into, it just knocks you flat, you know.  Like, the first
Zorn I got, The Big Gundown, complete freaked me out, and landed me on the
floor.  Well, now I kind of know what he's about, so, when I get more of
his stuff, it isn't as shocking.  Though, Naked City still freaked me out a
bit at first, which I dug.  I really like stuff that freaks me out.
I don't know, that's how almost EVERYTHING is.  I mean, watch a little baby
play for a while.  They find everything as incredible.  I mean, I'll sit
and see some kid feeling a table and get to some degree as much as I get
out of Zorn.  Which is why I which I were still 1 years old, that would
really kick if just staring at the floor and stuff could freak me out the
way Zorn does.  But, it's because it's all knew to them.  So, you try and
figure it out, and listen over and over.
Also, sometimes, you get a CD during a period in your life when something
really great is happening, and, then you love to hear that CD, cause, it
just puts you in that mindset.  Even sometimes with really bad music.  I
had something like that happen with Stevie Wonder, and, latter, I see that
the album, really sucks, but, I like it anywho.
UHURU!!!
john

> This was my first Rahsaan album and while I
> still think it's as good as any, there's a sentimental favoritism
> involved. Other's in that category are Miles Runs the Voodoo Down (a
> song in that case which opened up Miles electric period for me),
> Mahavishnu's Birds of Fire, Duke's Webster/Blanton band, etc.
>
> Do others on this list share this experience? I think the Penguin guide
> selections sometimes reflect this phenomenon in its authors when it
> comes to the 5-star selections. I mean, I love Herbie Hancock's
> "Headhunters" -- I love it to death -- but I have a hard time calling
> it one of the best 30 or so jazz albums of all time. (That said, let me
> add that I think that it gets a crown from the Penguin boys is charming
> -- and I like the charm of the guide. After all, music isn't an
> athletic event.) ... Oh yeah, Zorn's Big Showdown gets a crown too (at
> least in the second to last edition) -- another hint at the "first
> album" (or at least first major album" phenomenon at work....
>
> Or is it just that the music is more potent at the discovery stage for
> the musician (as well as the listener)?....
>
> Martin
>
> -


-



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

From: [e-mail]
Subject: Re: rahsaan
Date: 09 Jul 1999 14:08:14 -0500


>'Bright Moments'' is also a favorite. However, I disagree with Brian
>about "The Case of the Three-Sided Dream in Audio Color" (so-named
>because the 2-LP set had music on just three sides). Modest pickings
>here -- save this for after you've collected most of the others.

Not to quibble and going from memory, but there are a few neato things here,
including a couple of versions of 'Bye, Bye, Blackbird' (on the aforementioned
reed trumpet) and some of Kirk's infectious, imo, pop covers--'High-Heeled
Sneakers', I think? But no, not in the same league as his very best.

> ... Oh yeah, Zorn's Big Showdown gets a crown too

You're referring to Zorn's covers of David Shire's soundtrack to the 1973 Dean
Martin/Rock Hudson vehicle? ;-)

In Zorn's case, the "first" phenomenon didn't do it for me; I thought 'Locus
Solus' was interesting (I know, I know, it's the fave of a few people here), but
I wasn't knocked out 'til the Morricone album. But the phenomenon is decidely in
effect for many others, including the first jazz album I ever bought, Ornette's
'Science Fiction'. To this day, I relisten to it as objectively as possible,
trying to convince myself that I'm just wallowing in nostalgia, that this isn't
one of the small handful of greatest records I've ever heard....but to no avail.
It is.

Brian Olewnick






-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Prevost/Organum
Date: 09 Jul 1999 15:06:37 -0400

[e-mail] wrote:

> some of the earlier AMM releases (The Crypt, AMMusic 1966, the first disc of
> Laminal) are very dense, but Prevost is always just one element of the mix,
> which inevitably is more varied with the addition of Keith Rowe on prepared
> guitar and John Tilbury on piano. and most of the more recent output of AMM
> (Newfoundland, Allentown, From A Strange Place) could be described as fairly
> spacious and beautiful, at least by me.

Me too. I love AMM's late '60s output, but the recent stuff is absolutely
beautiful. I'd also add 'Before driving to the chapel we took coffee with Rick
and Jennifer Reed' to Jon's list of "recent AMM" suggestions (though he was
probably just too lazy to type out the title!). Aside from the Fat Cat 12" split
with Merzbow (which I've not heard), it's their most recent album and is one of
my favorites.

Speaking of AMM... In his book, 'No Sound Is Innocent', Eddie Prevost mentions a
"forthcoming" Cornelius Cardew biography written by John Tilbury. Does anyone
know the status of this project? Has it come out yet?

> Flayed/Crux isn't really the best Organum or Prevost on disc. I'd suggest
> Loci Of Change (Matchless) for solo Prevost and the compilation Volume 1
> (Robot) for Organum, although I haven't yet heard the one just released last
> week.

Is 'Volume One' really considered the best Organum? I've had this one for a few
months (my only Organum/Jackman disc), and it didn't really do much for me on
the first few listens. I'll give it another go tonight.

I'd also like to add that I think the Evan Parker/Eddie Prevost double-disc
'Most Materiall' is fucking awesome, and I would recommend that as a great
introduction to both players.

listening to: Graham Halliwell / Simon H. Fell - 9 Points In Ascent (Bruce's
Fingers). Finally picked this one up, and it sounds pretty nice (hoping Patrice
won't hate me for liking a bit of improv now and then... )

                -Tom Pratt


-



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

From: Tom Pratt <[e-mail]>
Subject: Re: solo saxophone
Date: 09 Jul 1999 15:13:04 -0400

david rothbaum wrote:

> if anyone can recommend a few recordings of solo saxophone id appreciate it.
> i am familiar with anthony braxton, steve lacy, evan parker, ned rothenberg,
> jason dumars, claude delangle and eric dolphy.  id like to check out anyone
> im not familiar with,  jazz or classical etc..

Has anyone heard Urs Leimgruber's solo albums? I liked his trio disc 'Lines'
(hatArt) with Fritz Hauser and Adelhard Roidinger well enough but haven't heard
much else. It seems to me the solo stuff could be pretty nice, though.

                -Tom Pratt


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: KISS: Great Jewish Music! (was Some Downtowners go pop)
Date: 09 Jul 1999 17:33:17 -0400 (EDT)

Robert:

Moe Koffman's fame rests of "Swingin' Shepherd Blues". But around
Toronto, where he still plays, he's sort of a combination of Herbie Mann
and Phil Woods. A whole bunch of respected mainstream players have been
in his band --pianist Bernie Senensky, guitarist Ed Bickert,
bassist/pianist Don Thompson, drummer Barry Elmes -- to name four. He has
also recorded with Dizzy Gilesspie and The Boss Brass.

As for Raphe, considering his wife is Jewish, I wonder where that leaves
him. Does anyone know what ethnicity his children are being raised?

Now Sammy Davis Jr., that's a real concept.

Ken Waxman

-



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

From: William York <[e-mail]>
Subject: Roland Kirk
Date: 09 Jul 1999 17:35:44 -0400 (EDT)

> Rhino has one of those 2- or 3-CD compilations of Rahsaan out, which I
> haven't heard but knowing the job they did with Mingus and Eddie
> Harris, this would be a good bet (I haven't gotten it because I already
> have most of the cuts on LP -- the only other reason to not buy it
> would be if you might collect all his work individually).

I had this and had to sell it, the sequencing was just so annoying to me.
Too many excerpts and splices (different songs from different albums, I
know they did this at least once on here).  It's like they were trying to
make it into a concept album and took too many liberties.  Also out of
chronological order.

Rip Rig and Panic and Dog Years in the Fourth Ring are both good and cheap
too, for what you get.

WY


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: rahsaan
Date: 09 Jul 1999 17:41:41 -0400 (EDT)

Martin et. al

Volunteered Slavery wasn't my first RRK, but it still remains my
favorite, especially for the point in his solo on "One Ton," where he
stops playing his other three horns, sticks a nose flute in his nostril
and says: "Ok nose, take it!"

Also, those that have the 2-LP set, "The Case of the 3-Sided ..."
should know that there's actually a fourth side. Insert the stylus at almost
the very end of Side 4. After a while you'll hear a phone conversation
between Kirk and an unidentified woman.

If Kirk had only lived a little longer, he would be even more popular:
universally loved by both the downtowners and the neo-cons.

Ken Waxman

-



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

From: Maurice Rickard <[e-mail]>
Subject: Re: rahsaan /introduction
Date: 09 Jul 1999 17:59:38 -0400

Hi! I've been lurking here for a week or so, and while this isn't the
thread to mention my Zorn listening history, I'll throw in a RRK
recommendation.

It isn't exactly "out," but I've enjoyed _We Free Kings_ for a number of
years as just pure listening pleasure.  It's more of the neo-con side of
RRK, I'd guess.

I'd never known about RRK until I saw _Sound_ (a film from the '60s) during
a jazz film festival some years back.  It cuts between RRK walking around
London and performing, and John Cage walking around London and setting up
for a performance.  Some people are annoyed by Cage in this; he was just
fine by me.  But having the two of them in the same film is kind of
interesting.


Maurice Rickard                   | "Multimedia will never go anywhere
Designer                          |  until the amateurs take over."
http://www.envirolink.org/maurice |                     --David Thomas



-



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

From: "robert ludington" <[e-mail]>
Subject: Re: Sentimental Favorites
Date: 09 Jul 1999 15:12:17 PDT

     for me it was sonny sharrock's 'ask the ages'. i got it on a whim
because i knew he was down with laswel & i was really into Praxis then. i
was probably like 16 at the time, and it just floored me. this was music
that i always knew was out there, and what i thought jazz was all about, but
till that point my only exposure was scofield/methany/etc... i think that
album right there made me put down the guitar and take up drums... i thought
"so *this* is the elvin i've been reading about!"... plus after hearing
sharrock... i knew i'd never get where i wanted to be at.

     unfortunatly i lent it out to someone last year & haven't heard from
her again... she sold all her stuff including that to get pot. man, i'm
still bitter about it. i bet i listened to that at least once a week.... i
was thinking lately about getting off my ass & finding another copy
somewhere....

     btw, are any of his other more rare albums *that* amazing? i also have
"Guitar" on Enemy, which i like, but not as much as the rolling energy of
'Ages.... and yeah, i've heard LAst Exit too, which also blows me away..


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

-



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

From: [e-mail]
Subject: Re: solo saxophone
Date: 09 Jul 1999 18:20:31 EDT


In a message dated 7/9/99 3:11:27 PM, [e-mail] writes:

<< Has anyone heard Urs Leimgruber's solo albums? I liked his trio disc
'Lines'
(hatArt) with Fritz Hauser and Adelhard Roidinger well enough but haven't
heard
much else. It seems to me the solo stuff could be pretty nice, though. >>

I just played Leimgruber's solo CD Statement Of An Antirider (Hat Art) for
the first time in years after reading Toms' query. parts of it are very nice,
but there's nothing too revelatory.

I prefer his work in small combos (No Try No Fail and Lines), and if you ever
get a chance to see him live, don't pass it up. he was good at Victo '98,
playing with Hauser, Marilyn Crispell and Joelle Leandre, but the set I saw
him play a few years back with Hauser and Pauline Oliveros, in a large, open
lobby in a building on the Upper East Side, was pretty mindblowing. what was
almost more memorable was watching Urs and Fritz hold court in the back of
the Fez during the Myra Melford and Joe McPhee sets later that night, shows
documented in part on The October Revolution (Evidence).

Jon
www.erstwhilerecords.com

NP: Nobukazu Takemura-Scope (Thrill Jockey)

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: some downtowners go pop
Date: 09 Jul 1999 18:29:24 -0400

At 11:39 AM 7/9/99 -0400, Mark Saleski wrote:
>
>but here's a related question: is it, uh, 'common' that people who like
>one type of music (say, smooth jazz) don't like other types of music (
>say, heavy metal)? as implied the above quote....there's no way a fan of
>billy joel would be interested in cecil taylor.

At the risk of being disbarred from the zorn list, I have to confess that
we have a fair amount of smooth jazz in our collection.  I use first person
plural because my wife is more of a smooth jazz fan than I am.
Nevertheless, I have some vinyl that today would qualify as smooth jazz,
but which I considered very progressive rock when I acquired it a decade or
so ago, before smooth jazz was the commercial entity we know today (the
path: King Crimson -> Bill Bruford -> Allan Holdsworth -> Jeff Berlin ->
GRP Records).  And although I cringe when I hear Kenny G, other
practitioners do have talent, and make music which is as easy to listen to
as many ambient artists, and serves quite well as background music for
gatherings of people (certainly a definition of ambient).  I also own a
Billy Joel album on cassette, which is great listening on a long-distance
drive.

So, what kind of music do other people play at parties, small gatherings or
dinners with friends, etc.?  (My first intro to Cecil was actually a friend
who put it on at parties when he was ready for everyone to go home.)

--
Caleb Deupree
[e-mail]

It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing.  There is more
than one way to conquer a country.

-- Raymond Chandler

-



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

From: [e-mail]
Subject: Re: Prevost/Organum
Date: 09 Jul 1999 18:26:13 EDT


In a message dated 7/9/99 3:05:29 PM, [e-mail] writes:

<< Is 'Volume One' really considered the best Organum? I've had this one for
a few
months (my only Organum/Jackman disc), and it didn't really do much for me on
the first few listens. >>

it's the CD of theirs/his that made the biggest impact on me, but I don't
consider it to be on the same level as AMM, or Morphogenesis for that matter.

Jon

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: rahsaan /introduction
Date: 09 Jul 1999 18:33:47 -0400

Maurice Rickard wrote:

> I'd never known about RRK until I saw _Sound_ (a film from the '60s) during
> a jazz film festival some years back.  It cuts between RRK walking around
> London and performing, and John Cage walking around London and setting up
> for a performance.  Some people are annoyed by Cage in this; he was just
> fine by me.  But having the two of them in the same film is kind of
> interesting.

I've been wanting to see that video for a bit. An interesting choice of
combination, I'd say... There was also that rare LP of Cage's collaboration
with Sun Ra.

                        -Tom Pratt

listening to: Michael Jackson "Rock With You" (is that better, Patrice?)   (:


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: rahsaan /introduction
Date: 09 Jul 1999 15:38:05 -0700


On Fri, 09 Jul 1999 18:33:47 -0400  Tom Pratt wrote:
>
> listening to: Michael Jackson "Rock With You" (is that better, Patrice?)   (:

No, you can try Prince.

    Patrice.

-



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

From: Matt Moran <[e-mail]>
Subject: Re: Zsolo saxophone
Date: 09 Jul 1999 18:45:38 -0400 (EDT)

david rothbaum wrote:

> if anyone can recommend a few recordings of solo saxophone id appreciate
> it.  i am familiar with anthony braxton, steve lacy, evan parker, ned
> rothenberg, jason dumars, claude delangle and eric dolphy.  id like to
> check out anyone im not familiar with, jazz or classical etc..

Tenor player Ellery Eskelin has a solo cd entitled Premonition.

http://home.earthlink.net/~eskelin/discography2.html

-matt


-



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

From: Rich Williams <[e-mail]>
Subject: Re: Sentimental Favorites
Date: 09 Jul 1999 19:23:25 -0400

>    for me it was sonny sharrock's 'ask the ages'
><<.Snip>>
>    btw, are any of his other more rare albums *that* amazing? i
>also have "Guitar" on Enemy, which i like, but not as much as the
>rolling energy of 'Ages.... and yeah, i've heard LAst Exit too,
>which also blows me away..


    Check my website at
www.geocities.com/SunsetStrip/Venue/4306/sharrock/index.html
for Sonny's complete discography, My favorites(besides Ask The
Ages,obviously) would include include;

Black Woman 1969 on Vortex
    The band is Sonny & Linda Sharrock, Milford Graves on drums,
Sirone on bass and Dave Burrell on piano. The closest thing,
stylistically, to Ask The Ages   If you've never heard Linda's
singing this should scare you good ;-)

Seize The Rainbow  1987  Enemy
     Sonny's first album as a bandleader after a long  period.
w/Melvin Gibbs on bass and Pheeroan Aklaff and Abe Speller on double
drumming. Recorded at Electric Ladyland. Raw, muscular, pretty much
essential

Highlife 1990 enemy
    Adds a keyboard player.  Real nice, if somewhat tame by
Sharrock standards. Francis Davis said "Music so good they should
invent a radio format for it"  I'd agree. Hear Sonny play the hell
out of a  Harry Belafonte tune......really.

Sharrock +Skopelitis  Faith Moves
    Somewhat similar to Guitar, but better, the tunes are a bit
more fleshed out

F.Robert Lloyd Think about Brooklyn
    Sonny's last session.  w/ Laswell, Anton Fier. Swampy,
Bluesy, not entirely successful but brilliant in spots. Contains
Sonny's only recorded vocal (spoken word actually)

Last Exit  Iron path
    Their only studio album. One of my favorite Laswell
productions of all time. Doesn't sound much like their others, more
of a Crimson meets Mahavishnu vibe.



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Sentimental Favorites
Date: 09 Jul 1999 16:34:53 -0700


On Fri, 9 Jul 1999 19:23:25 -0400  Rich Williams wrote:
>
> Last Exit  Iron path
>     Their only studio album. One of my favorite Laswell
> productions of all time. Doesn't sound much like their others, more
> of a Crimson meets Mahavishnu vibe.

That's the one on Virgin? Strange, you might be one of the few to like
it. It has been systematically dismissed or ignored by most early fans
of Last Exit. But this was before listeners were acustomed to ambient
(which, if I remember well, you can detect some elements in IRON PATH).

Are there other people on the list who would advice that one?

    Patrice (who will give IRON PATH another try).

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Sharrock
Date: 09 Jul 1999 19:42:54 -0400 (EDT)

So isn't it about time we bug Atlantic, Rhino, Koch, 32 Jazz or whomever
owns the Vortx catalogue to re-release Black Woman?

Anyone have any connectiosn there? SSmith?

Ken


On Fri, 9 Jul 1999, Rich Williams wrote:

 My favorites(besides Ask The
> Ages,obviously) would include include;
>
> Black Woman 1969 on Vortex
>     The band is Sonny & Linda Sharrock, Milford Graves on drums,
> Sirone on bass and Dave Burrell on piano. The closest thing,
> stylistically, to Ask The Ages   If you've never heard Linda's
> singing this should scare you good ;-)
>>

-



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

From: "uranus musickness" <[e-mail]>
Subject: More KISS!!!!!
Date: 09 Jul 1999 23:41:44 GMT

So what would you think a good lineup would be?

Haino Keiji- "Hard Luck Woman"
Ruins- "Firehouse"
Marc Ribot- "See You In Your Dreams Tonight"
Fred Frith- "Love Theme From KISS"
MMW- "Love Her All I Can"
Zony Mash- "Almost Human"
Bill Laswell- "100,000 Years"
Massacre- "Great Expectations"
Zorn- "Shandi"
Mike Patton- "Sweet Pain'
Eyvind Kang- "Calling Dr. Love"
Masada- "Detroit Rock City"
Steve Lacy- "X-Ray Eyes"
Anthony Coleman- "Love Gun"

Hell they otta just make it a double cd box set and include some reunited
Naked City doing She.

Sick and wrong, way too bored at work,
John


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

-



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

From: [e-mail]
Subject: Re: Sharrock
Date: 09 Jul 1999 19:48:49 EDT


In a message dated 7/9/99 7:42:47 PM, [e-mail] writes:

<< So isn't it about time we bug Atlantic, Rhino, Koch, 32 Jazz or whomever
owns the Vortex catalogue to re-release Black Woman? >>

I believe that Thurston Moore and Byron Coley have been planning to put this
out for a while, although I don't know anything more specific.

Jon

-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: Sentimental Favorites
Date: 09 Jul 1999 19:51:27 -0400

Patrice L. Roussel wrote:

> Are there other people on the list who would advice that one? [Iron Path]

I never thought it was all that bad; some of it's quite good in fact. I
fear some of the reaction was just knee-jerk anti-major label stuff
(though I think Brotz has been quoted as disliking it).  Nothing though,
imho, holds a candle to the first side of the first album on Enemy. 20
of the greatest minutes in jazz-rock-improv history.

Brian Olewnick

-



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

From: "wetboy" <[e-mail]>
Subject: re: iron path (was Re: Sentimental Favorites )
Date: 09 Jul 1999 20:17:48 -0400


. But this was before listeners were acustomed to ambient
>(which, if I remember well, you can detect some elements in IRON PATH).
>
>Are there other people on the list who would advice that one?
>
> Patrice (who will give IRON PATH another try).
>


in a continuing effort 2 shatter the record of previous posts made by me in
a day, i will chime in with great praise for iron path. don't xpect 2 hear a
copy of the first record, but i love it anyway. that band never fails 2 blow
me away.




-



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

From: [e-mail]
Subject: more kirk
Date: 09 Jul 1999 20:22:33 EDT

since it seems as if the majority of Kirk fans on this list have the bulk of
their collections on vinyl, I'd like to also suggest I, Eye, Aye, which is
live in Montreaux 1972, and was issued for the first time in 1996 by Rhino.
it's pretty burnin'.

Jon

-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: Sentimental Favorites
Date: 09 Jul 1999 18:05:50 -0700

At 4:34 PM 7/9/99, Patrice L. Roussel wrote:
>On Fri, 9 Jul 1999 19:23:25 -0400  Rich Williams wrote:
>>
>> Last Exit  Iron path
>>       Their only studio album. One of my favorite Laswell
>> productions of all time. Doesn't sound much like their others, more
>> of a Crimson meets Mahavishnu vibe.
>
>That's the one on Virgin? Strange, you might be one of the few to like
>it. It has been systematically dismissed or ignored by most early fans
>of Last Exit. But this was before listeners were acustomed to ambient
>(which, if I remember well, you can detect some elements in IRON PATH).
>
>Are there other people on the list who would advice that one?
>
>        Patrice (who will give IRON PATH another try).

Hell Yeah! I LOVE IRON PATH. It's definitely among my all-time favorite
records. Very different from the rest of the Last Exit output, surprisingly
restrained, and IMHO, a beautiful record. I'd love a CD copy, having worn
through several on vinyl.

________________________________________________________
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
________________________________________________________



-



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From: [e-mail]
Subject: Fwd: DENVER--COBRA--MORE...(I.S.O. Conrad Kehn)
Date: 09 Jul 1999 21:11:58 EDT


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Joseph Breinfalk: Please post the following to the Zorn-List.
>>>>>>

An email in response the following post was accidentally deleted. It was from
a Conrad Kehn, at Univ. of Denver I believe. Please resend.

Thanks,
Nathan Fuhr
CE-C

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X-Mailer: AOL 4.0 for Windows 95 sub 10

Hello Zorn-list!

My name is Nathan Fuhr. I created the COBRA Ensemble - Cincinnati, in
September of last year. Although Zorn's Cobra has been the focus of the
group, we've done a few other projects, an original piece w/ dancers,
arrangements/pieces of mine; all more-or-less within, and (almost!) touching
both extremes of, the spectrum of the Zorn aesthetic. (By the way, for the
record, the name and concept of the group is based on that of the COBRA
artists of 1948-51.)

Although I may continue work with the Cincinnati group on a less frequent
basis, I will be moving to Denver in the fall for a position with the
Colorado Symphony (i'm a conductor). Providing I can hook up with the right
kind of musicians, I seek to create a group there; perhaps similar but not
the same. Not only have I learned a tremendous amout this first time around,
but whatever the group takes on is determined exclusively by the strengths,
artistic sensibilities, and personalities of the players at hand, which could
be quite different on the Denver scene. In addition to Cobra and other Zorn
works, pieces such as Stockhausen's Stimmung, Kagel's Exotica, or Uri Caine
type projects would be worthwhile foci--and if it feels right, originals. I
would be content just doing Cobra too, but only if doing it damn well;
uniquely and sincerely--of course having fun, but not mindlessly mimicking
the KF disc or just goofing off.

If you're in Denver and interested, drop me a line. Also, if you know of any
players on the scene, please feel free to let me know of them, or pass the
word on. I'm looking forward to meeting potential collaborateurs and open to
ideas, but certainly making no promises at this point. I'm just testing the
waters, hoping to get a head start getting acquainted with serious musicians
in Denver/Boulder that may be hip to this; musicians I obviously would not
find via my work with the symphony. This project is not a must, if I don't
feel I've found the right players/chemistry, I'll let it go.  But,
admittedly, I wouldn't mind out-doing what we've done here in Cincinnati thus
far.

Thanks!
Nathan Fuhr
[e-mail]

P.S. - I have been warned. Please do not contact me just to get copies of
Cobra. It's not my place to do anything with it but make music.






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

From: eric ong <[e-mail]>
Subject: Re: Sentimental Favorites
Date: 09 Jul 1999 21:28:29 -0400


>> Last Exit  Iron path
>>     Their only studio album. One of my favorite Laswell
>> productions of all time. Doesn't sound much like their others, more
>> of a Crimson meets Mahavishnu vibe.
>
>That's the one on Virgin? Strange, you might be one of the few to like
>it. It has been systematically dismissed or ignored by most early fans
>of Last Exit. But this was before listeners were acustomed to ambient
>(which, if I remember well, you can detect some elements in IRON PATH).
>
>Are there other people on the list who would advice that one?

Patrice,

For some reason, "Iron Path" is the Last Exit album I usually recommend to
anyone interested in checking them out. I think people in general feel more
comfortable buying studio albums as opposed to live material. But to answer
your question, yes, "Iron Path" has its merits imho and I'd recommend
giving it another try.

Also, I know most Last Exit fans wonder if there's anything left in the can
that might eventually see the light of day. Well, I know there's a whole
European tour's worth of recordings from the "Headfirst" period; whether
it'll ever come out is anybody's guess. That was a volatile combination of
personalities and somebody was always mad at somebody else. Brotzmann vs
Laswell, Shannon Jackson vs Laswell. Shannon vs Brotzmann, and the band
generally vs the promoters of the world and the entire music business.
There was a lot of stomping offstage and all-round mayhem. But when they
were on form there was no band more exciting in that period, and even when
they were off form it was somehow a spectacle worth experiencing (the jazz
equivalent of late period Birthday Party, maybe, or early Pretty Things if
anyone can remember that far back). After a few years of not talking to
each other the band members smoothed out differences and were getting ready
to tour Europe again when Sonny Sharrock died.

Anyways, I took the day off from work today to go record shopping and I
ended up with a whole bag of goodies. What was it with the used sections
today? I found the dbl disc "In Memoriam Max Brand" (rhiz) for 8 bucks! I'm
listening to it right now and it sounds pretty great. The first disc is
archival-type selections of Max Brand's work, which ranges from sounding
like "Wozzeck" at 100 rpm to French folk tunes with the occasional
arbitrary electronic blast. The second disc finds the Mego/Sabotage/etc
crowd (Pita, Epy, etc) remixing Brand's work and also sounds quite fine.
Many of these pieces are borderline noise/electro. If you're interested,
I'm sure there are sound samples at MDOS.

-eric.




-



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

From: Rich Williams <[e-mail]>
Subject: Re: Sharrock
Date: 09 Jul 1999 21:57:32 -0400

>In a message dated 7/9/99 7:42:47 PM, [e-mail] writes:
>
><< So isn't it about time we bug Atlantic, Rhino, Koch, 32 Jazz or whomever
>owns the Vortex catalogue to re-release Black Woman? >>
>
>I believe that Thurston Moore and Byron Coley have been planning to put this
>out for a while, although I don't know anything more specific.
>
>Jon

    Maybe someone on the list who has Thurston or Byrons contact
info could ask one of them?
Since this info is about 4 years old now. I'm beginning to think that
this is a no-go once again. I tried to secure the rights to Black
Woman, on Sonny's behalf, in the late 80's and despite having someone
inside Atlantic helping me out, I never even got them to admit that
they still owned the Vortex catalog!
    On a related note, has anyone heard anything about the
Sharrock tribute CD that was in the works. The website of the guys
putting it together seems to have evaporated.

RW


-



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

From: Rich Williams <[e-mail]>
Subject: Re: some downtowners go pop
Date: 09 Jul 1999 21:58:16 -0400

>
>
>  It is not a bad thing to have
>pop artists who are willing and able to lead listeners to more
>challenging fare.

     Definitely not a bad thing, but I'm still waiting for Peter
Blegvad to lead people to Frith, Blegvad and Cutler....not to mention
Locus Solus...  ;-)

RW


-



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

From: Rich Williams <[e-mail]>
Subject: Re: Sentimental Favorites
Date: 09 Jul 1999 22:10:37 -0400

>
>Also, I know most Last Exit fans wonder if there's anything left in the can
>that might eventually see the light of day.



> Well, I know there's a whole
>European tour's worth of recordings from the "Headfirst" period; whether
>it'll ever come out is anybody's guess.

    There are a lot of tapes, but the ones that have been
released were considered(by Bill.,I would guess) , to be the best
available examples from whatever tour they were made on. What I would
love to hear would be the times when the band was joined by a guest
artist(Billy Bang, Diamanda galas, Hancock, Sakata, and Linda
Sharrock among them) . There was also an earlier attempt at an Exit
studio album that was abandoned.......whatever happened to the idea
of the Laswell Collectors club anyway?



RW


-



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

From: Rich Williams <[e-mail]>
Subject: Re: Sentimental Favorites
Date: 09 Jul 1999 22:13:48 -0400

>Patrice L. Roussel wrote:
>
> > Are there other people on the list who would advice that one? [Iron Path]
>
>I never thought it was all that bad; some of it's quite good in fact. I
>fear some of the reaction was just knee-jerk anti-major label stuff
>(though I think Brotz has been quoted as disliking it).

    Umm...I believe he called it crap, or was it shit?....then
again, Brotzman was responsible for some of Exit's more colorful song
titles, such as Needles=Balls, which describes.....um.....certain
practices at one of  um ....Europes more forward-looking houses of
ill-repute.
    It could be that  Brotzmans dislike for the record stems from
what sounds like(to me anyway) ,Laswells efforts to tone down, or
contain him, on that album.

> Nothing though,
>imho, holds a candle to the first side of the first album on Enemy. 20
>of the greatest minutes in jazz-rock-improv history.

    They sure did play with a kind of thundering glee on that
tour didn't they? It should be noted that the 1st albums feel was due
in no small part to Booby Musso's amazing salvage/production
techniques.

RW




-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Sentimental Favorites
Date: 09 Jul 1999 22:28:50 -0400

On Fri, Jul 09, 1999 at 04:34:53PM -0700, Patrice L. Roussel wrote:

> That's the one on Virgin? Strange, you might be one of the few to like
> it. It has been systematically dismissed or ignored by most early fans
> of Last Exit. But this was before listeners were acustomed to ambient
> (which, if I remember well, you can detect some elements in IRON PATH).
>
> Are there other people on the list who would advice that one?

I really like it, though I don't listen to it often. Not where you'd
go to get an improv fix, but, in a sense, more of a Laswell
construction a la "Lost in the Translation" (which is one of my alltime
faves). Like he said, Crimson meets Mahavishnu with perhaps a
premonition of Rage Against the Machine popping through. Ferocious
fun.

np. Sylvian/Fripp: Damage (which I finally own again after many years!
Ya wanna talk ferocious fun -- makes me look forward to the next
King Crimson all the more eagerly...)

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: More KISS!!!!!
Date: 09 Jul 1999 22:46:30 -0400

On Fri, Jul 09, 1999 at 11:41:44PM +0000, uranus musickness wrote:
> So what would you think a good lineup would be?

The Boredoms: Rock and Roll All Nite
Zohar: Beth
Shelley Hirsch & the Invisible Scratch Pickles: New York Groove
Y.Eye and SXL: I Was Made For Loving You
Anthony Braxton: World Without Heroes
Carl Stone and Malcolm Goldstein: Lick It Up
Masada String Ensemble: God Gave Rock and Roll to You

(BTW, I ran across a frighteningly complete site, with complete shows
in RealAudio, etc, at http://www.kissvault.com/ )

Starting to miss my complete set of solo albums...

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: Steve Smith <[e-mail]>
Subject: Uncivil Glass [was Re: some downtowners go pop]
Date: 10 Jul 1999 01:08:02 -0400

"Patrice L. Roussel" wrote:

> Did anybody buy CIVIL WARS by Glass and Wilson? Since the composition was
> written almost 20 years ago, I have high expectections for it. Any opinion
> before I take the dive?

I didn't buy it - it was sent to me as a freebie.  I had expectations similar
to yours, and I thought it sucked.  I'd mail you my copy but I got rid of it
weeks ago.  Buy it used if you must (and I always recommend that no one take
my spoutings as gospel anyway...).

I do wish I could say something more substantial about the music - other than
the fact the I thought a lengthy passage recited by Wilson was pompous and the
Verdian operatic voices in general didn't fit the Glass idiom - but I've
blocked it from memory for the most part.  But to give you some kind of
indication, I love 'Einstein,' 'Glassworks,' 'Mishima,' 'Koyaanisqatsi,'
'Satyagraha,' 'Akhnaten,' the string quartets and the violin concerto.  And I
think most of the more recent stuff, like the Bowie "symphonies" and the
Symphony No. 2, are crap.  I walked out of a Metropolitan Opera performance of
'The Voyage' during the first intermission out of sheer boredom.

I've gone from being a rabid fan to feeling that he's essentially played out,
whereas Reich and to a lesser extent Adams continue to surprise and delight
me.

Steve Smith
[e-mail]


-



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

From: Steve Smith <[e-mail]>
Subject: Re: some downtowners go pop
Date: 10 Jul 1999 01:25:33 -0400

Joseph Zitt wrote:

> For that matter, while I was already a fan  of Charlie Haden and
> Jamaaladeen Tacuma, the player who finally convinced me to pick up
> the bass was ... Derek Smalls.

Good Lord, I wasn't expecting my Peter Criss revelation to be so soundly
trounced in just one day...

"The bigger the waistband / The deeper the quicksand / Or so I have read..."

Steve Smith
[e-mail]
NP - 'Clerks' (just acquired on DVD this evening...)


-



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

From: Steve Smith <[e-mail]>
Subject: Re: some downtowners go pop
Date: 10 Jul 1999 01:33:29 -0400

Joseph Zitt wrote:

> Yups, and it may be the best thing either of them has ever done. If I
> were the type to keep Best of the Year lists, it would definitely be
> on it.

Wow, Patrice, I hope you are able to reconcile these varying opinions.  Like I
said, I certainly wouldn't want my own opinion taken as gospel, especially given
the nods to the contrary I've read since sending my own post a few minutes ago.
Joseph's in particular almost makes me want to hear the damn thing again.

Almost.

I think that means you might oughta hear it for yourself somehow.

Steve Smith
[e-mail]
[who has heard lots of Glass and seen lots of Wilson and still believes the best
either of them will ever do is 'Einstein on the Beach'...]
NP - 'Clerks'


-



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

From: patRice <[e-mail]>
Subject: Buddy Rich (was: some downtowners go pop)
Date: 10 Jul 1999 11:09:38 +0200

Steve Smith wrote:

> Criss name-dropped Gene Krupa, which make me check out big band jazz (Krupa led to
> Rich and finally to the awesome Bellson).

hi steve!

funny, i had planned to send the following question considering buddy
rich on this list. now you came up with his name. excellent!

can you recommend any recordings that feature buddy rich? i bought one
of his cds a few weeks ago. all the pieces on it start off very nicely,
but unfortunately on about 7 out of 9 tracks there are excessive solos
on the instrument i absolutely and completely detest: soprano saxophone.
(well, i actually have a coltrane cd on which, as far as i remember, he
plays soprano; and it doesn't sound as bad as usual...) so i had to
throw the cd out the window...

your help is very much appreciated!

patRice


-



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

From: "Rob Allaert" <[e-mail]>
Subject: Re: More KISS!!!!!
Date: 10 Jul 1999 12:55:06 +0200

Hey, I second that. Had to laugh about Zorn doing 'Shandi' :-) What about
these songs:

Goin' Blind
Man of 1000 faces
Naked City (by Naked City ?)
Under the Rose
Rock Bottom
Tomorrow and Tonight
Ain't quite right
... etc ...

Rob, Belgium

|Date: Fri, 09 Jul 1999 23:41:44 GMT
|From: "uranus musickness" <[e-mail]>
|Subject: More KISS!!!!!
|
|So what would you think a good lineup would be?
|
|Haino Keiji- "Hard Luck Woman"
|Ruins- "Firehouse"
|Marc Ribot- "See You In Your Dreams Tonight"
|Fred Frith- "Love Theme From KISS"
|MMW- "Love Her All I Can"
|Zony Mash- "Almost Human"
|Bill Laswell- "100,000 Years"
|Massacre- "Great Expectations"
|Zorn- "Shandi"
|Mike Patton- "Sweet Pain'
|Eyvind Kang- "Calling Dr. Love"
|Masada- "Detroit Rock City"
|Steve Lacy- "X-Ray Eyes"
|Anthony Coleman- "Love Gun"
|
|Hell they otta just make it a double cd box set and include some reunited
|Naked City doing She.
|
|Sick and wrong, way too bored at work,
|John


-



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

From: "in.out" <[e-mail]>
Subject: ornette is coming tonite
Date: 10 Jul 1999 15:24:07 +0200

This is a multi-part message in MIME format.

------=_NextPart_000_0039_01BECAE8.40753880
Content-Type: text/plain;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

hey folks,

I'm glad to take part of the list !
just a few words to say that tonight, Ornette Coleman is playing in =
Viennes (FR) with the Master musicians of Jajouka.
He is playing with his quartet : Ornette Coleman (s), Joachim K=FChn =
(p), Charnett Moffett (b), Denardo Coleman (dms) + Master Musicians of =
Jajouka.feat.=20
Also tonight Randy Weston and the Gnawa from tangar :Randy Weston (p), =
Billy Harper (s), Benny Powell (tb), Alex Blake (b), Neil Clarke (dms), =
Abdellah El Gourd (hajoui), Mostapha Oubella (karkbar, voc), Abdenebi =
Oubella (karkbar, voc).

More informations Monday.

Mikl+Delphine=20

------=_NextPart_000_0039_01BECAE8.40753880
Content-Type: text/html;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-8859-1" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2314.1000" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>hey folks,</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=3D2>I'm glad to take part of the list !</FONT></DIV>
<DIV><FONT size=3D2>just a few words to say that tonight, Ornette =
Coleman is=20
playing in Viennes (FR) with the Master musicians of =
Jajouka.</FONT></DIV>
<DIV><FONT size=3D2>He is playing with his quartet <FONT =
face=3DVerdana>: <FONT=20
size=3D2>Ornette Coleman (s), Joachim K=FChn (p), Charnett Moffett (b), =
Denardo=20
Coleman (dms) + Master Musicians of Jajouka.</FONT></FONT>feat. =
</FONT></DIV>
<DIV><FONT size=3D2>Also tonight Randy Weston and the Gnawa from tangar =
:<FONT=20
face=3D"Verdana, Arial, Helvetica, sans-serif" size=3D2>Randy Weston =
(p), Billy=20
Harper (s), Benny Powell (tb), Alex Blake (b), Neil Clarke (dms), =
Abdellah El=20
Gourd (hajoui), Mostapha Oubella (karkbar, voc), Abdenebi Oubella =
(karkbar,=20
voc).</FONT></FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DVerdana size=3D2>More informations =
Monday.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=3D2>Mikl+Delphine</FONT> </DIV></BODY></HTML>

------=_NextPart_000_0039_01BECAE8.40753880--


-



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

From: [e-mail]
Subject: Re: Iron Path
Date: 10 Jul 1999 09:54:59 EDT

Despite the "dissing" that Iron Path [the studio Last Exit release]
apparently gets [not from MY circle of listening friends], it is [& has been
for YEARS now] the *only* one that I still play regularly & enjoy.

Back to lurk mode

Steve Feigenbaum

-



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

From: s~Z <[e-mail]>
Subject: Re: Uncivil Glass [was Re: some downtowners go pop]
Date: 10 Jul 1999 08:42:34 -0700

Steve Smith wrote:

[insert minimalspeak here]

I've never stopped listening to Einstein and 18 Musicians and Drumming.

What do you think of Ensemble Modern's 18M?

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: some downtowners go pop
Date: 10 Jul 1999 14:41:50 -0400

On Sat, Jul 10, 1999 at 01:33:29AM -0400, Steve Smith wrote:
> [who has heard lots of Glass and seen lots of Wilson and still believes the best
> either of them will ever do is 'Einstein on the Beach'...]

I should moderate what I said by noting that I've never seen EotB, though
I wish I had. I agree with your opinion of recent Glass (especially the
Bowie massacres, where he managed to surgically remove everything that
was interesting about the originals and be left with orchestral riffs).
I think "the CIVIL warS" was just before the turning point, though my
sense of the historical order of his *ography isn't clear. I've seen
a bunch of Wilson, too, and think he got to repeating himself after a
while. I'm frustrated that I can't be in NYC this weekend to see
DD&D III...

(A high point of my career as a performance ego: during intermission
of Wilson's "Parsifal" in Houston, I spotted a performance artist
from Austin. As I was approaching from behind her, unseen, I heard
her say to her husband, "This is a lot like Joe Zitt's pieces, but
I like Joe's better." I grinned for days...)

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: "samuel yrui" <[e-mail]>
Subject: Karlheinz Stockhausen
Date: 10 Jul 1999 22:19:19 CDT

where do i begin when it comes to Karlheinz Stockhausen?  can any one give
me some info on where to start w/ albums and whatnot?  i've never heard
anything by him yet.  i can't find anyone i know who's ever even heard of
him.

            -samuel yrui




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

-



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

From: [e-mail]
Subject: Re: some downtowners go pop
Date: 11 Jul 1999 00:24:11 EDT

In a message dated 7/9/99 6:24:53 PM Eastern Daylight Time,
[e-mail] writes:

> So, what kind of music do other people play at parties, small gatherings or
>  dinners with friends, etc.?

I find the Penguin Cafe Orchestra works at dinner parties, can't go wrong
with Miles from the 50's, and few people get offended by Bob Marley. I have
snuck on Bar Kokba and Jazz Passengers and gotten away with that also.   How
about a list of music to empty parties by?

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Karlheinz Stockhausen
Date: 11 Jul 1999 00:37:14 -0400

On Sat, Jul 10, 1999 at 10:19:19PM -0500, samuel yrui wrote:
> where do i begin when it comes to Karlheinz Stockhausen?  can any one give
> me some info on where to start w/ albums and whatnot?  i've never heard
> anything by him yet.  i can't find anyone i know who's ever even heard of
> him.

Many have of him, but fear to speak his name. (Well, not really, but
it's fun to say that.) Since he's turning 70 this year, there have
been quiate an array of concerts of his stuff (including, I
modestly mention, one by my group, Comma, last August).

The first thing to do is to check out http://www.stockhausen.org

Not much of his music is readily available nowadays, since he grabbed
control of damn near everything and is only selling his CDs himself,
where you get to pay like $39.99 for a single disc.

IMHO, the place to start in terms of stuff that you can actually find
is the CD "Stimmung", as performed by Singcircle (Hyperion CDA66115).
You can also probably find the CD of sections of "Aus Die Sieben
Tagen" available on Harmonia Mundi, usually pretty cheap.

One must-hear work, "Gesang der Junglinge (Song of the Youths)" is
only currently available on an expensive Stockhausen Verlag disc on
on an LP that goes for lots of $$ on eBay quite often. However,
you can hear the piece in RealAudio in Kalvos and Damian's New
Music radio show from July 13, 1996, archived at
http://www.goddard.edu/wgdr/kalvos/shows/kalv0713.ram (I love
search engines :-])

Once you have done all this, grasshopper, check out the Stockhausen
mailing list at onelist.com

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: [e-mail]
Subject: Re: Karlheinz Stockhausen
Date: 11 Jul 1999 00:37:26 EDT


In a message dated 7/10/99 11:53:13 PM, [e-mail] writes:

<< where do i begin when it comes to Karlheinz Stockhausen? >>

unfortunately, all the best stuff is only available on CD in obscenely
expensive form, only obtainable from Mr. Stockhausen himself via mail order
in Germany (www.stockhausen.org), or at a markup to that, via Other Music
(www.othermusic.com).  I don't especially like any of the ones that are
available through more conventional channels. my favorite pieces are Hymnen,
Telemusik and the two Mikrophonie pieces. I'm sure a fair amount of libraries
stock the old DG vinyl for some of his stuff; you can't really go wrong with
anything he did up until the early seventies.

Jon

NP-No Neck Blues Band-The Birth Of Both Worlds (Sound@One)

-



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

From: John Santamaria <[e-mail]>
Subject: websites
Date: 11 Jul 1999 01:51:40 -0400 (EDT)

I have recently come across a large amount of pseudo-spare cash that I
plan on wasting on cd's.  I do wish to obtain the best value for my
money, of course.  I am also new to all this internet mumbo jumbo, and
I'm not a very ambitious browser, so can any of you good fellows
recommend some good web pages for the previously stated purpose?
Zorn-related, anything, surprise me, I especially delight in purchasing
unfamiliar artists recommended by knowledge strangers, such as a large
majority of the members of this list.





                   |     |
        |          == + ===
        |     _        +
    ___ |    | |       +++++      -----
              -        +   +      .   |
                       +   +      .   |

Your Grandpa's cane, it turns into a sword
Your Grandma prays to pictures that are pasted on a board

                                            -B. D.



-



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

From: John Santamaria <[e-mail]>
Subject: john cage
Date: 11 Jul 1999 02:03:02 -0400 (EDT)

Also, can anyone recommend a good performance of John Cage's Music of
Changes on cd?


                   |     |
        |          == + ===
        |     _        +
    ___ |    | |       +++++      -----
              -        +   +      .   |
                       +   +      .   |

Your Grandpa's cane, it turns into a sword
Your Grandma prays to pictures that are pasted on a board

                                            -B. D.



-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: some downtowners go pop
Date: 11 Jul 1999 01:50:44 -0400

On Sun, Jul 11, 1999 at 12:24:11AM -0400, [e-mail] wrote:

> I find the Penguin Cafe Orchestra works at dinner parties, can't go wrong
> with Miles from the 50's, and few people get offended by Bob Marley. I have
> snuck on Bar Kokba and Jazz Passengers and gotten away with that also.   How
> about a list of music to empty parties by?

We useta have contests in College (late 70s) to see whose records could
clear the room fastest. But when I returned from a weekend in Pittsburgh
with copies of Yoko Ono's "Fly" and Lou Reed's "Metal Machine Music",
the others surrendered. About that time, my friends guessed that I
had "the world's largest collection of records that sounded like
vacuum cleaner malfunctions"; I will gladly cede that title to anyone
who has more than one Illusion of Safety disc :-)

n.p.: Alan Licht: Rabbi Sky. (Hmm, the liner notes seem to describe
much more interesting music than I'm hearing...)

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: [e-mail]
Subject:  Masada discs?
Date: 11 Jul 1999 02:47:30 EDT


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I have Masada 1,2,6, live in Jeruselum, and a bootlege video from 1994 in
Oklahoma (all are amazing).  Which of masada disc would one recomend?  I know
Joey Baron said in an old modern drummer interview that his best playing was
on 5&6.  Please give a little reason why for the selection so I know what to
expect.


Thanks,

Aaron Solomon

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X-Mailer: AOL 4.0 for Windows 95 sub 15

I have Masada 1,2,6, live in Jeruselum, and a bootlege video from 1994 in
Oklahoma (all are amazing).  Which of masada disc would one recomend?  I know
Joey Baron said in an old modern drummer interview that his best playing was
on 5&6.  Please give a little reason why for the selection so I know what to
expect.


Thanks,

Aaron Solomon

--part1_9521e414.24b99802_boundary--

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

From: "Artur Nowak" <[e-mail]>
Subject: pitch matrices
Date: 11 Jul 1999 08:44:29 +0200

Hi Philozorners!

