> I must be incredibly thick, but I don't understand the reaction to this article. Not that I particularly like the article, it's as good or bad as any article that attempt to generalize two artists careers and motivations on one page, but where is the insult, the misrepresentation?
Well, let's see. Consider the following (with my points of emphasis set apart with asterisks):
"The prime architects of the new sensibility are Mr. Zorn, *who now considers himself a Jewish composer*..."
"It is unclear what led Mr. Zorn, a secular Jew from Queens, to his awakening. In interviews, he has *spoken vaguely of getting hostile looks in Germany and of his father's death.*"
"The titles of his compositions *often evoke Jewish victimhood*..."
"*Until Mr. Zorn discovered klezmer,* the only jazz musician to show much interest in Eastern European soul was the black clarinetist Don Byron."
"Recently, Mr. Zorn has spoken *in almost hallucinatory tones* about what it means to be Jewish in America."
"Mr. Zorn is *committed to the idea of Jews as an eternal pariah class*..."
"It may be that for Mr. Zorn, Jewishness answers a deeply felt desire - a desire not to be a white jazz musician. *By invoking his own history of oppression, he can assert his right to play the blues*, without the racial envy that often burdens white musicians."
Is that enough to illustrate what Kurt was saying? Those are my own major points of disturbance, as well as those of many others with whom I've spoken (and yes, the debate carries on today as lively as yesterday and the day before - this is probably the most talked-about music article in the Times in months if not years. Would that it were being talked about for positive reasons...).
Steve Smith
ssmith36@sprynet.com
NP - Haunted House, "Only When You Sleep," 'Up in Flames' (Erstwhile)
<td width="100%" valign="top"><font face="Arial, Helvetica" color="#000000"><div name='messagebody'><table><tr><td bgcolor="#CCCCCC" width=1> </td><td width=5> </td><td> Possibly a silly question, but, aside from the arguable example of
<br> Robert Dick, are there any free players around who stick exclusively
<br> to the flute? Not someone like Braxton who sometimes plays flute and
<br> sometimes plays free, but...the Derek Bailey of the flute.
<br>
<br> Brian Olewnick
<br>
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<br>Not a Derek Bailey but I have to mention Michael Heupel, a member of the Cologne Loft Scene. He plays the whole flute family from piccolo to subcontrabassflute (according to the lines notes on his solo cd 'Flute News' from 1989 he is the only one who has such a flute in the whole world). In the early eighties he played with the band BOURY. He┤s not well known but he does very interesting flute explorations in different moods.
<br>
<br>I think before his premature death Thomas Chapin was the most amazing flute player though he didn┤t use it as his major instrument.
<br>
<br>Andreas Dietz
<br></div></font></td>
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</table>
<p><hr>Get Your Private, Free Email at <a href="http://www.hotmail.com/">http://www.hotmail.com</a><br></body></html>
> wondering is, can anyone out there put their noise
> aesthetic into words. i
> can't, and i'm curious.
This is probably going to come out sounding really
lame (ideas that sound good in yr head have a tendency
to do that once you try to articulate them, I've
noticed), but anyway . . . I've always regarded noise
as kind of a way to get outside of myself . . . With
most music you can devote a certain amount of
attention to other activities (e.g., answering mail,
clipping your toenails, cooking dinner, whatever) but
noise, if it's at all engaging, pretty much demands
full attention, or at least makes it hard to pay att'n
to anything else , so listening to it is almost like
some kind of meditation . . . For me, anyway, noise is
about the only way I've found to really just tune
everything out, almost like the only place I can get
real silence is in the middle of all-encompassing
noise. Did any of that make sense?
Eric
NP: Saint Etienne: "Places to Visit" (Does anyone know
exactly what Jim O'Rourke did on this record?)
=====
Disco Down: http://www.geocities.com/SunsetStrip/Plaza/8107
Music: http://www.mp3.com/discodown
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"Reminds me of an art student who takes a pretty piece of pottery and smashes the hell out of it with a sledge hammer and says the pieces of pottery flying through the air have an artistic edge so it's art." Raw 42
In a message dated Fri, 15 Oct 1999 5:05:00 PM Eastern Daylight Time, DRoyko@aol.com writes:
> In a message dated 99-10-15 14:32:11 EDT, you write:
> >A while back I checked out this band called free grass at the old office, I
> >believe tony trishka was in the band, the rest was a blur. I was pretty
> >well blown away by the music, now I am trying to track some of this
> >material down, can anyone help me find recordings?
>
> Please post any reply to the list, or e-mail me as well--I follow Trischka
> and pickers of his ilk pretty carefully, but I've not herd specifically of
> "Free Grass" myself.
>
> Dave Royko