I'm reading Zorn's notes to the Zornfest @ Kintting Factory back in 1993
(http://www.nwu.edu/jazz/performance/zornfest/) and I found that Zorn is
using "pitch matrices" few times. Does it mean something special? One of his
methods / techniques of composition?

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


-



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

From: "wetboy" <[e-mail]>
Subject: Re: pitch matrices
Date: 11 Jul 1999 03:41:32 -0400


-----Original Message-----


I found that Zorn is
>using "pitch matrices" few times. Does it mean something special? One of
his
>methods / techniques of composition?
>
>    __________________________________________________________________
>    Artur Nowak [arno AT emd.pl]
>    www.emd.pl - Discography of Bill Frisell


this might b the pitch axis idea that was employed heavily by i believe it
was bartok. after that more and more people picked up on this. if it is
something else, u got me hanging.


-



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

From: William York <[e-mail]>
Subject: Masada musical questions
Date: 10 Jul 1999 20:11:36 -0400 (EDT)

I was wondering if anyone else noticed the description of the scales Zorn
used for writing the songs that was given in the New Yorker article....I
think the scale degrees are wrong but I want to make sure I'm not looking
at it wrong or something.  It said there were two main scales, one a major
scale with a flat second (I think) and a minor scale with a flat fifth
(can't remember exactly, just that it seemed wrong).  When I've figured
things out off records I've just found the harmonic minor scale (1 2 b3 4
5 b6 7) and another which I think is like a major with a flat second and a
flat sixth, but not quite.

Also, there's a beat in a lot of the songs that divides up into 3-3-2
which I've heard in more traditional klezmer music. Can anyone tell me
what that's called.

Sorry for boring people with this question - anyone can feel free to
respond off the list, but I'd appreciate any answers b/c I'm kind of
confused, not having any real background outside of high school guitar
lessons and western/major/minor type scales.

Thanks,

WY


-



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

From: William York <[e-mail]>
Subject: Iron Path
Date: 10 Jul 1999 19:57:35 -0400 (EDT)

> That's the one on Virgin? Strange, you might be one of the few to like
> it. It has been systematically dismissed or ignored by most early fans
> of Last Exit. But this was before listeners were acustomed to ambient
> (which, if I remember well, you can detect some elements in IRON PATH).
>
> Are there other people on the list who would advice that one?

Someone recommended that to me as being THE Last Exit album a few years
ago, but for me it is THE Last Exit album I've never gotten into.  It's
not a major label thing as someone suggested, or even a strict prejudice
against Laswell (I really like the Threadgill albums on Columbia for
example); its more, for me, a kind of mode of Laswell's work that I just
don't like, having to do with that type of 'smooth' production.  A lot
of his other stuff has the same effect on me. On the other hand, the live
albums sound great - at least the first three, which are all that I've
got.

WY


-



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

From: Rich Williams <[e-mail]>
Subject: Re: some downtowners go pop
Date: 11 Jul 1999 08:37:26 -0400

>In a message dated 7/9/99 6:24:53 PM Eastern Daylight Time,
>[e-mail] writes:
>  How
>about a list of music to empty parties by?

    I've always relied on....
Trout Mask Replica--Captain Beefheart
Monkey-Pockie-Boo--Sonny Sharrock
Anything by Ivor Cutler
and of course....
The world As It Is Today--The Art Bears
     In fact, when my ex-girlfriend had over people she wanted to
leave, she would casually tell me "I think its time for Dagmar".


RW
whose college roommate used to clear me out of the room with
Hawkwind's "Sonic Attack"



-



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

From: "wetboy" <[e-mail]>
Subject: Re: Masada musical questions
Date: 11 Jul 1999 10:05:05 -0400


-----Original Message-----


It said there were two main scales, one a major
>scale with a flat second (I think) and a minor scale with a flat fifth
>(can't remember exactly, just that it seemed wrong).  When I've figured
>things out off records I've just found the harmonic minor scale (1 2 b3 4
>5 b6 7) and

another which I think is like a major with a flat second and a
>flat sixth, but not quite.


this sounds like it could b a phrygian dominant scale. i think the phryg.
dom scale has a b2, b6, and a b7. if i really wanted 2 b thorough i would
check my notes from school (hehe pardon the pun) but its early here. i'll
get back 2 u on this one. the other scales r probably different modes of
either harmonic or melodic minor.




-



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

From: Stephen Fruitman <[e-mail]>
Subject: Kinky Tribute
Date: 11 Jul 1999 16:15:52 +0200

>I totally agree that Shelly Manne and Kinky Friedman need tributes.

Kinky got done recently, and quite nicely too. The CD is called _Pearls in
the Snow_ and features a wide range of (primarily country) talent;
highlights include Willie Nelson=B4s stirring rendition of "Ride =B4Em, Jewb=
oy"
and contributions by Tom Waits, Lyle Lovett, and a slew of others, both
well- and lesser-known. The CD can be ordered through amazon.com.

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




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



-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Masada musical questions
Date: 11 Jul 1999 11:25:14 -0400

On Sat, Jul 10, 1999 at 08:11:36PM -0400, William York wrote:
> I was wondering if anyone else noticed the description of the scales Zorn
> used for writing the songs that was given in the New Yorker article....I
> think the scale degrees are wrong but I want to make sure I'm not looking
> at it wrong or something.  It said there were two main scales, one a major
> scale with a flat second (I think) and a minor scale with a flat fifth
> (can't remember exactly, just that it seemed wrong).  When I've figured
> things out off records I've just found the harmonic minor scale (1 2 b3 4
> 5 b6 7) and another which I think is like a major with a flat second and a
> flat sixth, but not quite.

I haven't listened closely to see if Zorn uses it, but that scale that
you describe is often called the Jewish Minor (though the 3rd and 7th
are major, so go figure...) I've also heard it called in Arabic music
the hijaz mode (though I've also heard that term used differently.
The easiest depiction of it would be D Eb F# G A Bb C# D. It's
quite versatile, as scales go.

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: "samuel yrui" <[e-mail]>
Subject: Re: some downtowners go pop
Date: 11 Jul 1999 10:28:48 CDT

jzitt wrote:
  n.p.: Alan Licht: Rabbi Sky. (Hmm, the liner notes seem to describe
much more interesting music than I'm hearing...)



why does that happen so much?  people with their deep liner notes.  i'm sick
of reading things like: "to me, this is less a piece than a process."  then
they'll go on to talk about all the myth they researched and the symbolic
meanings it had and the experiences it came from.  but then when you listen
to it you realize they put so much time giving their thoughts mystic meaning
that they haven't paid any attention to the fact that they have not advanced
_musically_.  they spent so much time trying to create something new that
their music does nothing new.  (i guess i have David Byrne's "The Forest" in
mind.  and any other record by him, or any other "new age" record that my
mom owns.)   anyway, just blathering.

            -samuel yrui


n.p.: Alan Licht: Rabbi Sky. (Hmm, the liner notes seem to describe
much more interesting music than I'm hearing...)



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

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: some downtowners go pop
Date: 11 Jul 1999 11:47:03 -0400

On Sun, Jul 11, 1999 at 10:28:48AM -0500, samuel yrui wrote:

> why does that happen so much?  people with their deep liner notes.  i'm sick
> of reading things like: "to me, this is less a piece than a process."

If you read Steve Reich's "Music as a Gradual Process" or much of what
Brian Eno has written, you'll discover that such a statement is often
not doubletalk. I find from my own writing that a lot of what I compose
are, indeed, processes, of which any particular recording is only one
instance. The same is very true of Zorn's game piece, such as Cobra.

> then
> they'll go on to talk about all the myth they researched and the symbolic
> meanings it had and the experiences it came from.

Yeah, this does happen. While the research into symbols is often an
important part of how the composer figures out what/how to write, it's
sometimes hard to hear when abstracted into (especially instrumental)
music.

>  but then when you listen
> to it you realize they put so much time giving their thoughts mystic meaning
> that they haven't paid any attention to the fact that they have not advanced
> _musically_.

What do you mean by "advanced"?

In the case of Rabbi Sky, as in much of Tony Conrad's work, they start
with an interest in particular sonic/musical phenomena, but then clutter
it with sounds that are so noisy (I don't know what the sound at the
beginning and end of the Licht is, but Conrad's exceedingly scratchy
violin tone negates the effects of tunings and undertones that he
claims to be exploring, since the pitches are heavily compromised by
the other aspects of the sound) that the point they are trying to
explore is lost.

>  they spent so much time trying to create something new that
> their music does nothing new.

New as compared to what? Do you consider novelty a prerequisite for
interesting music? What about work within existing traditions?



> (i guess i have David Byrne's "The Forest" in
> mind.  and any other record by him, or any other "new age" record that my
> mom owns.)

I agree with "The Forest", which I find just tedious. However, you might
be interested in Byrne's "The Catherine Wheel" or "The Knee Plays". Come to
think of it, I can't think of any Byrne that might even remotely be
called "new age".

I'm reminded of a conversation I had with another composer/group-leader
recently. She said that it was often much easier to teach her music to
older (40+) workshoppers, etc, than to those in high school and college,
since by then the people had often dropped much of the genre-related
tunnel visions and become more open to a wider rangle of musics.

I find that only now (at 40) am I starting to clue into what was good
about musics I'd ignored or dissed in college.
--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: [e-mail]
Subject: 1st impressions
Date: 11 Jul 1999 12:49:17 -0500


Hmmm... First listens do not always make for fave discs, but still strong
memories. When I was in college, listening to SYouth, BSurfers, Trane and Mingus
(i.e., new rock, old jazz), my uncle gave me his copy of "Classic Guide to
Strategy." Me and my roommate listened to it every day. We hated it, but we
couldn't stop playing it. In central Illinois, at least, it was shocking as shit
that anyone would put out such a record. Then I heard an NPR story about Naked
City and The President and they played "Batman," something much easier for me to
unnerstand. Then the Spillaine excerpt on the Nonesuch comp sold me. Spillaine
is maybe my first disc that sparked a revelation in JZ. And Classic Guide, well,
I think about those afternoons with my old roommate far often than I play the
album.

np: "D'a' Bronx Sity Chicken Machine Vol. II" by Kreamy 'Lectric Santa



-



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

From: Corey Marc Fogel <[e-mail]>
Subject: Re: Masada musical questions
Date: 11 Jul 1999 10:30:57 -0700 (MST)



On Sun, 11 Jul 1999, Joseph Zitt wrote:

> I haven't listened closely to see if Zorn uses it, but that scale that
> you describe is often called the Jewish Minor (though the 3rd and 7th

or "Freygish" mode, i think.

> are major, so go figure...) I've also heard it called in Arabic music
> the hijaz mode (though I've also heard that term used differently.
> The easiest depiction of it would be D Eb F# G A Bb C# D. It's
> quite versatile, as scales go.

the C as opposed to C# is often the difference between Jewish and arabic
music though.


-



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

From: Diego Gruber <[e-mail]>
Subject: Zorn article
Date: 11 Jul 1999 11:43:52 -0500

Is there some kind of limit to the size of the messages you can post to
the list? well i recently posted an article which  i translated from an
argentinian magazine, it was 12k and i haven't seen it appear. Anyway
ppl interested on this article better e-mail me privately, it's very
good and it deals mainly with ZOrn's game pieces, as well as with some
general aspects of his music.

Diego



-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: looking for easy listening stockhausen
Date: 11 Jul 1999 20:35:01 +0200

i noticed that that are quite some people here on this list are quite
familiar with stochhausens' work (thatnk you for the www.stockhausen.org
link, by the way)

anayway, a friend of me is looking for a particular work by stockhausen. She
told that there is a cd that is available through stockhausen verlag (so
available through the website) that contains string music (she thinks it is
only by violins) and seems to be very easylistening music.

So, does anyone of you has any idea what cd this might be???

ps I forgot to mention that she read the existence of this cd in an article
in the wire (stockhausen for beginners), but i don't have this issue...

Can anybody help???

Best wishes

stefan verstraeten



-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: looking for easy listening stockhausen
Date: 11 Jul 1999 15:12:58 -0400

At 08:35 PM 7/11/99 +0200, Stefan Verstraeten wrote:
>
>anayway, a friend of me is looking for a particular work by stockhausen. She
>told that there is a cd that is available through stockhausen verlag (so
>available through the website) that contains string music (she thinks it is
>only by violins) and seems to be very easylistening music.
>
>So, does anyone of you has any idea what cd this might be???

KS hasn't written anything I'd call easy listening, and not even very much
for a traditional orchestra, but there is a piece called Trans which has a
wall of strings (both literally and sonically) behind which other sound
events creep out. His orchestral work Inori is for a large orchestra, and
as I remember somewhat slow moving, and not as difficult as some of his
other works.  It's also possible that there is a recording of hiz Zodiac
melodies (originally composed for music box) played by a string instrument
(or instruments), but the Zodiac melodies, which form a large part of his
more recent work, are part of the late works which nobody likes.

At 10:19 PM 7/10/99 CDT, samuel yrui wrote:
>
>where do i begin when it comes to Karlheinz Stockhausen?  can any one give
>me some info on where to start w/ albums and whatnot?  i've never heard
>anything by him yet.  i can't find anyone i know who's ever even heard of
>him.
>

In answer to this original question, Hymnen was my starting point, and I'll
second the recommendations for Stimmung and the excerpts of From The Seven
Days on Harmonia Mundi.  There are a number of available recordings of
Kontakte, an early piece for piano, percussion, and tape.  I can vouch for
the one with David Tudor and Christoph Caskel on Wergo, but I've read good
reviews of a more recent recording with William Winant on percussion (can't
remember the label, check maybe at Forced Exposure).  If you like
contemporary piano music, the piano pieces up to #11 are interesting; my
favorites are 8, 9, and 10.  When you win the lottery, get the complete
From the Seven Days, Hymnen, and Telemusik from Stockhausen Verlag.
Telemusik in particular is one of my all time favorite musique concrete
pieces.

KS is one of the great masters of 20th century music.  While I appreciate
why he took back all the rights to his CDs, it has had an unfortunate side
effect of making his music unavailable except to enlightened libraries and
individuals with lots of disposable income.  His music is definitely worth
tracking down, particularly (as Jon mentioned) his work up to about 1970
(Mantra for two pianos and live electronics, available on  New Albion, is
often considered his last interesting piece, although I wouldn't pass up a
chance to see some of his opera, on which he's been working for the last 25
years).


--
Caleb Deupree
[e-mail]

It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing.  There is more
than one way to conquer a country.

-- Raymond Chandler

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: john cage
Date: 11 Jul 1999 19:42:44 -0400

John Santamaria wrote:

> Also, can anyone recommend a good performance of John Cage's Music of
> Changes on cd?

As far as I know, there are only two - one on Wergo performed by Herbert
Henck and one on Lovely by Joseph Kubera. Both are pretty remarkable (if
you like the piece).

I had the pleasure of seeing Kubera perform this piece at NEC a little
while ago.

                -Tom Pratt


-



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

From: [e-mail]
Subject: Re: Zorn List Digest V2 #708
Date: 11 Jul 1999 19:42:03 EDT

In a message dated 7/11/99 3:12:53 PM Eastern Daylight Time,
[e-mail] writes:

<< this sounds like it could b a phrygian dominant scale. i think the phryg.
 dom scale has a b2, b6, and a b7.  >>

This scale is known as Mixo b9, b13...the fifth mode of Harmonic minor.

 - Brendan

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: looking for easy listening stockhausen
Date: 11 Jul 1999 20:22:12 -0400

On Sun, Jul 11, 1999 at 03:12:58PM -0400, Caleb T. Deupree wrote:

> (Mantra for two pianos and live electronics, available on  New Albion, is
> often considered his last interesting piece, although I wouldn't pass up a
> chance to see some of his opera, on which he's been working for the last 25
> years).

Some of the sections of the operas are quite good, based on hearing the
DG releases of some of them. There was a single-disc excerpt, called
something like "Unspeakable Choirs" (I may be getting confused with
Beckett here) that I rather enjoyed.

Looking throught he discography in the back of Jonathan Cott's
"Stockhausen: Conversations with the Composer", I see a whole
heap-o-intriguing now-out-of-print items, including a 2 LP Greatest
Hits on Polydor. The mind boggles.

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: Steve Smith <[e-mail]>
Subject: Re: Uncivil Glass [was Re: some downtowners go pop]
Date: 11 Jul 1999 22:11:30 -0400

s~Z wrote:

> What do you think of Ensemble Modern's 18M?

Haven't heard it yet, but probably will do so pretty soon.  A friend of
mine wrote the liner notes and swears that the recording is great.  I find
myself wondering, however, what objectively would construe the margin
available for "interpretive differences" in a piece so seemingly mechanized
(I'm not at all dissing it in saying this - it's perhaps my single favorite
minimalist work).  How different could it actually be from Reich's own
recordings?

Steve


-



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

From: Steve Smith <[e-mail]>
Subject: Re: some downtowners go pop
Date: 11 Jul 1999 22:23:15 -0400

Joseph Zitt wrote:

> I'm frustrated that I can't be in NYC this weekend to see
> DD&D III...

I consider myself a Wilson fan to a largish extent.  I found his HGO "Parsifal" (which
you mention later) quite transcendant, and I saw his staging of Buechner's "Danton's
Tod" at the Alley Theatre twice.  But I haven't heard ANYTHING good about DD&D III
from any of my friends who've seen it.  And my comments on the new 'Civil Wars' is
limited to the new Nonesuch disc, which I thoroughly disliked, but that of course
excludes the visual component that would be provided by Wilson.

> (A high point of my career as a performance ego: during intermission
> of Wilson's "Parsifal" in Houston, I spotted a performance artist
> from Austin. As I was approaching from behind her, unseen, I heard
> her say to her husband, "This is a lot like Joe Zitt's pieces, but
> I like Joe's better." I grinned for days...)

GREAT story!

Steve Smith
[e-mail]
[NP - 'Blade Runner' (today's new DVD acquisition, along with 'South Park, Vol. 1')]


-



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

From: [e-mail]
Subject: Re: some downtowners go pop - music to empty parties by
Date: 11 Jul 1999 22:30:07 EDT

Renaldo and the Loaf wll get people running.

Lets not forget the Residents

-



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

From: Steve Smith <[e-mail]>
Subject: Re: Kinky Tribute
Date: 11 Jul 1999 22:40:26 -0400

Stephen Fruitman wrote:

> Kinky got done recently, and quite nicely too. The CD is called _Pearls=
 in
> the Snow_ and features a wide range of (primarily country) talent;
> highlights include Willie Nelson=B4s stirring rendition of "Ride =B4Em,=
 Jewboy"
> and contributions by Tom Waits, Lyle Lovett, and a slew of others, both
> well- and lesser-known.

THANK YOU!!!  This is fantastic news.  I'm a major league fan of Kinky's
writing (the mystery novels included).  Got to find this right away...

Steve Smith
[e-mail]
[NP - 'Blade Runner']


-



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

From: stephen drury <[e-mail]>
Subject: Re: john cage
Date: 11 Jul 1999 23:07:14 -0400

At 12:23 AM 7/11/99 -0600, you wrote:
>Also, can anyone recommend a good performance of John Cage's Music of
>Changes on cd?
>
Unquestionably Joe Kubera's recording.  He just played the damn thing here
at New England Conservatory and left us all in a state of shock.  Nobody can
touch this guy.

--steve
www.stephendrury.com


-



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

From: John Santamaria <[e-mail]>
Subject: Kuryokhin
Date: 12 Jul 1999 00:27:39 -0400 (EDT)

Is anyone familiar with Sergey Kuryokhin, any recommendations, important
recordings, suggestions?


                   |     |
        |          == + ===
        |     _        +
    ___ |    | |       +++++      -----
              -        +   +      .   |
                       +   +      .   |

Your Grandpa's cane, it turns into a sword
Your Grandma prays to pictures that are pasted on a board

                                            -B. D.



-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: solo saxophone
Date: 11 Jul 1999 23:17:56 -0700 (PDT)

On Fri, 9 Jul 1999, Tom Pratt wrote:

> Has anyone heard Urs Leimgruber's solo albums? I liked his trio disc 'Lines'
> (hatArt) with Fritz Hauser and Adelhard Roidinger well enough but haven't heard
> much else. It seems to me the solo stuff could be pretty nice, though.

i have "Goletter" on Unit Records.
although i don't listen to it all the time,
i do like it. it has some of the same
qualities i like in John Butcher's playing.

hasta.

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


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Prevost/Organum
Date: 11 Jul 1999 23:22:57 -0700 (PDT)

On Fri, 9 Jul 1999, Tom Pratt wrote:

> Is 'Volume One' really considered the best Organum? I've had this one for a few
> months (my only Organum/Jackman disc), and it didn't really do much for me on
> the first few listens. I'll give it another go tonight.

since "Volume One" collects material from
"Tower of Silence", "In Extremis" and the
split 12" with Nurse With Wound (all previously
out of print), i'm not sure how it could be
considered 'the best' Organum.
personally speaking, all Organum is brilliant. ha ha
in all seriousness, my favorite is "Sphyx"
(Aeroplane) with Edie Prevost, Jim O'Rourke
and Christoph Heemann.

hasta.

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


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Prevost/Organum
Date: 11 Jul 1999 23:26:35 -0700 (PDT)

On Fri, 9 Jul 1999 [e-mail] wrote:

> it's the CD of theirs/his that made the biggest impact on me, but I don't
> consider it to be on the same level as AMM, or Morphogenesis for that matter.

i guess since Morphogenesis doesn't really
excite me as much as AMM or Organum, we probably
will disagree on this point. however, i
do think this split 12" (and then later CD)
is quite brilliant. of course, Jackman's contribution
sounds deceptively the same as "Renunciate"
(only with the shakahuchi pot'd down a tad)
from "Submission" (United Dairies).

hasta. --dk

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


-



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

From: [e-mail]
Subject: Re: Email Legislation
Date: 12 Jul 1999 05:19:02 EDT

In a message dated 7/9/99 11:33:33 AM Eastern Daylight Time,
[e-mail] writes:

<< The U.S. Postal Service is claiming that
 lost revenue due to the proliferation of email is
 costing nearly $230,000,000 in revenue per year. >>

Apples and oranges  When the powers that be discover how to use the 'Net to
de/re-materialize a Christmas-season fruit cake, THEN the USPS can start
bitching...;-)

=dg=

-



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

From: [e-mail]
Subject: Re: some downtowners go pop
Date: 12 Jul 1999 05:19:02 EDT

In a message dated 7/11/99 3:48:20 AM Eastern Daylight Time,
[e-mail] writes:

<< About that time, my friends guessed that I
 had "the world's largest collection of records that sounded like
 vacuum cleaner malfunctions"; I will gladly cede that title to anyone
 who has more than one Illusion of Safety disc :-) >>

How about someone owning multiple Merzbow discs?

=dg=

-



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

From: [e-mail]
Subject: Re: pop (was: downtowners...)
Date: 12 Jul 1999 05:18:58 EDT

In a message dated 7/8/99 6:18:33 PM Eastern Daylight Time,
[e-mail] writes:

<<
 For those of you who like the outrageousness of, say, Zorn's Naked City or
 CAT O' NINE TAILS, or Mr. Bungle, and for those of you who can appreciate
 his comments about geeting to the marrow of a genre and subverting, or
 better---coaxing it forth; to you, I suggest the John Spencer Blues
 Explosion.  Not exactly cutting-edge news, but more fun than this too-young
 fogey has had in a while with pop.  Damn.  Too bad I haven't seen them live.
>>

Years ago I stumbled across a JSBE video playing on USA network one Friday
night/Saturday morning, in-between a couple of those insane "Up All Night"
movies.  Had never heard the band before, but that video put me on a mission
to discover more.  Amazing amount of energy outta that band.  Highly
recommended.

spinning: Cardiacs meet Camp Blackfoot (split single)

A bit about this single- I know all of you love and adore Cardiacs, so i'll
skip on them (a band that happens to adore JZ- there's your Zorn content...)
I happen to be listening to the Camp Blackfoot songs now, which I must say is
pretty darn good stuff.  These guys have been listening to their Naked City
CDs, without a doubt- that and showing a lot of affection for some of the
crazy punkjazz of which the Amphetamine Reptile label was so famous for in
the 80's.  You London-based people ought to check this band out before they
make it big and hit Peel's show...;-)

=dg=

-



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

From: BJOERN <[e-mail]>
Subject: Re: Karlheinz Stockhausen
Date: 12 Jul 1999 11:57:55 +0200 (MEST)

> where do i begin when it comes to Karlheinz Stockhausen?  can any one give
> me some info on where to start w/ albums and whatnot?  i've never heard
> anything by him yet.  i can't find anyone i know who's ever even heard of
> him.

get the one cd version of AUS DEN SIEBEN TAGEN- great starting point

BJOERN


-



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

From: "Robert A. Pleshar" <[e-mail]>
Subject: Re: More KISS!!!!!
Date: 12 Jul 1999 07:51:30 -0500

I have to point out that "Back in the New York Groove" along with "Cold
Gin" are Ace Frehley compositions and wasn't "Beth" written by Peter
Criscula (he should have never changed his name) and Bob Ezrin?  That would
probably disqualify these tunes from the Chaim Witz and Stanley Eisen disc.

I definitely agree someone must do "Lick It Up" though. My fave post-makeup
removal tune.





At 10:46 PM 7/9/99 -0400, Joseph Zitt wrote:
>On Fri, Jul 09, 1999 at 11:41:44PM +0000, uranus musickness wrote:
>> So what would you think a good lineup would be?
>
>The Boredoms: Rock and Roll All Nite
>Zohar: Beth
>Shelley Hirsch & the Invisible Scratch Pickles: New York Groove
>Y.Eye and SXL: I Was Made For Loving You
>Anthony Braxton: World Without Heroes
>Carl Stone and Malcolm Goldstein: Lick It Up
>Masada String Ensemble: God Gave Rock and Roll to You
>
>(BTW, I ran across a frighteningly complete site, with complete shows
>in RealAudio, etc, at http://www.kissvault.com/ )
>
>Starting to miss my complete set of solo albums...
>
>--
>| [e-mail]          http://www.metatronpress.com/~jzitt |
>| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
>| Comma: Voices of New Music    Silence: the John Cage Discussion List |
>
>-
>
Robert Pleshar
Head, Serial Orders
University of Chicago Library
1100 E. 57th Street
Chicago, IL 60637

-



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

From: "Robert A. Pleshar" <[e-mail]>
Subject: Re: some downtowners go pop
Date: 12 Jul 1999 07:54:30 -0500

I remember an interview at the time the movie came out with Harry Shearer
in which he said something like "I realized when watching the band Saxon
that if you played a lot of "e"s you could pump your left fist in the air
dramatically alot.

I think there's a lesson there for all bass players, really.

Rob


At 01:25 AM 7/10/99 -0400, Steve Smith wrote:
>Joseph Zitt wrote:
>
>> For that matter, while I was already a fan  of Charlie Haden and
>> Jamaaladeen Tacuma, the player who finally convinced me to pick up
>> the bass was ... Derek Smalls.
>
>Good Lord, I wasn't expecting my Peter Criss revelation to be so soundly
>trounced in just one day...
>
>"The bigger the waistband / The deeper the quicksand / Or so I have read..."
>
>Steve Smith
>[e-mail]
>NP - 'Clerks' (just acquired on DVD this evening...)
>
>
>-
>
Robert Pleshar
Head, Serial Orders
University of Chicago Library
1100 E. 57th Street
Chicago, IL 60637

-



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

From: [e-mail]
Subject: Re: Kuryokhin
Date: 12 Jul 1999 09:03:08 EDT

In a message dated 7/12/99 12:29:12 AM Eastern Daylight Time,
[e-mail] writes:

<< Is anyone familiar with Sergey Kuryokhin, any recommendations, important
 recordings, suggestions? >>

_The Ways of Freedom_ was his first for Leo Records...probably the most
stunning solo piano work i've ever heard.  'Tis a great place to start.  The
4 CD box set on Leo comprises his second LP, half the LP he did with
Valentina Ponomareva on her first Leo, the double LP _Subway Culture_
(w/Boris Gerebenschikov), and one of the Popular Mechanics group LPs (sorry
about the missing titles...), as well as unreleased material, is also worth
the plunge IMO, despite the mixed reviews the set rx'ed when first released.

=dg=

-



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

From: s~Z <[e-mail]>
Subject: Re: Uncivil Glass [was Re: some downtowners go pop]
Date: 12 Jul 1999 06:35:37 -0700

s~Z wrote:
>
> What do you think of Ensemble Modern's 18M?

Steve Smith wrote:
>
> How different could it actually be from Reich's own
> recordings?

The differences are minimal, but a few things stand out to my ears. It
sounds warmer, less mechanical, and the mallet percussion are slightly
more prominent in the mix. And the vocals are a bit more melancholic,
plaintive.

-



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

From: "Zachary J. Griffin" <[e-mail]>
Subject: Re:music to empty parties by
Date: 12 Jul 1999 10:11:40 -0400

This isn't music oriented.  But we are talking about clearing out
parties.  I have a friend who wanted to end a party he was hosting.  So
he calls everyone to his living room to "check out something" he had on
videotape.  That "something" turns out to be the "SQUEAL LIKE A
PIG---SOOWEEE" scene from Deliverance.  Within 30 seconds you hear 15
people say "ah, we have to go".  Everyone else just started laughing.

Zach



-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Email Legislation
Date: 12 Jul 1999 10:40:45 -0400

On Mon, Jul 12, 1999 at 05:19:02AM -0400, [e-mail] wrote:

> Apples and oranges  When the powers that be discover how to use the 'Net to
> de/re-materialize a Christmas-season fruit cake, THEN the USPS can start
> bitching...;-)

And the rematerializing part is optional...

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: Peter Risser <[e-mail]>
Subject: Kirk
Date: 12 Jul 1999 09:15:48 -0700 (PDT)

A little late but:

You can hear Roland Kirk blow some nice straight-up jazz on his disc
Introducing from 196?.  Also, he worked with Quincy Jones' band for a
while too.  I've got him on the soundtrack for In the Heat of the Night
and even Big Band Bossa Nova.

Peter

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: some downtowners go pop
Date: 12 Jul 1999 10:00:16 -0700


On Sun, 11 Jul 1999 11:47:03 -0400  Joseph Zitt wrote:
>
> I'm reminded of a conversation I had with another composer/group-leader
> recently. She said that it was often much easier to teach her music to
> older (40+) workshoppers, etc, than to those in high school and college,
> since by then the people had often dropped much of the genre-related
> tunnel visions and become more open to a wider rangle of musics.
>
> I find that only now (at 40) am I starting to clue into what was good
> about musics I'd ignored or dissed in college.

Unfortunately, most of the great music (and science) ever written (done)
was done by kids (less than 30 year old).

Knowing a lot and being wise might help to appreciate the works of others,
but does not seem to have played any significant role in explaning why
most the amazing achievements were made by very young people (who often
knew much less than their elders and were not as wise).

Maybe age helps regular people, but it does not seem to have any impact
(except negative) on geniuses.

    Patrice (not trying to generalize but...)

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Iron Path
Date: 12 Jul 1999 11:05:40 -0700


On Sat, 10 Jul 1999 09:54:59 EDT  [e-mail] wrote:
>
> Despite the "dissing" that Iron Path [the studio Last Exit release]
> apparently gets [not from MY circle of listening friends], it is [& has been
> for YEARS now] the *only* one that I still play regularly & enjoy.

There has definitely been a shift in the perception of this record (from very
bad to good/very good). I think remembering Peter Brotzmann's reaction and it
had some impact on my appreciation of it (also based on the fact that I was
listening to Last Exit for raw energy, and not lace knitting around a cup of
tea :-). I will dig it and play it again.

    Thanks for the feedback,

    Patrice.

PS: CIVILS WARS seems to produce very different feelings...

    Steve Smith hates it
    Joseph Zitt loves it
    and somebody compared it to LA BELLE ET LA BETE

hum... I guess I will have to give it a try.

-



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

From: Perfect Sound Forever <[e-mail]>
Subject: Re: music to empty parties by
Date: 12 Jul 1999 14:14:40 -0400

Not that I'm anti-social or anything (heh) but if it was time to clear the place out and
clean up, I'd take a gander at the crowd and choose the appropriate music.  This can range
from anything like Barney the Dinosaur to Celion Dion to Borbetomagus.  If you happen to
have a crowd that actually savors all of this (!), might I recommend flicking off the
lights and informing your guests "I am the Angel of Death- the time of purification is at
hand."  Luckily, I haven't had to resort to this, yet.

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



-



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

From: [e-mail]
Subject: Re: Iron Path
Date: 12 Jul 1999 15:08:49 EDT

I wrote

>> Despite the "dissing" that Iron Path [the studio Last Exit release]
>> apparently gets [not from MY circle of listening friends], it is [& has
>been
>> for YEARS now] the *only* one that I still play regularly & enjoy.

Patrice wrote:
>There has definitely been a shift in the perception of this record (from
>very
>bad to good/very good). I think remembering Peter Brotzmann's reaction
>and it
>had some impact on my appreciation of it (also based on the fact that I
>was
>listening to Last Exit for raw energy, and not lace knitting around a cup
>of
>tea :-). I will dig it and play it again.

Well, one difference between our ears may be that the member of Last Exit who
is the *least* interesting to me is Peter Brotzmann. So, if he doesn't like
that record or says bad things about it, it isn't necessarily something that
would prevent me from enjoying it.

I have a lot of respect for Brotzmann; he pretty single-handedly carved out a
very unique niche for himself in European/German free improv that can not be
denied. And his playing *can* be surprisingly affecting & subtle, for someone
known as a "balls to the wall" player.

Having said that, I must say that in Last Exit, he tended to do the things
that I find the least interesting in free improv music which is "macho",
balls to the wall, HARD blowing.

Not that Last Exit were a band *about* subtlety, but it might've been nice if
they *had* had more of that in them. Especially live, where, at times, the
sheer "we're all big hard-livin' men & we're going to blow hard - Your
Balls/My Chin" attitude kept them from doing more than just blowing hard, at
least for my tastes. And Iron Path, for me, mixes some interesting [& maybe
even subtle] types of ambiences with the more "Your Balls/My Chin" sound you
might expect from these "four big men".



Steve Feigenbaum

-



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

From: Tom Pratt <[e-mail]>
Subject: Toniuttie
Date: 12 Jul 1999 15:34:38 -0400

Does anyone know anything about a composer/musician named Giancarlo
Toniuttie? The Forced Exposure description of Jonathan Coleclough's
'Cake' (which I love - thanks, Jon) says that the disc "should easily
engage those interested in the likes of Organum, Giancarlo Toniuttie,
Eliane Radigue, a.o." Now, I'm familiar with Organum and Radigue, but
I'm curious to know about this Toniuttie character, and all of my
Internet searches have come up empty. Are there any (good) recordings
available? I'd appreciate any information. Thanks!

                        -Tom Pratt

listening to: omoide-hatoba - Vuoy (Polystar). I got this today and
haven't stopped listening yet. On these first few listens, I'm hooked!


-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Toniuttie
Date: 12 Jul 1999 15:42:12 -0400

On Mon, Jul 12, 1999 at 03:34:38PM -0400, Tom Pratt wrote:
> Does anyone know anything about a composer/musician named Giancarlo
> Toniuttie? The Forced Exposure description of Jonathan Coleclough's
> 'Cake' (which I love - thanks, Jon) says that the disc "should easily
> engage those interested in the likes of Organum, Giancarlo Toniuttie,
> Eliane Radigue, a.o." Now, I'm familiar with Organum and Radigue, but
> I'm curious to know about this Toniuttie character, and all of my
> Internet searches have come up empty. Are there any (good) recordings
> available? I'd appreciate any information. Thanks!

The latest issue of ND has an interview with Toniutti (which spelling
should work better on the search engines....). Available at better
newsstands, or from http://www.nd.org/

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: [e-mail]
Subject: Re: Toniuttie
Date: 12 Jul 1999 15:45:47 EDT


In a message dated 7/12/99 3:33:03 PM, [e-mail] writes:

<< Does anyone know anything about a composer/musician named Giancarlo
Toniuttie? The Forced Exposure description of Jonathan Coleclough's
'Cake' (which I love - thanks, Jon) says that the disc "should easily
engage those interested in the likes of Organum, Giancarlo Toniuttie,
Eliane Radigue, a.o." Now, I'm familiar with Organum and Radigue, but
I'm curious to know about this Toniuttie character, and all of my
Internet searches have come up empty. Are there any (good) recordings
available? I'd appreciate any information. Thanks! >>

I don't know much, but I do seem to recall that his name is actually
Toniutti. try that in your Internet searches.

Jon

-



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

From: [e-mail] (Martin Wisckol)
Subject: rahsaan plays great jewish music
Date: 12 Jul 1999 13:21:14 -0700

Just some trivia for klezmer fans:

Spurred by the Rahsaan thread, I pulled out "prepare thyself to deal
with a miracle.'' indeed, a very enjoyable and diverse outing. on the
20-minute suite, in which he circular breathes without a pause
throughout, rahsaan goes into a klezmer stomp. then it occurred to me
that there's another LP i have in which he also plays ze klezmer,
although i got distracted before i tracked it down....

Martin

-



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

From: [e-mail]
Subject: Re: music to empty parties by
Date: 12 Jul 1999 16:37:04 EDT

Empty partys out?
I usually get naked, smother myself with peanut butter, and pour milk over my
body while screaming the Mister Roger's theme song. If nobody leaves at this
point I'll grab a pair of scissors and hold them up to my testicals and yell
out how I was waiting years to do this! But damn it, more and more people
show up every party and circle around me like I'm the mega-entertainment
buff. What does it take to horrify people these days? I mean, in twenty years
from now how are you going to gross someone out? Everybody has already seen
everything. Were is G.G. Allen when you need him?

-



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

From: [e-mail]
Subject: Re: rahsaan plays great jewish music
Date: 12 Jul 1999 16:33:26 -0500


>Spurred by the Rahsaan thread, I pulled out "prepare thyself to deal
>with a miracle.'' indeed, a very enjoyable and diverse outing. on the
>20-minute suite, in which he circular breathes without a pause
>throughout, rahsaan goes into a klezmer stomp. then it occurred to me
>that there's another LP i have in which he also plays ze klezmer,
>although i got distracted before i tracked it down....

There's a brief portion on one of the tracks from 'Natural Black Inventions:
Root Strata' (I forget which) where he plays a few strains from Have Negilah.

Brian Olewnick



-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Kirk
Date: 12 Jul 1999 17:40:31 -0400 (EDT)

Introducing was (is) on Argo, but wasn't really his first record. He made
an earlier one for King Records, the Cincinatti label best known for
James Brown in 1956. It disappeared without a trace and was only reissued
on vinyl in the late 1970s.

Also, Kirk didn't "work with Qunicy Jones band for a while". Q didn't
have a band after 1960. Kirk was a sideman on some Jones' LPs and he may
have used Jones to arrange big band sessions for him the way he used
Benny Golson.

Ken Waxman


On Mon, 12 Jul 1999, Peter Risser wrote:

> A little late but:
>
> You can hear Roland Kirk blow some nice straight-up jazz on his disc
> Introducing from 196?.  Also, he worked with Quincy Jones' band for a
> while too.  I've got him on the soundtrack for In the Heat of the Night
> and even Big Band Bossa Nova.
>
> Peter
>
> _________________________________________________________
> Do You Yahoo!?
> Get your free @yahoo.com address at http://mail.yahoo.com
>
>
> -
>
>

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: rahsaan plays great jewish music
Date: 12 Jul 1999 17:46:18 -0400 (EDT)

So is he another candidate for our "great Jewish music" series?

Ken Waxman

(and to think I left out Phil Ochs and Dinah Shore)


On Mon, 12 Jul 1999, Martin Wisckol wrote:

> Just some trivia for klezmer fans:
>
> Spurred by the Rahsaan thread, I pulled out "prepare thyself to deal
> with a miracle.'' indeed, a very enjoyable and diverse outing. on the
> 20-minute suite, in which he circular breathes without a pause
> throughout, rahsaan goes into a klezmer stomp. then it occurred to me
> that there's another LP i have in which he also plays ze klezmer,
> although i got distracted before i tracked it down....
>
> Martin
>
> -
>
>

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: rahsaan plays great jewish music
Date: 12 Jul 1999 14:53:02 -0700


On Mon, 12 Jul 99 16:33:26 -0500  [e-mail] wrote:
>
> There's a brief portion on one of the tracks from 'Natural Black Inventions:
> Root Strata' (I forget which) where he plays a few strains from Have Negilah.

BTW, there is an excerpt taken from 'Natural Black Inventions: Root Strata'
on the ZORN RADIO HOUR sampler.

    Patrice.

NL: 1898/MUSIC FOR RENAISSANCE INTRUMENTS: Mauricio Kagel

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Toniutti
Date: 12 Jul 1999 18:01:41 -0400

At 03:34 PM 7/12/99 -0400, Tom Pratt wrote:
>Does anyone know anything about a composer/musician named Giancarlo
>Toniuttie? The Forced Exposure description of Jonathan Coleclough's
>'Cake' (which I love - thanks, Jon) says that the disc "should easily
>engage those interested in the likes of Organum, Giancarlo Toniuttie,
>Eliane Radigue, a.o." Now, I'm familiar with Organum and Radigue, but
>I'm curious to know about this Toniuttie character, and all of my
>Internet searches have come up empty. Are there any (good) recordings
>available? I'd appreciate any information. Thanks!

Jon and Joseph have corrected your spelling, so I'll just mention that the
only piece currently available seems to be a collaboration with several
Selektion artists called Itineraire (on Selektion).  I had an interesting
exchange about Toniutti with Eric Lanzillota at Anomalous about a year ago,
when I traded an old cassette recording to him.  The tape I traded was
almost a decade old, very minimal, and (Eric told me) not especially
representative of what he's doing now.  He's also done photography, and his
pictures adorn the cover of the original release of Bernhard G=FCnter's
Details Agrandis CD.


--
Caleb Deupree
[e-mail]

It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing.  There is more
than one way to conquer a country.

-- Raymond Chandler

-



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

From: [e-mail]
Subject: Zorn's Q & A
Date: 12 Jul 1999 18:44:20 EDT

Subjects & Quotes

*He never did drugs except for the occasional toast of champagne

*The solution to writer's block according to Zorn: "Don't worry about it."

*"Shut that video camera off!"

*He still wears his camoflause pants to express his part in the Hardcore
culture.

*He hates traveling ("You go fly on an airplane about fifty times, then tell
me how you like it.")

*He wants to eventually get more involved with The Theater of Musical Optics
visuals again.

*He highly encouraged musicians to start their own scene rather than dwell
into one.

*He owns much less amount of records than The New Yorker stated.

*The death of his father was one of the many parts that helped build Masada.

*He hates the Knitting Factory, "They're a bunch of fuck-shits!"

*He called his parents "those people."

*"Frank Zappa's Uncle Meat; best album."

*Downtown Music Gallery's Bruce Lee was a reference guide for Zorn whenever
he needed a question about himself that he didn't know.

*He said that since the New Yorker article he was been constantly thinking
about how people perceive his music, and it makes him really mad.

At Mark Ribot's sessions he passed around the scores to the whole Book of
Heads album. That was super, my understanding level of extended technique
really shoot up. The thing that got me the most throughout all the sessions I
went to was when William Parker said, "I don't hear music in my head." I'm
still thinking about that. Also, after Zorn's session I went to the bathroom
in The Tonic and saw written on the wall, "Zorn is gay." Very strange.

Marcus

-



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

From: "Dmitry Elentuck" <[e-mail]>
Subject: re: Kuryokhin
Date: 12 Jul 1999 19:05:05 -0400

I'd like to second the recommendation of 4CD set on Leo Records --- it is
probably the most accurate represantation of Kuryokhin's spectrum.

However, if you want to start with something more compact and less
expensive, try to track down his 1991 CD on Leo Records "Some Combinations
of Fingers and Passion" -- it's 1 hour of playful but highly professional
solo piano improvisation.

I also enjoy his collaborations with sax player Keshavan Maslak (aka Kenny
Millions) --- "Friends Afar" (on Japanese label Sound Wave) and "Dear John
Cage...."(on Russian label Long Arms Records) ----- both can be ordered
directly from Keshavan Maslak (he has a web page but I lost the URL).

SK's collaboration with Henry Kaiser on RykoDisc, "Popular Science" (1989),
just a couple of years ago could be found literally in every used CD store
of Boston for less than $6. it may still be the case. I don't play this much
around the house but I remember it being pleasantly goofy.

Finally, there is a whole bunch of CDs with his soundtrack/soundtracky work,
the best, IMO, being "sparrow Oratorium -- Four Seasons"; many others are
currently being re-released by his widow in St. Petersburg.

Hope this helps,

Dmitry


-



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

From: s~Z <[e-mail]>
Subject: I'm Your Man
Date: 12 Jul 1999 16:45:53 -0700

Ken Waxman wrote:
>
> So is he another candidate for our "great Jewish music" series?

has Leonard Cohen been mentioned?

-



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

From: Charles Gillett <[e-mail]>
Subject: For heaven's sake free me before I get another degree
Date: 12 Jul 1999 20:18:22 -0500 (CDT)

I was poking around, reading about serial killers on the web (prompted
by the new Spike Lee movie, even though I don't plan to see it), and I
came across something Zorn-related.

William Heirens, the man credited with creating the scene shown in the
artwork for Painkiller's _Buried Secrets_ ("For heaven's sake catch me
before I kill again I cannot control myself" written in lipstick on
an apartment wall, for those who haven't seen it), now has a crew of
social activists working to free him.  According to them (and they
obviously have an agenda), he didn't kill those three women.  Get the
scoop at <http://www.freeheirens.com/>.

And now you know the rest of the story.

I just got Evan Parker's _Saxophone Solos_ and _Monoceros_, Derek
Bailey's _Fairly Early with Postscripts_, and Jandek's _Glad To Get
Away_ and _New Town_ today, courtesy of Forced Exposure by way of
UPS and MasterCard.  A fine evening awaits....


-- Charles



-



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

From: Diego Gruber <[e-mail]>
Subject: Zorn article
Date: 12 Jul 1999 16:15:16 -0500

I've received so many requests for this article that what I'm gonna do
is simply post it to the list divided on a couple of e-mails so that it
doesn't get blocked by the message-lenght restraints. Sorry for those,
who have already received it from me privately. So here's the first part
of it, and in my next message I'm sending the second part. Also for
those who have the books, from which the quotes on the interview come
from, you should check out the accuracy of the translation.

This is an interview which appeared on an Argentinian magazine,
"Escvlpiendo Milagros" (anyone know something about this magazine?) a
couple of years ago. Of course, written in Spanish. A friend of mine
asked me to translate it for him and so I kept it for some months
already, now I thought it might be interesting for some of you to read.
The content of the interview is kind of dense, some parts are hard to
understand but believe me it doesn't have to do with the translation, it
was as difficult in Spanish. Parts were especially unclear for me as I
was not familiar with Zorn's game pieces, it is most lkely it won't be
as difficult for most of you. Let me know what you think of this thing.

----------

Success and economical factors usually condition the attitude of certain
musicians whose
weak convictions can only admit creative freedom on extraordinary
circumstances. They take
music as a good for popular consumption and therefore ease its digestion
in order to obtain
generous rewards. Such apocryphal music which floods radio stations,
record stores, and
ears does not accomplish to neutralize an irreverent beat from
Manhattan's heart. There,
experimentation has not ceased. Zorn and friends come against form
sclerosis and creative
cheapness of today's music with  prodigious imagination.

-----JOHN ZORN- music with no govern ------

"There's good music, great music and false music on each genre and every
genre is the
fucking same! People grew up on the 60s listening to blues, rock,
classical, avant-garde,
ethnic music; i believe all of us share one belief in common: all of
that music is the same
deep inside; there's no such thing as a 'higher art' and a 'lower art'"
- John Zorn, 1988, on 'American Composers' by Edward Strickland.

Officialist dinosaurs, stinking sounds merchants, musical
segregationists, they can no longer
prevent thousands of attentive ears from detecting the unusual,
dazzling, astounding
jugglings of Zorn on his struggle for the abolition of aesthetics'
hierarchies and the
imposition of equality on musical society. Fucking bullshit!, will Zorn
say every time someone
pretends to differentiate the classical from the popular as the sublime
and the mundane. His
artistic testimonies are clearly exemplifying of his way of thinking.
One battle won after
another right on the heart of the merchant's empire, suggesting there
are no weapons that
could possibly stop the rebellion of art or limits to brake the
corrosion in front of new
ideas. Jazz, rock, pop, klezmer, classical, electronic, concrete,
improvised cannot be taken
as stagnant compartments, but as materials for possible interaction,
democratically
disposable in the mind of the creator. A game for free people,
particularly pleasant for
those who have come to dominate the traditional tools and are no longer
afraid of liberty.


"Masterpieces of western music exemplify monarchies and dictatorships.
Composer and
director: king and prime minister. Establishing analogies between the
musical situations we
have and the desirable social circumstances of which we still lack, we
make music important
and suggestive, with the serious problems humanity is facing. Some
composers do not portray
on their work the social changes desired, since they utilize their music
as propaganda for
such changes or as criticism of a society insufficiently modified."
- John Cage, 'Empty words', 1973-78

>From the random experiences of the 50s improvisation has occupied an
outstanding place on
music of the 20th century. All the same, graphical scripture has become
an adequate medium
to transmit one undetermined music, set free to the imagination or
intuition of the performer. When jazz got into the anarchic tides of
collective
improvisation some similarities with the "cultured" friends were
glimpsed.
Differences could be noticed on the bonds: the one the musician creates
and the idea which
originates a work (a drawing, a popular melody, isolated notes with
brief instructions, an
image). The bond which relates a group of instrumentalists  playing at
the same time (a
dialogue with the others or the inner way). The bond with the own
instrument and the
culture.
The implicit problematical in the work of John Zorn has equally the
inheritance of the
literature of the 50s and the 60s. His music promotes a rather
unconventional approach
from the performers to their instruments, impressing as much tempo
switches as variations
of tone. With expressive gestures he commands this games of
improvisation and allows for
unusual relations and behaviors, which result on music of great frantic
spontaneity of
everlasting unpredictability. Cage and his followers preferred their
musicians wouldn't
relate themselves but let the sounds mix randomly. The improvisational
collectives of new
jazz urged to the celebration of a collective ritual which would unite
their cries on the
maximum level possible. To randomness and communion of souls was added
the unconformist
individualism of the practitioners of improvisation.
Zorn's generation takes the discoveries of the masters to search for new
relationships, new
bonds.
On the amazingly open structure presented by the Cobra (recreated each
month on Knitting
Factory, New York, edited a couple of years ago at Hat Art and now live
by Knitting Factory
Works), musicians are forced to undress their personalities in public
and incorporate their
more immediate feelings to the construction of an unstable and nervous
architecture. A game
in which those who need to express themselves with verbosity appear, and
others interrupt
with violence to impose their ideas. A vast gamma of gesture codes
enables the different
musical ideas with absolute freedom.


-------END OF PART 1


-



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

From: Diego Gruber <[e-mail]>
Subject: Zorn article part 2
Date: 12 Jul 1999 16:00:54 -0500

"The music written is the story of a trip of exploration,
which might have been important, but
that has concluded before we had any news from it, meanwhile
improvisation is the trip itself"
- Christopher Small, 'Music. Society. Education'.

Cobra  isn't just a musical deed, it's also theater. An instrumental
theater which exposes
behavior and gestures of the musicians' world in the moment of creation
[sort of like seeing
them mate with their instruments, right? crude analogy, perhaps
inappropriate]. The actors,
stimulated by the wit of
the orders given, play the game of music with unusual excitement. Zorn
picks the
instrumental colors and marks the entrances with signs that shoot off
creativity.
Aggressiveness, humor, anxiety, search for power, tenderness, the need
of cohabitation:
each state or attitude is reflected in Cobra through the musicians'
expressiveness. Something
from a childish world lives on Zorn's games, somewhat lost in the
traumatic steps towards
adulthood. For him, music can give us back the best we once had and show
us at the time what
we could be.
Zorn acknowledged once one work of the Argentinean Mauricio Kagel
changed his life: 'Match'
, from 1964. A duel of gestures and sounds between two double-bass
players, with the
intervention of a percussive referee who interrupts and launches the
match. Kagel's idea, as
every masterpiece, opened new doors for musical organization. Zorn
accepted the challenge
and submerged in the unexplored space he had before him. Today Cobra is
recreated on
different versions, with vocals, instrumentals, with the coordination of
different musicians
on every occasion and always on the free setting spirit which inspired
its creation.

"The best government is the one that doesn't govern at all. And when men
are prepared for it,
this is the kind of government they will have."
- Henry D. Thoreau, 'Civil Disobedience'

"Many musicians are already prepared. We have now many musical examples
of practical
anarchy. Music with undetermined parts, without a fixed relationship
between them. Music
without notation. Our rehearsals don't have directors anymore. Musicians
can make it without
a government"
- John Cage, 'Empty words'


ZORN 93-94

While 'Buried Secrets' and 'Radio' have managed to calm the appetite of
fans of hardcore and
jazz, Zorn's other novelties advance through previously unexplored
paths. Almost nobody
doubts anymore that Painkiller and Naked City widen the margins of the
most dense rock and a
jazz open to eclecticism. Like a purifying tumor, Zorn accomplishes here
a healthy job:
changing the rusty costumes, injecting them his revitalizing sap which
turns false into truth.
Also the jewish tradition of Klezmer found in John Zorn's MASADA a
modernizing medicine. He
began to expose there his vision of hebrew music which found in
Kristallnacht a moment of
splendor. The moving memory of nazism uses some of its emblematic
sounds: the fuehrer's
voice,  noise of crystals braking, hebrew voices praying. Delicate
litanies of jewish music
involve with their melancholy voices of genocide transforming beauty
into perplexity. Zorn
puts himself in the drama and exposes his symbols: and unending sequence
of crystals braking
rattles our eardrums till saturation. Without words or instruments he
creates a frightening
allegation against intolerance. The music of Kristallnacht changes the
usual zornian
fragmentation for a more extensive development that the new ideas seem
to ask for, an
extensive serenity which doesn't seem to resign to emotion. A group of
new-yorkers are in
charge of the representation: Anthony Coleman, Mark Feldmann, Mark
Dresser, Marc Ribot,
Joey Baron and Frank London, select members of the Lower East Side of
Manhattan guild.
'Elegy', another of Zorn's recent adventures, appears as a tribute to
the writer-martyr Jean
Genet. A paragraph from one of his novels, a symbolic rose, an explicit
pair of nude torsos
and a distorted photograph of his face form the dedicatory. As in the
anti-nazi novel, the
music of 'Elegy' opposes several aesthetical languages which follow each
other and then mix
proposing a multiplicity of images and senses. Sections of rigorously
written music alternate
with melodies of far-away ethnics. Flutes and strings incarnate the
purity and stillness in a
context of latent aggressiveness where distorted discs, abrupt hits,
weapons that shoot
displace subtlety and set discontrol. Doors that close, cries which
superimpose themselves,
exhausted voices interweave with Mid Eastern chants. Zorn defies the
conventions connecting
the uneven as if it were familiar and formulates a unique integrating
musical language. A dry
path without complacencies. Sounds that hurt the body and disturb the
mind.
Zorn's new ideas rest in mystery and symbolism. Close were then the
poets who inaugurated
the vanguard movements of literature history: Baudelaire and Verlaine
also had Zorn's
tribute. ABSINTHE, a plant which ingested in excess may drive you to
madness. The calmest
work of his artistic career, a strange peace full of density. The
instrumental voices of
Naked City transform their recognizable tones in unusual sounds
produced by non-traditional
techniques of execution. The dawn of the 19th century, so well portrayed
by the symbolist
poets, is reminded on our own twilight by frightening acoustic images
which retain the tension
on static spider webs.
If Absinthe supposed a symbolist atmospheric immersion, one could
suggest that Leng T'che is
a bath of hyperrealism among the most striking that Zorn has ever made.
The naked city on the
season of apocalypse: a guitar bleeding to death on the long agony of
accoplation and
distortion, a frightening bass involving in time a space of tension,
frantic drum punches on
the sores of sensitivity, and the unbearable cry of a voice which
appears to immolate itself
obscenely in public. And almost in the shadows of this hi-pitched cry it
is obvious that Zorn's
game lies on the edge of tolerance, between the sensation of panic and
the vision of death. A
fresco about contemporary horror and millenary), with no anesthesia.
Zorn needs to establish new channels of communication and this starts to
be evident among
the musicians as well as on the link with the listener. It looks for the
encounter with the
new, the unknown. A space of experimental search through which he
reencounters himself
with the old masters and finds already the sounds of tomorrow.
John Zorn is the paradigm of this century's end's avant garde. His music
is the spiritual
refugee for the saturated contemporary ears.



-



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

From: Steve Smith <[e-mail]>
Subject: Re: Kinky Tribute [plus Derek, Evan, Garland...]
Date: 13 Jul 1999 02:09:06 -0400

Stephen Fruitman wrote:

> Kinky got done recently, and quite nicely too. The CD is called _Pearls in
> the Snow_ and features a wide range of (primarily country) talent

I already thanked Stephen for mentioning the Kinky tribute here.  But I wanted
to jump back in to let everyone know that, while Stephen singled out Amazon.com
for finding this disc (no doubt because he's writing from Sweden), as it turns
out, for many on the list it should be available in just about any good
store... it's being distributed by BMG, one of the majors.  Instant
gratification freak that I am, I bought mine tonight at the Tower at 4th &
Broadway this evening.  (And this despite the fact that I'm going to work for
BMG in about 3 weeks and probably could have held out for a freebie... hey,
it's the Kinkstah!)

'Pearls in the Snow' is good, real good, if you've got a taste for Texas C&W
singer / songwriter stuff (which it seems I do have, despite being a proud
*former* Texan).  I find that Kinky's scatological side is largely underplayed
here, which makes it sound a bit more mainstream than I'd expected, but that's
not entirely bad.

But in case you're already starting to WORRY about me since my return, the
*other* CD I bought tonight was the newly issued 'Arch Duo' by Derek Bailey and
Evan Parker, recorded in 1980 and just issued on Rastascan.  Even though I'd
wanted to buy something altogether new and different when I went into Other
Music this evening, I still can help buying everything by Derek the very moment
I spot it.

AND I also got a copy of David Garland's latest release, "Togetherness -
Control Songs, Vol. 2," which features Our Man Zorn along with Bobby Previte,
Brian Dewan, Jim Staley, Mark Dresser and others.  Haven't heard it yet but
will report upon having done so.

Verily a sumptuous repast awaits these ears!

Steve Smith
[e-mail]
(... looking forward to hearing Willie Nelson live for my first time later this
evening... it IS Tuesday now, right?)

NP - Lyle Lovett, "Sold American," 'Pearls in the Snow - The Songs of Kinky
Friedman'


-



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

From: [e-mail]
Subject: Re: Kinky Tribute [plus Derek, Evan, Garland...]
Date: 13 Jul 1999 02:14:58 EDT


In a message dated 7/13/99 2:11:23 AM, [e-mail] writes:

<< AND I also got a copy of David Garland's latest release, "Togetherness -
Control Songs, Vol. 2," which features Our Man Zorn along with Bobby Previte,
Brian Dewan, Jim Staley, Mark Dresser and others.  Haven't heard it yet but
will report upon having done so. >>

despite the fact he's keeping it ridiculously low-profile, this is on our
very own Patrice Roussel's new label Ergodic. sorry for blowing your cover,
dude.

Jon

-



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

From: Steve Smith <[e-mail]>
Subject: Re: Buddy Rich (was: some downtowners go pop)
Date: 13 Jul 1999 02:22:47 -0400

patRice wrote:

> can you recommend any recordings that feature buddy rich?

To be perfectly honest, I can't.  My personal reaction to Rich was that, while he was an
extraordinarily gifted drummer, I didn't find many of his recordings all that special.
But I'd also note that I stopped trying them out kinda quickly.

My most recent attempt to listen to Rich was a Lester Young Trio disc reissued by Verve
that also featured no less than Nat "King" Cole on piano, and yet I still cast that
particular disc aside because the sound quality was simply so appalling that I couldn't
imagine listening to the disc again, and I consider myself extremely open-minded when it
comes to archival sound quality and enjoy a great many things that were transfered from
78 rpm records (not to mention the Mystic Fugu Orchestra...).

So perhaps someone else can answer the question more equanimously.

Steve Smith
[e-mail]

NP - Tom Waits, "Highway Cafe," 'Pearls in the Snow - The Songs of Kinky Friedman'


-



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

From: Steve Smith <[e-mail]>
Subject: Re: Kinky Tribute [plus Derek, Evan, Garland...]
Date: 13 Jul 1999 02:36:16 -0400

[e-mail] wrote:

> [e-mail] writes:
>
> << AND I also got a copy of David Garland's latest release, "Togetherness -
> Control Songs, Vol. 2," which features Our Man Zorn along with Bobby Previte,
> Brian Dewan, Jim Staley, Mark Dresser and others.  Haven't heard it yet but
> will report upon having done so. >>
>
> despite the fact he's keeping it ridiculously low-profile, this is on our
> very own Patrice Roussel's new label Ergodic. sorry for blowing your cover,
> dude.

Yes, it's true.  Gee, Patrice, I *tried* to keep your secret, but your dastardly
fellow label head Jon "Erstwhile" Abbey blew it.  ;-)  But I'll still happily
report on the Garland disc as soon as I've had a chance to hear it.

Steve Smith
[e-mail]

NP - NY1 News


-



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

From: [e-mail]
Subject: Re: Kinky Tribute [plus Derek, Evan, Garland...]
Date: 13 Jul 1999 04:36:17 EDT

In a message dated 7/13/99 2:37:37 AM Eastern Daylight Time,
[e-mail] writes:

> > despite the fact he's keeping it ridiculously low-profile, this is on our
>  > very own Patrice Roussel's new label Ergodic. sorry for blowing your
cover,
>
>  > dude.
>
>  Yes, it's true.  Gee, Patrice, I *tried* to keep your secret, but your
> dastardly
>  fellow label head Jon "Erstwhile" Abbey blew it.

Only natural... I mean wheres a guy to go after amassing a huge record
collection and culling some of the most thorough discographies in the world?
Start a label!  Good luck.
-Jody

-



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

From: Yves Dewulf <[e-mail]>
Subject: Sun Ra meets Cage
Date: 13 Jul 1999 12:25:40 +0200



>  There was also that rare LP of Cage's collaboration
>  with Sun Ra.

   Funny you mention this now. During the DJ Spooky show at the Northsea-
   jazz-festival last friday, he put the sleeve of this record
   in front of his mixing-console.
   Don't know if he played the record actually.
   (Only recognized a Jimi Hendrix solo and a bit of Miles Davis)
   Any idea what this LP sounds like? Is it Sun Ra at the Moog?

   YVes



-



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

From: Peter Gannushkin <[e-mail]>
Subject: Schedule
Date: 13 Jul 1999 16:30:44 +0200

Hello All,

  Does anybody knows release schedule of Knitting Factory and Tzadik labels?

Best regards,
Peter Gannushkin
e-mail: [e-mail]
URL: http://www.shkin.com/



-



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

From: [e-mail]
Subject: Neues Kabarett at the Brecht Forum
Date: 13 Jul 1999 10:27:02 -0500


Pianoforte!
A benefit to help us pay for our new piano
Friday, July 30, 9 p.m.
Neues Kabarett at the Brecht Forum
122 W. 27th St., 10th Fl.
NYC, NY 10001
[phone]

Performances by Loren MazzaCane Connors, Roy Campbell, Stephanie Stone and
Abraham Maneri with John Bloom and Ryan Sawyer.
Loren MazzaCane Connors is an improvisational legend, an intuitive and
spontaneous guitarist who has been recording and performing since the 1970s.
Whether fragile and quiet or laden with unbound feedback, his music seethes with
gorgeous lyricism, often incorporating drone, noise and sustained chord
phrasings. Loren has performed and recorded with the likes of Alan Licht, Keiji
Haino, Suzanne Langille, Jim O'Rourke and Thurston Moore. He will perform solo.
Roy Campbell is a trumpet phenom who performs his free, post-bop style regularly
at Tonic, the Knitting Factory, Dharma and the Lenox Lounge. He is a member of
the supergroup Other Dimensions in Music with Daniel Carter, William Parker and
Rashid Bakr and leads the Pyramid Trio. He has recorded for Silkheart, Delmark
and AUM Fidelity, scored the films "The Selling of Harlem" and "Survival in New
York," and has performed and recorded with Sun Ra, David Murray, Reggie
Nicholson, Cecil Taylor, Henry Threadgill, Billy Bang and Zane Massey. Tonight
is a rare opportunity to see him play solo.
Abraham Maneri is a young poet who has performed throughout the Boston area, a
Labri, Zeitgeist, St. Paul's Church and Jordan Hall, as well as in the Jump Over
the River festival in Williamsburg, Brooklyn, with Sabir Mateen and Ryan Sawyer.
Abraham has read with poets such as Bill Knot and Samuel Cornish, as well as
with family members violinist Mat Maneri, saxophonist Joe Maneri and dancer
Christine Coppola Maneri. He has been published in BAGS (Boston Avant-Garde
Society), Griffin's Eye and Amaranth. He will perform with pianist John Bloom
and drummer Ryan Sawyer.
Stephanie Stone has been a fixture in downtown audiences for decades. If you go
to see Tim Berne, John Zorn or any of a number of other artists on any given
night, it's a safe bet you'll see her and her husband Irving there. Recently she
has returned to performing, and we're very excited she will be on hand to
christen our piano. She will perform solo and in a duet with Roy Campbell.



-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Schedule
Date: 13 Jul 1999 10:59:14 -0400 (EDT)

Try the Knit's page at:

www.knittingfactory.com

Ken Waxman



On Tue, 13 Jul 1999, Peter Gannushkin wrote:

> Hello All,
>
>   Does anybody knows release schedule of Knitting Factory and Tzadik labels?
>
> Best regards,
> Peter Gannushkin
> e-mail: [e-mail]
> URL: http://www.shkin.com/
>
>
>
> -
>
>

-



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

From: Peter Gannushkin <[e-mail]>
Subject: Re[2]: Schedule
Date: 13 Jul 1999 17:08:40 +0200

Hello Ken,

Tuesday, July 13, 1999, you wrote to me:

KW> Try the Knit's page at:

KW> www.knittingfactory.com

There is no schedule. It doesn't contain any information even about
some new released CDs.

>>
>>   Does anybody knows release schedule of Knitting Factory and Tzadik labels?
>>

Best regards,
Peter Gannushkin
e-mail: [e-mail]
URL: http://www.shkin.com/



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Re[2]: Schedule
Date: 13 Jul 1999 08:16:02 -0700


On Tue, 13 Jul 1999 17:08:40 +0200  Peter Gannushkin wrote:
>
> KW> Try the Knit's page at:
>
> KW> www.knittingfactory.com
>
> There is no schedule. It doesn't contain any information even about
> some new released CDs.

Yeah, this is the KF. If you want to know about their new records you have to
read the ads in THE WIRE... That's where I usually hear about new releases.

BTW, has anybody seen the Blue Note/KF sampler which is supposed to accompany
Howard Mandel's new book? I saw an Ad in the August issue of DB and was
wondering what it is.

    Patrice.

-



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

From: [e-mail]
Subject: Garland's 'Togetherness'
Date: 13 Jul 1999 11:32:27 -0500


     Though I'd enjoyed Garland's first volume of Control Songs and loved
     his compositions and vocal work with Guy Klucevsek's band, this
     release still took me a few listens to get completely comfortable
     with. But once there, it's quite an enjoyable album.

     My initial mistake was listening to these pieces as more or less
     unusual pop songs and some of the works _almost_ lend themselves to
     that interpretation, like the very catchy opener, 'This Is Love'. But
     most of the pieces are too slippery, the lyrics too 'banal' (in a good
     sense, that is!), the arrangements too seemingly casual to fit
     comfortably in that category. It was only when I shifted mental gears
     and began to listen to them as contemporary 'art songs' that they
     clicked into focus. Of course, this could just be me and Garland may
     indeed intend these as pop songs....

     A good, unique record. I'm trying to think of somewhat reasonable
     comparisons, but it's tough. Sometimes they seem to inhabit a world
     adjacent to Partch's song-cycles (as interpreted by a composer fond of
     bachelor-pad music); a similar use of everyday, non-poetic language
     used to great poetic effect. Musically, at its smoothest, I hear
     echoes of bands like Penguin Cafe Orchestra or even early pop-based
     Eno ('Happy Ending' reminds me a bit of something like 'Blank Frank'),
     or the Bley/Haines songbook.

     Fascinating stuff. Check it out.

     Brian Olewnick



-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: merzbox release news
Date: 13 Jul 1999 18:16:34 +0200

An interesting news for the noiseheads  among us:

I got an answer back from roger richards (the label boss for the extreme
label) saying the good news.....

the merzbox will be released in september.....

can't believe this.....50 cds merzbow in one time.... yehaaaaaaaa


-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: Kim Gordon solo releases made with help from downtowners
Date: 13 Jul 1999 18:23:29 +0200

Hi

Today I read in a belgian magazine called HUMO (Hi Yves, my belgian man...
everything OK) that Kim Gordon.... you know, sonic youth.... you know, the
guys with the stolen gear.... this reminds me of a solo cd by thurston moore
called 'Please take everything from me, except my paul desmond'..... i guess
a fan took his words for real...

anyway, the article stated that kim gordon is going to release two solo cds
wich are co-made with DJ Olive, Ikue Mori and Yuka Honda..

this sounds interesting.... so does anybody knows here anything about those
releases...

Best wishes

stefan verstraeten


-



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

From: Diego Gruber <[e-mail]>
Subject: Zorn article
Date: 10 Jul 1999 17:29:03 -0500

Hi people,

This is an interview which appeared on an Argentinian magazine,
"Escvlpiendo Milagros" (anyone know something about this magazine?) a
couple of years ago. Of course, written in Spanish. A friend of mine
asked me to translate it for him and so I kept it for some months
already, now I thought it might be interesting for some of you to read.
The content of the interview is kind of dense, some parts are hard to
understand but believe me it doesn't have to do with the translation, it
was as difficult in Spanish. Parts were especially unclear for me as I
was not familiar with Zorn's game pieces. PLease excuse the giant post,
especially those of you on digest.

----------

Success and economical factors usually condition the attitude of certain
musicians whose
weak convictions can only admit creative freedom on extraordinary
circumstances. They take
music as a good for popular consumption and therefore ease its digestion
in order to obtain
generous rewards. Such apocryphal music which floods radio stations,
record stores, and
ears does not accomplish to neutralize an irreverent beat from
Manhattan's heart. There,
experimentation has not ceased. Zorn and friends come against form
sclerosis and creative
cheapness of today's music with  prodigious imagination.

-----JOHN ZORN- music with no govern ------

"There's good music, great music and false music on each genre and every
genre is the
fucking same! People grew up on the 60s listening to blues, rock,
classical, avant-garde,
ethnic music; i believe all of us share one belief in common: all of
that music is the same
deep inside; there's no such thing as a 'higher art' and a 'lower art'"
- John Zorn, 1988, on 'American Composers' by Edward Strickland.

Officialist dinosaurs, stinking sounds merchants, musical
segregationists, they can no longer
prevent thousands of attentive ears from detecting the unusual,
dazzling, astounding
jugglings of Zorn on his struggle for the abolition of aesthetics'
hierarchies and the
imposition of equality on musical society. Fucking bullshit!, will Zorn
say every time someone
pretends to differentiate the classical from the popular as the sublime
and the mundane. His
artistic testimonies are clearly exemplifying of his way of thinking.
One battle won after
another right on the heart of the merchant's empire, suggesting there
are no weapons that
could possibly stop the rebellion of art or limits to brake the
corrosion in front of new
ideas. Jazz, rock, pop, klezmer, classical, electronic, concrete,
improvised cannot be taken
as stagnant compartments, but as materials for possible interaction,
democratically
disposable in the mind of the creator. A game for free people,
particularly pleasant for
those who have come to dominate the traditional tools and are no longer
afraid of liberty.


"Masterpieces of western music exemplify monarchies and dictatorships.
Composer and
director: king and prime minister. Establishing analogies between the
musical situations we
have and the desirable social circumstances of which we still lack, we
make music important
and suggestive, with the serious problems humanity is facing. Some
composers do not portray
on their work the social changes desired, since they utilize their music
as propaganda for
such changes or as criticism of a society insufficiently modified."
- John Cage, 'Empty words', 1973-78

>From the random experiences of the 50s improvisation has occupied an
outstanding place on
music of the 20th century. All the same, graphical scripture has become
an adequate medium
to transmit one undetermined music, set free to the imagination or
intuition of the performer. When jazz got into the anarchic tides of
collective
improvisation some similarities with the "cultured" friends were
glimpsed.
Differences could be noticed on the bonds: the one the musician creates
and the idea which
originates a work (a drawing, a popular melody, isolated notes with
brief instructions, an
image). The bond which relates a group of instrumentalists  playing at
the same time (a
dialogue with the others or the inner way). The bond with the own
instrument and the
culture.
The implicit problematical in the work of John Zorn has equally the
inheritance of the
literature of the 50s and the 60s. His music promotes a rather
unconventional approach
from the performers to their instruments, impressing as much tempo
switches as variations
of tone. With expressive gestures he commands this games of
improvisation and allows for
unusual relations and behaviors, which result on music of great frantic
spontaneity of
everlasting unpredictability. Cage and his followers preferred their
musicians wouldn't
relate themselves but let the sounds mix randomly. The improvisational
collectives of new
jazz urged to the celebration of a collective ritual which would unite
their cries on the
maximum level possible. To randomness and communion of souls was added
the unconformist
individualism of the practitioners of improvisation.
Zorn's generation takes the discoveries of the masters to search for new
relationships, new
bonds.
On the amazingly open structure presented by the Cobra (recreated each
month on Knitting
Factory, New York, edited a couple of years ago at Hat Art and now live
by Knitting Factory
Works), musicians are forced to undress their personalities in public
and incorporate their
more immediate feelings to the construction of an unstable and nervous
architecture. A game
in which those who need to express themselves with verbosity appear, and
others interrupt
with violence to impose their ideas. A vast gamma of gesture codes
enables the different
musical ideas with absolute freedom.

--------->>"The music written is the story of a trip of exploration,
which might have been important, but
that has concluded before we had any news from it, meanwhile
improvisation is the trip itself"
- Christopher Small, 'Music. Society. Education'.

Cobra  isn't just a musical deed, it's also theater. An instrumental
theater which exposes
behavior and gestures of the musicians' world in the moment of creation
[sort of like seeing
them mate with their instruments, right? crude analogy, perhaps
inappropriate]. The actors,
stimulated by the wit of
the orders given, play the game of music with unusual excitement. Zorn
picks the
instrumental colors and marks the entrances with signs that shoot off
creativity.
Aggressiveness, humor, anxiety, search for power, tenderness, the need
of cohabitation:
each state or attitude is reflected in Cobra through the musicians'
expressiveness. Something
from a childish world lives on Zorn's games, somewhat lost in the
traumatic steps towards
adulthood. For him, music can give us back the best we once had and show
us at the time what
we could be.
Zorn acknowledged once one work of the Argentinean Mauricio Kagel
changed his life: 'Match'
, from 1964. A duel of gestures and sounds between two double-bass
players, with the
intervention of a percussive referee who interrupts and launches the
match. Kagel's idea, as
every masterpiece, opened new doors for musical organization. Zorn
accepted the challenge
and submerged in the unexplored space he had before him. Today Cobra is
recreated on
different versions, with vocals, instrumentals, with the coordination of
different musicians
on every occasion and always on the free setting spirit which inspired
its creation.

"The best government is the one that doesn't govern at all. And when men
are prepared for it,
this is the kind of government they will have."
- Henry D. Thoreau, 'Civil Disobedience'

"Many musicians are already prepared. We have now many musical examples
of practical
anarchy. Music with undetermined parts, without a fixed relationship
between them. Music
without notation. Our rehearsals don't have directors anymore. Musicians
can make it without
a government"
- John Cage, 'Empty words'


ZORN 93-94

While 'Buried Secrets' and 'Radio' have managed to calm the appetite of
fans of hardcore and
jazz, Zorn's other novelties advance through previously unexplored
paths. Almost nobody
doubts anymore that Painkiller and Naked City widen the margins of the
most dense rock and a
jazz open to eclecticism. Like a purifying tumor, Zorn accomplishes here
a healthy job:
changing the rusty costumes, injecting them his revitalizing sap which
turns false into truth.
Also the jewish tradition of Klezmer found in John Zorn's MASADA a
modernizing medicine. He
began to expose there his vision of hebrew music which found in
Kristallnacht a moment of
splendor. The moving memory of nazism uses some of its emblematic
sounds: the fuehrer's
voice,  noise of crystals braking, hebrew voices praying. Delicate
litanies of jewish music
involve with their melancholy voices of genocide transforming beauty
into perplexity. Zorn
puts himself in the drama and exposes his symbols: and unending sequence
of crystals braking
rattles our eardrums till saturation. Without words or instruments he
creates a frightening
allegation against intolerance. The music of Kristallnacht changes the
usual zornian
fragmentation for a more extensive development that the new ideas seem
to ask for, an
extensive serenity which doesn't seem to resign to emotion. A group of
new-yorkers are in
charge of the representation: Anthony Coleman, Mark Feldmann, Mark
Dresser, Marc Ribot,
Joey Baron and Frank London, select members of the Lower East Side of
Manhattan guild.
'Elegy', another of Zorn's recent adventures, appears as a tribute to
the writer-martyr Jean
Genet. A paragraph from one of his novels, a symbolic rose, an explicit
pair of nude torsos
and a distorted photograph of his face form the dedicatory. As in the
anti-nazi novel, the
music of 'Elegy' opposes several aesthetical languages which follow each
other and then mix
proposing a multiplicity of images and senses. Sections of rigorously
written music alternate
with melodies of far-away ethnics. Flutes and strings incarnate the
purity and stillness in a
context of latent aggressiveness where distorted discs, abrupt hits,
weapons that shoot
displace subtlety and set discontrol. Doors that close, cries which
superimpose themselves,
exhausted voices interweave with Mid Eastern chants. Zorn defies the
conventions connecting
the uneven as if it were familiar and formulates a unique integrating
musical language. A dry
path without complacencies. Sounds that hurt the body and disturb the
mind.
Zorn's new ideas rest in mystery and symbolism. Close were then the
poets who inaugurated
the vanguard movements of literature history: Baudelaire and Verlaine
also had Zorn's
tribute. ABSINTHE, a plant which ingested in excess may drive you to
madness. The calmest
work of his artistic career, a strange peace full of density. The
instrumental voices of
Naked City transform their recognizable tones in unusual sounds
produced by non-traditional
techniques of execution. The dawn of the 19th century, so well portrayed
by the symbolist
poets, is reminded on our own twilight by frightening acoustic images
which retain the tension
on static spider webs.
If Absinthe supposed a symbolist atmospheric immersion, one could
suggest that Leng T'che is
a bath of hyperrealism among the most striking that Zorn has ever made.
The naked city on the
season of apocalypse: a guitar bleeding to death on the long agony of
accoplation and
distortion, a frightening bass involving in time a space of tension,
frantic drum punches on
the sores of sensitivity, and the unbearable cry of a voice which
appears to immolate itself
obscenely in public. And almost in the shadows of this hi-pitched cry it
is obvious that Zorn's
game lies on the edge of tolerance, between the sensation of panic and
the vision of death. A
fresco about contemporary horror and millenary), with no anesthesia.
Zorn needs to establish new channels of communication and this starts to
be evident among
the musicians as well as on the link with the listener. It looks for the
encounter with the
new, the unknown. A space of experimental search through which he
reencounters himself
with the old masters and finds already the sounds of tomorrow.
John Zorn is the paradigm of this century's end's avant garde. His music
is the spiritual
refugee for the saturated contemporary ears.
-----------






-



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

From: "Vanheumen, Robert" <[e-mail]>
Subject: RE: Zorn's Q & A
Date: 13 Jul 1999 13:21:57 -0400


it's funny how everybody experiences the same event different.
that's why I was hesitant to write too much about this zorn workshop. one of
his main points (as i see it) during that workshop was that he wants to get
information out as direct as possible, because, as he experienced recently
with the new yorker, people might interpret his words in the 'wrong' way,
write it down, and get stories into the world which are not 'true'.  some of
marcus's 'quotes' i remember differently...

robert

> -----Original Message-----
> From:    [e-mail] [SMTP:[e-mail]]
> Sent:    Monday, July 12, 1999 6:44 PM
> To:    [e-mail]
> Subject:    Zorn's Q & A
>
> Subjects & Quotes
>
> *He never did drugs except for the occasional toast of champagne
>
> *The solution to writer's block according to Zorn: "Don't worry about it."
>
> *"Shut that video camera off!"
>
> *He still wears his camoflause pants to express his part in the Hardcore
> culture.
>
> *He hates traveling ("You go fly on an airplane about fifty times, then
> tell
> me how you like it.")
>
> *He wants to eventually get more involved with The Theater of Musical
> Optics
> visuals again.
>
> *He highly encouraged musicians to start their own scene rather than dwell
>
> into one.
>
> *He owns much less amount of records than The New Yorker stated.
>
> *The death of his father was one of the many parts that helped build
> Masada.
>
> *He hates the Knitting Factory, "They're a bunch of fuck-shits!"
>
> *He called his parents "those people."
>
> *"Frank Zappa's Uncle Meat; best album."
>
> *Downtown Music Gallery's Bruce Lee was a reference guide for Zorn
> whenever
> he needed a question about himself that he didn't know.
>
> *He said that since the New Yorker article he was been constantly thinking
>
> about how people perceive his music, and it makes him really mad.
>
>
> -

-



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

From: Bob Kowalski <[e-mail]>
Subject:  oPtion
Date: 13 Jul 1999 13:48:46 -0400

Whatever happened to the wonderful publication Option?  Did it slide into the sea (was CA based I believe.)  Did it survive somehow in the virtual (www) realm?  So sad.  Complimented my New Yorker and Adbuster subscriptions nicely!
; )
Bob


-



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

From: [e-mail] (Michael J. Williams)
Subject: Re: kirk
Date: 13 Jul 1999 07:36:48 -0700


>Date: Mon, 12 Jul 1999 17:40:31 -0400 (EDT)
>From: Ken Waxman <[e-mail]>
>Subject: Re: Kirk
>
>Introducing was (is) on Argo, but wasn't really his first record. He made
>an earlier one for King Records, the Cincinatti label best known for
>James Brown in 1956. It disappeared without a trace and was only reissued
>on vinyl in the late 1970s.
>
>Also, Kirk didn't "work with Qunicy Jones band for a while". Q didn't
>have a band after 1960. Kirk was a sideman on some Jones' LPs and he may
>have used Jones to arrange big band sessions for him the way he used
>Benny Golson.

Kirk is on Quincy Jones' "Walking in Space" LP on A&M records. I believe it
won a Grammy award around 1969, 70, something like that. As far as I can
remember (I haven't played that album in a few years), he plays only one
solo and man it just shreds, sandwiched among Freddie Hubbard, Hubert Laws,
etc. on "My Body," vocals compliments of Valerie Simpson. It was a
commercially-oriented studio record, kind of funky, and had some nice
blowing on it.

It doesn't surprise me that Kirk recorded for King and I would love to hear
that album. He was from Columbus, Ohio, and during his younger days before
he developed national and international repute, he spent a lot of time in
Cincinnati playing at a club called Babe Baker's on Reading Road in Avondale.
I was told that at one time, he played with a group featuring blind
musicians called something like the Blind Apostles.

Naturally, tales of Kirk's exploits abound in that area. My favorite is one
I heard from the late tenor saxophonist Jimmy McGary, a marvelous player and
a local legend in his own right. After finishing his last set at the Blue
Wisp, McGary was reminiscing with bass player Bob Bodley and a couple
customers.  McGary, who at one time had a band with Kirk, said one time Kirk
came into the club where he was playing and McGary naturally invited him to
sit in. Kirk didn't have his horn with him, so McGary offered his alto.
Either McGary didn't have a reed for it, or Kirk spurned his offer of one.
He picked up the horn WITH NO MOUTHPIECE, and played "Stella by Starlight."
McGary said something like, "Oh, it was just beautiful, man. That was
Roland. An amazing cat."


-



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

From: "Valverde,J" <[e-mail]>
Subject: Buddy Rich: West Side Story
Date: 13 Jul 1999 20:13:49 +0100

I haven't listened to a lot of Buddy Rich, but I must say that his rendition
of West Side Story (on Blue Note, I believe...) always does it for me; Rich
adds a propulsive force to Bernstein's language that, to my ears anyway,
packs quite a whollop.
Cheers
-james
PS Any other jazz renditions of WSS out there to rival this one?

Steve Smith wrote:
<<patRice wrote:
> can you recommend any recordings that feature buddy rich?

To be perfectly honest, I can't.  My personal reaction to Rich was that,
while he was an extraordinarily gifted drummer, I didn't find many of his
recordings all that special.  But I'd also note that I stopped trying them
out kinda quickly.
My most recent attempt to listen to Rich was a Lester Young Trio disc
reissued by Verve that also featured no less than Nat "King" Cole on piano,
and yet I still cast that particular disc aside because the sound quality
was simply so appalling that I couldn't imagine listening to the disc again,
and I consider myself extremely open-minded when it comes to archival sound
quality and enjoy a great many things that were transfered from 78 rpm
records (not to mention the Mystic Fugu Orchestra...).
So perhaps someone else can answer the question more equanimously.
Steve Smith
[e-mail] <mailto:[e-mail]> >>



-



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

From: [e-mail]
Subject:  Obsessive & Paul Bley
Date: 13 Jul 1999 15:26:02 EDT


This week's New Yorker (with a really tasteless cover) features a lead stoy
about NY obsessive collector Alex Shear. Hooking in to that old 'obsessive
collector' thread, you might get a kick out of it.

Also: I picked up a new Paul Bley/Steve Swallow/Paul Motian import the other
day. It's great (Motian's best playing in a while). Does anyone know what the
deal is with this record?

And does anyone have the Paul Bley memoir that was recently published?

Cheers,
Dave

-



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

From: Rusty Crump <[e-mail]>
Subject: Music that won't scare the guests away
Date: 13 Jul 1999 12:27:13 -0700

Caleb asked:

>So, what kind of music do other people play at parties, small gatherings or
>dinners with friends, etc.?  (My first intro to Cecil was actually a friend
>who put it on at parties when he was ready for everyone to go home.)

Fifteen years ago, after a disastrous early "Trout Mask Replica"
experience, this became one of the most fascinating ongoing
challenges/experiments of my life -- as much fun to ponder as the "What
is the nature of Art?" debate my wife and I have been having since we
met.

Of all the dozens of albums I've played at parties, I've found only two
that make EVERYONE smile, relax and settle into their chairs a little
more comfortably: Miles' "Kind of Blue" and an Al Green best-of I found
on Demon. But be careful: the power of Reverend Al is very strong, and
can bring together people who don't necessarily belong together. At one
party (with the A.G. disc in the changer), two people who arrived
separately were married within a few weeks, then divorced a few weeks
after that.

No doubt, we all have discs which will clear the room, but I'd appreciate
any other suggestions on good party-fuel music.

Rusty Crump
Back after several months of lurking


-



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

From: [e-mail]
Subject: oops
Date: 13 Jul 1999 15:39:22 -0500


Please amend your minds and pardon mine: Pianist John Blum will be playing at
the Brecht Forum on 7/30. I spelled his name wrongly. Sorry.



-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Re[2]: Schedule
Date: 13 Jul 1999 15:47:43 -0400 (EDT)

Really?

Have you tried clicking on the recording site? As recently as a couple of
weeks ago it had lists of Knit and Tzadik releases. I think you have to
move all around to find it though.

ken waxman


On Tue, 13 Jul 1999, Peter Gannushkin wrote:

> Hello Ken,
>
> Tuesday, July 13, 1999, you wrote to me:
>
> KW> Try the Knit's page at:
>
> KW> www.knittingfactory.com
>
> There is no schedule. It doesn't contain any information even about
> some new released CDs.
>
> >>
> >>   Does anybody knows release schedule of Knitting Factory and Tzadik labels?
> >>
>
> Best regards,
> Peter Gannushkin
> e-mail: [e-mail]
> URL: http://www.shkin.com/
>
>
>

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Re[2]: Schedule
Date: 13 Jul 1999 15:49:27 -0400 (EDT)

Hey Patrice,

The Wire gets enough promo. You can also read the ads in Cadence to find
out what's new.

You have a record label as well? Am I the only person without one?

Ken Waxman


On Tue, 13 Jul 1999, Patrice L. Roussel wrote:

>
> On Tue, 13 Jul 1999 17:08:40 +0200  Peter Gannushkin wrote:
> >
> > KW> Try the Knit's page at:
> >
> > KW> www.knittingfactory.com
> >
> > There is no schedule. It doesn't contain any information even about
> > some new released CDs.
>
> Yeah, this is the KF. If you want to know about their new records you have to
> read the ads in THE WIRE... That's where I usually hear about new releases.
>
> BTW, has anybody seen the Blue Note/KF sampler which is supposed to accompany
> Howard Mandel's new book? I saw an Ad in the August issue of DB and was
> wondering what it is.
>
>     Patrice.
>

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: kirk
Date: 13 Jul 1999 16:08:02 -0400 (EDT)

Actually the band RRK worked with around Ohio featured a blind organist
(Eddie Baccus) and a blind drummer that was billed as The Three Blind
Mice. Other times he was billed as "The Walking Blind Man". Sometimes
political correctness doesn't seem that bad, doesn't it?

The King LP was recorded as Early Roots (Bethlehem BCP-6016) in 1976, so
might still exist in a used vinyl shop. Or maybe bug whoever ownes those
Bathelehem tapes, which include some Mingus stuff that has just been
reissued, to do the same for RRK.

Ken Waxman

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Buddy Rich: West Side Story
Date: 13 Jul 1999 16:13:26 -0400 (EDT)

Yeah listen to the version of WSS on Black Lion CD, entitled High Won, High
Two by Dave Burell. Yes, it's the same pianist who worked most prominently with
Archie Shepp and David Murray. The session features Bobby Knapp (d) and
Sirone (b) and some other tunes feature Sunny Murray (d) and Pharoach
Sanders on tamborine [!]

A pianist very much worth investigating.

Ken Waxman


On Tue, 13 Jul 1999, Valverde,J wrote:

> I haven't listened to a lot of Buddy Rich, but I must say that his rendition
> of West Side Story (on Blue Note, I believe...) always does it for me; Rich
> adds a propulsive force to Bernstein's language that, to my ears anyway,
> packs quite a whollop.
> Cheers
> -james
> PS Any other jazz renditions of WSS out there to rival this one?
>


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Obsessive & Paul Bley
Date: 13 Jul 1999 16:14:53 -0400 (EDT)

I've been looking for the Bley autiobiography as well. The last news I
had from a friendly bookstore was that publication was probably delayed
'til the Fall.

Ken Waxman


On Tue, 13 Jul 1999 [e-mail] wrote:

>
> This week's New Yorker (with a really tasteless cover) features a lead stoy
> about NY obsessive collector Alex Shear. Hooking in to that old 'obsessive
> collector' thread, you might get a kick out of it.
>
> Also: I picked up a new Paul Bley/Steve Swallow/Paul Motian import the other
> day. It's great (Motian's best playing in a while). Does anyone know what the
> deal is with this record?
>
> And does anyone have the Paul Bley memoir that was recently published?
>
> Cheers,
> Dave
>
> -
>
>

-



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

From: "uranus musickness" <[e-mail]>
Subject: Buddy Rich Recommendation
Date: 13 Jul 1999 21:04:16 GMT

Someone here was looking for Buddy Rich recommendations. I suggest "Roar of
74" and "Stick It" both recently reissued and real inexpensive. The music on
these just flipping kick butt!!!! Horns up the wazoo and ripping funky
guitars and bass. Oh yeah, Buddy too.

John


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

-



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

From: [e-mail] (Martin Wisckol)
Subject: CD- technical difficulties, Santana's latest
Date: 13 Jul 1999 15:03:12 -0700

Oddest thing happened. I have a Harman Kardon CD carousel, about three
months old now, plays and sounds good. Last night, I pulled out the
Ganelin Trio's Poco a Poco (Leo) and set it in the player for the first
time. It would not play -- the player treated it as though the tray was
empty, skipping to the next tray. I tried it on several trays, with
similarly unsuccessful results. The CD has played on at least two
single-CD players fine. Any insight into what's going on here?

Also, curious to hear any feedback from this list on Carlos Santana's
new one....

Martin

-



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

From: "lava" <[e-mail]>
Subject: Fw: please post to saturn asap
Date: 13 Jul 1999 18:33:56 -0400


----- Original Message -----
Sent: Tuesday, July 13, 1999 6:23 PM


> Kalaparusha Maurice McIntyre, one of the original members of Chicago's
> AACM and known worldwide for his clarion tone and soul-wrenching
> improvisations, will be making a rare NYC club appearance.
>
> He will be performing one night only, Monday July 19th, at the Knitting
> Factory. The show starts at 7pm and the Knitting Factory is located at 74
> Leonard Street. For ticket info, you can call 212.219.3006. A can't miss
> show!
>
> Kalaparusha played with Sun Ra in the early 80's and his latest release on
> Delmark, Bright Moments: Return of the Lost Tribe, finds him in at times
> Arkestra-esque repertoire alongside his old colleagues Adegoke Steve
> Colson, Malachi Favors, Kahil El'Zabar, and Joseph Jarman.
> Give the track, 'Ornette', a listen and you can hear for yourself.
>
>


-



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

From: William York <[e-mail]>
Subject: Tzadik/Knit Fac. releases
Date: 13 Jul 1999 20:11:14 -0400 (EDT)

Patrice is right about the Knit. Fac. - they never keep their stuff up to
date.  I know they just released new CDs by Thomas Chapin's trio (last
recording apparently), Rashied Ali/Louis Belogenis, and Joe Morris w/ Rob
Brown, Andrea Parkins, and one other person.

Tzadik lists theirs (including future releases) at www.tzadik.com, and
Forced Exposure (www.fe.org) also lists them with the covers as soon as
they get them in stock.

By the way, has anyone else heard the recent Marc Ribot CD on Tzadik?  It
has some moments that could have been edited out, notably some singing,
but also has some of his best playing, more in the semi-abrasive Rain Dogs
vein.  Its long enough (72 min.) that even with a few rough moments its
worth  getting.

WY


-



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

From: Lang Thompson <[e-mail]>
Subject: Zorn auctions
Date: 13 Jul 1999 21:43:52 -0400

On eBay now:

1. a Locus Solus that the seller claims is out of print: is this true or is
he talking about an earlier CD?  (the listing doesn't give any more info)

3. Over the past 30 days there have been three of the Zorn Radio Hour CDs
and I think a couple more before that (the listings are only kept public
for 30 days).  Are that many really available or are some of these possible
bootlegs?

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

Full Alert Film Review (formerly World Cinema Reivew)
http://wlt4.home.mindspring.com/fafr.htm


-



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

From: "Carlos Murat" <[e-mail]>
Subject: New Orleans
Date: 13 Jul 1999 23:58:57 -0300

This is a multi-part message in MIME format.

------=_NextPart_000_005D_01BECD8B.ABA94CE0
Content-Type: text/plain;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

I'm going to New Orleans next week. Any suggestion about CD stores, =
concerts, anything to see?

Thanks in advance.

Please e-mail me privately.

Carlos Murat

------=_NextPart_000_005D_01BECD8B.ABA94CE0
Content-Type: text/html;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.72.3110.2"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#e0e0ff>
<DIV><FONT color=3D#000000 size=3D2>I'm going to New Orleans next week. =
Any=20
suggestion about CD stores, concerts, anything to see?</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>Thanks in advance.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>Please e-mail me =
privately.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>Carlos =
Murat</FONT></DIV></BODY></HTML>

------=_NextPart_000_005D_01BECD8B.ABA94CE0--


-



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

From: [e-mail]
Subject: Re: merzbox release news
Date: 14 Jul 1999 04:28:36 EDT

In a message dated 7/13/99 12:25:50 PM Eastern Daylight Time,
[e-mail] writes:

<< the merzbox will be released in september.....

 can't believe this.....50 cds merzbow in one time.... yehaaaaaaaa
  >>

As I stated on another NG months ago- this will soon present a new
alternative in corporal punishment...death by Merzbow.

=dg=

-



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

From: Peter Gannushkin <[e-mail]>
Subject: Re: Tzadik/Knit Fac. releases
Date: 14 Jul 1999 11:09:09 +0200

Hello William,

Wednesday, July 14, 1999, you wrote to me:

WY> Patrice is right about the Knit. Fac. - they never keep their stuff up to
WY> date.  I know they just released new CDs by Thomas Chapin's trio (last
WY> recording apparently), Rashied Ali/Louis Belogenis, and Joe Morris w/ Rob
WY> Brown, Andrea Parkins, and one other person.

WY> Tzadik lists theirs (including future releases) at www.tzadik.com, and
WY> Forced Exposure (www.fe.org) also lists them with the covers as soon as
WY> they get them in stock.

It is very sad, but they do it not regularly. So one thing to do is to
see them on Forced Exposure web-site after they were released.

Best regards,
Peter Gannushkin
e-mail: [e-mail]
URL: http://www.shkin.com/



-



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

From: "J.T. de Boer" <[e-mail]>
Subject: Reid/Sharp/Torn
Date: 14 Jul 1999 13:15:03 +0200

Hi all,

yesterday evening I went to Leer (Germany) to see this trio
perform. Although I liked the concert as a whole (especially due to
the beat-oriented parts, since it's incrdedibly hot over here. It
keeps your mind off of all the 'sweatiness'), I have the feeling the
music lacks ideas. It just isn't exciting enough. Does anyone of you
have the same feeling about them? I don't have the cd, so this is
purely about the live-performance.

Another question: has the Zorn String Quartet album already been
released in the US?

Thanks,

Jeroen
Jeroen de Boer
student Arts & Arts Management
University of Groningen, The Netherlands
[e-mail]
program director Open Electronic Festival
Munnekeholm 10
9711 JA Groningen, The Netherlands
phone: [phone]
fax: [phone]
[e-mail]


-



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

From: David Beardsley <[e-mail]>
Subject: Re: Zorn List Digest V2 #712
Date: 14 Jul 1999 10:51:04 -0400

someone wrote:

> > *Downtown Music Gallery's Bruce Lee was a reference guide for Zorn
> > whenever
> > he needed a question about himself that he didn't know.

That's Bruce Lee Gallanter.



--
* 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: "Artur Nowak" <[e-mail]>
Subject: RE: Reid/Sharp/Torn
Date: 14 Jul 1999 16:45:38 +0200

Jeroen

> I have the feeling the
> music lacks ideas. It just isn't exciting enough. Does anyone of you
> have the same feeling about them? I don't have the cd, so this is
> purely about the live-performance.

I had the same impression after the show at Warsaw Summer Jazz Days
festival. Especially Torn, who did one Frisell-like attack-less part and one
Satriani-like solo. I didn't saw any waork between them, they were
independent from each other, Sharp was making the same slap-bass sound all
the time regardless Reid metal-solos, or Torn who was playing with the knobs
of the amp all the ime.

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


-



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

From: Peter Risser <[e-mail]>
Subject: Cage vs. Ra
Date: 14 Jul 1999 11:27:25 -0700 (PDT)

My understanding, from a discussion that took place on this list a
while ago, is that the two never actually MEET.  It's just one track of
Cage, one track of experimental Ra, back and forth.

Can someone back me up on this?

Peter

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Cage vs. Ra
Date: 14 Jul 1999 15:26:57 -0400

On Wed, Jul 14, 1999 at 11:27:25AM -0700, Peter Risser wrote:
> My understanding, from a discussion that took place on this list a
> while ago, is that the two never actually MEET.  It's just one track of
> Cage, one track of experimental Ra, back and forth.

Not according to the liner notes. An excerpt:

"Ra rose to cross the small stage and confer w/ Cage.  Cage nodded agreeably,
and again mouthed his stretched-out vowels; Ra gently, sparingly, added
music-box sounds, delicate crystalline notes.  There was a silence, or near
silence, during which Sun Ra and John Cage eyed the audience.  Everyone
waited, attuned to the next moment, the next sound.  Then Cage and Ra
relaxed their attentions; the collaboration was done."

The liner notes (by Howard Mandel) and further discussion are in
http://newalbion.com:80/artists/cagej/silence/text/silence1014.txt
--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: Michael Witt <[e-mail]>
Subject: RE:  Reid/Sharp/Torn
Date: 14 Jul 1999 14:42:49 -0500


Jeroen asked:

> Another question: has the Zorn String Quartet album already been
> released in the US?
>
The release date is next Tuesday, July 20, I believe.

--MIke


-



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

From: Peter Risser <[e-mail]>
Subject: Re: Cage vs. Ra
Date: 14 Jul 1999 13:02:22 -0700 (PDT)

> Not according to the liner notes. An excerpt:

You're right.  But after reading the whole liner notes, it appears they
collaborate on exactly one track, much of which may be silence.  (Go
figure ;) ).

Summing up the liners, here's what you get:
Sun Ra does some synth improv with... whoops, lost the page, but with
some other dude.

Cage does some readings, full of extended speech and silence.

They trade off a few times, Ra does a poem of his own, accompanying
himself on keyboards, then finally, the section mentioned previously.

Anyway, if you are expecting a set of full-fledged improvs with the two
giants "playing" together, that's not it.  But it still sounds like a
great record.

Peter
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: [e-mail] (Martin Wisckol)
Subject: RE: CD- technical difficulties
Date: 14 Jul 1999 13:07:02 -0700


Can anybody second Dave's diagnosis below (and provide further
motivation to get off my butt, take advantage of the warranty, and not
take "no" for an answer from some tech guy who knows about this than I
do)? Thanks.

>From: "Dave Egan" <[e-mail]>
>Subject: RE: CD- technical difficulties, Santana's latest
>Date: Tue, 13 Jul 1999 16:13:41 -0700

>Hi Martin,

>That's the classic symptom of a dying CD player.  What happens is the
>laser
>gets weaker and weaker, and it rejects more and more discs, until it
>just
>won't play anything.  CD player lasers live a rough life, and are
>relatively
>inconsistent right out of the factory.  I assume your H/K is under
>warranty?
>Get it in the shop!  They might give you some static at the shop if
>this is
>only happening with one disc, but don't take no for an answer!  If it
>were
>mine, I'd probably open the case and break the laser assembly in some
>subtle
>way before I took it to the shop.  Good luck!

>- Dave

>-----Original Message-----
>From: [e-mail]
>[mailto:[e-mail]]On Behalf Of Martin Wisckol
>Sent: Tuesday, July 13, 1999 3:03 PM
>To: [e-mail]
>Subject: CD- technical difficulties, Santana's latest


>Oddest thing happened. I have a Harman Kardon CD carousel, about three
>months old now, plays and sounds good. Last night, I pulled out the
>Ganelin Trio's Poco a Poco (Leo) and set it in the player for the first
>time. It would not play -- the player treated it as though the tray was
>empty, skipping to the next tray. I tried it on several trays, with
>similarly unsuccessful results. The CD has played on at least two
>single-CD players fine. Any insight into what's going on here?


>Martin

>-



-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Garland's 'Togetherness'
Date: 14 Jul 1999 16:37:28 -0400

[e-mail] wrote:

>      Though I'd enjoyed Garland's first volume of Control Songs and loved
>      his compositions and vocal work with Guy Klucevsek's band, this
>      release still took me a few listens to get completely comfortable
>      with. But once there, it's quite an enjoyable album.

I'm pretty much in agreement with Brian here. I really had no idea what to
expect from this album and was pretty surprised by the first listen. To me,
many of Garland's tunes almost sound like very skewed children's songs. He's
got a really warm and soothing voice that I can easily imagine singing "The
Bear Went Up The Mountain" or "Itsy Bitsy Spider" (no, I'm not knocking him at
all), but his own tunes are a lot more bent both musically and lyrically. I
love his lyrics! They're really funny and bizarre - a little like They Might Be
Giants but ultimately a little more serious, I'd say. ("What's name? / What's
your number? / Is it Sue? / Is it five ?"). I dunno, I get a kick out of
that...

Anyway, I think it's a cool album and suggest that people check it out.

                -Tom Pratt

listening to: omoide-hatoba - Vuoy (Polystar). Aside from a little Marvin Gaye
this morning, this is all I've been listening to for two days - features Seichi
Yamomoto (from the Boredoms), Otomo Yoshihide, Yoshimitsu Ichiraku (from
I.S.O.) and others... I'm loving it! Anyone have anything to say about their
second disc on Birdman?


-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Cage vs. Ra
Date: 14 Jul 1999 16:43:52 -0400

Peter Risser wrote:

> Anyway, if you are expecting a set of full-fledged improvs with the two
> giants "playing" together, that's not it.  But it still sounds like a
> great record.

Not that Cage would do improv... At least not in the way Ra did.

I haven't heard this LP myself, but I've been told a number of times that
it isn't really that special - more of a novelty item than a great document
of music. I saw it once at the Twisted Village in Cambridge for about $50
and thought I could pass...

                -Tom Pratt


-



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

From: [e-mail]
Subject: Omoide Hatoba (was: Re: Garland's 'Togetherness')
Date: 14 Jul 1999 17:04:35 EDT


In a message dated 7/14/99 4:37:57 PM, [e-mail] writes:

<< listening to: omoide-hatoba - Vuoy (Polystar). Aside from a little Marvin
Gaye
this morning, this is all I've been listening to for two days - features
Seichi
Yamomoto (from the Boredoms), Otomo Yoshihide, Yoshimitsu Ichiraku (from
I.S.O.) and others... I'm loving it! Anyone have anything to say about their
second disc on Birdman? >>

the only one I know of on Birdman is Kinsei, which I believe is their sixth
full-length disc, with Vuoy being the most recent and seventh. I'm fairly
sure that Otomo and Yoshimitsu are only on Vuoy, while Yamamoto is part of
the core of the band.

all six of the ones I have are very good, with my preferences probably going
to Vuoy and the three on Alchemy, Daiongaku, Suichi Joe and Black Hawaii.
there's more info at the Boredoms side project discography at:
http://www.geocities.com/SunsetStrip/Alley/4207/Boredoms/boreside.htm

some other very cool tangentially related Boredoms projects are the first
Puzzle Punks CD, Pipeline, and all of the 19-Juke material.

Jon
www.erstwhilerecords.com

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Omoide Hatoba (was: Re: Garland's 'Togetherness')
Date: 14 Jul 1999 17:26:03 -0400

[e-mail] wrote:

> In a message dated 7/14/99 4:37:57 PM, [e-mail] writes:
>
> << listening to: omoide-hatoba - Vuoy (Polystar). Aside from a little Marvin
> Gaye
> this morning, this is all I've been listening to for two days - features
> Seichi
> Yamomoto (from the Boredoms), Otomo Yoshihide, Yoshimitsu Ichiraku (from
> I.S.O.) and others... I'm loving it! Anyone have anything to say about their
> second disc on Birdman? >>
>
> the only one I know of on Birdman is Kinsei, which I believe is their sixth
> full-length disc, with Vuoy being the most recent and seventh.

Wow! I had no idea they had so many. I was confused by the Forced Exposure
descriptions which said 'Kinsei' was their "second domestic release" which I
read as "second release" (and thinking 'Vuoy' was must therefore be their
first).

> I'm fairly sure that Otomo and Yoshimitsu are only on Vuoy, while Yamamoto is
> part of
> the core of the band.

Yeah, I think you're right.

Thanks for those other suggestions!

                    -Tom Pratt


-



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

From: "uranus musickness" <[e-mail]>
Subject: RE: Music that won't scare the guests away
Date: 14 Jul 1999 21:47:23 GMT

I actually have a hard time looking through my cd's trying to pick out
accesible party music.

Here are my choices-
1. Zappa- Overnight Sensation
2. Zony Mash- Cold Spell
3. Blaxploitation music of any kind
4. James Brown-There it is
5. LaMonte Young- Live At the Kitchen
6. Zeke- Super Sound Racing
7. Twisted Sister-Stay Hungry

Then when it's time for them to leave-

1. Naked City- Torture Garden
2. Melvins-Lysol
3. Black Flag- My War (side 2)
4. Any Flipper album

John


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

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Reid/Sharp/Torn
Date: 14 Jul 1999 18:15:24 -0400

At 01:15 PM 7/14/99 +0200, J.T. de Boer wrote:
>
>yesterday evening I went to Leer (Germany) to see this trio
>perform. Although I liked the concert as a whole (especially due to
>the beat-oriented parts, since it's incrdedibly hot over here. It
>keeps your mind off of all the 'sweatiness'), I have the feeling the
>music lacks ideas. It just isn't exciting enough. Does anyone of you
>have the same feeling about them? I don't have the cd, so this is
>purely about the live-performance.

I picked up the cd a few months ago, excited at the prospects, but the cd
is not very exciting either.  I thought the 'beat-oriented parts' were the
worst, very dull and unimaginative.  It seemed like someone turned on a
drum machine to a very simple pattern, and at some point they just turned
it off.  End of piece.  The atmospherics were better, but somehow I didn't
feel this represented the best work of either Sharp or Torn (I was
previously unfamiliar with Reid).


--
Caleb Deupree
[e-mail]

It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing.  There is more
than one way to conquer a country.

-- Raymond Chandler

-



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

From: Lang Thompson <[e-mail]>
Subject: Re: Option
Date: 14 Jul 1999 19:52:20 -0400

At 01:48 PM 7/13/99 -0400, you wrote:
>Whatever happened to the wonderful publication Option?  Did it slide into


I had reviews in every issue but five (I think) but still never got in on
the gossip.  The story last summer was that publisher Scott Becker wanted
to go on a sabbatical of sorts to rethink the magazine's purpose and simply
take a break from little over a decade of independent publishing; the plan
was that the mag would re-start at the beginning of 1999.  As you've
noticed it didn't and as far as I know none of the writers have been
contacted so it's probably dead.  (& at least a couple of people told me
last year that there really wasn't any intention of restarting the
magazine, that was just a story to keep people who owed Option money from
thinking they wouldn't have to pay; this of course is just a RUMOR for
anybody reading this and thinking of libel suits.)  At one time I would
have thought this was a horrible turn of events but over the past two (or
more) years Option had become increasingly unfocused and almost irrelevant;
I'm not talking about the common--and I think misguided--complaints that
there wasn't enough improv or world music or punk or folk, or that the
cover was somebody casual buyers might actually have heard about instead
of, say, Keiji Haino.  Part of this was just the indie "scene" of the
mid-80s becoming the new mainstream (or at least "a" mainstream) and
probably some of us just getting older as well.  The reviews which used to
cover quite a bit of ground and whatever else at least sounded passionate,
like the work of people who actually cared about the music even if not
necessarily that specific record, became increasingly haphazard and mostly
dull (even I'll admit far too many of my own, though I'd like to blame
being assigned bland, personality-free albums).  Surely most of you don't
care about any of this but I would still like for Option to return even if
it's as some kind of quasi-Interview fashion mag like it at times made
stabs towards (the short-lived spinoff UHF, if I remember right).  There's
always somebody who might find a way to genuinely interesting music even in
a lukewarm, image-conscious magazine if it's even done half-right.  Years
and years ago I read something that had a dismissive comment about being
able to clear rooms with a Derek Bailey record.  It was quite some time
before I actually found one (the ECM Music Impro Company which I didn't
like then and still don't) but that chance remark pointed me towards music
I didn't even imagine existed and in some way changed my life.

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

Full Alert Film Review (formerly World Cinema Reivew)
http://wlt4.home.mindspring.com/fafr.htm


-



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

From: [e-mail]
Subject: Re: Option
Date: 14 Jul 1999 20:23:06 EDT


In a message dated 7/14/99 7:52:23 PM, [e-mail] writes:

<<  The reviews which used to
cover quite a bit of ground and whatever else at least sounded passionate,
like the work of people who actually cared about the music even if not
necessarily that specific record, became increasingly haphazard and mostly
dull (even I'll admit far too many of my own, though I'd like to blame
being assigned bland, personality-free albums).  >>

yeah, Option was really informative and had some nice writing to boot for a
while. I bought a lot of good records after reading their mini-reviews in the
back.

from a subscriber's perspective, it seemed as if the problems later on
stemmed more from the editors than the writers; many times they ran reviews
of interesting and/or cutting-edge records, but too often, the person didn't
know the first thing about the artist, and so we were treated to three random
impressionistic sentences, shedding zero light on how good the record was.
not to name any names, but Paul Semel especially comes to mind as someone who
had no interest in and/or knowledge of the records he was being assigned,
when there were writers like Lang and a couple of others who would have been
a much better fit. but most of the writers deserved their share of blame also
for the decline in quality.

Jon
www.erstwhilerecords.com

NP: Luc Ferrari-Interrupteur (Blue Chopsticks)



-



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

From: David Beardsley <[e-mail]>
Subject: [Fwd: Cooler in the Shade '99]
Date: 14 Jul 1999 22:33:47 -0400

This is a multi-part message in MIME format.
--------------B263C47B296FAD08489F8888
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Folks might be interested in this.

If yes then enjoy else never mind.


--
* 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
--------------B263C47B296FAD08489F8888
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Received: from imo23.mx.aol.com (imo23.mx.aol.com [198.81.17.67]) by titan.imaginary.net (8.6.12/8.6.12) with ESMTP id VAA13044 for <[e-mail]>; Wed, 14 Jul 1999 21:49:16 -0400
Received: from [e-mail]
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Folks: Here's a reminder a few days early, but this gives you time to write=20
it down, arrange for babysitters, tailgate parties, whatever. Hope you're al=
l=20
having a good summer. *TOM*


****************************************************************************=
**
*****

=09=09=09=09=09Cooler in the Shade 1999
=09=09=09Innovative Music, Intermedia & Free Lemonade
=09=09=09=09=09Artist Roster & Schedule

Lotus Music & Dance
109 W. 27th St. 8th Fl, NYC
Info & Res: 212/627-1076


All concerts at 8pm, admission $8
*Reservations Strongly Advised*

Friday, July 23=09"Can You Hear a Motion"
Marty Ehrlich - woodwinds
Stan Strickland - woodwinds
Erica Hunt - poetry

A near-telepathic collaboration rekindled for an evening of duo wind=20
excursions and poetry set to music.
Saturday, July 24=09"Statements"
Ursel Schlicht - piano, prepared piano
Hans Tammen - guitar, prepared guitar
Theo Bleckmann - voice, electronics
Tomas Ulrich - cello

Schlicht and Tammen=92s jazz/new music band in a new adventure featuring ope=
n=20
approaches, suites, conversational sketches and extended sound techniques.

Friday, July 30 =09"Among Other Things"
Jon Gibson - woodwinds
Jin Hi Kim - komungo
Tara Mooser - dance
Thomas Buckner - voice

First time out for a new grouping of these masterful global improvisors.

Saturday, July 31=09"Scratchin=92"
Leroy Jenkins - violin, viola
Ned Rothenberg - woodwinds

Independence, balance and remarkable individualism by these internationally=20
acclaimed artists. An unprecedented concert of solos & duos.



=09=09=09Produced by Thomas Buckner & Tom Hamilton


--------------B263C47B296FAD08489F8888--


-



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

From: [e-mail] (Martin Wisckol)
Subject: Henry Threadgill
Date: 14 Jul 1999 20:08:55 -0700

While waiting in the bookstore to be discovered by  wealthy attractive
woman who reads, I thumbed through Rolling Stone's guide to jazz CDs
and was astounded to see that they have Threadgill dying in 1995.
Having plenty of time on my hands, I looked through the other books and
saw no indication that he's dead.

Have I missed something? I hadn't heard he'd died -- in fact, the
wonderful "Where's Your Cup" was issued in 1997. But I haven't heard
anything about his activities for the past couple of years.

BTW, I see that Threadgill's Sextet stuff on About Time is in print on
CD. I'd be hard pressed to name a better group to emerge in the last 20
years. This is the epitomy of Threadgill. "Just the Facts and Pass the
Bucket" in particular  is a major event in modern music, firmly rooted
in the jazz tradition (especially if, as Lester Bowie said, innovation
and creativity are considered fundamental aspects of the tradition).

Martin

np: Frank Lowe -- Decision in Paradise

-



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

From: [e-mail]
Subject: Re: Henry Threadgill
Date: 14 Jul 1999 23:25:44 EDT


In a message dated 7/14/99 11:20:20 PM, [e-mail]
writes:

<< BTW, I see that Threadgill's Sextet stuff on About Time is in print on
CD. >>

are you sure? the July issue of Cadence still only lists them on vinyl.

Jon

-



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

From: "Mason Wendell" <[e-mail]>
Subject: [Prelapse] Live at te Knitting Factory w/ Sideshow
Date: 15 Jul 1999 00:09:27 -0400

Prelapse will be playing on Wednesday July 21st at the Knitting Factory's
Alterknit Theater. The show starts at 9:30 PM. We'll be playing with Matt
Moran's Sideshow who do Charles Ive's songs and of course we'll Zorn's Na=
ked
City songs.

It's a night of fucked up cover bands!

</Mason>

see below for more info:
______________________________
21 July, 1999 (Wednesday)
 Prelapse
  Knitting Factory, NYC, NY
  w/ Matt Moran's Sideshow
  Side show at 9:30, then Prelapse
  $7

"These guys f=E0ckin' shred these tunes" -John Zorn



Alex Lacamoire - piano,organ,samples and such
Mason Wendell - bass and vocals
Dane Johnson - guitar, dobro and fretless guitar
Jeff Hudgins - sax, clarinet
Andy Sanesi - drums
______________________________

Mason's other band, Blinder will be playing a festival in Scranton, PA. g=
o
to http://members.tripod.com/coppersun/fest.html for the details.


-=3DBlinder
-=[e-mail]
-=3DBlinder - http://blinder.pair.com
-=3DMP3 - http://www.mp3.com/blinder


-



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

From: Steve Smith <[e-mail]>
Subject: Re: Option
Date: 15 Jul 1999 01:59:07 -0400

[e-mail] wrote:

> yeah, Option was really informative and had some nice writing to boot for a
> while. I bought a lot of good records after reading their mini-reviews in the
> back.

Reviewer Dean Suzuki in particular really opened my ears to a lot of interesting
stuff.  It was also where I got to know and admire Lang's work as well.  And the
magazine was responsible in a major way for my immersion into Zorn and
:Zoviet-France: as well.

> many times they ran reviews
> of interesting and/or cutting-edge records, but too often, the person didn't
> know the first thing about the artist, and so we were treated to three random
> impressionistic sentences, shedding zero light on how good the record was.

I don't remember exactly who the culprit was, but I remember a spectacularly
misguided review of Joe Morris and Matt Shipp's duo CD in one of the later
issues.  The writer said that he was sure there was *someone somewhere* out there
who might be able to discern the difference between this record and a
collaboration between Cecil Taylor and Derek Bailey, or words to that effect...
perhaps the most idiotic statement I ever noticed in the magazine.

Don't know the current plans for any intended relaunch, but as a music industry
flack I received an e-mail dated 10/29/98 with a new address to which review
materials should be sent, giving the impression that a relaunch might perhaps be
imminent.  I did not update my personal records accordingly, however.

Steve Smith
[e-mail]
NP - nada (just got back from four and a half gut-wrenching hours of 'The Iceman
Cometh' on Broadway, don't wanna listen to nuthin' just yet...)


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Omoide Hatoba (was: Re: Garland's 'Togetherness')
Date: 14 Jul 1999 23:34:37 -0700 (PDT)

On Wed, 14 Jul 1999 [e-mail] wrote:

> I'm fairly
> sure that Otomo and Yoshimitsu are only on Vuoy, while Yamamoto is part of
> the core of the band.

Omoide Hatoba has always been a trio at its
core - Yamamoto (gtr), Tsuyama (bs) and Chew (ds),
with the addition of different guest
performers on all the various albums.

as of a year ago, Omoide is now basically
just a solo project for Yamamoto, with
anyone else he chooses to have hang out.
of course, that generally always includes
Tsuyama. go figure.

the band had been slowly, er... slimming
ever since Chew left and formed Corrupted.

hasta.

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


-



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

From: =?iso-8859-9?Q?"=DCM=DDT_BAYKARA"?= <[e-mail]>
Subject: Henry Threadgill
Date: 15 Jul 1999 11:15:33 +0300




Hi Martin,

Don't worry, he is alive and well. :-) He was here in Istanbul Jazz
Festival on the 7th of July with his Make A Move band...
His group included Brandon Ross-guitar, JT Lewis-drums, Stomu
Takeishi-bass, and Bryan Carrott-vibraphone, marimbas.

We are having interesting shows here including Harriet Tubman and Marc
Ribot y los Cubanos Postizos...So I'm very very happy these days... :-)

Umit.

>Date: Wed, 14 Jul 1999 20:08:55 -0700
>From: [e-mail] (Martin Wisckol)
>Subject: Henry Threadgill
>
>While waiting in the bookstore to be discovered by  wealthy attractive
>woman who reads, I thumbed through Rolling Stone's guide to jazz CDs
>and was astounded to see that they have Threadgill dying in 1995.
>Having plenty of time on my hands, I looked through the other books and
>saw no indication that he's dead.
>
>Have I missed something? I hadn't heard he'd died -- in fact, the
>wonderful "Where's Your Cup" was issued in 1997. But I haven't heard
>anything about his activities for the past couple of years.
>
>
>Martin




-



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

From: Yves Dewulf <[e-mail]>
Subject: Re: Henry Threadgill
Date: 15 Jul 1999 10:24:51 +0200



>   Don't worry, he is alive and well. :-) He was here in Istanbul Jazz
>   Festival on the 7th of July with his Make A Move band...

    And he was still alive on the 10th of July, at Northseajazz.



-



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

From: Bob Kowalski <[e-mail]>
Subject: clear the room
Date: 15 Jul 1999 07:45:41 -0400

Once read a review of a (somewhat recent) Pizicatto 5 album describing it in just this manner.  It kinda works as I've experienced once or twice.  On related note, anyone heard / like / dislike their latest CD?

Of course, Locus Solos would clear a room full of party people in most cases.  Darn it I sold that disc (the orig. release too!) back to a shop for a few bucks (which was a few bucks less than I orig. paid.)

happy listening

Bob


-



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

From: [e-mail]
Subject: Re: Henry Threadgill
Date: 15 Jul 1999 11:19:21 EDT

In a message dated 99-07-14 23:11:17 EDT, Martin wrote:
>I see that Threadgill's Sextet stuff on About Time is in print on CD.

Are you sure? Cadence, where the LPs have been available for years, still
lists them as vinyl-only. If your source is the (new) Rolling Stone Guide,
then forget about it. As you've already seen via their goof-up on
Threadgill's 'death' (afaik he's very much alive), the new guide is shoddy, a
disappointment considering that the circa-1985, slender Rolling Stone Jazz
Guide was very good, in large part because of Bob Blumenthal. The new guide
is pretty lousy, and they have no consistent policy of what they review, even
though they pretend to.

Dave Royko

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Option
Date: 15 Jul 1999 08:23:21 -0700


On Thu, 15 Jul 1999 01:59:07 -0400  Steve Smith wrote:
>
> I don't remember exactly who the culprit was, but I remember a spectacularly
> misguided review of Joe Morris and Matt Shipp's duo CD in one of the later
> issues.  The writer said that he was sure there was *someone somewhere* out there
> who might be able to discern the difference between this record and a
> collaboration between Cecil Taylor and Derek Bailey, or words to that effect...
> perhaps the most idiotic statement I ever noticed in the magazine.

The guy also in charge of the letters was really pathetic. He knew very little
about anything and did not even realize that the people writing to the magazine
were more informed that him. I remember a letter witten to the magazine about
Peter Greenaway. The guy in charge of the letters added a couple of sentences
making fun at the author of the letter, not realizing than in the process he
made a total ass of himself...

Do you remember the review of a trombone quartet (Ray Anderson?)? It was also
quite pathetic. Being clueless is one thing, but with a little bit of talent
you can say something not too embarassing. This one was hard to believe with its
level of immature stupidity.

    It seemed to me that the reviewers were coming more and more from a
rock background and were asked to review music genres they had no clue of
(and music which put OPTION at its best in earlier years).

    Anyway, I am still sad that the magazine does not exist because it
was still a great magazine for music that did not fit well-defined genres
(not contemporary classical, not rock, not jazz, not improv, etc).

    Patrice.

-



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

From: "samuel yrui" <[e-mail]>
Subject: Re: Cage vs. Ra
Date: 15 Jul 1999 11:18:07 CDT



Not that Cage would do improv... At least not in the way Ra did.




i know only a little bit about Sun Ra.  could you please tell me how their
improv styles differ specifically?

            -samuel yrui


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

-



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

From: [e-mail]
Subject: Re[2]: Henry Threadgill
Date: 15 Jul 1999 12:10:40 -0500


In a message dated 99-07-14 23:11:17 EDT, Martin wrote:
>I see that Threadgill's Sextet stuff on About Time is in print on CD.

I posted a note here a few months back about the imminent cd availability of the
About Time catalog. My source was a close friend and former housemate of two of
the label's owners, which I figured was good enough pedigree. At the time, he
said they were hoping for May or June issue. So, it's possible they're beginning
to surface, though I've not seen any around yet.

Brian Olewnick

PS. Should these surface, aside from the great Threadgills and the classic
Breuker, don't forget the two wonderful Jerome Cooper albums, the solo
'Unpredictability of Predictabilty' and the quintet 'Outer and Interactions' (w/
Jarman, Wm. Parker etc.)




-



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

From: [e-mail]
Subject: threadgillthread
Date: 15 Jul 1999 12:27:51 -0500


If Henry Threadgill had died, I think I would no longer be with us either. He is
alive and well, if without a contract.



-



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

From: [e-mail]
Subject: $4.95 CD update
Date: 15 Jul 1999 12:29:14 EDT

About a month ago, I placed 5 orders of 5 CDs each (25 CDs total) to the
myshopnow.com site that had the famous $4.95 per-cd offer. Tuesday I received
my first package from them, which contained one CD (John Lurie's African Swim
(etc.)), and the invoice said "end of order." Yesterday I received another
box, this time with 2 CDs (Coleman Hawkins' On Broadway, Dexter Gordon's
Sophisticated Giant), and the same "end of order" statement on the invoice.
The Gordon & Hawkins had been part of the same order, and the Lurie had been
from another order. There was an 800 number for customer service
(1-800-shopnow), which I called. I didn't have to wait on hold, and the guy
was friendly. My main question was whether "end of order" meant that these
discs represented all that would be coming from those particular orders. He
explained that they had had trouble with their first supplier/distributer,
and had since changed distributers. The CDs that I'd received were probably
in fact from their first distributer, and that I could probably expect the
rest of the CDs I ordered to be coming soon from their new distributer. He
said that in fact what happened when they first made the switch to the new
distributer, many customers who had received partial shipments from their
first distributer then received full shipments from the second distributers,
including second copies of everything they'd already received from the first
distributer, "and they got to keep the duplicates." It sounds like they've
since fixed that 'problem.' Too bad!

So, there's the story I heard as of today.

Dave Royko

-



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

From: Matthew Ross Davis <[e-mail]>
Subject: Re: $4.95 CD update
Date: 15 Jul 1999 13:09:15 -0400

> About a month ago, I placed 5 orders of 5 CDs each (25 CDs total) to the
> myshopnow.com site that had the famous $4.95 per-cd offer.

Do they still have this deal? I checked on the site, but I couldn't see any
obvious way to search the store for CDs or anything.

--
||||||||||||||||||||||||||||||||||/Matthew Ross Davis|||
|||||||||||||||||||||artswire.org/mrd|||||||||||||||||||
|||||||||||||||metatronpress.com/mp3||||||||||||||||||||
|||||||||||||||||||artswire.org/comma|||||||||||||||||||

-



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

From: [e-mail]
Subject: Re: $4.95 CD update
Date: 15 Jul 1999 13:32:22 EDT

In a message dated 99-07-15 13:06:26 EDT, [e-mail] writes:
>Do they still have this deal? I checked on the site, but I couldn't see any
>obvious way to search the store for CDs or anything.

I'm afraid the deal's been over for awhile now. But I sure wouldn't mind
knowing about it if they ever do it again.

Dave Royko

-



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

From: "Dave Egan" <[e-mail]>
Subject: RE: $4.95 CD update
Date: 15 Jul 1999 10:50:39 -0700

I also placed an order for five discs.  About two weeks ago, I received four
of them, with the "order complete" business on the invoice.  I called
concerning the missing disc.  I was connected to a representative
immediately and he was quite pleasant.  I asked about the status of my order
and was told that their computer was down.  He took my information and
promised that his supervisor would send an e-mail response within "24
business hours".  (Huh?  Why doesn't he say three business days?)  Of
course, I have yet to receive a response.  I called again today and asked
again for order status.  The rep looked and expressed suprise that I hadn't
been contacted with a response.  She said she would send another request to
her supervisor.  I called one more time.  The rep didn't attempt to look up
my order info - he just told me it was backordered or deleted.  He said not
to worry about the "order complete" message on the invoice.  He said that
only referred to the part of the order that was shipped.  (Really!  The
invoice doesn't mean what it says?)  I mentioned to him that of the people I
knew who had ordered CDs from them, no one had gotten a complete order.  He
seemed suprised by that.

It seems these guys plenty of excuses for their sloppy service.  Anyone else
have any stories about these guys?  Has ANYONE gotten everything they
ordered?  I haven't yet seen a charge to my credit card - has anyone been
charged for more than was shipped?

- Dave


-



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

From: [e-mail]
Subject: Re: $4.95 CD update
Date: 15 Jul 1999 14:36:24 EDT

In a message dated 99-07-15 13:50:56 EDT, [e-mail] writes:
>It seems these guys plenty of excuses for their sloppy service.

If this were a typical on-line retail situation, I'd be pissed, but
considering the absurdly low prices of these discs, I'm willing to be more
patient than usual. I'm sure I could have had anything I ordered by now,
hassle-free from CDNow, if I'd been willing to pay $13-$16 for any of the
items I ordered from myshopnow for $5..

>I haven't yet seen a charge to my credit card - has anyone been
>charged for more than was shipped?

As of yesterday (over the phone), my debit card had yet to be charged for
anything I've ordered from them, even the items I've received.

Zorn content--none of my 5 Zorn/Tzadiks have arrived yet.

Dave Royko

-



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

From: s~Z <[e-mail]>
Subject: Other Options
Date: 15 Jul 1999 11:40:43 -0700

Is the rag, 'SIGNAL TO NOISE: the journal of improvised & experimental
music,' old news to yous?

-



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

From: [e-mail]
Subject: Brotzmann, kinder
Date: 15 Jul 1999 14:50:20 -0500


     Anyone heard the new Caspar Brotzmann disc, 'Mute Massaker' (Rough
     Trade), reviewed in the current WIRE? Thanks.

     Brian Olewnick



-



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

From: Rich Williams <[e-mail]>
Subject: Re: $4.95 CD update
Date: 15 Jul 1999 15:24:57 -0400

>In a message dated 99-07-15 13:50:56 EDT, [e-mail] writes:
> >It seems these guys plenty of excuses for their sloppy service.
>
>
>As of yesterday (over the phone), my debit card had yet to be charged for
>anything I've ordered from them, even the items I've received.
>
>Zorn content--none of my 5 Zorn/Tzadiks have arrived yet.
>

    I ordered 10 in 1 shot  (before the limit was imposed), 5
were Tzadiks and 5 Soul Notes.
The Tzadik's arrived in 4-5 weeks. Nothing on the Soul Notes yet, and
no, my credit card has yet to be charged for any of it. I even went
through the process of setting up my own store,
     I called it "The Tall Dwarf Astoria"   ;-)

RW


-



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

From: [e-mail]
Subject: Fwd: $4.95 CD update
Date: 15 Jul 1999 15:40:42 EDT


--part1_a9eeda53.24bf933a_boundary
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: 7bit



--part1_a9eeda53.24bf933a_boundary
Content-Type: message/rfc822
Content-Disposition: inline

Return-path: [e-mail]
Full-name: Tag Yr It
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 10

In a message dated 7/15/99 12:33:02 PM Eastern Daylight Time, [e-mail]
writes:

<< So, there's the story I heard as of today.

 Dave Royko

 - >>

Similar situation here....I placed 4 orders, and got 1 item from the third
order yesterday. When I spoke to them on the phone, they did tell me as well
that they do intend to eventually fill EVERYTHING.

Dale.

--part1_a9eeda53.24bf933a_boundary--

-



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

From: [e-mail]
Subject: Re: $4.95 CD update
Date: 15 Jul 1999 18:10:48 EDT

In a message dated 7/15/99 1:53:27 PM Eastern Daylight Time,
[e-mail] writes:

> It seems these guys plenty of excuses for their sloppy service.  Anyone else
>  have any stories about these guys?  Has ANYONE gotten everything they
>  ordered?  I haven't yet seen a charge to my credit card - has anyone been
>  charged for more than was shipped?

Heres my story:
I ordered 8 CDs along time ago- like late May/ early June.  Nothing too
obscure, I think 5 of them were Tzadik titles.  Anyways I received one email
a few weeks after that apologizing for the delay, then about two weeks ago I
received an email saying that my order could not be fulfilled!  They were not
able to get any of my CDs.  And I just got my credit card statement about a
week ago, and they charged my card!!!  To top it all off, I got a phone call,
apparently from a service rep asking me form questions such as "did you
receiver your order, were you happy with the service, would you shop with
shopnow.com again?"  I dont think so.
-Jody

-



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

From: [e-mail] (Martin Wisckol)
Subject: threadgill on CD (oops)
Date: 15 Jul 1999 16:12:47 -0700

uh, i may have screwed up on saying the About Times were on CD. sorry,
all.

martin

-



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

From: [e-mail]
Subject: SONIC YOUTH UPDATE
Date: 15 Jul 1999 18:45:27 -0500



Hello one and all.  Sonic Youth mgmt here.  We cannot thank you enough for
the overwhelming  support you've shown us through emails, phone calls and
personal notes.  Please forgive me for not being able to respond to each
directly.  Everyone's email address will be kept and you will be given
updates as any news becomes available.  We've received emails from all over
the world and there's no doubt that people are listening.

Unfortunately, there's no real lead on the stolen gear.  With the help of
fans, the media and the mighty web, word is continuing to spread all over
this great land of ours.  We just ask that you keep your eyes peeled at your
local music stores, pawn shops, newsgroups, ebay, amazon.com, etc.

Please know that the band is in excellent spirits and very much look forward
to returning to the studio.  This is not the end of Sonic Youth nor is it a
'tragedy'.  Basically, it's a pain in the neck for all of us but one that
will bring new challenges to the band as well as some new sounds for their
fans.

The true tragedy is the untimely passing of Mark Sandman from Morphine who
passed away on July 3.  He will be missed by all of us.

One last thing.  I would be remiss if i didn't make note of the following --

1 - I did not steal Sonic Youth's gear.
2 - Anyone posting they're selling the Sonic Youth gear as a joke is about as
funny as a head injury.
3 - Don't miss Tenacious D on tour.

Thanks again to all of you!!!!!

All the best!



-



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

From: [e-mail]
Subject: oops
Date: 15 Jul 1999 19:48:37 -0500


Sorry if I spammed ya with the Sonic Youth msg. Didn't know attachments carried
with them the risk of gibberish. MRizzi set me straight. Let it be a lesson to
all not to send attachments to the list, unless I'm the only one who didn't
know.

kg

np: Ori Kaplan Trio Plus (w/ Tom Abbs & Geoff Mann): realms (CIMP)



-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: $4.95 CD update
Date: 15 Jul 1999 16:57:16 -0700 (PDT)

On Thu, 15 Jul 1999 [e-mail] wrote:

> Heres my story:
> I ordered 8 CDs along time ago- like late May/ early June.  Nothing too
> obscure, I think 5 of them were Tzadik titles.  Anyways I received one email
> a few weeks after that apologizing for the delay, then about two weeks ago I
> received an email saying that my order could not be fulfilled!  They were not
> able to get any of my CDs.  And I just got my credit card statement about a
> week ago, and they charged my card!!!  To top it all off, I got a phone call,
> apparently from a service rep asking me form questions such as "did you
> receiver your order, were you happy with the service, would you shop with
> shopnow.com again?"  I dont think so.

Jody, it's illegal for any mail order operation
to charge a credit card before an order is fulfilled.
even if they were to have sent you a partial
fulfillment, they can only charge you for what
they send out.

this is the second or third time i've seen
someone mention this (on various mailing lists).
i'm not a lawyer, but perhaps it's time for
folks to speak with an attorney about this?

hasta.

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


-



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

From: Steve Smith <[e-mail]>
Subject: Dave Douglas article from Billboard
Date: 15 Jul 1999 20:38:40 -0400

For those of you out there who don't read Billboard magazine (and I'm
sure on this list you must be legion), here is a feature piece on Dave
Douglas that appears in the new issue, out tomorrow.

BTW this is where I'll mention that I've just been hired last Friday as
the new PR guy for RCA, in charge of jazz and world music.  I start on
August 2, so please don't construe this message as a corporate
perversion of the hallowed Zornlist - I won't be violating that
particular trust, I assure you!  But since I'm not there yet and since
this will be of interest to many, I forward this for your consideration.

Steve Smith
[e-mail]
NP - Paraphrase, "Critical Mass," 'Please Advise' (Screwgun, coming
soon)

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D

BILLBOARD, July 24

BUSY DAVE DOUGLAS IS MILES AHEAD
Winter & Winter Set Due From Trumpeter; RCA Deal Inked

By Bradley Bambarger

NEW YORK--No less an authority than avant-jazz avatar John Zorn
described
the music of trumpeter/composer Dave Douglas as =93a living, breathing
organism--an exciting world of possibilities where anything can happen.=94
He
also said Douglas=92 work is =93touched by genius.=94

Always a pioneer, Zorn offered those valuations on behalf of Douglas=92
=9296
Soul Note set =93Five.=94 Since then, jazz critics and music lovers have
been
catching up with similar superlatives for Douglas=92 way of paying smart
homage to his heroes (jazz, classical, and pop), while forging his own
distinctive soundprint across several ongoing ensembles.

The ever-active Douglas had a trio of discs vie for the tops of critics=92
polls last year: =93Moving Portrait=94 (DIW), a Joni Mitchell tribute wit=
h
piano
quartet; =93Magic Triangle=94 (Arabesque), an all-originals feature for h=
is
quartet with tenor sax; and =93Charms Of The Night Sky=94 (Winter & Winte=
r),
the
luminous debut by his chamber-jazz outfit of the same name.

So far this year, Douglas has produced =93Convergence=94 (Soul Note), the
third
effort by his string-laced quintet. And on Aug. 10, Winter & Winter
issues
=93Songs For Wandering Souls,=94 the fourth and finest set yet from his T=
iny
Bell Trio, with guitarist Brad Shepik and drummer Jim Black. Last but
not
least, Douglas just inked a four-record deal with RCA Victor that will
yield
a sextet album early next year.

The 36-year-old, Brooklyn, N.Y.-residing Douglas flourishes by flouting
categories, as he pursues many muses via his various groups. During the
recent Bell Atlantic New York Jazz Festival, Douglas packed the Knitting
Factory for a long, rich evening of three shows with three disparate
bands.

Charms Of The Night Sky mines a vein of Mitteleuropa, coming up with
gems
that flicker of Grappelli/Reinhardt, Viennese classicism, and Prague
coffeehouses. And =93Convergence=94 sets his most intricate compositions
alongside Messaien and a Burmese folk song. Then there is the
Balkan-accented improv of the Tiny Bell Trio, which embraces not only
czardas but  Schumann transcriptions and the odd Rahsaan Roland Kirk
tune.

=93Juxtaposition is something I consider whether I=92m composing, putting=
 a
band
together, or programming a live set,=94 Douglas says. =93I want to reflec=
t
all
my inspirations, but not in pastiche--it should have variety and unity.
And
each record should be unique. I never approach a session like this is my
=91jazz=92 thing and this is my =91classical.=92 Everything should be sui
generis.=94

The Douglas aesthetic obviously thrives on freedom. He produces his own
records, with top engineer Joe Ferla in the case of =93Songs For Wanderin=
g
Souls.=94 And Douglas says he chose RCA from among several major-label
suitors
=93because it seems the most open to breaking down creative barriers.=94

Winter & Winter principal Stefan Winter admires Douglas most for his
=93openness and curiosity,=94 he says. =93Some musicians have trouble pur=
suing
more than one direction at a time, but Dave constantly puts himself into
different contexts. That=92s why he is always growing.=94

Most labels =93don=92t believe in an artist putting out more than one alb=
um
a
year,=94 Winter adds, =93but that is silly in the case of someone like Da=
ve.
If
the projects are distinctive enough, all the activity can be good for
building an audience.=94

Seconding that opinion is Bruce Gallanter, owner of New York=92s Downtown
Music. =93All Dave=92s records sell for me,=94 he says. =93A lot of peopl=
e
search
out his records after first hearing him play with Zorn. Then =91Charms Of
The
Night Sky=92 cuts across every kind of buyer.=94

Adding luster to =93Songs For Wandering Souls=94 is the imprimatur of Win=
ter
&
Winter, since =93record buyers love the label,=94 Gallanter says. =93They=
 have
great packaging and sound, with interesting artists. I have customers
who
buy everything the label puts out.=94

Winter=92s former label--the PolyGram-distributed JMT--was a favorite
among
adventurous jazzers, and his Munich-based Winter & Winter has earned
even
more admiration in a short span. In 2 1/2 years, the label reports sales
of
500,000 copies of 38 titles. Its wares are distributed by Allegro in the
U.S., Fusion 3 in Canada, Harmonia Mundi in France and the U.K., Bomba
in
Japan, and Edel in Germany, Austria, and Italy.

Another fan of Douglas and the Winter & Winter ethos is Jay Trachtenberg
of
eclectic public-radio outlet KUT Austin, Texas. The station aired past
discs
and has been previewing =93Songs For Wandering Souls,=94 which Trachtenbe=
rg
also
plans to play on his Sunday show on commercial triple-A KGSR. =93Not
everyone
is going to like Dave Douglas,=94 he says, =93but then not everyone likes
Diana
Krall.=94

Next year promises a boon for Douglas fans, as he will have at least
three
discs out as a leader. The first RCA album will be a sextet tribute to
the
late Mary Lou Williams, in the manner of Douglas=92 compositional homages
to
Wayne Shorter (=93Stargazer,=94 Arabesque) and Booker Little (=93In Our
Lifetime,=94
New World).

Indicative of Douglas=92 modernity is that he tips his hat to his
forebears
as he strikes out on his own. In that sense, all his varied work is a
tribute to the resolute individuality of another man with the horn. =93I
always think of Miles Davis=92 fearless drive to move forward,=94 he says.
=93It=92s
like being a long-distance runner. Those who keep looking back are the
ones
who lose.=94

Douglas has one more indie effort on the way: =93Leap Of Faith,=94 a teno=
r
quartet disc due in February on Arabesque. Set for next fall, Douglas=92
second album for RCA will be a feature for Charms Of The Night
Sky--violinist Mark Feldman, bassist Greg Cohen, and accordion ace Guy
Klucevsek.

Beyond his work as a leader, Douglas=92 expressive trumpet has long been =
a
key
to the Hebraic harmolodics of Zorn=92s Masada combo--which has 10 studio
discs
and two potent new live sets on Zorn=92s Tzadik label. Douglas is also in
pianist Myra Melford=92s Same River, Twice band, which has its second
album,
=93Above Blue,=94 out on Arabesque.

In coming months, Douglas travels the Old and New Worlds with the Night
Sky
group and Tiny Bell Trio, as well as with Masada. To unveil the RCA
debut,
his sextet plays a February stand at New York=92s Village Vanguard.
Douglas is
managed and booked in the U.S. by New York=92s Sooya Arts. His European
agent
is Saudades Tours in Rotholz, Austria. His compositions are published by
Noenmity Music (BMI).

-



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

From: "toddlike" <[e-mail]>
Subject: Re: $4.95 CD update
Date: 15 Jul 1999 21:26:29 -0700


>
>Jody, it's illegal for any mail order operation
>to charge a credit card before an order is fulfilled.
>even if they were to have sent you a partial
>fulfillment, they can only charge you for what
>they send out.
>


Strictly speaking, this isn't true. You can charge before an order is
fufilled, and you then have 30 days to fufill it; charging before shipment
is not a popular way of getting business done, it is perfectly legal. Amazon
even does it; order something of theirs that takes a few days to fufill, and
you'll see.




-



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

From: Eric Saidel <[e-mail]>
Subject: Re: Fwd: $4.95 CD update
Date: 15 Jul 1999 23:47:18 -0400


>
> Similar situation here....I placed 4 orders, and got 1 item from the third
> order yesterday. When I spoke to them on the phone, they did tell me as well
> that they do intend to eventually fill EVERYTHING.
>
> Dale.

Coincidentally, I got an email today (in response to a phone query I
made yesterday or the day before).  Full text below.  They've been very
friendly to me on the phone, despite the stupidity of having the cd
orders handled by a office that's not accessible to the customer service
office.  I have yet to get any discs (I ordered a lot - in one order,
ignoring the limit, which I believed to be per disc, not per order), but
my card has yet to be charged as well.

- eric

Here's the email:

The first distributor we contracted with to fulfill our CD titles was
unable to handle the incredible demand, so we have contracted with a
second distributor. Unfortunately, not all titles are available with the
second distributor.

We are currently researching what CD titles were and were not shipped.
We
hope to have an email out to you by the end of next week, informing you
of
the status of your order. However, I do want to caution you that you may
not receive all of your titles. Any titles unavailable will be cancelled
from the order and you will not be charged for them. We are still
offering the top 25 CD titles for our low price of $4.95 per CD.

While we are disappointed that your experience purchasing from us has
not
been ideal, we hope you understand and we hope you will continue to shop
online with us. Please feel free to email or call with any further
questions or concerns.



-



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

From: Charles Jacobus <[e-mail]>
Subject: RE: Fwd: $4.95 CD update
Date: 16 Jul 1999 09:36:02 -0400

I made the same call and I received the same letter.

I did receive one of the five discs I ordered (Zappa's Lumpy Gravy) last
night. Still no charge to my account either.

-----Original Message-----
Sent: Thursday, July 15, 1999 11:47 PM



>
> Similar situation here....I placed 4 orders, and got 1 item from the third
> order yesterday. When I spoke to them on the phone, they did tell me as
well
> that they do intend to eventually fill EVERYTHING.
>
> Dale.

Coincidentally, I got an email today (in response to a phone query I
made yesterday or the day before).  Full text below.  They've been very
friendly to me on the phone, despite the stupidity of having the cd
orders handled by a office that's not accessible to the customer service
office.  I have yet to get any discs (I ordered a lot - in one order,
ignoring the limit, which I believed to be per disc, not per order), but
my card has yet to be charged as well.

- eric

Here's the email:

The first distributor we contracted with to fulfill our CD titles was
unable to handle the incredible demand, so we have contracted with a
second distributor. Unfortunately, not all titles are available with the
second distributor.

We are currently researching what CD titles were and were not shipped.
We
hope to have an email out to you by the end of next week, informing you
of
the status of your order. However, I do want to caution you that you may
not receive all of your titles. Any titles unavailable will be cancelled
from the order and you will not be charged for them. We are still
offering the top 25 CD titles for our low price of $4.95 per CD.

While we are disappointed that your experience purchasing from us has
not
been ideal, we hope you understand and we hope you will continue to shop
online with us. Please feel free to email or call with any further
questions or concerns.



-

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Zorn interview in JAZZIZ of August 1999
Date: 16 Jul 1999 08:31:38 -0700


    Just to let you know that there is an interview of Zorn in the new
JAZZIZ:

  * Jazziz, August 1999: "Scene by Scene," an interview by Larry Blumenfeld
    (pp. 42-48, 80)

    Patrice.

-



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

From: Peter Risser <[e-mail]>
Subject: John Cage
Date: 16 Jul 1999 13:49:15 -0400 (EDT)

>> Not that Cage would do improv... At least not in the way Ra did.

> i know only a little bit about Sun Ra.  could you please tell me how
their improv styles differed specfically?


Well, I'm no expert, but the top statement is true.  Cage didn't do any
improv, per se.  He was a firm believer for a long time in chance
operations, which is not the same as free improv.  On the contrary,
chance operations are (in theory) as strict on the performer as any
normally written score, perhaps more so, as they have to perform things
that are not normally juxtaposed in a performance, or even possible
sometimes.

So, in this case, Cage was probably performing a piece where he reads
some pregenerated phonemes, interspersed with pregenerated silence.

He has a fantastic voice, sort of a really, really pleasant Vincent
Price, so I love to hear him read.

Whereas Sun Ra is from the take-no-prisoners sense of improv, banging
around on the Moog, and generally having a grand old time.

So.
That's my take on it.
Joe Zitt is the Cage expert though.  He may be able to clear up
anything i muddled.

Peter

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: "allen j huotari" <[e-mail]>
Subject: Re: Fwd: $4.95 CD update
Date: 16 Jul 1999 09:25:18 +0100

just to add to the fun...below is an e-message I rx'd this past week (6
weeks after my order was placed)

"Thank you for your order with Online Stores by Shopnow.com. Unfortunately,
all of the products you ordered are no longer available for purchase through
our supplier.  Your order for those cds will be cancelled as of today. We
apologize for the inconvenience, and hope to serve your online shopping
needs in the future."


ajh


-----Original Message-----


>I made the same call and I received the same letter.
>
>I did receive one of the five discs I ordered (Zappa's Lumpy Gravy) last
>night. Still no charge to my account either.
>
>-----Original Message-----
>From: Eric Saidel [mailto:[e-mail]]
>Sent: Thursday, July 15, 1999 11:47 PM
>To: [e-mail]; zorn list
>Subject: Re: Fwd: $4.95 CD update
>
>
>
>>
>> Similar situation here....I placed 4 orders, and got 1 item from the
third
>> order yesterday. When I spoke to them on the phone, they did tell me as
>well
>> that they do intend to eventually fill EVERYTHING.
>>
>> Dale.
>
>Coincidentally, I got an email today (in response to a phone query I
>made yesterday or the day before).  Full text below.  They've been very
>friendly to me on the phone, despite the stupidity of having the cd
>orders handled by a office that's not accessible to the customer service
>office.  I have yet to get any discs (I ordered a lot - in one order,
>ignoring the limit, which I believed to be per disc, not per order), but
>my card has yet to be charged as well.
>
>- eric
>
>Here's the email:
>
>The first distributor we contracted with to fulfill our CD titles was
>unable to handle the incredible demand, so we have contracted with a
>second distributor. Unfortunately, not all titles are available with the
>second distributor.
>
>We are currently researching what CD titles were and were not shipped.
>We
>hope to have an email out to you by the end of next week, informing you
>of
>the status of your order. However, I do want to caution you that you may
>not receive all of your titles. Any titles unavailable will be cancelled
>from the order and you will not be charged for them. We are still
>offering the top 25 CD titles for our low price of $4.95 per CD.
>
>While we are disappointed that your experience purchasing from us has
>not
>been ideal, we hope you understand and we hope you will continue to shop
>online with us. Please feel free to email or call with any further
>questions or concerns.
>
>
>
>-
>
>-
>




-



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

From: "Scott Handley" <[e-mail]>
Subject: kubrick, film, and new music
Date: 16 Jul 1999 18:08:12 GMT

Just read an article on Kubrick's EYES WIDE SHUT in the recent SALON.  Found
out that that strange, beautiful fragment of piano music from the EYES
television trailer is Ligeti.  Imagine that!  (I was too busy to notice the
music the first couple times I saw it; beautiful people filmed beautifully,
oh me: my heart...)

Does anyone recognize this music, the obsessively repeated piano note?  I
remember Ligeti, Penderecki, and Bartok put to very effective use in
previous Kubrick.  My introduction, really, to some intensely delicious
sound experiences.

Cheers, and have fun at EYES,

-----s, breathing Tom, breathing Nicole, celebrity worship...

      (Speaking of which, might I ruminate briefly on the subject of
CELEBRITY TORTURE?  For example, Bill Pullman must be punished for agreeing
to play Bill Clinton/George Bush in TRIUMPH OF THE WILL....er, I mean
INDEPENDENCE DAY.  So, in an _earlier_ film, of all things, we get to see
him poisoned, attacked, knifed, zombified, buried alive with a tarantula,
framed, tortured, and spiked through the groin with a nine-inch nail.  Keanu
Reeves, for his _oeurve_, we get to see shot, forcefully cyberneticized,
jacked into a computer, dropped off a 100-story building, ass-whipped by
Larry Lee, and impregnated with a mechanical bug.  And the movie ain't bad
either.  Don't get me started on Bruce WIllis. There is karma in Hollywood.)

I'd love to hear listmembers talk about film music and films that they've
found to be really amazing experience.  I mean, we _all_ liked TOMMY BOY,
but I'm more curious about orchestrated, striking visual and narrative
experiences, beatific even, and conversely, "cinema for the ear" to
paraphrase a Dianne LaBrosse dustjacket.

P.S.  Thanks heaps to those who recommended the Dianne LaBrosse/Martin
Tetreault/Ikue Mori ILE BIZARRE to me.  It's noisy but sumptuous, and I
recommend it highly to almost everyone, but not while driving.

----s


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

-



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

From: "Vince Bonavoglia" <[e-mail]>
Subject: RE: Fwd: $4.95 CD update
Date: 16 Jul 1999 14:23:58 -0400

>I made the same call and I received the same letter.

Ditto.

I ordered 8 discs around the same time as others on this list and have only
received one: Zorn's _Naked City_. The invoice accompanying the package was
mysteriously bereft of any charge amount, so I quickly called their customer
service. I had a bad feeling that, if the rest of the order came in one or
two-disc shipments, the total postage charges would probably be more than
the price of the discs. The rep assured me that this would not happen and
that my order would indeed be filled. We'll see...

They haven't billed my card, either.

Vince

(On now:  Zorn's  _Naked City_. Why I waited so long to buy this is beyond
me...)


Nobrow Graphics!:
http://home.earthlink.net/~nobrowgraphics/nobrow/plastic.htm
ICQ# 42044705


-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: John Cage
Date: 16 Jul 1999 14:35:29 -0400

On Fri, Jul 16, 1999 at 01:49:15PM -0400, Peter Risser wrote:

> Well, I'm no expert, but the top statement is true.  Cage didn't do any
> improv, per se.  He was a firm believer for a long time in chance
> operations, which is not the same as free improv.  On the contrary,
> chance operations are (in theory) as strict on the performer as any
> normally written score, perhaps more so, as they have to perform things
> that are not normally juxtaposed in a performance, or even possible
> sometimes.

In one of his last pieces, One^12 (I think), he created a situation
specifically for improvisation, and improvisation figured into much
of his later work -- though not in the usual jazz-derived "free improv"
sense.

> So, in this case, Cage was probably performing a piece where he reads
> some pregenerated phonemes, interspersed with pregenerated silence.

In listening to it, I guessed that it was part of Empty Words, Part IV,
but I could be wrong.

> He has a fantastic voice, sort of a really, really pleasant Vincent
> Price, so I love to hear him read.

Yes! What a wonderful description...

> Joe Zitt is the Cage expert though.  He may be able to clear up
> anything i muddled.

There are others here (Steve Drury, for example) who are really
experts. I started the mailing list so I could learn from them...

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Cage vs. Ra
Date: 16 Jul 1999 15:21:37 -0400

samuel yrui wrote:

> Not that Cage would do improv... At least not in the way Ra did.
>
> i know only a little bit about Sun Ra.  could you please tell me how their
> improv styles differ specifically?
>
>                         -samuel yrui

Well, just quickly... Cage was actually opposed to improvisation because it
provides a situation for self-expression and interaction. He was not concerned
with self-expression and interaction but rather self-alteration and
co-existence, and despite the fact that much of his music is known for its
"looseness" and "freedom", Cage found improvisation largely inadequate to meet
these concerns and hardly ever used it. (I say "hardly ever" because there are
in fact a few exceptions, though they are very specific and don't contradict
his beliefs.)

There's a shitload of literature by and about Cage, so it shouldn't be tough
for anyone to pursue an interest in his work. His book 'Silence' seems to be a
good entry-point and is kind of a classic...

                    -Tom Pratt

listening to: Charles Mingus - Mingus Mingus Mingus Mingus Mingus (Impulse!)


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Cage vs. Ra
Date: 16 Jul 1999 12:24:37 -0700


On Fri, 16 Jul 1999 15:21:37 -0400  Tom Pratt wrote:
>
> Well, just quickly... Cage was actually opposed to improvisation because it
> provides a situation for self-expression and interaction. He was not concerned
> with self-expression and interaction but rather self-alteration and
> co-existence, and despite the fact that much of his music is known for its
> "looseness" and "freedom", Cage found improvisation largely inadequate to meet
> these concerns and hardly ever used it. (I say "hardly ever" because there are
> in fact a few exceptions, though they are very specific and don't contradict
> his beliefs.)

Didn't Cage also indulged in "open form", where portions of a score are left
to the performer's will? That was big in Europe in the late '50s (Pousseur,
Boulez, etc).

    Patrice.


-



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

From: "wetboy" <[e-mail]>
Subject: Re: kubrick, film, and new music
Date: 16 Jul 1999 16:10:48 -0400


-----Original Message-----


>Just read an article on Kubrick's EYES WIDE SHUT in the recent SALON.
Found
>out that that strange, beautiful fragment of piano music from the EYES
>television trailer is Ligeti.  Imagine that!  (I was too busy to notice the
>music the first couple times I saw it; beautiful people filmed beautifully,
>oh me: my heart...)
>
u've seen it a couple times already? wow. i just saw it 2day. i thought
kubrick's music choices were very good. ligeti, shostakovich, chris isaak,
etc. and the original music was very effective, like the music composed for
full metal jacket. not 2 say it sounds the same, but is as effective in the
dramatic development.


-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Cage vs. Ra
Date: 16 Jul 1999 15:56:45 -0400

Patrice L. Roussel wrote:

> Didn't Cage also indulged in "open form", where portions of a score are left
> to the performer's will? That was big in Europe in the late '50s (Pousseur,
> Boulez, etc).

Yes, a lot of his music of this time (and later) left decisions for the performer to
make (questions for the performer to answer). However, these are in cases where
either when the performer cannot foresee how his decisions will affect the music or
when the range of possible decisions has been limited to the extent that, within
that, any is acceptable. It's not exactly improvisation... (or if it is, it doesn't
violate the reasons Cage was opposed to it in the first place)

                -Tom Pratt

still groovin' on Mingus!


-



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

From: "Rob Allaert" <[e-mail]>
Subject: Songs for Wandering Souls
Date: 17 Jul 1999 00:02:12 +0200

Hi JazZorns,

This is one of the rare situations where we Europeans get first access to a
hot item: Dave Douglas' newest jewel. And a jewel it is. It is one of the
best records I purchased this year and I highly recommend it to all of you.

As you all know it is a Tiny Bell Trio effort. Brad sounds very mature and
in control, Jim's drumming is less crazy but he still shows off a lot and,
of course Dave's playing, oh, it's enthralling. I'm not exaggerating, the
slower songs where he spins never ending melodies and takes hallucinating
turns and plays velvet, high pitched tones, truly incredible. The cd opens
with 'Sam Hill' which has a very moody slow guitar intro and a quite steady
rhythm. It is the most accessible song to this cd, a melody you can actually
sing in your head after a few listenings. There are three very slow songs
which are all delightful. "Prolix" and "Ferrous" are two funny and heavy
tunes with lots of rhythm and (I guess) Balkan melodies. The Schumann cover
"Nicht so schnell, mit viel ton zu spielen" is very beautiful as well, fine
melody, lots of detractions from the melody and then back to it. Wonderful
tension.

To me this record is the best Tiny Bell Trio they ever made. Go get it, when
it is available. By the way, Convergence - no-one ever made any comments -
is great too. Incredible compositions. They make it so hard to believe they
could actually record such songs in less than a year or so :-) It actually
took them 2 days!

Anyone like to hear a "Wandering" song? It's on the following page (at the
bottom). Enjoy! http://listen.to/robs.records When you download, please
email me with feedback, that's all I ask.

___________________________
Rob,
Belgium ----------------------------------------------------------------
"Would you rather have the power to shave just by thinking really hard
or have an unexplainable gift, whereupon flushing the toilet, everybody in
the building renounces their religion?"
__________


-



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

From: [e-mail]
Subject: way off suject: Muslimgause cd's for sale on Ebay
Date: 16 Jul 1999 20:24:41 EDT

Hello sorry about the off topic post... just thought some of you might like
Muslimgauze & would be interested in some of his deleted titles on Ebay...
Thanx


Muslimgauze - Drugsherpa
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131661277
Muslimgauze vs Rootsman - City Of Djinn CD
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131670532
Muslimgauze vs Species Of Fishes CD
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131671969
Muslimgauze - Zuriff Moussa CD
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131673116
Muslimgauze - Deceiver
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131674338
Muslimgauze - Mullah Said
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131675573
Muslimgauze - Fatah Guerrilla 3 CD
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131684928
Muslimgauze - Hammer & Sickle 7inch
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131685989
Muslimgauze - Nadir of Purdah
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131687390
Muslimgauze - Port Said
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131688525
Muslimgauze - Tandoori Dog 4xLP
http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=131689646

-



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

From: Ryan Novak <[e-mail]>
Subject: Brotzmanns
Date: 16 Jul 1999 20:23:46 -0400 (EDT)

>Anyone heard the new Caspar Brotzmann disc,
'MuteMassaker' (Rough
     Trade), reviewed in the current WIRE? >Thanks.
      Brian Olewnick

Hi,

Thanks for informing us, or at least me, that there is
a new cd, I'm sure I'll pick that up sometime.  Also,
is there a new Blind Idiot God record?  Maybe it's
been mentioned, but I'm new to the list (and usually
WAY behind anyway).

Speaking of Brotzmann, his Dad put on a hell of a show
in Victoriaville a while ago, and I've been wondering
if I'll find a recording of that (I do already have
the 3 cd chicago tentet set).  I guess it was supposed
to have been recorded for broadcast on Canadian radio,
but no word from my Canadian acquaintances about it.
Thanks.

Ryan Novak

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: [e-mail]
Subject: Re: Zorn interview in JAZZIZ of August 1999
Date: 17 Jul 1999 01:28:22 EDT


>     Just to let you know that there is an interview of Zorn in the new
>  JAZZIZ:

And he actually made the cover!  Best of all, *we* get mentioned in the first
paragraph.   Interesting interview I thought, lets see if Zorn dislikes this
one as well.  They make mention of Zorn being pissed about the New Yorker
article.

I wanna hear reviews of the Baron/ Ruins show at Tonic last night,
specifically on the Ruins.  I was there and thought they were incredible.
It was the first time Ive heard anything by them, how did it compare to any
of their recordings?  They even quoted King Crimson's "Red".

-Jody  "a rabid twenty-something fan"

-



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

From: [e-mail]
Subject: Re: Brotzmanns
Date: 17 Jul 1999 01:36:24 EDT


In a message dated 7/16/99 8:28:27 PM, [e-mail] writes:

<< Speaking of Brotzmann, his Dad put on a hell of a show
in Victoriaville a while ago, and I've been wondering
if I'll find a recording of that (I do already have
the 3 cd chicago tentet set).  I guess it was supposed
to have been recorded for broadcast on Canadian radio,
but no word from my Canadian acquaintances about it. >>

I'd be willing to bet, based on zero solid information, that the two hour set
is released as a double CD on Victo in the next year sometime.  Michel
Levasseur let them play well past their alloted slot, bumping back the next
band. I'm sure that that was one of the factors contributing to his decision.
of course, the jammed room of fans going nuts probably helped also.

just got back from seeing Matmos at the Alterknit. two guys from San
Francisco, joined by a third for the live show. superb electronica with an
acoustic element of a banjo occasionally strummed or bowed, and other
acoustic samples triggered. these guys are my favorite American electronica
band. they're playing again tomorrow night at midnight at Tonic and doing an
instore at Mondo Kim's on Monday at 8, I believe. this was a much better
venue for them than either of those, but I have a feeling that, like the No
Neck Blues Band, they adapt their style to their space. I don't think I'm
going to either of the other sets, but I'd love to hear reports.

all three of their CDs are recommended: get Matmos if you like Autechre, get
Quasi-Objects if you are a musique concrete fan, or get The West if you'd
like some acoustic instruments mixed in. Quasi-Objects is my favorite.

Jon
www.erstwhilerecords.com

NP: the currently untitled Thomas Lehn and Gerry Hemingway CD that is going
to be erstwhile 004. I'm shooting for a October release.

-



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

From: Steve Smith <[e-mail]>
Subject: Re: Zorn interview in JAZZIZ of August 1999
Date: 17 Jul 1999 03:19:35 -0400

[e-mail] wrote:

> >       Just to let you know that there is an interview of Zorn in the new
> >  JAZZIZ:
>
> And he actually made the cover!

Though not a photo... just his name in BIG BOLD PRINT... certainly better than
nothing, however.

> I wanna hear reviews of the Baron/ Ruins show at Tonic last night,
> specifically on the Ruins.  I was there [snip]

And I want to read reviews because despite my previous plans I *didn't* manage to
get there.  I'd also be really interested in hearing more about Baron's new
guitar group, considering that I was relatively underwhelmed by the "Down Home"
group and never heard the "piano" trio with Medeski.

> They even quoted King Crimson's "Red".

Given my personal proclivities, this makes me even more upset that I missed them.

Steve Smith
[e-mail]
(a "rabid twenty-something fan" only if 13 years can be considered
"something"...)
NP - VH1 "Pop-Up Video" ("Grease Megamix")


-



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

From: "Julian" <[e-mail]>
Subject: Re: Ruins
Date: 17 Jul 1999 22:58:59 +1000

> > They even quoted King Crimson's "Red".
>
> Given my personal proclivities, this makes me even more upset that I
missed them.

There's a song on their rarities/live album "Refusal Fossil" which is
titled something like "Prog Rock Medley" and features snippets from 20 or
so bands including King Crimson, Pink Floyd, Yes, Rush and Gong... Not sure
if the Crimson song is "Red" though.


-



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

From: "samuel yrui" <[e-mail]>
Subject: Re: Zorn interview in JAZZIZ of August 1999
Date: 17 Jul 1999 09:57:57 CDT




And he actually made the cover!  Best of all, *we* get mentioned in the
first
paragraph.   Interesting interview I thought, lets see if Zorn dislikes this
one as well.  They make mention of Zorn being pissed about the New Yorker
article.



    what do you mean *we*?  the zorn list members?  what kind of we?  who
does this *we* include?  we we we we weeeeeee?!?

           -sameul yrui


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

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Brotzmanns
Date: 17 Jul 1999 14:00:05 -0400 (EDT)

You're far too early Ryan. Sometimes Radio-Canada records those shows and
they don't broadcast them for another year or two.

Also, if it was recorded, I wonder if that means a Victo disc of the
proceedings is in the offing?

Ken Waxman




On Fri, 16 Jul 1999, Ryan Novak wrote:

>
> Speaking of Brotzmann, his Dad put on a hell of a show
> in Victoriaville a while ago, and I've been wondering
> if I'll find a recording of that (I do already have
> the 3 cd chicago tentet set).  I guess it was supposed
> to have been recorded for broadcast on Canadian radio,
> but no word from my Canadian acquaintances about it.
> Thanks.
>
> Ryan Novak
>
> _________________________________________________________
> Do You Yahoo!?
> Get your free @yahoo.com address at http://mail.yahoo.com
>
>
> -
>
>

-



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

From: [e-mail]
Subject: Re: Zorn interview in JAZZIZ of August 1999
Date: 17 Jul 1999 18:47:24 EDT

>
>      what do you mean *we*?  the zorn list members?

You are correct, sir.

-



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

From: "Zachary J. Griffin" <[e-mail]>
Subject: Zorn/Jazziz
Date: 17 Jul 1999 22:33:03 -0400

Is the August Jazziz with Zorn out to the general public or just
subscribers?  I went to a book store today and they didn't have it and
didn't know when they were getting the august issue.

Zach


-



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

From: Ryan Novak <[e-mail]>
Subject: Re: Brotzmanns
Date: 18 Jul 1999 01:49:27 -0400 (EDT)

Hi,

Thanks, now I can stop worrying that I missed it.
Looks like one way or another I'll have a document of
that amazing show.

Thanks again,

Ryan Novak

--- Ken Waxman <[e-mail]> wrote:
> You're far too early Ryan. Sometimes Radio-Canada
> records those shows and
> they don't broadcast them for another year or two.
>
> Also, if it was recorded, I wonder if that means a
> Victo disc of the
> proceedings is in the offing?
>
> Ken Waxman
>
>
>
>
> >
>

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: [e-mail]
Subject: ruins
Date: 18 Jul 1999 13:19:25 -0500


Ruins set at Tonic was I think the best I've seen 'em. I've been a little sour
on the new bassist of the last couple years (Hisashi Sasaki? Or are my wires
crossed?), who I thought was a poor and overdistorted replacement for Matsuda.
But this time he really came into his own, vocals more integrated, yeah, like
IOUaLive1 said, lotsa quotes (some Yes in there too, I believe), and tight
fierce playing for 41 minutes, 3 or 4 encores. Woulda liked more, but that's
just me being greedy.

I don't know if they're on tour, but they were selling a few cds (I had to ask,
they didn't announce that they had 'em), including a sampler called Japanese
Music Festival Europe Tour 1999 (although on the back it says 1997) on Tatsuya's
Magaibutsu label. Tatsuya puts out lotsa samplers, but this one is the best I've
heard -- strong, consistent 60 minutes, Tatsuya and Tsuyama Atsushi solo,
Akaten, Zubizuva-X and Ruins tracks. If they play near you and still have
copies, grab 1.



-



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

From: "Julian" <[e-mail]>
Subject: Ray Anderson's Pocket Brass Band at the Basement, Sydney
Date: 19 Jul 1999 02:53:45 +1000

A quick review:

An amazing show featuring Anderson on trombone, Jack Walrath on trumpet,
Matt Perrine on sousaphone and Bobby Previte of course on drums. They
covered basically every style imaginable, including freejazz, New Orleans
polyphony and latin/funk. They were all fabulous, especially Previte and
Anderson, who also did one very long (and very fast) vocal solo. The great
thing was the way the solos weren't just on a bunch of choruses, they would
change the mood for each solo, sometimes even changing the feel and tempo
of the piece completely. They did a blazing version of Monk's "I Mean You"
plus a Scott Joplin rag (I think "Pineapple Rag") which prompted them to
walk through the audience, Previte following with just a snare. Apparently
there will be a cd out soon, I think called "Where Home Is".


-



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

From: "Nirav Soni" <[e-mail]>
Subject: Promo Stuffs
Date: 18 Jul 1999 21:36:49 -0400

Greetings all,

I recently started writing music reviews for a biggish music magazine called
Ink19. We cover a very diverse spectrum of music, so I thought it would be
nice to get some music related to this list reviewed.So, I am now activly
soliciting music from any labels that wish to have their music reviewed by
an independant music magazine. I'll send details and info upon request.

Cheers,
Nirav
--
"Don't try to make me consistent. I am learning all the time."  - R.
Buckminster Fuller



-



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

From: Kevin Neales <[e-mail]>
Subject: New Laswell
Date: 19 Jul 1999 10:51:41 -0400

At the Ion Records they have a couple of sound clips from a new Bill
Laswell project called Permutations.  It sounds pretty good.  Does
anyone know anything about this(release date, musicians).  I couldn't
tell for sure but the guitar sounded like Buckethead.



                                                 Thanks,
                                                    Kevin N.

-



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

From: [e-mail]
Subject: Re:  New Laswell
Date: 19 Jul 1999 12:35:42 EDT

>At the Ion Records they have a couple of sound clips from a new Bill
>Laswell project called Permutations.  It sounds pretty good.  Does
>anyone know anything about this(release date, musicians).  I couldn't
>tell for sure but the guitar sounded like Buckethead.

from what i remember, buckethead is supposed to be on a few tracks. i don't
know who else is on it, though. ion doesn't seem to have distribution at the
moment. you could try emailing norman for the release date, but when the last
buckethead album came out on ion, he spent a good 6 or 7 months telling
people week after week that 'it's being pressed now, it should be out in the
next week or two.'

peace,
dave
___________________________________________________________
bill laswell, eraldo bernocchi, mick harris and lori carson discographies at :
http://www.geocities.com/SunsetStrip/Underground/7093/index.html
___________________________________________________________

-



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

From: [e-mail]
Subject: Naked City
Date: 19 Jul 1999 15:40:03 -0300

Last Saturday a friend of mine showed me a Naked City tune in the Masada
vein, caught from a German Jazz Festival in 1990, probably downloaded
from an original tv show. Music and Image were perfect.
Zorn with glasses and in his classic camouflaged trousers, blowing fast
and furious riffs with that strangled-duck-calls sound. Rest of Naked
City members were younger and amazing.
Naturally my friend had no accurate information.
A clue? next group in that video was Archie Shepp band.

What video is that?

Thanks in advance

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Naked City
Date: 19 Jul 1999 11:56:40 -0700


On Mon, 19 Jul 99 15:40:03 -0300  [e-mail] wrote:
>
> Last Saturday a friend of mine showed me a Naked City tune in the Masada
> vein, caught from a German Jazz Festival in 1990, probably downloaded
> from an original tv show. Music and Image were perfect.
> Zorn with glasses and in his classic camouflaged trousers, blowing fast
> and furious riffs with that strangled-duck-calls sound. Rest of Naked
> City members were younger and amazing.
> Naturally my friend had no accurate information.
> A clue? next group in that video was Archie Shepp band.
>
> What video is that?

Sounds like:

  JAZZ HIGHLIGHTS 1990 - STUTTGART JAZZ SUMMIT (Pioneer LDC (1990) PILJ-1111)

    This laserdisc features Sun Ra Arkestra, Archie Shepp, and several world
    music-jazz-fusion bands.

    track 7 - John Zorn Naked City - Mystery Song 4:15
    John Zorn(as), Wayne Horvitz(key), Bill Frisell(g)
    Fred Frith(b), Joey Baron(ds)


-



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

From: [e-mail]
Subject: Film with Zorn
Date: 19 Jul 1999 16:35:56 -0300

Today was announced in a local Angentine newspaper that "films directed
by Henry Mills and Sally Silvers (with John Zorn, Christian Marclay and
Tom Cora) would be included in the Experimenta 99 Avant experience, due
to begin tomorrow".

Any opinions and information on those films?


-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Rahsaan Roland Kirk
Date: 20 Jul 1999 11:30:28 GMT0BST

Jason,

I'm still about a week behind, but must chime in with the Kirk
string: I second Maurice Rickard on We Free Kings (that's MY first
Kirk, so I don't really find it conservative at all - rather it's one
of THE great albums of that era).

As an occasional sideman, Kirk is superb on Mingus' Oh Yeah, Roy
Haynes Out Of The Afternoon and Jaki Byard's The JB Experience (1968,
yeah!).

What about Domino and Kirk Live In Copenhagen??  (both great albums)
Reeds And Deeds is pretty good too.

The Inflated Tear I particularly love for the track called (I think?)
Many Blessings, where he solos with circular breathing, and you can
really hear the whoosh when, having just about run out of breath, he
boots back in with gusto.

Ditto Volunteered Slavery ... not the greatest but some very fine
stuff (eg Prayer)

Of the later albums, no-one's (yet! I'm only at #705) mentioned the
very very fine Left and Right, also on the 4Cd 32Jazz box with the
great Prepare Thyself To..

In a category of its own: Natural Black Inventions

And finally ... for verbal Kirkisms, a special award to The Old
Rugged Cross (on Blacknuss?).

Sean

-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Kirk
Date: 20 Jul 1999 11:35:51 GMT0BST

Does anybody know the constituents of the new (13/7/99) Kirk release -
Left Hook Right Cross Blacknuss - are?

Sean

-



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

From: "Mason Wendell" <[e-mail]>
Subject: RE: [Prelapse] Live at te Knitting Factory w/ Sideshow tomorrow - reminder
Date: 20 Jul 1999 07:11:18 -0400

Just a reminder about Prelapse playing at the Knitting Factory's AlterKni=
t
Theater tomorrow night at 9:30 with Sideshow. Come on out.

|  Prelapse will be playing on Wednesday July 21st at the Knitting
|  Factory's Alterknit Theater. The show starts at 9:30 PM. We'll be
|  playing with Matt Moran's Sideshow who do Charles Ive's songs and
|  of course we'll Zorn's Naked City songs.
|
|  It's a night of fucked up cover bands!
|
|  </Mason>
|
|  see below for more info:
|  ______________________________
|  21 July, 1999 (Wednesday)
|   Prelapse
|    Knitting Factory, NYC, NY
|    w/ Matt Moran's Sideshow
|    Side show at 9:30, then Prelapse
|    $7
|
|  "These guys f=E0ckin' shred these tunes" -John Zorn



|  Alex Lacamoire - piano,organ,samples and such
|  Mason Wendell - bass and vocals
|  Dane Johnson - guitar, dobro and fretless guitar
|  Jeff Hudgins - sax, clarinet
|  Andy Sanesi - drums

-=3DBlinder
-=[e-mail]
-=3DBlinder - http://blinder.pair.com
-=3DMP3 - http://www.mp3.com/blinder


-



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

From: s~Z <[e-mail]>
Subject: Re: Rahsaan Roland Kirk
Date: 20 Jul 1999 08:02:58 -0700

DR S WILKIE wrote:
> And finally ... for verbal Kirkisms, a special award to The Old
> Rugged Cross (on Blacknuss?).

yes...and reappears on "DoesYOURhousehaveLIONS: the RRK Anthology" on
Rhino Records.

-



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

From: DR S WILKIE <[e-mail]>
Subject:       Deeds Sans Reeds!
Date: 20 Jul 1999 16:30:09 GMT0BST

Can't remember who posted the anecdote about Kirk playing without a
reed in his sax, but he actually does this trick on Tubby Hayes'
Tubby's Back In Town, which I forgot when compiling my "Kirk as
sideman" list of albums ...

Sean

-



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

From: el topo <[e-mail]>
Subject: pits of hell
Date: 20 Jul 1999 14:30:50 -0700

well this is a little off topic, zorn IS still alive, but this is right
funny. scroll to bottom and keep choosing death til you get to the pits
of hell.
http://www.av1611.org/rockdead.html
Richard S.
http://www.mockbrawn.com > new Cortex Bomb cd!


-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: arto lindsay and dj spooky
Date: 21 Jul 1999 08:54:03 +0200

Hi,

I just got the confirmation that arto lindsay and dj spooky have made an
album together.

Yes I know that dj spooky worked on the albums by arto lindsay, but does
anyone know how this stuff will actually sound? I have been told that there
will be no other players on this release, so this makes me curious wich
style this is going to be. Anyone heard this thing live in the past.

By the way: I did not get any reply back concerning the two solo cds by Kim
Gordon that will feature ikue mori, yuka honda and other downtowners. Does
anybody know if this stuff is allready released??
(Patrice, Steve Smith or others??????????)

Best wishes

stefan


-



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

From: [e-mail]
Subject: Re: Zorn interview in JAZZIZ of August 1999
Date: 21 Jul 1999 12:41:58 +0100

> >     Just to let you know that there is an interview of Zorn in the new
> >  JAZZIZ:

Am I right in saying he refused to give interviews -- or do any press at all
 -- until quite recently? If so, does anyone know the story? Zorn
gets almost 0 press here in the UK, so it's rather hard to keep up...

Rich

http://come.to/musings.com
NOTE: reply to [e-mail] if possible;
the address this message has come from is not permanent!

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Zorn interview in JAZZIZ of August 1999
Date: 21 Jul 1999 08:19:05 -0700


On Wed, 21 Jul 1999 12:41:58 +0100  [e-mail] wrote:
>
> Am I right in saying he refused to give interviews -- or do any press at all

Yes, he refused to give interviews for many years. Larry Blumenfeld introduces
the interview but talking about how worried Zorn was about being interviewed...

    Patrice.

-



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

From: [e-mail]
Subject: omoide hatoba
Date: 21 Jul 1999 12:39:16 -0500


Based on a comment here, I went back and listened to the Alchemy Omoide Hatoba
cds. I haven't liked them as well as the Birdman titles, if only because of the
sound quality. The Alchemys seem murky to me (not usually the case with
Alchemy). But I listened to them with headphones this morning while I waited for
the plumber, and they're really interesting, nice arrangements, more going on
than I had noticed before. BTW, does anyone know what "Omoide Hatoba" means?

It's been pretty quiet around here lately. What's going on?



-



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

From: [e-mail]
Subject: Re[2]: Zorn interview in JAZZIZ of August 1999
Date: 21 Jul 1999 12:59:59 -0500


>Yes, he refused to give interviews for many years. Larry Blumenfeld introduces
>the interview but talking about how worried Zorn was about being interviewed...

..Just to mention that the article's well worth reading, far more in depth than
the New Yorker piece, largely because over 90% of it is in Zorn's own words.

Also kinda (anal) fun trying to read the album spines in one photo!

As for the ropes and leather manacles...hmmmm.....

Brian Olewnick

NP: Tran Van Khe, Vietnam-Improvisations (Ocora)




-



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

From: "J.T. de Boer" <[e-mail]>
Subject: Zorn String Quartets + more
Date: 22 Jul 1999 11:20:07 +0200

Hi all,

this afternoon I hope to pick up my copy of the String Quartets. I'm
sure some of you already have the album. What's your opinon about it?

Yesterday I visited my local jazzshop (one of the best specialised
shops in the Netherlands) and picked up some old Dolpy records on
vinyl: Out There, Stockholm Concert and The Quest (originally a
recording under Mal Waldron's name, long live the Dolphy
biography!!). I was looking for Booker Little albums though, but
couldn't find anything. Can someone give me recommendations,
especially regarding Little albums that feature Dolphy?

Thanks,

Jeroen
Jeroen de Boer
student Arts & Arts Management
University of Groningen, The Netherlands
[e-mail]
program director Open Electronic Festival
Munnekeholm 10
9711 JA Groningen, The Netherlands
phone: [phone]
fax: [phone]
[e-mail]


-



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

From: "Thomas Fischer jr." <[e-mail]>
Subject: interview - masada in milano
Date: 22 Jul 1999 14:06:58 +0100


apparantly the zorn interview in jazziz 8/99 is quite interesting...
does someone if it is available in germany? if not, are there
any ideas on how to transfer a copy? thanks for any suggestions!

i am not absolutely sure whether it was mentioned already,
but masada performed *free* on the milano music festival
june 19th 1999. it was the third time i saw them (after
1994/1995) and i was almost overwhelmed - fascinating music,
played very well, with a lot of interaction and communication between
the musicians.
i already liked the earlier masada a lot, but i think they improved.
in addition, there was no press problem, only music (and some
italian people still using their mobile phones...). in fact, jz seemed
to be really relaxed and enjoying the nice open-air atmosphere.

thomas

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Thomas V. Fischer

ITV Denkendorf
phone office: +49(0)711/9340-419, fax -297
home: +49(0)711/4570852
email: [e-mail]


http://www.itvd.uni-stuttgart.de/home/ThomasVFischer/home_1.html
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

-



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

From: "in.out" <[e-mail]>
Subject: so uppset !
Date: 22 Jul 1999 14:20:27 +0200

This is a multi-part message in MIME format.

------=_NextPart_000_0011_01BED44D.58D559A0
Content-Type: text/plain;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable


I'm so pissed to know that Massada played in Milano that I ask anyone of =
you to tell me how to reach Zorn tour dates.
Where, When, What, Who....evrything !

mikl

------=_NextPart_000_0011_01BED44D.58D559A0
Content-Type: text/html;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-8859-1" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2314.1000" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV> </DIV>
<DIV><FONT size=3D2>I'm so pissed to know that Massada played in Milano =
that I ask=20
anyone of you to tell me how to reach Zorn tour dates.</FONT></DIV>
<DIV><FONT size=3D2>Where, When, What, Who....evrything !</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=3D2>mikl</FONT></DIV></BODY></HTML>

------=_NextPart_000_0011_01BED44D.58D559A0--


-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: A Little Dolphy
Date: 22 Jul 1999 14:18:45 GMT0BST

The only album under Little's name that Dolphy appears on is Out
Front (on Candid) - highly recommended .. there are three alternate
takes, two of them on the Candid Dolphy compilation ... but Little's
Victory and Sorrow, aka Looking Ahead, now rereleased as Booker
Little and Friend is even better (despite the absence of Dolphy and
Roach).

They're also heard together on Roach's Percussion Bitter Sweet
(impulse) - also highly recommended.

And: on 4 or 5 tracks of Dolphy's Far Cry (Prestige/OJC), which many
people rave about, tho' I'd rather steer you towards the 2- and-a
quarter hours of Live At The Five Spot, which is only sensibly
collected on the Complete Dolphy Prestige Box, but which has been out
in meagre 30-40 minute doses (vols 1-3) on OJC releases.

A little Booker goes a long way.

Sean

-



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

From: "Scott Handley" <[e-mail]>
Subject: seditious recommendations, and 99 hooker, and autechre
Date: 22 Jul 1999 15:14:40 GMT

I've been looking at Shiurba's Limited Sedition label website, and the
releases look great, though I can't say why because there are no "blurbs".
Blurbs can sure be silly, especially with books, since every release is the
new masterpiece, the first of its kind, the epitome of its art, etc etc ad
nauseum.  But in lieu of having hip friends to tell me what the Ltd Sedition
releases are "like", I might need to rely on descrtiptions fro you guys.
For example, I'm intrigued by this new Robair solo disc.  What's it like?
And other recent releases---could someone dexcribe and/or recommend them?

Also: this guy, 99 Hooker: who is he?  other than Bible Launcher, I am not
at all familiar with his work.  Does he do electronic stuff live as well?

Also: I'm listening to the new Autechre, and I think it may be my favorite
yet.  I really, really like it; it seems, somehow, to morph faster than the
others I've heard.  I really only listen to, say, Squarepusher and Autechre,
electronically speaking, but I think this new EP7 is remarkably good,
mind-altering even.  (Note: it is NOT an EP.)

----s



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

-



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

From: [e-mail]
Subject: Kicking the buckethead
Date: 22 Jul 1999 15:48:03 +0100

> I couldn't tell for
> sure but the guitar sounded like Buckethead.

Does anybody else find this off-putting? Buckethead was funny a
few years ago, for about 60 minutes, but if he's still doing his faux
shred metal thing (which he was last time I heard him) then surely
it's time he hung up the bucket?

Rich (feeling a controversy coming on)

http://come.to/musings.com
NOTE: reply to [e-mail] if possible;
the address this message has come from is not permanent!

-



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

From: Dante Sawyer <[e-mail]>
Subject: jazziz zorn issue
Date: 22 Jul 1999 12:56:04 +0000

i've seen a number of questions about how to get the jazziz zorn issue.
so i figured i'd chime in and let you know how to get it -- i hope this
isn't too promotional of an act.

it should be available at barnes and nobles and other such stores --
borders. or you can order it through our 800 number: 1-800-742-3252
(yes, in germany, too).

dante sawyer
editor
jazziz

-



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

From: [e-mail] (Chris Westphal)
Subject: Re: Kicking the buckethead
Date: 22 Jul 1999 10:09:13 -0700

I'll have to agree with you on this one.  I saw him a few months back and
he barely played a lick.  It was mostly him swinging his guitar around for
an hour or so.  Give me a bucket and point me in the right direction.  I
think I can do that.

 - c

At 03:48 PM 7/22/99 +0100, [e-mail] wrote:
>> I couldn't tell for
>> sure but the guitar sounded like Buckethead.
>
>Does anybody else find this off-putting? Buckethead was funny a
>few years ago, for about 60 minutes, but if he's still doing his faux
>shred metal thing (which he was last time I heard him) then surely
>it's time he hung up the bucket?
>
>Rich (feeling a controversy coming on)
>
>--------------------------------------------
>http://come.to/musings.com
>NOTE: reply to [e-mail] if possible;
>the address this message has come from is not permanent!
>
>-
>
>
>

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Booker Little
Date: 22 Jul 1999 13:56:37 -0400 (EDT)

Only one I know of under Booker's name was Out Front on Candid. It also
features Max Roach, Julian Priester, Don Friedman and Ron Carter/Art
Davis --more or less Max's group of the day.

Dolphy and Little also both appear on two other excellent Roach albums
-- Percussion BitterSweet (Impulse) and We Insist, Freedom Now (first
Candid than CBS). Again these are vinyl issues. I know PBS is out again,
but aren't sure of the status of WI,FN.

Ken Waxman


On Thu, 22 Jul 1999, J.T. de Boer wrote:
 I was looking for Booker Little albums though, but
> couldn't find anything. Can someone give me recommendations,
> especially regarding Little albums that feature Dolphy?



-



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

From: Patrick Ivan Jenkins <[e-mail]>
Subject: english translation of Japanese text
Date: 22 Jul 1999 14:50:40 -0400 (EDT)

Would anyone have an english translation of the Japanese text that was
included on an insert in Masada 1 "Alef"? It was a little folded
piece of paper with the word Masada printed on the outside and Japanese text
on the inside that I believe talks about Masada and then lists the album track
titles for the first four albums Alef, Beit, Gimel and Dalet.

If anyone has an english translation of this text, could you please
e-mail it to me? I would greatly appreciate it.

Thanks.

Patrick




-



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

From: [e-mail]
Subject: Re: Kicking the buckethead
Date: 22 Jul 1999 16:48:11 EDT

In a message dated 7/22/99 11:37:45 AM Eastern Daylight Time,
[e-mail] writes:

> Does anybody else find this off-putting? Buckethead was funny a
>  few years ago, for about 60 minutes, but if he's still doing his faux
>  shred metal thing (which he was last time I heard him) then surely
>  it's time he hung up the bucket?

Nah, I'd say just stop buying his records! :-)
-Jody

PS- he's  taken an interest in jazz recently...

-



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

From: Paul Audino <[e-mail]>
Subject: Re: Kicking the buckethead
Date: 22 Jul 1999 15:58:31 -0500 (CDT)


On Thu, 22 Jul 1999 [e-mail] wrote:

> Does anybody else find this off-putting? Buckethead was funny a
> few years ago, for about 60 minutes, but if he's still doing his faux
> shred metal thing (which he was last time I heard him) then surely
> it's time he hung up the bucket?

I actually think that Buckethead has improved greatly with age.  Some of
the earlier releases, especially the 2CD on Avant, were interesting to
listen to once or twice but then kinda lost my interest.  Albums such as
_Colma_ have been much more musical.

Paul
[e-mail]


-



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

From: Steve Smith <[e-mail]>
Subject: Limited Sedition piece from Jazziz May 1999
Date: 22 Jul 1999 21:07:53 -0400

Since there has been a small flurry of inquiries about the Limited
Sedition CD label, rather than post a bunch of individual answers, let
me post the brief article I wrote (and Dante edited) that ran in Jazziz
back in May:

Order Up... Burnt CDs for Five
by Steve Smith
Jazziz, May 1999

Bay Area guitarist and free-improvisor John Shiurba hit upon the idea of
his new Limited Sedition record label soon after buying a CD burner last
year.  "I just wanted to put out CDs of my music, and music that I think
is worthy," he explains.  "But the idea of shopping tapes of this kind
of music to labels seemed like a dead end.  When the CD writer opened
the door to small editions, it just occured to me that here was the
perfect medium for improvised music.  If you have an audience of five
people, then you can make five CDs and not have a closet full of
aluminum coasters."

Free improvisation and the recording industry have endured a troubled
union from the beginning.  Improvisation is a fleeting mode of musical
communication, felt by many to exist purely in the moment of creation,
and to be resistant to documentation.  And the audience for the music is
so comparatively small that it renders recording improv too costly for
most record companies, anyway.

But the falling costs of home-recording technologies has enabled less
marketable musicians to document their work and to sell it to
enthusiasts in a creative and cost-effective way.  Shiurba's Limited
Sedition (www.sfo.com/~shiurba/sedition.html), for example, documents
his own music and that of his fellow Bay Area improvisors on recordable
CD (or CD-R).

Such a D.I.Y. approach is not without precedent.  In 1973, British
guitarist Derek Bailey released a series of four solo-guitar recordings
on reel-to-reel tape, making individual custom copies to order.  (These
rare recordings were issued on CD as 'Incus Taps' on the Organ of Corti
label in 1996.)  But Shiurba is among the first to devote an entire
record label of strictly limited, numbered editions of well under 100
copies that will never be re-pressed.  He has released eight
hand-designed recordings since founding Limited Sedition last July.  His
production costs average around four dollars per disc.  This, coupled
with grassroots promotion via the Internet, helps him turn modest
profits into new recordings quickly, in order to keep pace with the
rapid evolution of the music and its creators.

Alrady, Shiurba is not alone.  Saxophonist David Gross has begun to
release limited-edition CD-Rs of music recorded live at the Zeitgeist
Gallery in Cambridge, Massachusetts on his Tautology label
(members.aol.com/Tautology3).  And Splatter Trio percussionist Gino
Robair, who runs the more conventional Rastascan label
(www.rastascan.com), has taken the notion a step further, creating
individual "private concert" releases on CD-R.  "They're more than just
a live improv," Robair explains.  "I do a bit of digital hacking on the
material before burning a CD-R.  They're one of a kind, and I've made
them to order.  I think this is the way that many improvisors will be
working very soon."

Beyond the obvious benefit of low overhead, this approach to recording
allows an artist to explore even the most unlikely creative impulse.
Saxophonist Dan Plonsey gave Shiurba a whimsical solo-oboe recording
made on the day he purchased the instrument.  And Robair, who has played
on two Limited Sedition releases and compiled a disc of Splatter Trio
rarities for the label as well, has plans for an album of music
performed entirely on... Styrofoam?  "A handful of Styrofoam and a bow
and that's it," says Robair.  "You can see why we need a label like
Limited Sedition."


-



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

From: Steve Smith <[e-mail]>
Subject: Limited Sedition Review-Haiku
Date: 22 Jul 1999 22:41:43 -0400

Since my article for Jazziz (reprinted on the Zornlist this evening)
didn't actually include much in the way of opinion about what the music
sounds like, I humbly offer the following:

LIMITED SEDITION REVIEW-HAIKU
by Steve Smith (in a puckish mood)
July 22, 1999 (around 10:20 to 10:40 p.m.)

Limited Sedition 1 - Shiurba/Rosenburg/Robair: 'Bubble & Squeak'

Drums, guitar and reeds
Played by Bay Area guys
Euro-improv rules

Limited Sedition 2 - Gelb/Kihlstedt/Shiurba/Sperry: 'Smoking Balance'

Sound of purring strings
Shakuhachi blows it East
Now it's out of print

Limited Sedition 3 - Ingalls/Perkis/Robair/Shiurba: 'The Matthew Sperry
Trio'

Continental drift
Clarinet meets AMM
Sperry wasn't there

Limited Sedition 4 - 99 Hooker/Thomas Scandura: 'Cygnus Adapter'

Whirling balls of fire
Vandermark Generator
Sound is just so-so

Limited Sedition 5 - Boisen/Shiurba: 'Uncle'

Scrape of strangled strings
Frith, Cline, Kaiser, Bailey sounds
Two guitars make noise

Limited Sedition 6 - Dan Plonsey: 'Understanding Human Behavio'

Wacky improv disc
Dan blows his oboe debut
Cheap keyboards make fun

Limited Sedition 7 - Splatter Trio: 'Splatterarities'

U.S. improv kings
Not known well enough at all
(My drums guest on -12-)

That's all.  Not a dud among the batch I've bought so far, just true
musical exploration in the best sense.  Gotta get those other seven
LtdSed discs, muy pronto.  (Hey, John, hold one of each for me...)

Steve Smith
[e-mail]
NP - Dan Plonsey, "Fancy Dancy," 'Understanding Human Behavio'


-



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

From: "Kolk, Huub van der" <[e-mail]>
Subject: upcoming Zorn-book
Date: 23 Jul 1999 10:00:44 +0200

Amazon.com mentions that abook edited by Zorn, wit the title 'Arcana:
Musicians on Music' (ISBN 188712327X) will be published in october.
Can't wait.

-



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

From: "Jeroen de Boer" <[e-mail]>
Subject: new Zorn?
Date: 23 Jul 1999 13:49:50 +0200

Hi all,

I found this on the Downtown Music Gallery website:

New releases for july
JOHN ZORN-Godard/Spillane (Tzadik 7324) excellent remasters of two
great tribute pieces with an all-star cast of Frith, Frisell, Marclay,
Quine, John Lurie... plus a rare Christmas track-"Blue Noel"! $14.

The Tzadik site doesn't mention this one, not even for the
august/september releases. Any news?

Jeroen


Jeroen de Boer
student Arts & Arts Management
University of Groningen, The Netherlands
[e-mail]
program director Open Electronic Festival
Munnekeholm 10
9711 JA Groningen, The Netherlands
phone: [phone]
fax: [phone]
[e-mail]


-



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

From: "Zachary J. Griffin" <[e-mail]>
Subject: Re: new Zorn?
Date: 23 Jul 1999 10:24:01 -0400

All I know is that it is also listed in the Forced Exposure web site.  Not
only Spillane/Goddard, but The String Quartets CD as well.  They had it
available for purchase since last week.  Most likely taking orders for
when the discs arrived at the store.  Supposedly The String Quartets came
out on tuesday.  I don't know the release date for Spillane/Goddard.

Zach

Jeroen de Boer wrote:

> Hi all,
>
> I found this on the Downtown Music Gallery website:
>
> New releases for july
> JOHN ZORN-Godard/Spillane (Tzadik 7324) excellent remasters of two
> great tribute pieces with an all-star cast of Frith, Frisell, Marclay,
> Quine, John Lurie... plus a rare Christmas track-"Blue Noel"! $14.
>
> The Tzadik site doesn't mention this one, not even for the
> august/september releases. Any news?
>
> Jeroen
>
> Jeroen de Boer
> student Arts & Arts Management
> University of Groningen, The Netherlands
> [e-mail]
> program director Open Electronic Festival
> Munnekeholm 10
> 9711 JA Groningen, The Netherlands
> phone: [phone]
> fax: [phone]
> [e-mail]
>
> -


-



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

From: [e-mail]
Subject: Re: new Zorn?
Date: 23 Jul 1999 11:25:44 EDT


In a message dated 7/23/99 10:21:16 AM, [e-mail] writes:

<< All I know is that it is also listed in the Forced Exposure web site.  Not
only Spillane/Goddard, but The String Quartets CD as well.  They had it
available for purchase since last week.  Most likely taking orders for
when the discs arrived at the store.  Supposedly The String Quartets came
out on tuesday.  I don't know the release date for Spillane/Goddard. >>

DMG has them both for sale now.

first impressions: Spillane/Godard contains two pretty good long pieces from
1985-86. I already had Spillane (this version is supposedly remastered, but I
haven't bothered comparing the two. it is the exact length of the first
one.), but I hadn't heard Godard before, and I liked it a lot on first
listen. recommended.

String Quartets didn't make much of an impact on me on my first listen, so
I'll reserve comment.

I also bought the live Shrek/Marc Ribot on Tzadik, partially because I'm a
big fan of recent Ribot and had never heard Shrek, and because someone on
this list raved about it recently. well, I thought it was pretty terrible. I
had to turn it off after ten minutes; it consists of poorly recorded music,
with fairly inane rantings by Ribot on top. I suppose the title of "Yo! I
Killed Your God" should have tipped me off.

anyone else think the quality control over at Tzadik HQ is getting a little
dubious? the double Haino with Laswell and Ali is hands down the worst thing
I've ever heard from him, and the Luc Ferrari they did is also the low point
I've heard from him.

as always, just my opinions.

Jon
www.erstwhilerecords.com

-



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

From: picnic thisway <[e-mail]>
Subject: last minute info + adv. notice  - recommended!
Date: 23 Jul 1999 12:45:23 -0400

I received infos from pitchbrite list (there were more gigs recommended
there but i picked up only the ones relative to this list) on the
following gigs which might be interesting to some of you there... so,
passing them on. - pt

******now.the*super*hyper*recommended!*super*hyper*recommended!*******1:
saturday, july 24th, 9:30 p.m.
@ the cooler, 416 w. 14th st. (bet. 9th ave. x wash st.)
212-229-0785 or http://www.thecooler.com
hochenkeit (members of irving klaw trio, from portland, OR)
toshio kajiwara
christian marclay + lee ranaldo duo
mainliner (members of highrise, from japan)

2:
sunday, august 8th, 8 p.m. sharp
@ tonic, 107 norfolk st. (bet. delancey x rivington)
212.358.7503 or http://www.tonic107.com

[electroluxe] presents:

solo:   pita (peter rehberg) - mego, vienna, austria
duo:    ikue mori &
        jim o'rourke - moikai, chicago, IL
trio:   toshio kajiwara,
        raz mesinai,
        dj olive the audio janitor

plus opening muzak by <o>blaat of pitchbrite

(more detailed info on this event will follow soon.)

**********************************************************************
end.)


-



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

From: [e-mail]
Subject: Re: new Zorn?
Date: 23 Jul 1999 11:25:44 EDT


In a message dated 7/23/99 10:21:16 AM, [e-mail] writes:

<< All I know is that it is also listed in the Forced Exposure web site.  Not
only Spillane/Goddard, but The String Quartets CD as well.  They had it
available for purchase since last week.  Most likely taking orders for
when the discs arrived at the store.  Supposedly The String Quartets came
out on tuesday.  I don't know the release date for Spillane/Goddard. >>

DMG has them both for sale now.

first impressions: Spillane/Godard contains two pretty good long pieces from
1985-86. I already had Spillane (this version is supposedly remastered, but I
haven't bothered comparing the two. it is the exact length of the first
one.), but I hadn't heard Godard before, and I liked it a lot on first
listen. recommended.

String Quartets didn't make much of an impact on me on my first listen, so
I'll reserve comment.

I also bought the live Shrek/Marc Ribot on Tzadik, partially because I'm a
big fan of recent Ribot and had never heard Shrek, and because someone on
this list raved about it recently. well, I thought it was pretty terrible. I
had to turn it off after ten minutes; it consists of poorly recorded music,
with fairly inane rantings by Ribot on top. I suppose the title of "Yo! I
Killed Your God" should have tipped me off.

anyone else think the quality control over at Tzadik HQ is getting a little
dubious? the double Haino with Laswell and Ali is hands down the worst thing
I've ever heard from him, and the Luc Ferrari they did is also the low point
I've heard from him.

as always, just my opinions.

Jon
www.erstwhilerecords.com

-



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

From: William York <[e-mail]>
Subject: Ribot/Shrek
Date: 23 Jul 1999 13:17:01 -0400 (EDT)

> I also bought the live Shrek/Marc Ribot on Tzadik, partially because I'm a
> big fan of recent Ribot and had never heard Shrek, and because someone on
> this list raved about it recently. well, I thought it was pretty terrible. I
> had to turn it off after ten minutes; it consists of poorly recorded music,
> with fairly inane rantings by Ribot on top. I suppose the title of "Yo! I
> Killed Your God" should have tipped me off.

Uggh, I guess that was me.  I wouldn't say I raved about it, because
I thought I mentioned that there
is a lot off stuff that could or should have been edited out.  But I
thought that there were at least parts of it, mostly the instrumentals,
that were really good.  Plus, I kind of liked the sound quality.  I
have to listen to it with the player on program or a remote nearby.

But you're right about the Tzadik quality control level being a little low
at times, and the discs are often too short for the price.  I don't think
it has gotten worse recently, they've had occasional stinkers ever since
the beginning, although I guess it depends on what you're looking for.

As for the Zorn/Jazziz thing, its a nice article, but they seem to have
countered it by including as much from the other end (smooth jazz,
commercial vocals) as possible.  And those reviews are pretty airbrushed
as well.  Sorry to the JAzziz people on this list for the negative
comments...

WY


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: new Zorn?
Date: 23 Jul 1999 11:54:00 -0700


On Fri, 23 Jul 1999 11:25:44 EDT  [e-mail] wrote:
>
> I also bought the live Shrek/Marc Ribot on Tzadik, partially because I'm a
> big fan of recent Ribot and had never heard Shrek, and because someone on
> this list raved about it recently. well, I thought it was pretty terrible. I
> had to turn it off after ten minutes; it consists of poorly recorded music,
> with fairly inane rantings by Ribot on top. I suppose the title of "Yo! I
> Killed Your God" should have tipped me off.

I totally agree with you on that. I doubt that the content of this record
really deserved to be put out. For me, it documents Marc at his worst. The
piece where he is counting is, I think, really embarrassing.

> anyone else think the quality control over at Tzadik HQ is getting a little
> dubious? the double Haino with Laswell and Ali is hands down the worst thing
  ^^^^^^^

I would not say that. Tzadik is a label that takes risks, and the negative side
of taking risks it that you can make mistakes (or at least what can appear as
mistakes). I think that the quality is still high and they are not affraid to
put out records by mavericks or highly idiosyncrac individuals.

> I've ever heard from him, and the Luc Ferrari they did is also the low point
> I've heard from him.

I am ashamed to say that I never really tried Ferrari until I bought that one.
Not knowing anything else by him, it was hard to really make a judgement, but
it is true that I was not too crazy about it.

Did you try the newly reissued INTERRUPTEUR/TAUTOLOGOS 3 on Blue Chopsticks?
Tautologos belongs to Ferrari's "heroic" period and I will finally be able to
check it after all these years (during which I was too stupid to buy the
vinyl).

    Patrice.

-



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

From: Paul Audino <[e-mail]>
Subject: What About The Other 2 Pieces On _Spillane_?
Date: 23 Jul 1999 14:11:23 -0500 (CDT)


Hello,

I picked up the _Godard/Spillane_ reissue yesterday and was wondering what
Zorn/Tzadik plans to do with the other 2 pieces that were on the original
Nonesuch _Spillane_ CD.  I know that "Forbidden Fruit" is also available
on _Winter Was Hard_ by the Kronos 4tet but I don't believe that "Two-Lane
Highway" is available anywhere else.

I'd really like to know if there are any plans for Tzadik reissues of
these 2 tracks, especially considering that _Spillane_ seems to have gone
out of print.

Regards,

Paul
[e-mail]

  GROOVE
----------
One Nation




-



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

From: "m. rizzi" <[e-mail]>
Subject: Re: new Zorn?
Date: 23 Jul 1999 12:11:54 -0700 (PDT)

>New releases for july
>JOHN ZORN-Godard/Spillane (Tzadik 7324)

>The Tzadik site doesn't mention this one, not even for the
>august/september releases. Any news?

    My fault, I accidentally left that one
    off. The website is now correct.
    Look in the Archival section.

    mike


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: What About The Other 2 Pieces On _Spillane_?
Date: 23 Jul 1999 12:20:23 -0700


On Fri, 23 Jul 1999 14:11:23 -0500 (CDT)  Paul Audino wrote:
>
> I picked up the _Godard/Spillane_ reissue yesterday and was wondering what
> Zorn/Tzadik plans to do with the other 2 pieces that were on the original
> Nonesuch _Spillane_ CD.  I know that "Forbidden Fruit" is also available
> on _Winter Was Hard_ by the Kronos 4tet but I don't believe that "Two-Lane
> Highway" is available anywhere else.

What I regret the most is that Zorn did not add a fourth track:

    The astounding cover of Monk's Shuffle Boil

that these !@%$@%#% at A&M Records did not feel necessary to keep when they
released the CD version of THAT'S THE WAY I FEEL NOW.

    Patrice (still trying to recover from this song... 15 years after).

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: new Zorn?
Date: 23 Jul 1999 12:25:57 -0700


On Fri, 23 Jul 1999 11:54:00 -0700  "Patrice L. Roussel" wrote:
>
> Did you try the newly reissued INTERRUPTEUR/TAUTOLOGOS 3 on Blue Chopsticks?
> Tautologos belongs to Ferrari's "heroic" period and I will finally be able to
> check it after all these years (during which I was too stupid to buy the
> vinyl).

Of course I wanted to say:

    "during which I was too stupid to not buy the vinyl"

    Patrice.

-



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

From: [e-mail]
Subject: Jerry Hunt?
Date: 23 Jul 1999 15:17:00 -0500


     Any opinions on this composer's work, including the new Tzadik
     release? I've read a bit on him but never got around to listening. Any
     general descriptions/critiques would be appreciated.

     Brian Olewnick



-



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

From: [e-mail]
Subject: Ribot/Shrek/Erhlich
Date: 23 Jul 1999 17:52:39 -0300

WY wrote:

>I also bought the live Shrek/Marc Ribot on Tzadik, partially because

Speaking of Ribot, are there any opinions out there on the last
Erhlich's Dark Woods Ensemble with MR as special guest?

Thanks in advance,

H

-



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

From: [e-mail]
Subject: Re: Ribot/Shrek/Erhlich
Date: 23 Jul 1999 17:43:25 -0400 (EDT)

or Ribot's Shoe String Film Works Album....

On Fri, 23 Jul 1999 [e-mail] wrote:

> WY wrote:
>
> >I also bought the live Shrek/Marc Ribot on Tzadik, partially because
>
> Speaking of Ribot, are there any opinions out there on the last
> Erhlich's Dark Woods Ensemble with MR as special guest?
>
> Thanks in advance,
>
> H
>
> -
>
>


-



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

From: [e-mail]
Subject: Luc Ferrari (was: Re: new Zorn?)
Date: 23 Jul 1999 19:23:07 EDT


In a message dated 7/23/99 2:55:57 PM, [e-mail] writes:

<< I am ashamed to say that I never really tried Ferrari until I bought that
one.
Not knowing anything else by him, it was hard to really make a judgement, but
it is true that I was not too crazy about it.

Did you try the newly reissued INTERRUPTEUR/TAUTOLOGOS 3 on Blue Chopsticks?
Tautologos belongs to Ferrari's "heroic" period and I will finally be able to
check it after all these years (during which I was too stupid to buy the
vinyl). >>

yup, it's very good. the Ferrari to start with, at least on CD, is Presque
Rien (INA-GRM). the Blue Chopsticks one, which is a reissue of an EMI LP from
1970, and the BVHaast one are also preferable to the Tzadik one, which I
didn't get much out of at all.

Jon
www.erstwhilerecords.com

-



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

From: [e-mail]
Subject: Re: Jerry Hunt?
Date: 23 Jul 1999 19:37:41 EDT


In a message dated 7/23/99 3:27:54 PM, [e-mail]
writes:

<< Any opinions on this composer's work, including the new Tzadik
     release? I've read a bit on him but never got around to listening. Any
     general descriptions/critiques would be appreciated. >>

I have his other three CDs, but not the Tzadik one. I haven't played any of
them in a while, but I remember them as quirky electroacoustic music, and
generally very accomplished. of the three I have, I'd suggest Ground (OO
Disc), then Haramand Plane (What Next?). I didn't think Lattice (CRI) was
quite as good as those two, and the description I read of the Tzadik one made
it seem a bit too much like posthumous dregs for my taste, especially given
my dwindling confidence in the label.

Jon
www.erstwhilerecords.com

-



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

From: John Santamaria <[e-mail]>
Subject: Rashaan Roland Kirk
Date: 24 Jul 1999 03:45:48 -0400 (EDT)

Hi Zornlist!

I know, I imagine I come off as a totally ignormant, mis/uninformed fool,
BUT, what better source to mine, eh?  (All this questions of mine.... but
hey, I'm a 17 year old kid, fgs)

So, which Kirk album/period/label should I begin with.  I'm not looking
for an "introduction" for the potentially pale,  I'm looking for best work...


                   |     |
        |          == + ===
        |     _        +
    ___ |    | |       +++++      -----
              -        +   +      .   |
                       +   +      .   |

Your Grandpa's cane, it turns into a sword
Your Grandma prays to pictures that are pasted on a board

                                            -B. D.



-



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

From: "in.out" <[e-mail]>
Subject: Re: Rashaan Roland Kirk
Date: 24 Jul 1999 10:52:07 +0200

< So, which Kirk album/period/label should I begin with.  I'm not looking
for an "introduction" for the potentially pale,  I'm looking for best
work...

without a doubt to start "with the best" kirk try first the Atlantic peri=
od
where I think kirk wrote the best pages of his carreer. To do short, the =
2
cd compilation "does your house have lions".
Or with two Albums choice : "Inflated tears" and his pur kirkish style an=
d
"Blacknuss" for r'n b anthems with a kirk treatment.

mikl

----- Message d'origine -----
De : John Santamaria <[e-mail]>
=C0 : Zornlist <[e-mail]>
Envoy=E9 : samedi 24 juillet 1999 09:45
Objet : Rashaan Roland Kirk


> Hi Zornlist!
>
> I know, I imagine I come off as a totally ignormant, mis/uninformed foo=
l,
> BUT, what better source to mine, eh?  (All this questions of mine.... b=
ut
> hey, I'm a 17 year old kid, fgs)
>
> So, which Kirk album/period/label should I begin with.  I'm not looking
> for an "introduction" for the potentially pale,  I'm looking for best
work...
>
>
>                    |     |
>         |          =3D=3D + =3D=3D=3D
>         |     _        +
>     ___ |    | |       +++++      -----
>               -        +   +      .   |
>                        +   +      .   |
>
> Your Grandpa's cane, it turns into a sword
> Your Grandma prays to pictures that are pasted on a board
>
>                                             -B. D.
>
>
>
> -
>
>


-



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

From: [e-mail]
Subject: recent discoveries
Date: 24 Jul 1999 15:58:21 EDT

just thought I'd share a few records that have been rocking my world lately:

Burkhard Stangl's Recital (Durian).

Durian is a Vienna-based improv label run by Werner Dafeldecker (Polwechsel,
Orchester 33 1/3). although it's been around for a few years, it just started
being distributed in the US for the first time, by Dutch East India
(www.dutch-east.com, and you can now order directly from them). Stangl's solo
disc (mostly guitar with a bit of piano sprinkled in) is the most exciting
one I've found so far. his approach reminded me of the solo Radu Malfatti
record on Edition Wandelweisser more than anything else, in its attention to
sparse detail and texture. a very exciting record, at least for me.

Gilberto Gil-Gilberto Gil and Cerebro Eletronico (Polygram Brazil and Japan,
respectively).

quite honestly, outside of Caetano Veloso, most of my ventures into Brazilian
music and tropicalia have been fairly disappointing. I find that the language
barrier, on what is usually singer/songwriter material, tends to keep me from
doing more than appreciating it from afar. the music on these records,
though, is pretty remarkable, especially Cerebro Eletronico. Rogerio Duprat's
influence is deeply felt throughout CE, especially on the stunner that closes
the disc, Objeto Semi-Identificado. Duprat was the producer of most of the
classic early Tropicalia records, including all five in the fairly
well-distributed CD box set. he studied at Darmstadt in the early sixties,
and he brings that electronic/concrete influence here, more than on most of
the other records I've heard produced by him. Dusty Groove
(www.dustygroove.com) usually stocks this stuff, but it doesn't seem to be in
their catalog right now, but I'm sure if you hunt a bit, you can find these,
although they're not cheap.

No Neck Blues Band-The Birth Of Both Worlds (Sound@One).

with the possible exception of Loren Mazzacane, I go to more No Neck Blues
Band concerts than any other artist. the NNCK, as they prefer to abbreviate
it, are seven or eight guys and one woman, based in NYC. their current base
of operations is a loft in Harlem, where they play periodic, unpublicized,
semi-private concerts, usually including four or five bands in a night.
sometimes these consist of bands no one's heard of, with names like Sunburned
Hand Of The Man. I've also seen everyone from John Fahey to Test to Lee
Ranaldo to Loren Mazzacane perform in their space. almost all of them are
untrained musicians, with a few exceptions (Dave Nuss, Matt Heyner), but
they've been jamming together for years, and have developed a unique power,
which can be exhilarating to witness when they're on, which is more and more
lately. this double CD is a document of two free, outdoor concerts from 1998,
one in Boston, one in NYC, both of which were prematurely ended by the
police. unfortunately, since the original plan for these shows was probably
to play for five or six hours (as they did at the outdoor show that I
attended earlier this year), the CDs are merely a taste of what was hopefully
to come later on. some may find these a touch amateurish, and they're
certainly no substitute for seeing them live, but I've been really getting
into them. it's a way overused comparison at this point, mostly by people who
have no idea what they're talking about, but I think the NNCK capture the
spirit of krautrock, specifically Can-era Tago Mago and Amon Duul I, more
than any other band in the world right now, with the possible exception of
the Turkish band Zen. the double LP just released simultaneously with this
isn't as good as the CDs; there's no overlap in material. the NNCK just
recorded a record for John Fahey's Revenant label, and I believe they're
going to tour with Royal Trux, so check them out if they come to your town.
available through Forced Exposure (www.fe.org).

Jon
www.erstwhilerecords.com

-



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

From: Charles Gillett <[e-mail]>
Subject: New Zorn tidbits, etc.
Date: 24 Jul 1999 19:10:00 -0500 (CDT)

   The liner notes for the new Zorn releases give some interesting
details.  In the Godard/Spillane notes, he mentions how "Etant Donnes"
(On the Duras:Duchamp disc) was realized using the Synclavier (I
think this had been discussed but not confirmed when the CD came out).
I wonder why this was necessary.  I guess the process of using the
Synclavier (or the studio process used for Spillane, Godard, etc.)
determines the output, even though to me it sounds like the end
product could easily be played by a live ensemble.  "Easily."

   The notes for The String Quartets get rather personal, especially
regarding "Memento Mori."  I don't know much if anything specific
about Zorn's personal life (probably fine with him), so it was
somewhat surprising to see him writing about "lost love."

   I also bought the reissue of Kagel's 1898 & Music For Renaissance
Instruments.  I haven't been able to listen to this yet, but the
pictures of the instruments used for 1898 are fascinating.  I don't
know how this music compares to other earlier Kagel, as the only
other work I've heard from the era is Der Schall.


-- Charles



-



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

From: [e-mail] (Martin Wisckol)
Subject: Monk's Shuffle Boil by Zorn
Date: 24 Jul 1999 19:05:36 -0700

This was what introduced me to Zorn, drove me wild with enthusiasm and
sent onto The Big Showdown and the rest is history. My vinyl of this is
in pretty good shape and as always, interested in tape trades -- have
plenty of other interesting stuff both Zorn (such as Yankees with
Bailey and George Lewis) and others, Ayler to Zappa, Jelly Roll Morton
to Brad Meldhau, India to China to Brazil to Africa....

-



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

From: "lava" <[e-mail]>
Subject: archery
Date: 25 Jul 1999 03:15:00 -0400

what would a mint copy fetch these days?...
lava


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: archery
Date: 25 Jul 1999 08:16:22 -0400

At 03:15 AM 7/25/99 -0400, lava wrote:
>what would a mint copy fetch these days?...

A copy of There'll be no tears tonight, a single album of comparable
vintage, went for $38 on ebay this month.  Tears hasn't been reissued on cd
yet though.

--
Caleb Deupree
[e-mail]

It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing.  There is more
than one way to conquer a country.

-- Raymond Chandler

-



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

From: [e-mail] (Jonathan Mooneyham)
Subject: Re: archery
Date: 25 Jul 1999 08:00:17 -0500

>At 03:15 AM 7/25/99 -0400, lava wrote:
>>what would a mint copy fetch these days?...
>
>A copy of There'll be no tears tonight, a single album of comparable
>vintage, went for $38 on ebay this month.  Tears hasn't been reissued on cd
>yet though.
>
>--
>Caleb Deupree
>[e-mail]

Oh, yes it has... Fundamental reissued it on cd in the early 90's - catalog
# SAVE 6 CD...

Jon M.



-



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

From: [e-mail]
Subject: Re: New Zorn tidbits, etc.
Date: 25 Jul 1999 12:16:05 EDT

In a message dated 7/24/99 8:11:24 PM Eastern Daylight Time,
[e-mail] writes:

>    The notes for The String Quartets get rather personal, especially
>  regarding "Memento Mori."  I don't know much if anything specific
>  about Zorn's personal life (probably fine with him), so it was
>  somewhat surprising to see him writing about "lost love."

Memento mori is an art motif dating way back.  The pictures contain images
referring to death, such as skulls, bones, graves, etc...  The term is Latin
for "remember death".  Anyways, right up Zorn's alley :-)
-Jody

or-- maybe it means: "remember Ikue Mori"

-



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

From: [e-mail]
Subject: neues kabarett
Date: 25 Jul 1999 13:05:21 -0500


Sorry to repeat the posting, but ... well, OK, I'm not sorry, because I want all
of you to come to the next Neues Kabarett at the Brecht Forum, Fri 7/30 starting
at 9 p.m. For those of you familiar with our struggles, our new piano will be
delivered tomorrow. But we still can't afford it, and I'm humbled by the efforts
of the artists who helped us learn about pianos and are helping us by playing
the benefits.

The addition to the bill I want to let you know about, however, is JOE MANERI
will be playing one song on piano with his son Abraham reading his poetry.
Abraham will also read with Ryan Sawyer and John Blum performing.

Here's the line-up

9 - Loren Mazzacane Connors solo guitar
10 - Abraham Maneri w/guests
11 - Stephanie Stone, solo piano
12 - Roy Campbell, solo trumpet

And what fave-of-mine Billie Holliday song might Roy and Stephanie duet on?
You'll have to be there to find out.

Also, raffle with No More Records and AUM Fidelity cds, a Schoenhut toy piano,
and more.

122 W. 27th St. 10th Fl. NYC $10-15. Call [phone] or email me for more
info.



-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: who are these bands???? Help wanted......
Date: 25 Jul 1999 21:36:43 +0200

Hi,

I just picked up two very good jazz-noise cds, but i don't know anything of
these bands, so help is appreciated:

-Noggin -untiteled cd on trackshun industries-
as far as i can read from the liner notes, the band consists of michael on
electric violin and eric on electric guitar. They are an american band but
play free form jazz and noise in the european style. Sometimes a bit too
chaotic, but most of the times a very good interplay...

-Fires were shot -From the heart on only me records-
the band is based around john wilkins and clay walton. Both play accoustic
guitar and effects. This is A VERY GOOD CD, believe me: a broad range of
styles: from sonic youth/pavement guitar style soundscapes to very jazzy
interplay.

Both bands are really amazing and will be on my top 10 of 1999.

However, I didn't find anything on these bands...

Can anyone help me with additional info (weblinks etc)

Best wishes

stefan


-



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

From: [e-mail]
Subject: Re: who are these bands???? Help wanted......
Date: 25 Jul 1999 16:03:06 EDT


In a message dated 7/25/99 3:38:42 PM, [e-mail] writes:

<< -Noggin -untiteled cd on trackshun industries-
as far as i can read from the liner notes, the band consists of michael on
electric violin and eric on electric guitar. They are an american band but
play free form jazz and noise in the european style. Sometimes a bit too
chaotic, but most of the times a very good interplay...

Both bands are really amazing and will be on my top 10 of 1999.>>

I can't help you with more info about Noggin, but I do know that this CD has
been out for at least three or four years. the recording date, although it's
not really clear in the liner notes, is Jan./Feb. '94, not '99. I haven't
seen anything else from Noggin since.

Jon
www.erstwhilerecords.com


-



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

From: [e-mail]
Subject: Ground Zero-Last Concert
Date: 25 Jul 1999 16:06:18 EDT

for those of you not subscribed to the Forced Exposure new releases list, FE
got in copies of Ground Zero-Last Concert (Amoebic) this week. Other Music
also has it. just bought it, haven't heard it yet...

Jon

-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: [thewire] who are these bands???? Help wanted......
Date: 25 Jul 1999 13:13:43 -0700

At 9:36 PM 7/25/99, Stefan Verstraeten wrote:
>From: "Stefan Verstraeten" <[e-mail]>
>
>Hi,
>
>I just picked up two very good jazz-noise cds, but i don't know anything of
>these bands, so help is appreciated:
>
>-Noggin -untiteled cd on trackshun industries-
>as far as i can read from the liner notes, the band consists of michael on
>electric violin and eric on electric guitar. They are an american band but
>play free form jazz and noise in the european style. Sometimes a bit too
>chaotic, but most of the times a very good interplay...

Noggin were from somewhere in Washington (Everett maybe?), Eric is a
20-something guitarist, Michael is much older (50's/60's) violinist, just a
phenomenal improvisor. The CD is a couple of years old, I saw them a few
times around then and they were always terrific. Michael is a very engaging
storyteller also.

Last I knew the guitarist had moved to Portland, and I believe they are no
longer playing together. Haven't heard anything from Michael since then.

________________________________________________________
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: SUGAR in their vitamins? <[e-mail]>
Subject: Re: omoide hatoba
Date: 25 Jul 1999 14:09:19 -0700 (PDT)

a little late in replying, but...

On Wed, 21 Jul 1999 [e-mail] wrote:

> than I had noticed before. BTW, does anyone know what "Omoide Hatoba" means?

it means "Harbor of Memories" (Omoide = harbor, Hatoba = memory)

the name is sort of an absurd joke.
in Japanese Enka music (traditional folk
music), words like "memory" and
"harbor" are used very frequently in
song titles because they're evocative words.
putting these two words together makes
it a nonsense name. or as Yamamoto once
told me "it's just like the music...
putting together common elements to create
something strange."

hasta.

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


-



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

From: King Wilson <[e-mail]>
Subject: Jon Hassel and TV
Date: 25 Jul 1999 21:11:47 -0500

Anyone else notice that Jon Hassel did the theme to The Practice tv show?

  btw  the new Wire magazine has a really good article about Otomo Yoshidi



-



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

From: Herb Levy <[e-mail]>
Subject: Re: Jerry Hunt
Date: 25 Jul 1999 19:56:39 -0700

     Brian Olewnick asked:

>     Any opinions on this composer's work, including the new Tzadik
>     release? I've read a bit on him but never got around to listening. Any
>     general descriptions/critiques would be appreciated.
>

Jerry Hunt was an amazing performer of live electronic music; seeing him
for the first time was a revelation for me. Curtain up (probably
figuratively, but the space may have had a curtain) on a table full of
electronic gear already making sounds. Hunt comes on stage in a cheap suit,
bad comb-over, banging on a very battered suitcase. At some point it seems
that there may some connection between the banging and changes in the
sound. Eventually Hunt sits in a folding chair, flashing a light at some of
the gear on the table and then begins shing the light at a series of
snapshots he's holding so that they face the table, alternating shining the
light on the pictures and the gear, again with some sort of sense that
changes are being controlled but no easy answer as to how this is
occurring. It was a lot like an Absurdist theater piece with amazing music.
Subsequent performances were equally mystifying in terms of the performance
gestures, and equally fascinating and satisfying sonically.

For me Haramand Planes, the CD that was originally released on What Next
(now distributed by OO Discs) is the most like what his performances
sounded like, though the OO original disc (Ground) is also good.  OO also
has a video of four pieces by Hunt available.  There's also a very good
piece called Fluud on one of those Computer Music Compilations on Centaur.
The CRI disc compiles works from a couple of older independent LP releases
& this may noit be a very good intro to his work.

The Tzadik disc is an odd array: short pieces made as music beds for a
collaboration with Karen Finley, and subsequently used in much the same way
by Shelley Hirsch in a performance based on her reminiscences of Hunt. Some
of these pieces are heard with Hirsch or Finley's vocals on top of them &
several are heard alone.  I assume that the vocal by Mike Patton was done
without him ever knowing Hunt, but I could be wrong & I don't think this'd
make much difference.

Here's the URL for a Hunt memorial (he died of lung cancer a few years
back) Web site, with several fascinating & often very funny  interviews and
articles that might help place him into a context.

http://members.aol.com/huntjerry/

OO Discs can be found at:
http://www.hear.com/o.o./

I've played tracks from Haramand Plane & Ground on Mappings; I have a
couple of tracks from the Tzadik disc scheduled for mid/late August.  I'll
post something to the list when they come up.

Bests,

Herb


Herb Levy
[e-mail]



-



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

From: "Thomas Fischer jr." <[e-mail]>
Subject: zorn tour dates
Date: 26 Jul 1999 09:58:21 +0100

...i did not know anything about masada in milano
in advance, in fact i arrived at the train station at 7pm,
a friend picked me up and told me that this john zorn
(i did mention him earlier) would play tonite...

i think you can imagine how surprised i was :)

thomas


-



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

From: Peter Hollo <[e-mail]>
Subject: New York/overseas purchases and experiences, and Ehrlich Dark Woods...
Date: 26 Jul 1999 20:22:45 +1000

> Speaking of Ribot, are there any opinions out there on the last
> Erhlich's Dark Woods Ensemble with MR as special guest?

Just got back from New York which was totally amazing. Will shortly be
writing more to the list I think. Went to Downtown Music Gallery quite a
lot and was pleased to see it mentioned on the list.

Anyway, not only did I get this CD - Solace - but I also went and saw
Ehrlich perform it at Tonic a couple of weeks ago.
Wowee! I went mostly because I'm a Jewish cellist and wanted to see the
amazing Erik Friedlander perform. But it was great. Mark Ribot was not
the guitarist - can't remember who it was, a black guy, but he was in my
opinion fantastic.
I've not all in all been blown away by Ribot's playing on any of the
Radical Jewish Chamber Jazz stuff - Bar Kokhba etc. He tends to play
blues rather than klezmer. Lovely tone to his guitar, but the guy who
did it live sounded beautiful too.
Nevertheless, his playing is completely up to that on for instance the
Bar Kokhba CDs and the Circle Maker one.
Ehrlich's compositions are lovely. Some are much more Jewish than
others; Erik's cello playing is uniformly wonderful IMHO and really
helps make the CD great.

A worthwhile release for sure.

Also got the new Davka CD which is great - can review when I have more
time - it's violin, cello and hand percussion, with guest clarinet and
bass on some tracks, but for basically "chamber" music it's full of
gusto, a really great take on Jewish music.
Also the Ahava Raba one which is very weird and very good. Gypsy/klezmer
stuff, done in an indescribably odd way. Not your general Tzadik odd
though.
The Masada live in Jerusalem is in my opinion probably the best playing
by Masada I've heard recorded.
The Tin Hat Trio CD - vaguely related to list topic - is really lovely.
Not on Tzadik or anything, sortof chamber gypsy stuff. They have
violin/viola, accordion and guitar. Great combo! It has, rather
misleadingly, Trevor Dunn playing on one track (misleading as he doesn't
contribute that much) and Mike Patton singing guest vocals on a hidden
track.
Also notable are both CDs by the New Orleans Klezmer Allstars. Very
Tzadik suited, kind of funky klez-rock. They're quite sloppy in their
playing sometimes (soloing and stuff) but quite tight as an ensemble all
the same. Worth a listen to in a store.

Um, that covers most of my Zorn-list type purchases. Only other thing to
mention is Bratsch - a French gypsy hot club kind of group, whose
members mostly have experience playing free jazz... lots of gypsy and
klezmer classics as well as originals, lots of character, fantastic
technique. What more could you ask? And you can hardly find their CDs AT
ALL outside of France! I heartily recommend checking them out if you
can, especially the live CDs.

There you go!
Peter.

--
Peter Hollo  [e-mail]  http://www.fourplay.com.au/me.html
              FourPlay - Eclectic Electric String Quartet
                       http://www.fourplay.com.au
                     Raven: experimental electronic
                 http://www.fourplay.com.au/sound.html
"Of course, dance music can be a music where you lie on your back and
your brain cells dance" -Michael Karoli of Can, quoted in Wire mag.

-



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

From: Jason Tors <[e-mail]>
Subject: |questions|
Date: 26 Jul 1999 09:36:16 -0800

Where is a good place to start with EUGENE CHADBOURNE??

I got a mailing for 14th st Y concerts in august, kicking it all off with a
cobra performance. I can traslate that mailing to the list if there is
interest. However it is at home, so it will have to wait till tomorrow.

Is Joe Gallant & Illuminati the big band that covers grateful dead songs?

-



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

From: "Marotta, Larry" <[e-mail]>
Subject: RE: Rashaan Roland Kirk
Date: 26 Jul 1999 09:40:17 -0400

This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.

------_=_NextPart_001_01BED76C.65CFA760
Content-Type: text/plain

> I know, I imagine I come off as a totally ignormant, mis/uninformed fool,
> BUT, what better source to mine, eh?  (All this questions of mine.... but
> hey, I'm a 17 year old kid, fgs)
>
> So, which Kirk album/period/label should I begin with.  I'm not looking
> for an "introduction" for the potentially pale,  I'm looking for best
> work...
>
    >>There's a great CD compilation called "Aces Back to Back" which
contains four of his albums. There's one side-long track (in vinyl speak)
called "The Seeker" which I think offers the best intro to Kirk's work.
Everything is there: the reverance for the entirety of jazz history, his
amazing pontificating, multi-instruments, circular breathing, etc.

    Also check out the album "Volunteered Slavery." It swings like
nothing and contains some interesting re-inventions of then current pop
songs.

    Rhino video has released a live Kirk concert which is worth seeing.

    Larry



------_=_NextPart_001_01BED76C.65CFA760
Content-Type: text/html
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2//EN">
<HTML>
<HEAD>
<META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; =
charset=3Dus-ascii">
<META NAME=3D"Generator" CONTENT=3D"MS Exchange Server version =
5.5.2448.0">
<TITLE>RE: Rashaan Roland Kirk</TITLE>
</HEAD>
<BODY>
<UL>
<P><FONT SIZE=3D2 FACE=3D"Arial">I know, I imagine I come off as a =
totally ignormant, mis/uninformed fool, </FONT>
<BR><FONT SIZE=3D2 FACE=3D"Arial">BUT, what better source to mine, =
eh?  (All this questions of mine.... but </FONT>
<BR><FONT SIZE=3D2 FACE=3D"Arial">hey, I'm a 17 year old kid, =
fgs)</FONT>
</P>

<P><FONT SIZE=3D2 FACE=3D"Arial">So, which Kirk album/period/label =
should I begin with.  I'm not looking </FONT>
<BR><FONT SIZE=3D2 FACE=3D"Arial">for an "introduction" for =
the potentially pale,  I'm looking for best work...</FONT>
</P>

<P><FONT COLOR=3D"#0000FF" SIZE=3D2 FACE=3D"Arial">>>There's a =
great CD compilation called "Aces Back to Back" which =
contains four of his albums. There's one side-long track (in vinyl =
speak) called "The Seeker" which I think offers the best =
intro to Kirk's work.  Everything is there: the reverance for the =
entirety of jazz history, his amazing pontificating, multi-instruments, =
circular breathing, etc. </FONT></P>

<P><FONT COLOR=3D"#0000FF" SIZE=3D2 FACE=3D"Arial">Also check out the =
album "Volunteered Slavery." It swings like nothing and =
contains some interesting re-inventions of then current pop =
songs.</FONT></P>

<P><FONT COLOR=3D"#0000FF" SIZE=3D2 FACE=3D"Arial">Rhino video has =
released a live Kirk concert which is worth seeing.</FONT>
</P>

<P><FONT COLOR=3D"#0000FF" SIZE=3D2 FACE=3D"Arial">Larry</FONT>
</P>
<BR>
</UL>
</BODY>
</HTML>
------_=_NextPart_001_01BED76C.65CFA760--

-



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

From: "Zachary J. Griffin" <[e-mail]>
Subject: Re: |questions|
Date: 26 Jul 1999 10:01:06 -0400



Jason Tors wrote:

> Where is a good place to start with EUGENE CHADBOURNE??
>
> I got a mailing for 14th st Y concerts in august, kicking it all off with a
> cobra performance. I can traslate that mailing to the list if there is
> interest. However it is at home, so it will have to wait till tomorrow.
>

Yes, I am very interested in the 14th St Y concerts.  If no one else shows
interest.  I would like it to be emailed to me privately.

>
> Is Joe Gallant & Illuminati the big band that covers grateful dead songs?
>
> -

Yes, they are.  I am not the worlds biggest Grateful Dead fan.  But I always
liked the Dead's "Blues for Allah" album.  And the CD where Illuminati do that
album front to back is great.


-



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

From: Michel Rondeau <[e-mail]>
Subject: Re: Zorn List Digest V2 #720
Date: 26 Jul 1999 12:02:09 -0400


Rogerio Duprat's
>influence is deeply felt throughout CE, especially on the stunner that closes
>the disc, Objeto Semi-Identificado. Duprat was the producer of most of the
>classic early Tropicalia records, including all five in the fairly
>well-distributed CD box set.

I've been trying to find that Tropicalia 5 CD set for a while, but with the
usual distribution problems in Quebec, I can find it in Montreal. Could you
give me the details - recording label, title, etc. so that I could order
it. But first, is it worth it? Thanks in advance.

Michel Rondeau




-



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

From: [e-mail] (Steven Nilsen)
Subject: q on Thrill Jockey
Date: 26 Jul 1999 12:50:29 +0100

I'm not sure where to turn, but I've just recently gotten into Tortoise and
have heard an enjoyed music by Oval (?) and Microstoria.  Can anybody on
the list suggest music similar to Tortoise, on Thrill Jockety or otherwise?
Or can I be pointed to the correct groups to find more music within this
genre please.

Thanks,
Steven



-



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

From: [e-mail] (Theodorus Klaase)
Subject: From New Orleans
Date: 26 Jul 1999 13:19:38 -0400 (EDT)

I've just moved to Florida from New Orleans.  Anybody on this list in
the vicinity?

Anyone attending the Bungle show in Jacksonville August 15th?


-Theodorus


-



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

From: [e-mail]
Subject: Music stores/Off-topic
Date: 26 Jul 1999 14:47:36 -0300

Hi:

This is for Canadians:

Can anyobody suggest Canadian music stores for overseas mail orders as
serious as Verge, just to get cds from labels such as Blue Note,
Columbia, Nonesuch, Verve, Dreyfus Jazz, etc.?

Please email me privately (and sorry for being off-topic).

Thanks in advance.

H

-



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

From: David Gross <[e-mail]>
Subject: Gigs you may be interested in
Date: 26 Jul 1999 13:52:02 -0400

KEEP INDEPENDENT MUSIC ALIVE-SUPPORT LIVE MUSIC!!!

I just thought some of you in the NY area might be interested in the
following shows over the next couple of weeks. I hope to see some of you
there!

Regards,
David Gross <[e-mail]>
"a great musician needs to be committed!'
www.geocities.com/SunsetStrip/Venue/7773/

July 31st-Irrepressible Spirit at the Knitting Factory Alterknit Room 9
PM
featuring:

David C Gross-6 string fretless bass, electronics, loops
Raphe Malik-trumpet
David Pleasant-drums
Tor Snyderguitar
with special guests


David C Gross presents 5 trios in August, Sundays in the Alterknit Room
at 9 PM.

August 1st-"What Now?

William Connell-bass clarinet, flute, sax
David C Gross-6 string fretless bass, electronics, loops
Ravish Momin-drums, percussion

"Here there is a deep fascination with Lighthouses and fog horns!"

August 8th-"Precious Meddle"

David C Gross-6 string fretless bass, electronics, loops
John Macaluso-drums
Sabir Marteen-saxes
There will be a special guest appearance from saxist/poet Elliot Levin

This is what happens when Albert Ayler plays with AC/DC

THEORCOLUS=99 LIVE
Charles Burnham-violin
David C Gross-6 string fretless bass, electronics, loops
Peter Hess-sax,flute, bass clarinet
Toby Kasavan-keys
John Macaluso-drums
Ravish Momin-percussion

August 5th: The Hopper House Nyack NY 7:30 PM
August 12th:Dharma-Orchard St.. NYC 9 PM





-



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

From: "Rob Allaert" <[e-mail]>
Subject: MP3 for Wandering Souls
Date: 26 Jul 1999 20:45:41 +0200

JazZorns,

I can hardly imagine that the Dave Douglas 'Songs for Wandering Souls' track
"Ferrous" wouldn't attract some attention. Did anyone listen to the MP3? I
had no email feedback at all. Here is the url, http://listen.to/robs.records
At the bottom you'll find the link (follow download instructions). Some
feedback would be appreciated. I'll remove the MP3 after the US release
date.

Thanks

Rob Allaert
[e-mail]
ICQ#18906168

Buy a nice book or CD and support me! Follow this link to Frontstage and I
wil get a special bonus on all your orders. I recommend Frontstage, visit
them soon. Thanks!
http://friends.frontstage.com/?13772


-



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

From: [e-mail]
Subject: {answers}
Date: 26 Jul 1999 14:48:56 -0500



>Where is a good place to start with EUGENE CHADBOURNE??

A good place is just about anyplace, any cover that looks interesting. His solo
work is pretty diverse, but can roughly be divided into song and sonic
experiment.

Song cds are apparent from the cover because they'll include titles you already
know -- they tend to include lots of covers, Tammy Wynette, Roger Miller, Pink
Floyd, whatnot. The recent Normalized? is a good one in this vein.

Sonic experiment stuff includes both live and tape manipulation sorts of things.
Recent faves are Insect Attractor on Leo and the 2cd Jungle Cookies, I believe
on House of Chadponk. Insect Attractor is a nice, quiet, very unusual piece for
varied instrumentations, much of it "live," but Dr. C also creates really great
tape montages, more of which are on Jungle Cookies (instrumentation mixed with,
for example, sounds picked up from a microphone hanging out a window in
Amsterdam, a Sammy Davis, Jr., cd that had been buried underground for several
weeks, etc.)

You're in NY, right? (Have we met?) Bruce at DMG would probably play you some
examples if you stop by when it's not busy. Or talk to Eugene when he's here in
August. He's very accessible (and he'll be playing at the Brecht Forum on the
27th and 28th).


>I got a mailing for 14th st Y concerts in august, kicking it all off with a
>cobra performance. I can traslate that mailing to the list if there is
>interest. However it is at home, so it will have to wait till tomorrow.

Yeah, post it to the list or send it to me, if you would.

>Is Joe Gallant & Illuminati the big band that covers grateful dead songs?

I think they're on 8 or 9 piece Dead jazz thing. There's a big band called Jazz
is Dead that does the same dealy. The boots of David Murray jamming with the
real Dead blow poo outta Illuminati, from what little I've heard. But then, I
abhor the Dead, so what do I know.

Also, while I'm here, could someone explain that Spillaine/Synclavier thing? I
saw Spillaine live, so obviously they can do it. What's the synclavier role in
the recording process?

Timbaland rules, by the way.

kg



-



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

From: [e-mail]
Subject: bombshell, last graf
Date: 26 Jul 1999 16:01:10 -0500


(wap) (ATTN: Media editors)
A Whole Lot of Camelot, Except at the N.Y. Times
By Howard Kurtz
(c) 1999, The Washington Post
It didn't take long for John Kennedy Jr.'s death to become fodder for the
media's tragedy industry, shattering the records set by Princess Diana's demise.
But while the press shifted into wretched-excess mode, The New York Times never
led the paper with the story - a decision displaying either remarkable restraint
or cultural cluelessness.
"We avoided the end-of-the-world mega-headlines that characterized some
newspapers and the kind of overwrought prose that characterized some copy," says
Managing Editor Bill Keller. "I'm personally proud we didn't wallow in the
'Curse of the Kennedys' and 'America's Prince,' as if it were the death of a
president.
"To make it the lead of the paper would signify a kind of importance to the
event that wasn't really there." Still, Keller says, "we've second-guessed
ourselves back and forth on that over the last few days."
No sooner had the shock of last weekend's plane crash worn off than the public
was inundated by hype, blunders, death music and all manner of blabbermouths-few
of whom knew Kennedy well-filling the great gaping maw of airtime on CNN, MSNBC
and Fox News Channel. With ratings up six- and seven-fold, there was no penalty
for being maudlin. Over blurry, long-range shots of a Navy destroyer,
correspondents mused about "the ocean's embrace," and how Kennedy and his wife
"are now together for eternity," and "how much can this family take?"
But how much can viewers take? Are we entering a new era of celebrity deaths?
Will there be a JFK Channel where he keeps dying forever?
In the first six days, says the Center for Media and Public Affairs, the ABC,
CBS and NBC evening newscasts ran 27 percent more stories on Kennedy's death
(131 pieces) than they did during the first week of Diana's passing. And the
major newsmagazines - "Dateline," "60 Minutes," "20/20," "48 Hours" - devoted a
staggering 7 hours 51 minutes to the subject.
Mistakes, meanwhile, were made. MSNBC reported - many hours before it happened -
that Kennedy's body had been recovered from the plane wreckage and brought
aboard a Navy ship. An MSNBC anchor attributed the account to "a senior
government official," while acknowledging confusion that the Associated Press
had just retracted a similar account.
The AP bulletin moved at 1:47 p.m. and was corrected 32 minutes later. AP
Managing Editor Jonathan Wolman says one of his reporters got bad information
from an official involved in the Navy effort, while another had a
"miscommunication" with a Kennedy family spokesman who appeared to be confirming
the account. "We shouldn't have used it in the first place," Wolman says.
The larger question is whether the media have greatly inflated this story as a
Camelot melodrama or are merely catering to the public's grief. Whatever the
verdict, nearly everyone - even those who are nauseated by the over-coverage -
is still talking about the tragedy.
Footnote:
George magazine staffers, who have refused to speak publicly about their friend,
got a second shock two days after the death when an emissary from publisher
Hachette Filipacchi told them to put out only the next two issues-which sounded
like they would be the last.




-



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

From: [e-mail]
Subject: oof
Date: 26 Jul 1999 16:05:49 -0500


I hope most of you are concerned about JFKJr. coverage. Not really. I hope you
all have better things to think about, and I apologize for sending that to the
wrong address.
kg



-



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

From: Martin Schmitz-Ohrndorf <[e-mail]>
Subject: Re: Ribot
Date: 26 Jul 1999 22:23:10 +0200

I think ribots music and almost all of his cds are really cool. It just depends from
where you look at it. If you saw Shrek live somewhere around 93 or 94 and you liked
it, go and get his latest "Yo, I killed ..." CD with the material from this time. I
think listening to Shrek is somewhat of a good experience of how different things
can be. Its not that one thing naturally follows another in a certain way. I like
this way of treating a musical concept.
Just my short opinion on some music worth listening to.
1-2-3-4-5-6-7-8-9-10
Martin


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Ribot
Date: 26 Jul 1999 13:41:33 -0700


On Mon, 26 Jul 1999 22:23:10 +0200  Martin Schmitz-Ohrndorf wrote:
>
> I think ribots music and almost all of his cds are really cool. It just depends from
> where you look at it. If you saw Shrek live somewhere around 93 or 94 and you liked

I saw Shrek around that time (it was a KF tour) and was very disappointed. Marc
played great but I thought that it was a little bit short on musical ideas (to
say it nicely). In fact, because of that performance, I kind of ignored him for
a while.

> it, go and get his latest "Yo, I killed ..." CD with the material from this time. I
> think listening to Shrek is somewhat of a good experience of how different things
> can be. Its not that one thing naturally follows another in a certain way. I like
> this way of treating a musical concept.
    ^^^^^^^^^^^^^^^^^^^^^^^^

You are "bon public" like we say in France.

> Just my short opinion on some music worth listening to.
> 1-2-3-4-5-6-7-8-9-10

Not only that one, but hearing Marc repeating at nauseum "And the wind cries
Mary" is also painful. The first one is also quite bad (I am not surprised
that Jon gave up after only 10mn).

Anyway, I like Ribot (post-Shrek) a lot but I think that Shrek is the weakest
of his production. Maybe if he was not singing...

    Patrice (who played YO! I KILLED YOUR GOD *three* times yesterday to
        be sure that he was not too harsh).


-



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

From: John Santamaria <[e-mail]>
Subject: Jazziz Zorn....
Date: 26 Jul 1999 21:24:07 -0400 (EDT)

Well I imagine I missed a thread on this subject, but, here goes....

I was browsing thru the local bookstore, I saw the issue, I didn't have
10 dollars.  I won't have 10 dollars any time soon for those type of
purposes, SO, does anyone know if the (article, ? photos, whatevers in
there) is available on the web anywhere (illegally, i suppose?, maybe not?)
for my reading pleasure?

-thanks zornlist, as well, for very informative responses to a-many of my
questions, i appreciate.


                   |     |
        |          == + ===
        |     _        +
    ___ |    | |       +++++      -----
              -        +   +      .   |
                       +   +      .   |

Your Grandpa's cane, it turns into a sword
Your Grandma prays to pictures that are pasted on a board

                                            -B. D.



-



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

From: "Nirav Soni" <[e-mail]>
Subject: Mick Harris and Zorn
Date: 26 Jul 1999 21:22:28 -0400

Cut this from http://www.dust.net/gyral/news.html:

Zorn has asked me to do a record for his tzadik label playing drums, i
suggested an organ keyboard player to improvise with me and zorn on a few
pieces and a track doing some cuts on some pieces. I'm to go to New York
soon to record and mix for 2/3 days. News on final line up soon.

This info is from March, anyone know any other info?

Cheers,
Nirav
--
OnNow- Tim Berne and Micheal Formanek- Ornery People
"Don't try to make me consistent. I am learning all the time."  - R.
Buckminster Fuller



-



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

From: [e-mail]
Subject: Re: q on Thrill Jockey
Date: 26 Jul 1999 22:36:58 EDT


In a message dated 7/26/99 12:49:24 PM, [e-mail] writes:

<<  Can anybody on
the list suggest music similar to Tortoise, on Thrill Jockety or otherwise? >>

try:

Radian-Radian (Rhiz)
To Rococo Rot-Veiculo (Mute/City Slang)
Stereolab-Dots And Loops (Elektra)

Jon
www.erstwhilerecords.com

-



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

From: [e-mail]
Subject: Re: Zorn List Digest V2 #720
Date: 26 Jul 1999 22:52:46 EDT


In a message dated 7/26/99 12:03:55 PM, [e-mail] writes:

<< I've been trying to find that Tropicalia 5 CD set for a while, but with the
usual distribution problems in Quebec, I can find it in Montreal. Could you
give me the details - recording label, title, etc. so that I could order
it. But first, is it worth it? Thanks in advance. >>

it's on Phillips Brazil, and is definitely stocked by Other Music
(www.othermusic.com) for 75 bucks, and usually by Dusty Groove
(www.dustygroove.com), probably for less. it's five CDs which are all
available individually, the Tropicalia disc, and albums by Caetano Veloso,
Gilberto Gil, Gal Costa, and Os Mutantes, all from around 1969 and all
produced by Duprat. personally, I'd just buy the Gil, Veloso and Tropicalia
discs separately, but I'm not sure what extras, if any, come with the box set.

Jon
www.erstwhilerecords.com

-



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

From: Steve Smith <[e-mail]>
Subject: Re: New York/overseas purchases and experiences, and Ehrlich Dark
Date: 27 Jul 1999 00:22:51 -0400

Peter Hollo wrote:

> I also went and saw
> Ehrlich perform it at Tonic a couple of weeks ago.
> Wowee! I went mostly because I'm a Jewish cellist and wanted to see the
> amazing Erik Friedlander perform. But it was great. Mark Ribot was not
> the guitarist - can't remember who it was, a black guy, but he was in my
> opinion fantastic.

Jerome Harris, who performs regularly with Ehrlich and Bobby Previte, and
who's played with many of the mightiest in music, including no less than
Sonny Rollins... and he's in my opinion fantastic as well.

Steve Smith
[e-mail]


-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Ribot
Date: 27 Jul 1999 05:06:22 -0400

>         Patrice (who played YO! I KILLED YOUR GOD *three* times yesterday to
>                 be sure that he was not too harsh).

I've sort of avoided this new Ribot, but I didn't think the version of "Yo! I Killed Your
God" on 'Requiem For What's-His-Name' was too terrible.

The Ribot disc I really couldn't take was the Cubanos Postizos. I can understand someone
not liking Ribot's voice or lyrics, but when he starts singing in Spanish with that
godawful accent... and Anthony Coleman's little toy organ.... Anyway, I was pretty
dissapointed with that one.

I do really like the two Rootless Cosmopolitans discs and 'Shoe String Symphonettes' and
could listen to him play with Tom Waits forever.

                    -Tom Pratt

listening to: Curtis Mayfield - Curtis


-



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

From: Aaron Chee-Kean Chua <[e-mail]>
Subject: Re: q on Thrill Jockey
Date: 27 Jul 1999 20:51:25 +1000 (EST)

i've heard kreidler being compared to tortoise but having never heard
anything by them, i can't confirm this.

you might want to try 'music for 18 musicians' by reich, which if i
remember correctly was an influence according to john mcentire(?).

 on a related note, does anyone have any opinions on the records by the
chicago underground duo/trio/ orchestra?

regards,
aaron

On Mon, 26 Jul 1999 [e-mail] wrote:

>
> In a message dated 7/26/99 12:49:24 PM, [e-mail] writes:
>
> <<  Can anybody on
> the list suggest music similar to Tortoise, on Thrill Jockety or otherwise? >>
>
> try:
>
> Radian-Radian (Rhiz)
> To Rococo Rot-Veiculo (Mute/City Slang)
> Stereolab-Dots And Loops (Elektra)
>
> Jon
> www.erstwhilerecords.com
>
> -
>


-



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

From:    [e-mail] (Patrick Carey)
Subject: Naked City's "Absinthe" CD FS ...
Date: 27 Jul 1999 07:02:09 -0400

Hello ...

I've got a new copy of Naked City's "Absinthe" CD FS.
Price is $20 US ppd within North America, and $22 US
ppd overseas.

Please drop me a line if interested.

Thanks


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




-



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

From: Bob Kowalski <[e-mail]>
Subject: Jazziz interviews Zorn
Date: 27 Jul 1999 08:21:38 -0400

Readers of this list will be happy to know that an great interview resides within the August issue of Jazziz and that we even get a mention in the article's opening paragraph as "rabid twenty something fans checking out daily postings on the zorn list" (almost an exact quote - I'm conjuring from memory here.)  Young at heart in any case ...  ; )

happy listening (and reading)

Bob



-



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

From: [e-mail]
Subject: two cents on Shrek.
Date: 27 Jul 1999 10:01:42 EDT

I picked up the Live Shrek cd awhile back, and while I haven't listened to it
much, I would like to argue it's not as bad as it's getting credit for. It's
incredibly disjointed, silly, absurd, rock and roll. I think a lot of people
are judging it by the Jazz standard, and it's got absolutely nothing to do
with jazz. It's loud and obnoxious, and there's nothing that i find more
funny that Ribot singing. He seems like this "play it cool" kind of guy, and
then he sings these utterly inane phrases like, "Yo! I killed your god,
that's what this machine gun's for.." If you buy an album called Yo! I killed
your god, you should probably expect it to sound like this.

from,
matt

-



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

From: "Francesco Martinelli" <[e-mail]>
Subject: Re: Jazziz interviews Zorn
Date: 27 Jul 1999 16:52:50 +0200


> Readers of this list will be happy to know that an great interview resides
within the August issue of Jazziz and that we even get a mention in the
article's opening paragraph as "rabid twenty something fans

this means I count for two :-))


-



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

From: [e-mail] (Theodorus Klaase)
Subject: Marc Ribot
Date: 27 Jul 1999 11:12:18 -0400 (EDT)

I think some of Ribot's best playing is on Circle Maker.  I greatly
enjoy his style and technique, but Bill Frisell is the standard by which
all else shall be measured.....

Have you Zornies heard those solo albums?


-Theodorus


-



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

From: [e-mail] (Theodorus Klaase)
Subject: Naked City Live?
Date: 27 Jul 1999 11:16:00 -0400 (EDT)

Does anyone think Zorn will release a double album of Naked CIty Live
material someday (like the Masada stuff).  I've got a bootleg show that
is just drop jaw amazing, and I'm ready for it!


-Theodorus


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: two cents on Shrek.
Date: 27 Jul 1999 08:42:35 -0700


On Tue, 27 Jul 1999 10:01:42 EDT  [e-mail] wrote:
>
> I picked up the Live Shrek cd awhile back, and while I haven't listened to it
> much, I would like to argue it's not as bad as it's getting credit for. It's
> incredibly disjointed, silly, absurd, rock and roll. I think a lot of people
      ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Which is what I am looking for in a good portion of the music that I buy. I
think that Leonid Soybetman (Klekta Red), just to take an example, fits
perfectly your description, but not Marc on this record. I might be wrong, but
being absurd and silly does not seem to be something natural for Marc (at least
on a stage or on records). I find the alleged silliness and absurdism to be
quite artificial and trite. It just does not sound right.

> are judging it by the Jazz standard, and it's got absolutely nothing to do
            ^^^^^^^^^^^^^
Who would even think to judge Ribot by "Jazz standard"? Just look at the people
we talk about on this list, very few would be at ease to be judged by the "Jazz
standards". You might confuse this list with r.m.b. where "purity" and "pedigree"
issues occupy 75% of the bandwidth.

> with jazz. It's loud and obnoxious, and there's nothing that i find more
          ^^^^^^^^^^^^^^^^^^
I guess I will have to listen to it more. "Loud and obnoxious"? Really? As far
as I can say, it is neither one or the other. I would have to go back to the
early '70s rock and forget everything that happens after to even think using
"loud and obnoxious". Maybe you pushed the level too high on your stereo.

> funny that Ribot singing. He seems like this "play it cool" kind of guy, and
> then he sings these utterly inane phrases like, "Yo! I killed your god,
> that's what this machine gun's for.." If you buy an album called Yo! I killed
    ^^^^^^^^^^^^^^^^^^
At least in this case there is some semantic message...

> your god, you should probably expect it to sound like this.

    Patrice (who is a big fan of Marc Ribot but does not like at all that
        last Shrek record).

-



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

From: William York <[e-mail]>
Subject: Re: Ribot
Date: 27 Jul 1999 12:23:40 -0400 (EDT)

> Not only that one, but hearing Marc repeating at nauseum "And the wind cries
> Mary" is also painful. The first one is also quite bad (I am not surprised
> that Jon gave up after only 10mn).
>
> Anyway, I like Ribot (post-Shrek) a lot but I think that Shrek is the weakest
> of his production. Maybe if he was not singing...
>
>     Patrice (who played YO! I KILLED YOUR GOD *three* times yesterday to
>         be sure that he was not too harsh).

Sorry to keep harping on this, but there are aeveral parts on this album
that for me redeem the unlistenable parts.  These include "Softly as in a
Morning Sunrise", the cuban song ("Jamon con Yuca"?), the Don Ayler cover,
"Somebody's Walkin' in my house" (after the repeated vocals at first which
get old quick), and one or two of the Shrek type songs near the end -
"ppulse" and "Expressionless".  On the downside are the one where he
counts (of course), "Clever White Youths" (mainly b/c he uses not one but
two lines that are also in Dire Straits' 'Money for Nothing'), the ending
on "The Wind Cries Mary".  I still like this one more than the Postisos
album just because it has a rougher edge - although I wouldn't say it
'cuts through steel' like the promo blurb says.... I actually don't think
his singing is that bad; I even liked the off-key vocals on "Commit a
Crime" from _Requiem for what's his name_.  But I do think its safe to say
that his best stuff can be found on other peoples albums and that I won't
be rushing out to get any more of his soon.

Also, about the Tropicalia box set: I think its all really good, but the
discs are all short (30-40 min each) and there is nothing extra, if that
Tropiclia CD is available elsewhere.  I think the little booklet that
comes with it is in Portuguese too.

WY


-



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

From: William York <[e-mail]>
Subject: Ground 0 Last Concet
Date: 27 Jul 1999 12:28:59 -0400 (EDT)

> for those of you not subscribed to the Forced Exposure new releases list, FE
> got in copies of Ground Zero-Last Concert (Amoebic) this week. Other Music
> also has it. just bought it, haven't heard it yet...

If you've had a chance to hear this could you please fill us in on how it
is?  I've been looking for something else to get by the after _Plays
Standards_ and _Rev. Pekingese Opera_, and the self-titled CD seems to be
unavailable again b/c God Mountain is apparently in limbo or something.

Thanks,

WY





-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: Re: tortoise
Date: 27 Jul 1999 17:45:44 +0200

>From: [e-mail] (Steven Nilsen)
>Subject: q on Thrill Jockey
>
>I'm not sure where to turn, but I've just recently gotten into Tortoise and
>have heard an enjoyed music by Oval (?) and Microstoria.  Can anybody on
>the list suggest music similar to Tortoise, on Thrill Jockety or otherwise?
>Or can I be pointed to the correct groups to find more music within this
>genre please.


a good place to start is

www.post-rock.com

there are plenty of links that match this type of music

my personal favorites are doug sharin and john mc entire

both can be found back in a lot of bands, but they allways produce that same
warm sound

best wishes

stefan


-



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

From: johnzorn <[e-mail]>
Subject: Mr. Bungle/Zorn trades
Date: 27 Jul 1999 14:49:04 -0700

    Saw Mr. Bungle in Minneapolis last night...great show!..anyone have a
setlist? Its an excited blur in my head now...

    Also, if anyone is interested in trading zorn/zorn related shows let me know.

-matt


-



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

From: Martin Schmitz-Ohrndorf <[e-mail]>
Subject: Re: Ribot
Date: 27 Jul 1999 21:57:57 +0200

It seems that somehow Marcs Shrek project is his most liked or disliked project. By the time
I organised concerts, I noticed the same thing. But this makes it something very interesting,
at least for me. I was really surprised to find this cd "Yo.." in the stores, because I
thought Marc left this project many miles behind him. But it seems he still considers this
one to be one of his most unique projects.
I don't think the rest of his work differs so much from the shrek stuff if you listen to any
of his solos on different settings. What I hear is a r&b/soul guitarist with a lot of
background in classical guitar and a great love for Django Reinharts who opened his mind
quite very far. Listening to his interpretations of jazz standards makes me think very
student on jazz guitar should also listen to it. It teaches such a lot on how free you are in
treating music, as long as it fits to your personal implications on music.
But again, it's just my opinion. BTW I heared Bill Frisell singing "Puff, the magic dragon" a
couple of years ago. It was really fun. I think if you feel like singing, just sing. Even I
do (Pray you never hear it :-) ).
Martin




-



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

From: [e-mail]
Subject: Re:  Zorn List Digest V2 #722
Date: 27 Jul 1999 17:41:10 EDT

>Zorn has asked me to do a record for his tzadik label playing drums, i
>suggested an organ keyboard player to improvise with me and zorn on a few
>pieces and a track doing some cuts on some pieces. I'm to go to New York
>soon to record and mix for 2/3 days. News on final line up soon.
>
>This info is from March, anyone know any other info?

last i heard from mick, this was still going to happen, but he was unsure
when. he had some personal things to sort out (the biggest of which was
getting the scorn moniker free from legal entanglements with invisible
records and kk records). he had to put off the original recording dates that
he was planning to come to new york for. he was recently in the process of
throwing himself into a new scorn recording.

peace,
dave
___________________________________________________________
bill laswell, eraldo bernocchi, mick harris and lori carson discographies at :
http://www.geocities.com/SunsetStrip/Underground/7093/index.html
___________________________________________________________

-



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

From: e <[e-mail]>
Subject: Re: q on Thrill Jockey
Date: 27 Jul 1999 18:59:39 -0700

>I'm not sure where to turn, but I've just recently gotten into Tortoise and
>have heard an enjoyed music by Oval (?) and Microstoria.  Can anybody on
>the list suggest music similar to Tortoise, on Thrill Jockety or otherwise?
>Or can I be pointed to the correct groups to find more music within this
>genre please.
>
>Thanks,
>Steven

somewhere between microstoria and tortoise (probably closer to tortoise) is
Trans Am another thrill jockey band, i enjoyed their first album quite a
bit...haven't been impressed since, but i have not heard the newest one.
Eric
http://www.mockbrawn.com

-



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

From: [e-mail]
Subject: Re: Mori
Date: 28 Jul 1999 10:45:18 +0100

>    The notes for The String Quartets get rather personal, especially
> regarding "Memento Mori."  I don't know much if anything specific
> about Zorn's personal life (probably fine with him), so it was
> somewhat surprising to see him writing about "lost love."

To which IOUaLive1 replied...

> or-- maybe it means: "remember Ikue Mori"

This theory agrees with the programme notes for a gig Zorny
played in London last year (his only UK gig in 10 years... there's a
story attached to this, tho it may be spurious). Zorn and Mori were
very close friends. They played "Memento Mori", and I remember it
being ravishingly beautiful but rather over-extended. I can see how
it would go on a lot if I had the CD, though.

Rich

(musings), a resource for non-standard musics
http://www.geocities.com/soho/square/6100
reviews, MP3s, archives, links, mailing list...

-



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

From: [e-mail]
Subject: Re: Chadbourne
Date: 28 Jul 1999 10:49:20 +0100

> Where is a good place to start with EUGENE CHADBOURNE??

Try "Worms with Strings" on Leo; folk-inflected chamber improv, lo-
fi but full of energy and invention. It's marvellous. There's a review
on (musings) if that's not enough gush for you :-). Leo records are
at http://www.atlas.co.uk/leorecords/. I don't think they have an
online distributor yet, but they do mail order and their prices are
very good for the UK (10GBP last time I looked). If you're feeling
flush, I can second the recommendation for "Insect Attractor", too.

Rich

(musings), a resource for non-standard musics
http://www.geocities.com/soho/square/6100
reviews, MP3s, archives, links, mailing list...

-



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

From:    [e-mail] (Patrick Carey)
Subject: Re: Naked City's "Absinthe" CD FS ...
Date: 28 Jul 1999 07:23:03 -0400

Gareth Bowles <[e-mail]> wrote:

>Another bargain from Mr. Patrick "Rip-Off" Carey ....

I don't normally answer this kind of thing, but ...

I don't recall ever dealing with you, so I'm not
sure where this is coming from.  If you don't like
my prices that's one thing, but I've _never_ ripped
anyone off.  I wouldn't have a list of well over
100 satisfied customers if I was ripping folks off.


-Patrick





-



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

From: [e-mail]
Subject: Review: John Zorn's Masada 'Live in Taipei'
Date: 28 Jul 1999 07:28:03 EDT

http://leisuresuit.net/Webzine/articles/masada_taipei.shtml

-



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

From: Jason Tors <[e-mail]>
Subject: ||14th st Y creative orchestras||
Date: 28 Jul 1999 09:05:59 -0800

John Zorn Presents: Creative Orchestras
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Big-band music every weekend
in August at the 14th St Y!!!!

_________________________________
8.7 John Zorn's Cobra
8.8 Leo Smith Creative Music Orchestra
8.14 E# SyndaKIT by ORchestra Carbon
8.15 Joe Gallant & Illuminati
8.21 Bobby Previte's The Horse
8.22 William Parker & the Little Huey Creative Orchestra
8.28 TBA
8.29 Cyro Baptista & Beat the Donkey
_________________________________

Showtimes = 8.30pm & 10pm
All Tickets = $12 in advance / $15 at the door

for reservations call
212.780.0800 ext. 278

-



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

From: Jason Tors <[e-mail]>
Subject: Steven Bernstein: Diaspora Soul
Date: 28 Jul 1999 09:08:24 -0800

Has any one picked up Steven Bernstein: Diaspora Soul just out on Tzadik?

-



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

From: "Bumpkin Records" <[e-mail]>
Subject: ***PAINKILLER LP'S***
Date: 28 Jul 1999 17:12:57 +0300

This is a multi-part message in MIME format.

------=_NextPart_000_000D_01BED91C.70183960
Content-Type: text/plain;
    charset="iso-8859-7"
Content-Transfer-Encoding: quoted-printable


Hello to everybody who might read this...
I'm looking for ALL Painkiller (J. Zorn-vox+sax / B. Laswell-bass / M. =
Harris-drums+vox) LP's, so is there anybody wanting to sell 'em? Vinyl =
only and at least in EX/EX condition. Post rates will be paid by me. I =
have listen to a great LP of them, "Buried Secrets" on Earache recs (yes =
the death metal shitlabel), released on 1991. For those of you that =
didn't know about them (even though I don't think there's anybody =
addicted with J. Zorn's music, that don't know Painkiller), be sure to =
check them out. E-mail me if you wanna sell their stuff anyway. I think =
they have something like 3 or 4 records, but I don't know for sure. By =
the way if anybody has a tape with J. Zorn's live in Greece (couple of =
years ago), or even better better a video tape, let me know and maybe we =
can arrange something...
*FLU*

[e-mail]




------=_NextPart_000_000D_01BED91C.70183960
Content-Type: text/html;
    charset="iso-8859-7"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-8859-7" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2314.1000" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV> </DIV>
<DIV><STRONG><EM><FONT size=3D2>Hello to everybody who might read=20
this...</FONT></EM></STRONG></DIV>
<DIV><STRONG><EM><FONT size=3D2>I'm looking for ALL Painkiller (J. =
Zorn-vox+sax /=20
B. Laswell-bass / M. Harris-drums+vox) LP's, so is there anybody wanting =
to sell=20
'em? Vinyl only and at least in EX/EX condition. Post rates will be paid =
by me.=20
I have listen to a great LP of them, "Buried Secrets" on </FONT><FONT=20
size=3D2>Earache recs (yes the death metal shitlabel), released on 1991. =
For those=20
of you that didn't know about them (even though I don't think there's =
anybody=20
addicted with J. Zorn's music, that don't know Painkiller), be sure =
to=20
check them out. E-mail me if you wanna sell their stuff anyway. I think =
they=20
have something like 3 or 4 records, but I don't know for sure. By the =
way if=20
anybody has a tape with J. Zorn's live in Greece (couple of years ago), =
or even=20
better better a video tape, let me know and maybe we can arrange=20
something...</FONT></EM></STRONG></DIV>
<DIV><FONT size=3D2><STRONG><EM>*FLU*</EM></STRONG></FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=3D2><A=20
href=3D"mailto:[e-mail]"><STRONG><EM>kalashjikov@geociti=
es.com</EM></STRONG></A></FONT></DIV>
<DIV> </DIV>
<DIV><STRONG><EM><FONT=20
size=3D2><BR> </DIV></FONT></EM></STRONG></BODY></HTML>

------=_NextPart_000_000D_01BED91C.70183960--


-



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

From: Marcus Klein <[e-mail]>
Subject: Re: Zorn List Digest V2 #722
Date: 28 Jul 1999 16:54:06 +0200

Hi,

have you ever listened to Mouse on Mars ?
They do a great job with their music and jan st. werner
is a member of microstoria, too.

If you can see them live, do it ?

Marcus

>        Re: q on Thrill Jockey
>
> Date: Mon, 26 Jul 1999 12:50:29 +0100
> From: [e-mail] (Steven Nilsen)
> Subject: q on Thrill Jockey
>
> I'm not sure where to turn, but I've just recently gotten into Tortoise and
> have heard an enjoyed music by Oval (?) and Microstoria.  Can anybody on
> the list suggest music similar to Tortoise, on Thrill Jockety or otherwise?
> Or can I be pointed to the correct groups to find more music within this
> genre please.
>
> Thanks,
> Steven
>
>

-



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

From: [e-mail]
Subject: Do it yourself avant
Date: 28 Jul 1999 11:37:09 -0400 (EDT)

Thought members of this list might be interested in participating in a
radio project happening in Peterborough Ontario Canada. We do a lot of
audio art at the station and this event is related to that but closer to a
more chance related musical improvision then a full fledged audio collage.
It's a day long song on August 11th from 11am (EST) until at least 10pm.
Anyone can contribute to the piece by calling 705-741-4011 anytime during
that period. Announce who you are and where you're calling from and then
contribute whatever you like to what's going on. The more contributions we
get the longer the song will go and the more fun the broadcast will be.
The station is a very open minded campus and community station so
contribute whatever you want.
Thanks,
Chris Tonelli


-



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

From: Jason Tors <[e-mail]>
Subject: ||14th st Y creative orchestras||
Date: 28 Jul 1999 12:18:12 -0800

is located at 344 E 14th st NYC

-



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

From: r-oxy <[e-mail]>
Subject: zorn and mori
Date: 28 Jul 1999 12:49:27 -0400

Hi,


>    The notes for The String Quartets get rather personal, especially
> regarding "Memento Mori."  I don't know much if anything specific
> about Zorn's personal life (probably fine with him), so it was
> somewhat surprising to see him writing about "lost love."

Actually, its very true that John and Ikue were romantically involved
many years ago, and she is still one of his closest friends.  They are
quite inseperable.

-M

-



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

From: r-oxy <[e-mail]>
Subject: Re: Naked City's "Absinthe" CD FS ...
Date: 28 Jul 1999 12:52:32 -0400

Hello my dear friend Gareth,


>Another bargain from Mr. Patrick "Rip-Off" Carey ....

Excuse me?  You must be drunk.  I've dealt with Patrick numerous times,
and he has always been excellent.  Get that whip out of your ass, young
man.

Ms. K

-



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

From: [e-mail]
Subject: New Philp Glass
Date: 28 Jul 1999 13:01:37 EDT

A review from CD-Now reads as follows: Philip Glass/Uakti
Aguas da Amazonia

Avant-garde composer Philip Glass joins forces with Brazilian world music
ensemble Uakti on this fascinating ride through the rainforest and the
subconscious.  Using instruments of their own construction, Uakti creates
music of the earth itself.  Their interpretations of Glass' music are both
ethereal and cerebral.

Any opinions on this record.

-



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

From: [e-mail]
Subject: Fushitsusha US tour/Mazzacane at Tonic
Date: 28 Jul 1999 13:13:06 EDT

first of all, forwarded from the newly Japanese psychedelic list subscription
info at http://www.ymg.urban.ne.jp/home/paulc/japanmusic.html):

<<Actually, I'm happy to inform the list that Fushitsusha are indeed
coming back over here. I've set up a show for them here in San Francisco
on Nov 12 (also with Gaji, a great No Wave-ish Tokyo band) at Bottom
of the Hill. They'll be playing in Los Angeles on Nov 13. The schedule
seems to be for them to play Chicago on Nov 9 or thereabouts, and
New York on Nov 6, I think. >>

secondly, Tonic is holding a Loren MazzaCane Connors festival in celebration
of his fiftieth birthday and the hopefully-then-released four CD box
containing all nine of his early acoustic records, being put out by Thurston
Moore and Byron Coley. this festival, from the info I've gathered, is shaping
up to be quite something. nothing is finalized yet, but it looks as if Loren
will play with a different guest each night, in a solo/duet/solo format, with
the guests doing their own set in addition to playing with Loren. some of the
guests include Sonic Youth, Keiji Haino, Rafael Toral, and the No Neck Blues
Band, at least as of now. I believe there are sixteen nights scheduled,
Thurs.-Sun. for four weeks. I know I'm excited.

the second set of Jim O'Rourke and Christian Marclay at Tonic last night was
pretty great stuff. I'm not even sure how to begin to describe it, so I won't.

Jon
www.erstwhilerecords.com

-



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

From: [e-mail] (Martin Wisckol)
Subject: Knit Factory West, CD changer problem
Date: 28 Jul 1999 10:23:18 -0700

Happened to be talking to this LA developer yesterday and it turns out
he's doing the Knitting Factory West. Planning to open in January or
February. Hurray hurray for us left coasters!...

Since I received a couple of posts in response to my complaint a few
weeks ago about my CD changer not acknowledging the presence of certain
discs in the carousel, let me offer an update: To the person who
suggested the problem was the laser and I should hurray it in while
still under warranty -- thanks! The problem was clearly with the
machine and they didn't even want to try fixing it, so I got a new one
and a recharged warranty. It's a HK 8350. since somebody else mentioned
having just purchased one of these, let me say -- the clerk said they
get an "average" amount of them brought in for screwing up. Upon
further questioning, the best I could figure was that they sell a lot
of these units and get perhaps as many of them back as any other, but
that may be a factor of their popularity -- on the average, an average
number of them are returned.... I'm hoping for better luck with this
one.

Martin

NP: Pino Minafra -- Sudori [What a fine, fun, wild and wooly CD!]

-



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

From: e <[e-mail]>
Subject: Re: Chadbourne
Date: 28 Jul 1999 10:54:19 -0700

> Where is a good place to start with EUGENE CHADBOURNE??

Ha! there is so damn much, and how do you choose? well one of the best ways
is to go to a show and buy one of his custom made tapes. He is one of the
nicest, most accessable great musicians around. He has done a few shows
here in Tucson in small clubs, and they are always really good...here are a
few of my favorite records-
LSD C&W- how many kids are doing the alternacountry thing these days...
vermin of the blues- the radio piece alone is worth the price
any early shockabilly stuff- hell i still like to put on these records
every now and again.

btw how many of you own the naked city vinal released on shimmy disc! (i
do, i pilfered it from our guitarist before he left town) what ever
happened to kramer, i have heard strange rumors of the demise of shimmy
disc, just curious if anyone can add to those ;) or shed some
truth...shimmy was a strange label that released some really great records,
and...well...some stinkers.
<e>
http://www.mockbrawn.com -tucson az

-



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

From: [e-mail]
Subject: new music recs
Date: 28 Jul 1999 13:50:47 -0400 (EDT)

I'm interested in getting some specific recommendations on some really ear-stretching (and, implicitly, new-to-me) music, and how to get them (preferably online).  E.g. Dumitrescu and I.S.O. I remember being oft-recommended, and I know I can get those from Forced Exposure.  Where can I get Orchester 33 1/3 (Rhiz Records)?  Can't find that.  How about Parmegiani's De Natura Sonora (sp?)?

Anyway, I'm looking for things along those lines.  No jazz or free improv recs - got lots of that already.  And I have a modicum of electronica from Autechre, Oval, Microstoria, so skip those too.  On the classical side, I already know Saariaho, Dillon, etc.

Many thanks, and please include sources for any recommendations, if you know them.

vince


Get your free email from AltaVista at http://altavista.iname.com

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: new music recs
Date: 28 Jul 1999 13:56:23 -0400

On Wed, Jul 28, 1999 at 01:50:47PM -0400, [e-mail] wrote:
> I'm interested in getting some specific recommendations on some really ear-stretching (and, implicitly, new-to-me) music, and how to get them (preferably online).  E.g. Dumitrescu and I.S.O. I remember being oft-recommended, and I know I can get those from Forced Exposure.  Where can I get Orchester 33 1/3 (Rhiz Records)?  Can't find that.  How about Parmegiani's De Natura Sonora (sp?)?

One CD that jumps to mind is Paul Dolden's "L'ivresse de la vitesse /
Intoxication by Speed" <http://www.interlog.com/~cmc/ds/CDs/L%27ivresse.html>
It includes amazing rushes of sound created by overlaying dense (but not
muddy) combinations of acoustic instruments that morph madly into one
another.

--
| [e-mail]          http://www.metatronpress.com/~jzitt |
| Latest Solo CD: Gentle Entropy         http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: [e-mail]
Subject: Knit Factory/Pino Minafra
Date: 28 Jul 1999 16:12:37 -0300

Martin wrote:

>Pino Minafra--Sudori [What a fine, fun, wild and wooly CD!]

What do you mean for "wooly"?
a)Relating to, covered with wool?
b)Lacking sharp detail or clarity?
c)Rough?
d)Disorganized, unclear?

Anyway, any more comments?

Thanks.

Hugo



-



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

From: David Gross <[e-mail]>
Subject: Irrepressible Spirit @ the Knitting Factory 7/31
Date: 28 Jul 1999 16:05:08 -0400

Tor Snyder of the Full Metal Revolutionary Jacket Ensemble presents:

Irrepressible Spirit:

Saturday July 31st-9 PM $7.00
The Knitting Factory
74 Leonard St.
NY NY
212-219-3006

Tor Snyder-guitar
Raphe Malik-trumpet
David Pleasant-Multi-percussion Densimetrix
David C Gross-six-string fretless bass/loops/electronics
Guadulesa-Improvisational Painting
Kid Lucky-Voiceinstrumentals
Monique Jarvis-vocals/poetry


-



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

From: "Scott" <[e-mail]>
Subject: White Noise
Date: 28 Jul 1999 21:39:53 +0100

Just for info, I've just updated White Noise with a review of the Beefheart
box and some other stuff. I've also added a few more interesting and weird
items to my sale list.

Thanks for looking

Scott Russell.

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

Weird music for sale and exchange
http://www.burntweeny.freeserve.co.uk/list.html

-



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

From: David Keffer <[e-mail]>
Subject: > Where is a good place to start with EUGENE CHADBOURNE??
Date: 28 Jul 1999 17:07:51 -0400


> Where is a good place to start with EUGENE CHADBOURNE??

Having only seen Chadbourne live and not listened to any
discs, I can't recommend album names.  However, I can
recommend that whatever you get focuses on his instrumental
skills and not on his song compositions.  His banjo and
guitar playing is quite exceptional.  His songs (what I
heard were protest songs) are lyrically, in my opinion, banal,
one-sided, uninsightful, and annoying enough to overwhelm
any urge to listen to the fine accompanying finger work.
So go for instrumental releases.

David K.



-



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

From: [e-mail]
Subject: Pat Martino suggestions? (non Zorny)
Date: 28 Jul 1999 19:43:59 EDT

Pardon the off-topic-ness of this, but I picked up a Pat Martino CD today
titled _First Light_ , a 2 on 1 released recently on 32Jazz that includes the
LPs _Joyous Lake_ and _Starbright_ .  This is my first exposure (that I know
of) to this guitarist as a leader, and as i'm a sucker for this
early-to-mid-70s jazz/rock fusion, this CD is a real treat so far.

Any suggestions as to what I should pick up next?  I saw one that looked
interesting- influenced by the Koran- looked fairly psychedelic (yummy...)

=dg=

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: new music recs
Date: 28 Jul 1999 20:15:42 -0400

At 01:50 PM 7/28/99 -0400, [e-mail] wrote:
>I'm interested in getting some specific recommendations on some really
ear-stretching (and, implicitly, new-to-me) music, and how to get them
(preferably online).  E.g. Dumitrescu and I.S.O. I remember being
oft-recommended, and I know I can get those from Forced Exposure.  Where
can I get Orchester 33 1/3 (Rhiz Records)?  Can't find that.  How about
Parmegiani's De Natura Sonora (sp?)?
>
>Anyway, I'm looking for things along those lines.  No jazz or free improv
recs - got lots of that already.  And I have a modicum of electronica from
Autechre, Oval, Microstoria, so skip those too.  On the classical side, I
already know Saariaho, Dillon, etc.
>
>Many thanks, and please include sources for any recommendations, if you
know them.

You should check out the Canadian label empreintes digitales
(www.cam.org/~dim), which has sound samples of many of their
electroacoustic cds.  Almost everything I've heard on this label has been
outstanding.  They carry the French label INA-GRM, who publishes most of
Parmegiani's stuff, as well as metamkine, known for the 3" cds of
individual pieces.

Japanese material like ISO is best found at Forced, but the best source for
other bizarre music is anomalous (www.anomalousrecords.com), who has the
most extensive coverage of electroacoustic, outside ambient and new
classical, under one web site that I've found.  They carry empreintes
digitales and INA, but I don't know how extensive their sound samples are.
Check out anything on trente oiseaux, esp. Bernhard Gunter's releases, if
you're really adventuresome.  RLW, on selektion, is another highly outside
composer who is very much in his own sound world.

Many of the smaller distributors, like [e-mail] and [e-mail], use
both forced and anomalous and may have better prices.  No web sites, but
excellent and informative periodic mailings.

In print, look for ND magazine, which covers this scene better than anyone
else I've found.  Tons of reviews and ads for suppliers.  I'm told Halana
magazine is also good, but have not yet snagged one of these yet.

HTH.


--
Caleb Deupree
[e-mail]

It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing.  There is more
than one way to conquer a country.

-- Raymond Chandler

-



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

From: [e-mail]
Subject: Re: Chadbourne
Date: 28 Jul 1999 20:46:43 EDT


In a message dated 7/28/99 1:49:33 PM, [e-mail] writes:

<< > Where is a good place to start with EUGENE CHADBOURNE?? >>

I like Solo Acoustic Guitar, Volume 2 (Rastascan).

Jon
www.erstwhilerecords.com

-



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

From: [e-mail]
Subject: Re: new music recs
Date: 28 Jul 1999 20:52:23 EDT


In a message dated 7/28/99 1:52:47 PM, [e-mail] writes:

<< Where can I get Orchester 33 1/3 (Rhiz Records)?  Can't find that.  How
about Parmegiani's De Natura Sonora (sp?)? >>

Other Music should stock both of these. Dutch East India (www.dutch-east.com)
distributes Rhiz in the US. and Forced Exposure stocks INA-GRM stuff a la
Parmegiani) , although I think some of it drops in and out of print.

Jon

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Chadbourne
Date: 28 Jul 1999 17:54:28 -0700


On Wed, 28 Jul 1999 20:46:43 EDT  [e-mail] wrote:
>
>
> In a message dated 7/28/99 1:49:33 PM, [e-mail] writes:
>
> << > Where is a good place to start with EUGENE CHADBOURNE?? >>
>
> I like Solo Acoustic Guitar, Volume 2 (Rastascan).

Which is 20 years old, BTW, but a great document of Chadbourne at his best as
a fantastic guitar player and awesome improviser (and he is more than that,
although that might be what I like the most of him).

    Patrice.


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: new music recs
Date: 28 Jul 1999 17:56:22 -0700


On Wed, 28 Jul 1999 20:52:23 EDT  [e-mail] wrote:
>
>
> In a message dated 7/28/99 1:52:47 PM, [e-mail] writes:
>
> << Where can I get Orchester 33 1/3 (Rhiz Records)?  Can't find that.  How
        ^^^^^^^^^^^^^^^^^^^^^^^^^
Are there many records by this band? Because I thought that the label was:

    ORCHESTER 33 1/3 (Plag Dich Nicht)

    Patrice.

-



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

From: [e-mail]
Subject: Re: new music recs
Date: 28 Jul 1999 20:58:29 EDT


In a message dated 7/28/99 8:56:32 PM, [e-mail] writes:

<< Are there many records by this band? Because I thought that the label was:

    ORCHESTER 33 1/3 (Plag Dich Nicht) >>

it's actually a joint production of the two Viennese-based labels, Plag Dich
Nicht/Rhiz.

Jon
www.erstwhilerecords.com

-



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

From: Diego Gruber <[e-mail]>
Subject: Mr. Bungle needs help!
Date: 28 Jul 1999 20:30:40 -0500

If no one here can help, please forward this to other lists and people.


---------- Forwarded message ----------

Hello!

Please help us spread the news. Mr.Bungle is in desperate need of a key
piece of equipment. Please ask everyone to be on the hunt for:

Roland DJ 70 Mark 2 (with scuzzy port) 32 meg RAM

This is an older sampler that is not made anymore. If someone can locate
one
for us we would be VERY grateful. This is urgent! Everyday counts!
Please
e-mail any leads to:

[e-mail]



Thanks!
Mr.Bungle



-



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

From: Corey Marc Fogel <[e-mail]>
Subject: Re: Review: John Zorn's Masada 'Live in Taipei'
Date: 28 Jul 1999 21:21:55 -0700 (MST)


this article is the worst piece of shit ive ever read. feel free to tell the
author that in their "Yak" response section.


On Wed, 28 Jul 1999 [e-mail] wrote:

> http://leisuresuit.net/Webzine/articles/masada_taipei.shtml
>
> -
>
>


-



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

From: [e-mail]
Subject: Re: Chadbourne
Date: 28 Jul 1999 21:14:46 -0700

COUNTRY MUSIC IN THE WORLD OF ISLAM


-



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

From: Ryan Novak <[e-mail]>
Subject: Re: Ribot
Date: 28 Jul 1999 22:03:57 -0700 (PDT)

I'm a little confused.  I love the album titled Shrek
but I don't have the Yo, I Killed...  one yet.  Seems
like this Shrek group has little to do with what I'm
familiar with (also on Sounds of a Distant Episode).
I was lukewarm about Requiem for What's His Name and
that's what this new one sounds like it's based
around.  Who's considered Shrek now?


Thanks,

Ryan Novak


_____________________________________________________________
Do You Yahoo!?
Free instant messaging and more at http://messenger.yahoo.com


-



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

From: [e-mail] (Theodorus Klaase)
Subject: Yamantaka Eye
Date: 29 Jul 1999 01:14:07 -0400 (EDT)

Okay, I know how to pronounce "Yamatsuka,"-- I've heard Zorn himself say
it--but now that he's changed his name....How does one pronounce
"Yamantaka?"


-Theodorus
 "Good bye sober day, Hello Milky Way"


-



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

From: [e-mail] (Martin Wisckol)
Subject: Re: Pino Minafra
Date: 28 Jul 1999 22:32:59 -0700

Lo siento Hugo -- A lazy effort to express my enthusiasm and delight in
this disc. It hardly fits any of the definitions you offered for my
very approximate wooly. So how about this: Unbridled and whacky. At the
risk of stereotyping, I find the best Italian jazz  -- and I consider
this among it -- provides innovation, spontaneous passion and mood in a
package of stylistic flair. There's a delicious tango dedicated to
Federico Fellini, a Spanish bullfight theme, a dandy blues.... The
line-up is three horns plus rhythm section, seriously worked out and
refreshing arrangements, solid and adventurous solos, and Minafra
periodically barking out his distinctive raps (sounding at times like
Roberto Begnini through a bull horn). Highly recommended!
>Martin wrote:

>>Pino Minafra--Sudori [What a fine, fun, wild and wooly CD!]

>What do you mean for "wooly"?
>a)Relating to, covered with wool?
>b)Lacking sharp detail or clarity?
>c)Rough?
>d)Disorganized, unclear?

>Anyway, any more comments?

>Thanks.

>Hugo



-



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

From: [e-mail] (Martin Wisckol)
Subject: Eugene Chadbourne
Date: 28 Jul 1999 22:42:31 -0700

I take great pleasure in small doses of Chadbourne. Which is perhaps
why I'm partial to his version of Monk's Criss Cross on the Monk
tribute "The Way I Feel Now" (2LP version -- not sure if this made the
stripped down CD version) and, especially, his version of Space is the
Place (complete with midwestern housewife calling into a radio station
featuring Chadbourne live in the studio and commenting on his electric
rake playing) on the very good Sun Ra Tribute, "Wavelength Infinity.''

Martin

np: Diamanda Galas -- The Singer (you haven't lived until you heard
Diamanda's "I put a Spell on You").... Just finished with Los Lobos new
one, This Time, which I think will be spending a lot more time in the
player....

-



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

From: "lava" <[e-mail]>
Subject: chadbourne
Date: 29 Jul 1999 02:31:57 -0400

i always really dug shockabilly, especially
earth vs shockabilly
they were titanic to hear live
cb

then of course there's the rake & plunger

i used to have a tape of "jack johnson rake" but it long ago deteriorated,
actually was eaten by a mysterious mold.....


-



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

From: "lava" <[e-mail]>
Subject: Sympathetic Vibratory Physics - John W. Keely's Sacred Science.
Date: 29 Jul 1999 03:29:11 -0400

looks groovie 2 me

 http://www.svpvril.com/

ll.


-



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

From: ADM <[e-mail]>
Subject: Re: Pat Martino suggestions? (non Zorny)
Date: 29 Jul 1999 03:49:54 -0700

Yes!  Get Baiyina, the psychedelic, koran influenced one.  It is absolutely
excellent.  I was turned on to Pat Martino by this album and I believe its my
favorite.  If you already like Pat, then there I probably don't need to do much
to convince to buy this, but its a great album.  I think the "essential" albums
with Martino as a leader are probably "East!" and "Strings!".  I have East! and
its more good stuff.  If you are looking for the fusiony stuff, you might wanna
check out Desperado.  Pat plays a 12 string guitar, Eddie Green plays electric
piano.  Its not as good as Baiyina or East!, but if you see it used, why not?
Also, Pat is a sideman on a Don Paterson album called "Boppin and Burnin" which
is a pretty standard expanded organ trio album.  They play Donna Lee and
Epistrophy and some other pretty standard stuff.  Probably the least adventurous
Martino you could find, but I still like it.

-Aaron

[e-mail] wrote:

> Pardon the off-topic-ness of this, but I picked up a Pat Martino CD today
> titled _First Light_ , a 2 on 1 released recently on 32Jazz that includes the
> LPs _Joyous Lake_ and _Starbright_ .  This is my first exposure (that I know
> of) to this guitarist as a leader, and as i'm a sucker for this
> early-to-mid-70s jazz/rock fusion, this CD is a real treat so far.
>
> Any suggestions as to what I should pick up next?  I saw one that looked
> interesting- influenced by the Koran- looked fairly psychedelic (yummy...)
>
> =dg=
>
> -


-



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

From: [e-mail]
Subject: TRUMPET GREAT HARRY "SWEETS" EDISON
Date: 29 Jul 1999 08:52:19 EDT



Harry "Sweets" Edison, a trumpeter whose career spanned
six decades as a distinctive solo artist and invaluable
player for Count Basie, died in Columbus, Ohio after a
battle with prostate cancer. He was 83.

-



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

From: [e-mail]
Subject: chadbourne
Date: 29 Jul 1999 10:22:11 -0500


Keffer sez:

His songs (what I heard were protest songs) are lyrically, in my opinion, banal,
one-sided, uninsightful, and annoying enough to overwhelm any urge to listen to
the fine accompanying finger work.

Not to call you to task, but I really disagree about his songwriting. What's
interesting about Chadbourne, though, is the way he comes to different styles
with such fluency. He's much too informed in jazz, free improv, collage, country
and psychedelia, for example, to be considered a dabbler steeped in irony, and
his different records reflect that breadth. Likewise, when he gets into protest
song, he doing it with an informed sincerity.

I agree that there can be something a little embarassing about the most strident
songs by Phil Ochs, Pete Seeger, even early Dylan (well, maybe not Dylan). And
I'm not really sure why I at times find singers spouting views I agree with
embarassing, but yeah, there is something about stridency that can be, well,
awkward.

But I really think Eugene is up with the best of them (well, maybe not Dylan) in
protest song. And, at times, he's more clever and more effective in his use of
humor. And I still walk around singing a song about a hypocritical preacherman
that I just heard him play once ("I think the Lord will give the credit/to the
sinners who admit it/to the sinners who are proud of it" -- does anyone know if
that's recorded somewhere?).

At his best, he'll wander solo stream of thought from a long-form improv to
Peggy's Blue Skylight to Apartment #9 to See Emily Play. He's got way more
recordings than I'll ever hear, but unfortunately I haven't found the one that
reporesents all of that yet.

kg



-



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

From: Jason Tors <[e-mail]>
Subject: Review: John Zorn's Masada 'Live in Taipei'
Date: 29 Jul 1999 10:33:17 -0800

This gave me a hearty laugh.



"And, listen, honk in moderation, man. It's good to honk, but, y'know, be cool
 with it. Call me unhip, but I like James Carter, I don't care how many Essence
awards he wins."

-



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

From: [e-mail]
Subject: Re[2]: chadbourne
Date: 29 Jul 1999 11:24:14 -0500



"Michael Berman" sez:

In the great chadbourne lyrics thread, of which many are witty, funny and often
'on the mark' in an off the wall way, the lines from "Hippies and Cops" on
'Country Music In the World of Islam' for some reason always stuck in my head.

-> I've been curious about this album, and also one with a title referring to
country music of australia or nz or something? do these albums come from islamic
and outback musical traditions? were they recorded there? whafor the titles?



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Review: John Zorn's Masada 'Live in Taipei'
Date: 29 Jul 1999 08:16:28 -0700


On Wed, 28 Jul 1999 21:21:55 -0700 (MST)  Corey Marc Fogel wrote:
>
> this article is the worst piece of shit ive ever read. feel free to tell the
        ^^^^^^^^^^^^^^^^^^^^^
I think that it is a nice way to say it.

    Patrice (impressed that Corey spent that time to write down a critic
        of such "review" :-).

> author that in their "Yak" response section.
>
> On Wed, 28 Jul 1999 [e-mail] wrote:
>
> > http://leisuresuit.net/Webzine/articles/masada_taipei.shtml


-



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

From: "Michael Berman" <[e-mail]>
Subject: Re: chadbourne
Date: 29 Jul 1999 11:19:02 -0400

In the great chadbourne lyrics thread, of which many are witty, funny =
and often 'on the mark' in an off the wall way, the lines from "Hippies =
and Cops" on 'Country Music In the World of Islam' for some reason =
always stuck in my head.  (they're funnier in context of course)=20
Hippies and cops/why don't they get together
Hippies and cops/both of them looking for drugs

 This is a great album, a strong  recommendation,(though there are so =
many that satisfy), but also of course LSDC&W for zorn content.

mb




-



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

From: [e-mail]
Subject: $4.95 CDs: The End
Date: 29 Jul 1999 11:26:38 EDT

Ah well, ironically, my distrust of "too good to be true" deals became a
self-fulfilling prophecy. It seems that those who jumped quickly upon the
$4.95 deal got much or all of what they ordered. I hesitated, suspicous of a
scam, but finally, after hearing that some folks were actually receiving what
they ordered, I ordered 25 CDs myself.

Well, after receiving 3 CDs a few weeks ago, and numerous attempts to get
some answers from the customer service folks on the phone, this came
yesterday:

>Dear MyShopNow.com Customer,
>This is in regards to your order for music CDs from us.
>Unfortunately, we have had difficulty fulfilling the
>incredible demand for these specially priced CDs.
>Despite having used two, large distributors, not all
>titles we initially offered have been available.
>Because we have been unable to find a source for any
>of the CDs that you ordered and cannot get a commitment
>from our suppliers when they might be available in the
>future, we are canceling your order.  This was not an
>easy decision for us to make, but we ultimately feel
>that it is the best choice under difficult circumstances.
>We've also learned from this experience.  The good news
>is that we are still offering a selection of CDs at the
>same low price of $4.95 all of which are stocked in our
>own warehouse, ensuring that you will receive any future
>order.  We would encourage you to visit our site again
>and look over these selections.
>While we are disappointed that your experience purchasing
>from us has not been ideal, we hope you understand and we
>hope you will continue to shop online with us.  Please
>feel free to email us any further questions or concerns.
>Sincerely,
>MyShopNow.com Customer Service

For the record, my orders were of obscure-label as well as major label
classical, jazz and pop/rock. And also, just out of curiosity, I checked
their site to see what their "selection" of $4.95 CDs meant, and it is a
joke. 44 "choices," and you can imagine. . .

I do take a little comfort in knowing that their attempt at 'promotion' seems
to have become a public relations nightmare.

Dave Royko

-



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

From: [e-mail]
Subject: Ribot, Bard, Matteen @ The Brecht Forum 8/12
Date: 29 Jul 1999 11:40:21 -0500


The Brecht Forum
122 West 27th Street, 10th Floor
New York, NY 10001
212-242-4201
www.brechtforum.org

For Immediate Release
Contact:Barbara Burch 718-638-5000 x324, or Andy Comer 212-242-4201

Neues Kabarett at The Brecht Forum features
Marc Ribot, Christine Bard and Sabir Mateen
in a special benefit concert
Thursday, August 12 at 8 pm
122 West 27th Street, 10th Floor
$10-15 sliding scale
for info call 212-242-4201

Guitarist Marc Ribot and drummer Christine Bard will perform solo sets, followed
by multi-instrumentalist Sabir Mateen.  All proceeds benefit the Brecht Forum's
new piano.

Marc Ribot began playing as a sideman in New York City in 1978 for such
musicians as jazz organist Jack McDuff and legendary soul shouter Wilson
Pickett.  The following year, Ribot joined the Realtones and the Uptown Horns
Band, which worked as a NYC pickup band for Carla Thomas, Rufus Thomas, Solomon
Burke and many others.  Ribot began his five year stint as a member of the John
Lurie's Lounge Lizards in 1984, and worked with artists such as Elvis Costello,
Marianne Faithfull and Tom Waits.  He continued to explore New Music with Arto
Lindsay, Don Byron, Elliot Sharp, Anthony Coleman, the Jazz Passengers, Evan
Lurie and John Zorn, and composed and recorded his own music with his bands
Rootless Cosmopolitans and Shrek, as well under his own name.  His 1996 "Don't
Blame Me," which found a solo Ribot reinventing a number of American standards,
was hailed by The Village Voice's Gary Giddins as "a record filled with savory
and unlikely amusements."

His recent project, Los Cubanos Postizos, interpreting the work of Cuban son
player Arsenio Rodriguez, has received wide acclaim.  Also in recent years,
Ribot has worked with Cibo Matto, the late Allen Ginsburg, Phish guitarist Trey
Anastasio's Surrender To The Air project, Atlantic recording artist Madeleine
Peyroux and Patti Scialfa for her upcoming solo album.  Ribot also continues to
work with Zorn, playing on his "FILMWORKS" collections, and as a member of his
Bar Kokhba ensemble.

Drawing upon ancient rhythms from around the world,  Christine Bard uses drums
to provide deep sonic and rhythmic intensity in her compositions.  She also uses
lo-tech electronics attached to her instruments and live processing to pull out
the fundamental harmonics not ordinarily translated to the audience' ear, to
sound as though the instrument were gently played right next to the ear of the
beholder.  The result is a deeply resonant and dynamic sound.  In her
compositions she creates subtle stasis through sustain which turns to wild leaps
and growls that bring an audience to the edge of their seats.

Using these techniques, Bard has toured Europe seven times.  She has played
extensively in New York's downtown club and ambient scene, as well as touring
Japan and the United States.  "Bard [played] with aggressive but sharply
calculated trap set textures.One of the more thoughtful drummers on the Downtown
improvisation scene.Bard's drumming employs brain and body equally creating
fine-tuned, piece-specific textures." - Kyle Gann, Village Voice

Bard has recorded, performed and/or collaborated with such artists as Cyro
Baptista, Hamid Drake, David Krakauer, Zeena Parkins, James Pugliese, Marc
Ribot, Bob Ostertag, David Soldier, Norman Yamada, John Zorn, John Cage and
Charlie Haden.  She has worked with Shrek, God Is My Co-Pilot, P.W. Shreck,
TrousersVoices of the Moon, Newband, The Harry Partch Ensemble, the Downtown
Ensemble, Bang On A Can All-stars, The Crosstown Ensemble, the Microtonal
Orchestra and the Seattle Symphony.  Her current groups include
EassidePercussion, Jim Pugliese's Soultronix, and the ambient electroacoustic
drum and tap duo Pitchbrite. Bard has  composed critically acclaimed  music for
the Easside Percussion Trio, the Wendy Osserman Dance Company, Jennifer Monson
dance, the experimental music group "Voices of the Moon", soprano virtuosa
Tomassa Eckert and Trousers. She has performed a solo concert at the Freunde
Guter Musik Berlin, and has performed in ensembles at the Saalfelden,
Victoriaville, Taktlos, Greenwich Village and Knitting Factory jazz festivals,
and is a featured percussionist on the Rough Assemblage CD on the Avant label.

Multi-instrumentalist Sabir Mateen (alto, tenor, clarinet, flute) made his
recording debut with Horace Tapscott's Pan African People's Arkestra over two
decades ago. After years of heavy dues paying, Mateen is now a luminous presence
on the American improvised music scene, as part of the One World Ensemble, Tenor
Rising, Sunny Murray's bands, the Raphe Malik Quartet and other free-blowing
enterprises. Mateen is a also a member of TEST, a collective creative
improvising quartet based out of the NYC Underground; figuratively and
literally. They have performed weekly since 1992 in the streets and subway
stations of New York City; filling the commuters various selves with anything
ranging from joy to confusion; flustered looks to looks of revelation; responses
dependant on their own attendant baggage.

"Saxophonist Sabir Mateen emerged on the west coast playing with Horace
Tapscott, and his grasp of the traditions has a similar depth and disregard for
fashion. He has found his own voice, skippy and playful like Ornette, but also
vocalized and ecstatic like the players encouraged by Coltrane. His clarinet is
fluid and soulful; his flute intelligent enough to keep airiness at bay.  On
'Running in to the Truth After Chasing a Lie,' his alto darts about like a
lizard on a wall, finding new cavities that glisten with gems, new harmonic
zones to bask in..."  - Hi-Fi News & Record Review

Background:
The Brecht Forum is a non-profit cultural and educational center for people
working for fundamental social change and a society that puts human needs first.
Arts events include Neues Kabarett, an avant-garde jazz series; The Gashouse,
featuring radical music and words; Freedom Song, highlighting music from
worldwide national liberation struggles; and monthly art exhibits spotlighting
issues of the day such as the recent Cellscape II, a group show which focused on
incarceration and police brutality.

Upcoming events include Diasporadics, a South Asian Arts Festival, documentary
film screenings and a three-day concert spotlighting the contributions of
innovative women composers. The Brecht Forum has been raising funds to support
the development of its performance space, including the purchase of a new sound
system and a piano.

Next Neues Kabarett:
On August 27 and 28, we will present North Carolina's Eugene Chadbourne, who
will treat New Yorkers to a night of original compositions and a night of his
interpretations of Phil Ochs songs.

-30-









-



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

From: [e-mail]
Subject: Re: $4.95 CDs: The End
Date: 29 Jul 1999 12:16:42 EDT

In a message dated 7/29/99 12:09:55 PM Eastern Daylight Time, [e-mail]
writes:

<<
 I do take a little comfort in knowing that their attempt at 'promotion'
seems
 to have become a public relations nightmare.
  >>

Similar situation here, I received 1 out of 20 discs I ordered, and the same
email yesterday. I sent them quite a flaming email back too - one, suggesting
that I thought a printed receipt was a binding contract and that they're
nicely set up for a class action lawsuit now, and 2, if I could get any of
the titles I ordered from them through Cadence, why couldn't they? Yeah I
know, wishful thinking, but I am mightily pissed!

Dale.

-



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

From: Charles Jacobus <[e-mail]>
Subject: RE: $4.95 CDs: The End
Date: 29 Jul 1999 12:44:18 -0400

Ditto. And the night before last, I actually received a call from them. They
wanted to know how I thought about their service! It was all slightly
embarrassing to say the least. Oh well.

By the way, they batted one (Zappa's Lumpy Gravy) for five with my order.

-----Original Message-----
Sent: Thursday, July 29, 1999 12:17 PM


In a message dated 7/29/99 12:09:55 PM Eastern Daylight Time, [e-mail]

writes:

<<
 I do take a little comfort in knowing that their attempt at 'promotion'
seems
 to have become a public relations nightmare.
  >>

Similar situation here, I received 1 out of 20 discs I ordered, and the same

email yesterday. I sent them quite a flaming email back too - one,
suggesting
that I thought a printed receipt was a binding contract and that they're
nicely set up for a class action lawsuit now, and 2, if I could get any of
the titles I ordered from them through Cadence, why couldn't they? Yeah I
know, wishful thinking, but I am mightily pissed!

Dale.

-

-



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

From: [e-mail]
Subject: Re: Pat Martino suggestions? (non Zorny)
Date: 29 Jul 1999 11:44:13 EDT

In a message dated 7/28/99 7:48:00 PM Eastern Daylight Time, [e-mail]
writes:

> titled _First Light_ , a 2 on 1 released recently on 32Jazz that includes
> the
>  LPs _Joyous Lake_ and _Starbright_ .  This is my first exposure (that I
know
>
>  of) to this guitarist as a leader, and as i'm a sucker for this
>  early-to-mid-70s jazz/rock fusion, this CD is a real treat so far.

Those mid-seventies records were Pat's foray into "fusion", but he's really a
hard bop guitarist, and one of the greatest at that.   My favorites:
"Consciousness", "Live" and "Exit".
-Jody

-



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

From: [e-mail] (Chris Westphal)
Subject: Re: Yamantaka Eye
Date: 29 Jul 1999 10:45:57 -0700

eYe

At 01:14 AM 7/29/99 -0400, Theodorus Klaase wrote:
>Okay, I know how to pronounce "Yamatsuka,"-- I've heard Zorn himself say
>it--but now that he's changed his name....How does one pronounce
>"Yamantaka?"
>
>
>-Theodorus
> "Good bye sober day, Hello Milky Way"
>
>
>-
>
>
>

-



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

From: [e-mail]
Subject: Re: $4.95 CDs: The End
Date: 29 Jul 1999 16:50:31 EDT

In a message dated 7/29/99 12:52:19 PM Eastern Daylight Time,
[e-mail] writes:

<< Ditto. And the night before last, I actually received a call from them.  >>

I did too. And the more I thought about that so-called "customer survey" they
called about, the more I starting thinking it was really a ruse to find out
how many discs to actually bill me for. As of now, nothing has shown up on my
credit card statement.

Dale.


Dale.

-



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

From: Perfect Sound Forever <[e-mail]>
Subject: John Cage/Art Ensemble of Chicago
Date: 29 Jul 1999 22:46:25 -0400

Greetings,

Does anyone know about any details about a piece that John Cage did along
with members of the Art Ensemble of Chicago?  I had read about this
somewhere and Joseph Jarman remembers this happening though he can't
remember the piece.

Any help with this is greatly appreciated.

Best,
Jason

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

-



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

From: Mike Chamberlain <[e-mail]>
Subject: Re: Fushitsusha US tour/Mazzacane at Tonic
Date: 30 Jul 1999 00:25:41 -0400

[e-mail] wrote:
>

> secondly, Tonic is holding a Loren MazzaCane Connors festival in celebration
> of his fiftieth birthday and the hopefully-then-released four CD box
> containing all nine of his early acoustic records, being put out by Thurston
> Moore and Byron Coley. this festival, from the info I've gathered, is shaping
> up to be quite something. nothing is finalized yet, but it looks as if Loren
> will play with a different guest each night, in a solo/duet/solo format, with
> the guests doing their own set in addition to playing with Loren. some of the
> guests include Sonic Youth, Keiji Haino, Rafael Toral, and the No Neck Blues
> Band, at least as of now. I believe there are sixteen nights scheduled,
> Thurs.-Sun. for four weeks. I know I'm excited.

When exactly is this taking place?

--Mike

-



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

From: [e-mail]
Subject: Re: Fushitsusha US tour/Mazzacane at Tonic
Date: 30 Jul 1999 00:30:40 EDT


In a message dated 7/30/99 12:23:30 AM, [e-mail] writes:

<< > secondly, Tonic is holding a Loren MazzaCane Connors festival in
celebration
> of his fiftieth birthday and the hopefully-then-released four CD box
> containing all nine of his early acoustic records, being put out by Thurston
> Moore and Byron Coley. this festival, from the info I've gathered, is
shaping
> up to be quite something. nothing is finalized yet, but it looks as if Loren
> will play with a different guest each night, in a solo/duet/solo format,
with
> the guests doing their own set in addition to playing with Loren. some of
the
> guests include Sonic Youth, Keiji Haino, Rafael Toral, and the No Neck Blues
> Band, at least as of now. I believe there are sixteen nights scheduled,
> Thurs.-Sun. for four weeks. I know I'm excited.

When exactly is this taking place? >>

whoops, forgot a key piece of info. the entire month of October.

Jon
www.erstwhilerecords.com

-



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

From: sasanborn <[e-mail]>
Subject: Wanted
Date: 30 Jul 1999 00:39:36 -0600

I was wondering if anyone has "Refusal Fossil" from the Ruins or the new
Fantomas cd that they could tape for me? I have a list of  trade stuff I
have if anyone is interested. Thanx. Steve in Boise.



-



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

From: [e-mail]
Subject: Re: new music recs
Date: 30 Jul 1999 07:18:34 EDT

In a message dated 7/28/99 8:12:03 PM Eastern Daylight Time,
[e-mail] writes:

<< In print, look for ND magazine, which covers this scene better than anyone
 else I've found.  Tons of reviews and ads for suppliers.  I'm told Halana
 magazine is also good, but have not yet snagged one of these yet. >>

Halana is great, especially for such a young magazine- free CD with each
issue too.  They supposedly have a website by the same name, though I have
not checked it out.  What is ND magazine?  Domestic, er, Stateside
publication?

=dg=

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: new music recs
Date: 30 Jul 1999 07:56:14 -0400

At 07:18 AM 7/30/99 EDT, [e-mail] wrote:
>
>What is ND magazine?  Domestic, er, Stateside
>publication?

They're based in Austin Texas, apparently affiliated with the record store
33 degrees in that city.  Read about it at http://www.nd.org.  They publish
CDs, but not with the magazine (although it sez here that the first 1000
copies of the next issue will contain a cd).

--
Caleb Deupree
[e-mail]

It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing.  There is more
than one way to conquer a country.

-- Raymond Chandler

-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: A Little More Dolphy
Date: 30 Jul 1999 14:01:53 GMT0BST

Pace Ken Waxman, Dolphy doesn't play on Roach's We Insist, Freedom
Now Suite.  Could Ken have been confusing Eric with the great Coleman
Hawkins?  I think not.

Sean Wilkie


-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Chadbourne / Ra
Date: 30 Jul 1999 14:04:26 GMT0BST

Could Martin Wisckol give label details of the Sun Ra tribute album,
"Wavelength Infinity"?

Sean Wilkie

PS I think Pino Minafra's Sudori is woolly (or is that wooly?) - that
is, it's snug and comfortable and it gives me a warm feeling.

-



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

From: "Robert A. Pleshar" <[e-mail]>
Subject: My Shop Now info
Date: 30 Jul 1999 08:24:33 -0500

I found this in a record colelcting newsgroup and thought I'd pass it on
for anyone who tried to buy discs from this company:

-Ralph



This is a one-time cross-posting to newsgroups whose members may have had
dealings with the online retailer MyShopNow.com.

If you did not receive any or all of the music CDs that you ordered from the
MyShopNow.com website, you may wish to file a complaint with the Federal
Trade Commission concerning this company.

For further information, go to
http://members.tripod.com/snrequest/index.html



Robert Pleshar
Head, Serial Orders
University of Chicago Library
1100 E. 57th Street
Chicago, IL 60637

-



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

From: "Scott Handley" <[e-mail]>
Subject: laptops, etc: electroacoustic practicum
Date: 30 Jul 1999 14:08:58 GMT

I'm hearing more and more about electonic composer of all stripes using
laptops for live electronics, etc.  Why do Macs seem to be the computer of
choice?  What programs do composers on this list use, and what do these
programs "do"?  And what specs are required to effectively run sound
programs?  Can the many lucky listeners here describe what kinds of sounds
people like Durrant, O'Rourke, etc., make with their computers, live, laptop
or otherwise?  Thanks, everyone.

Sorry for cross-posting.

----s


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

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: laptops, etc: electroacoustic practicum
Date: 30 Jul 1999 10:19:12 -0400

On Fri, Jul 30, 1999 at 02:08:58PM +0000, Scott Handley wrote:
> I'm hearing more and more about electonic composer of all stripes using
> laptops for live electronics, etc.  Why do Macs seem to be the computer of
> choice?  What programs do composers on this list use, and what do these
> programs "do"?  And what specs are required to effectively run sound
> programs?  Can the many lucky listeners here describe what kinds of sounds
> people like Durrant, O'Rourke, etc., make with their computers, live, laptop
> or otherwise?  Thanks, everyone.

While not a Mac person myself, I do have one cool anecdote about them:
while driving from Dallas to Austin for a gig last year, I was talking
to a friend who was riding with me about what he might do on the gig.
He got the idea of sampling bits of the Comma CD and other spoken
things, creating loops, and dropping them into improvisations. So he
whipped out his Powerbook, hooked up the cigarette-lighter-based
power supply, used the CD-to-cassette patchcord from my CD Walkman to
run the computer sound through the car sound system, and voila!
instant sound studio. He did all the sampling and processing on the
way, and had a full stack of them to play with with plenty of time
to spare. Most impressive.

--
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Shekhinah: The Presence     http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |

-



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

From: Maurice Rickard <[e-mail]>
Subject: Re: laptops, etc: electroacoustic practicum
Date: 30 Jul 1999 10:30:23 -0400 (EDT)

Offhand, (and--full disclosure here--as a Mac user) I can't say why
people seem to be using Macs for audio more, unless it's historical: many
audio programs were on the Mac first.  I'd expect that pretty much any
platform can give you the ability to get things done, although you're
better off in general on a platform you know and are comfortable with.
(Notice the attempt to sidestep the platform flame-wars...)

For playing samples on the laptop, I use BackToBasics, an extremely
impressive and affordable piece of shareware developed by the band
Operation Reinformation (O.R.I.). You can download an evaluation copy
from http://www.reinformation.com/  Mac and Windows, minimal
requirements.  BackToBasics lets you map samples (on the Mac side,
saved as System 7-compatible sound resources; can't say what format for
the Windows side) to the keys on your laptop's keyboard, so you can play
it just like a keyboard sampler.  There are a variety of manipulations
you can do as well--stereo placement, level/overdrive, key behavior,
pitch, and I think a few others I'm forgetting.  It's a great program,
and it should be less than $30.

For creating or more extensive manipulation of sounds before they go into
BTB, I'm using the shareware program SoundSculptor II. An evaluation copy
is downloadable from http://members.aol.com/sculptorii/  Loads of
effects and editing options, although I think it supports only up to 16
bit.  But the price is right: $30 shareware, IIRC.

I've also been playing a bit with M, which isn't so much a sampler as a
"process" generator for MIDI.  It's a bit hard to describe, but there's
some extensive description (and that ever-present eval copy) at
http://www.cycling74.com/

HTH,

Maurice Rickard                       | "Multimedia will never go anywhere
Designer                              |  until the amateurs take over."
http://www.envirolink.org/maurice     |                     --David Thomas

On Fri, 30 Jul 1999, Scott Handley wrote:

> I'm hearing more and more about electonic composer of all stripes using
> laptops for live electronics, etc.  Why do Macs seem to be the computer of
> choice?  What programs do composers on this list use, and what do these

(more good questions edited for space)

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: A Little More Dolphy
Date: 30 Jul 1999 10:42:15 -0400 (EDT)

ooops, you're right Sean. It's just that Percussion.. and We Insist..
have almost the same personnel ecept for the saxophonists. And I just
looked at my LP copy of We Insist... and note that even Hawk only plays
on one track.

KW

On Fri, 30 Jul 1999, DR S WILKIE wrote:

> Pace Ken Waxman, Dolphy doesn't play on Roach's We Insist, Freedom
> Now Suite.  Could Ken have been confusing Eric with the great Coleman
> Hawkins?  I think not.
>
> Sean Wilkie
>
>
> -
>
>

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Chadbourne / Ra
Date: 30 Jul 1999 08:13:34 -0700


On Fri, 30 Jul 1999 14:04:26 GMT0BST  DR S WILKIE wrote:
>
> Could Martin Wisckol give label details of the Sun Ra tribute album,
> "Wavelength Infinity"?


*** - WAVELENGTH INFINITY - A SUN RA TRIBUTE: various artists

  This record features Uya, Charlie Kohlhase Quintet, Kash Million, Malcolm
  Mooney, Water Shed, Trudy Morse & Friends, David Greenberger, Steve Adams
  & Ben Goldberg, The Residents, The Splatter Trio, NRBQ, Art Hoyle, Elliott
  Sharp, Hartmut Geerken, Miss Murgatroid, Tom Djll, Graham Connah Group, The
  Billy Tipton Memorial Sax Quartet, Travis Shook and The Club Wow, Vacuum
  Tree Head, Dan Plonsey, The Coctails with Ken Vandermark, Eugene Chadbourne/
  Jimmy Carl Black, Phantom Radio, Eddie Gale & John Tchicai, Lewis Jordan,
  BKCP String Quartet, Bugs Meanie Band, Thurston Moore with Ezra La Plante,
  John Raskin, Thornhill/Chabot/Montclair Tri-School Artestra.

    1995 - Rastascan Records (USA), BRD018 (2xCD)


-



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

From: [e-mail] (Theodorus Klaase)
Subject: Shoe Sting Symphonettes....
Date: 30 Jul 1999 12:10:59 -0400 (EDT)

This album is fascinating.  I suggest to all those who have pondered
it's purchase that it's certainly a safe bet.


-Theodorus
 "Good bye sober day, Hello Milky Way"


-



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

From: "Stefan Verstraeten" <[e-mail]>
Subject: new release of feldman on avant
Date: 30 Jul 1999 23:09:31 +0200


Hi

There seems to be a new release by mark feldman and a piano player on the
avant label.

Anybody knows what this release is, and what does it sound like?

Best wishes


Stefan Verstraeten

[e-mail]



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: new release of feldman on avant
Date: 30 Jul 1999 14:31:27 -0700


On Fri, 30 Jul 1999 23:09:31 +0200  "Stefan Verstraeten" wrote:
>
> There seems to be a new release by mark feldman and a piano player on the
> avant label.
>
> Anybody knows what this release is, and what does it sound like?


116 - MUSIC FOR VIOLIN AND PIANO: Mark Feldman, Sylvie Courvoisier

    Recorded at Clinton Studios, New York City on December 23, 1998
    (1,8) recorded at Zurich DRS on June 15, 1996
    Produced by Sylvie Courvoisier and Mark Feldman

  Sylvie Courvoisier: piano; Mark Feldman: violin.

    1999 - Avant (Japan), Avan 065 (CD)


It is a great record of wonderfully interpreted chamber music. The music, I
guess totally composed, wanders from post-romantic to more contemporary/avant,
and this in an almost seamless way. The range of music genres covered makes it
feel like a kind of recital covering 150 years of music, although all composi-
tions are by Sylvie and Mark.

    Patrice.

-



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From: Nils Jacobson <[e-mail]>
Subject: Re: Feldman disc
Date: 30 Jul 1999 17:49:36 +0100

Just to second what Patrice said, this is a very nice recording.  I'm not
so sure it's totally composed, but I'd use P's word "seamless" to
describe the connections.  I'm not so much a classical listener, but I
could swear there were a few direct quotes from classical pieces.  Think
debussy/ravel and early 20th century classical.

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From: Michael Howes <[e-mail]>
Subject: Re: $4.95 CDs: The End
Date: 30 Jul 1999 14:53:24 -0700 (PDT)

> <<
>  I do take a little comfort in knowing that their attempt at 'promotion'
> seems
>  to have become a public relations nightmare.
>   >>
>
> Similar situation here, I received 1 out of 20 discs I ordered, and the same
> email yesterday. I sent them quite a flaming email back too - one, suggesting
> that I thought a printed receipt was a binding contract and that they're
> nicely set up for a class action lawsuit now, and 2,

 Something is up with what they are doing. Here's why.
I placed 4 orders totaling over 100 CDs.
 I received 1 CD from the first two orders, 3 from the 3rd order and none from the last.

 They keep talking about distributor issues, which I say is a crock of shit. At least 10
of the CDs I ordered are brand new, major label releases. In other words, EVERY DISTRIBUTOR
IN THE WHOLE WORLD HAS THEM. I can walk into any store, chain or not and get these CDs.

 Here is my guess as to what's going on.

 They got a database of releases someplace, offered those CDs, but only had one mediocre
distributor. When they got overwhelmed by orders they realized that to go to a different
distributor(s) meant they would lose tons of money. If they have to pay a distributor $3-6
for each CD yet sell them for $5 odds are they will lose money on it.

 So now they are backing out of their offer. I know their line about not having some of the CDs
I ordered is total bull. Brand new major label releases? I would understand if my whole order
was indie/more obscure releases, which it mostly was, but around 10 were new, easy to find,
major label releases.

 The other strange thing in one of the emails I got from them was that it said they still have
some CDs for sale for $4.99 and to go to their site and buy more??????? HUH!?!?!?!?

 mike
[e-mail]



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From: Dan Given <[e-mail]>
Subject: Re: new release of feldman on avant
Date: 30 Jul 1999 20:13:28 -0400


>
>On Fri, 30 Jul 1999 23:09:31 +0200  "Stefan Verstraeten" wrote:
>>
>> There seems to be a new release by mark feldman and a piano player on the
>> avant label.
>>
>> Anybody knows what this release is, and what does it sound like?
>
>-
>
>116 - MUSIC FOR VIOLIN AND PIANO: Mark Feldman, Sylvie Courvoisier
>
>    Recorded at Clinton Studios, New York City on December 23, 1998
>    (1,8) recorded at Zurich DRS on June 15, 1996
>    Produced by Sylvie Courvoisier and Mark Feldman
>
>  Sylvie Courvoisier: piano; Mark Feldman: violin.
>
>    1999 - Avant (Japan), Avan 065 (CD)
>
>-
>
>It is a great record of wonderfully interpreted chamber music. The music, I
>guess totally composed, wanders from post-romantic to more
contemporary/avant,
>and this in an almost seamless way. The range of music genres covered
makes it
>feel like a kind of recital covering 150 years of music, although all
composi-
>tions are by Sylvie and Mark.
>
>    Patrice.
>
 Hmm, for some reason, I was under the impression that there is a lot of
improvising on this album, based on the way that Feldman, in particular,
covers so much ground in each piece.  I may be wrong. Mabybe someone should
ask him.

Anyway, I'll second Patrice's recommendation wholeheartedly.  Courvosier is
new to me, and quite a discovery.  Lots of dense, thundering left-hand,
mixed with upper register tinkling.  Feldman, as I already mentioned,
covers everything, and shows why he has been such a highly sought fter
player.  One track, I can't remember which, subtly brings in his country
roots while still maintaining the contemporary/avant feel.  Beautiful album.

Dan


Lisa Given
Doctoral Student
Ph.D. Program in Library & Information Science
Faculty of Information & Media Studies
The University of Western Ontario
Middlesex College
London, Ontario, Canada
N6A 5B7
tel: [phone] x8481
fax: [phone]
email: [e-mail]

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From: [e-mail]
Subject: it's About Time
Date: 31 Jul 1999 03:52:12 EDT

an update to the discussion that was going on here a few weeks back,
regarding the reissues on CD of the About Time label, including some vintage
Threadgill titles.

I was handing in the master and artwork for my first CD today, and I asked
the guy what other labels they handled. he recited a list, and then he said
"About Time". so I asked him about it, and he said they just delivered the
first five CDs to them. so they should be showing up pretty soon, not sure
what titles.

Jon
www.erstwhilerecords.com

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From: Alan E Kayser <[e-mail]>
Subject: Re: it's About Time
Date: 31 Jul 1999 07:46:21 -0400

I have inquired about these discs through Cadence/North Country, only to be
told, "Yes, they have been 'released' but 'no' we don't have them yet and aren't
sure when we will get them."  This has been going on for some time.  Joe Morris
has one of the recordings coming out, with a larger group than he usually uses,
I believe it's a sextet.  Joe told me this was going to be released in January,
1999.  Maybe he meant January, 2000.  There are five albums, the two
Threadgill's, the Joe Morris (hooray) and two others that are unknown to me.
Ronald Shannon Jackson's is not coming out at this time (booo).

Alan E Kayser

[e-mail] wrote:

> an update to the discussion that was going on here a few weeks back,
> regarding the reissues on CD of the About Time label, including some vintage
> Threadgill titles.
>
> I was handing in the master and artwork for my first CD today, and I asked
> the guy what other labels they handled. he recited a list, and then he said
> "About Time". so I asked him about it, and he said they just delivered the
> first five CDs to them. so they should be showing up pretty soon, not sure
> what titles.
>
> Jon
> www.erstwhilerecords.com
>
> -


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From: [e-mail]
Subject: Dolphy
Date: 31 Jul 1999 08:52:28 EDT

LONG-LOST PERFORMANCES BY ERIC DOLPHY
A live concert of saxophone great Eric Dolphy that
leading jazz scholars never knew existed will be
released Sept. 21 by Blue Note Records.

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

From: Perfect Sound Forever <[e-mail]>
Subject: Charlie Mingus, Conlon Nancarrow articles
Date: 31 Jul 1999 10:58:54 -0400

Greetings,

In the latest edition of Perfect Sound Forever
<http://www.furious.com/perfect>, you'll find (among other things):

CHARLIE MINGUS
An appreciation: 1960-1964
<http://www.furious.com/perfect/mingus.html>

CONLON NANCARROW
Personality & polyphony: his life and music
<http://www.furious.com/perfect/conlonnancarrow.html>

We're always looking for good material so let us know if you have any
writing or ideas for upcoming issues.

See you online,
Jason

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

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From: wee billy pushkin <[e-mail]>
Subject: toronto
Date: 31 Jul 1999 14:13:02 -0400

i'm going to toronto later this month to see tom waits, and while i'm
there i would like to stop at a few record stores.  i'm especially
interested in any store that might have a decent selection of japanese
imports.

any pointers are much appreciated.

-a.


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From: Herb Levy <[e-mail]>
Subject: Re: laptops, etc: electroacoustic practicum
Date: 31 Jul 1999 11:19:36 -0700

While there's no doubt that some of the use of Macintoshes by
composer/performers is a vestigial remnant of the period in the 1980s when
there was virtually no useful music software for PCs of any kind, a
substantial number of the folks who use Macs for real-time electronic work
use software to do things you still can't do on PCs.

For someone who's just running MIDI sequences or playing back digital audio
files, any computer will do.  but for high-end computer-assisted
composing/performing, interactive improvising, etc. the PC world does not
have many options, and those that are available are nowhere near industrial
strength.

The program MAX, which is a remarkably flexible modular program that allows
for extremely complex interactive algorithmic structures - it's used by
lots of folks from Carl Stone to Elliott Sharp - is available for Mac &, I
think, Linux/UNIX, but not for Windows, & it's unlikely ever to get ported
over.The software coming out of STEIM in Amsterdam (LiSa, Lick Macine, etc)
is also Mac only.

Bests,

Herb


Herb Levy
[e-mail]



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From: [e-mail]
Subject: Mingus
Date: 31 Jul 1999 14:30:07 EDT

In the latest edition of Perfect Sound Forever
<http://www.furious.com/perfect>, you'll find (among other things):

CHARLIE MINGUS
An appreciation: 1960-1964
<http://www.furious.com/perfect/mingus.html>

CONLON NANCARROW
Personality & polyphony: his life and music
<http://www.furious.com/perfect/conlonnancarrow.html>

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From: picnic thisway <[e-mail]>
Subject: info on Sunday, August 8th gig @tonic
Date: 31 Jul 1999 14:45:39 -0400

I received the following press release which some of you might be
interested in...

> IMMEDIATE RELEASE
>=20
> Sunday, August 8th
> @ tonic, 107 norfolk st. (bet. delancey x rivington)
> 212.358.7503 or http://www.tonic107.com
> Adv. Ticket avail @Other Music, 15 E. 4th St. 212.477.8150
> or http://www.ticketweb.com
>
> Special event:[electroluxe] - triple bill! - 8 p.m. sharp=20
>=20
> [electroluxe] presents very special night with various configurations o=
f
> electronic music.
> featuring..
>=20
> =95pita (Peter Rehberg) of mego from Vienna, Austria. (only solo
> appearance in the U.S.!) check also... http://www.mego.at/about.html
> "Peter Rehberg aka Pita's first album, "Seven Tons For Free" was a
> monumental piece which was decisive in the direction that Mego took as =
a
> label thereafter. Devoid of any element of ornamentation, the album
> featured endless repetitions of high frequency digital noises. Quite
> unlike "minimal techno", all the sounds in this piece were reduced to
> pulse signals, distorted to unheard of extremes. Along with albums such
> as Panasonic's "Vakio" and Ryoji Ikeda's "+/-", this album came to be
> known as a manifesto-like masterpiece." ~ note from SONAR '99 by Atsush=
i
> Sasaki
>=20
> =95Ikue Mori & Jim O'Rourke of moikai, Chicago=20
> Two most distinguished & wildest composers/improvisors in the world mee=
t
> here to perform duo, first time ever!=20
>=20
> =95DJ Olive the audio janitor/Toshio Kajiwara/Raz Mesinai
> 3 most influencing composers from underground DJ culture in New York
> found the way to form new project together. This night marks its
> debut!
>=20
> pita & Ikue Mori are recipients of award of distinction from Prix Ars
> Electronica, '99 to be presented in early September, this year.
>=20
> plus... opening muzak by <o>blaat of pitchbrite.
> **********************************************************************
> end.)

p.t.

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From: "Bza" <[e-mail]>
Subject: Re: Dolphy
Date: 01 Aug 1999 00:30:03 +0200

Yes and we've got to thank Mr Saul for this one I think !
Bravo Alan

Bza


> LONG-LOST PERFORMANCES BY ERIC DOLPHY
> A live concert of saxophone great Eric Dolphy that
> leading jazz scholars never knew existed will be
> released Sept. 21 by Blue Note Records.
>
> -
>
>

-



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From: Ken Waxman <[e-mail]>
Subject: Re: toronto
Date: 31 Jul 1999 21:03:17 -0400 (EDT)

On Yonge Street the big stores are Tower, HMV and the local Sam The
Record Manb, which is the best , with the best slection. Also try Rotate
This on Queen Street. And ask the folks at Sam's and Rotate if they have
any further suggestions.

Ken Waxman



On Sat, 31 Jul 1999, wee billy pushkin wrote:

> i'm going to toronto later this month to see tom waits, and while i'm
> there i would like to stop at a few record stores.  i'm especially
> interested in any store that might have a decent selection of japanese
> imports.


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From: "Julian" <[e-mail]>
Subject: buck/horvitz
Date: 01 Aug 1999 14:34:47 +1000

I read in a brief bio of Australian drummer Tony Buck (Peril, Ground Zero,
The Necks, Kletka Red, etc.) that he had worked with Wayne Horvitz. Does
anyone know what project they may have done together?


-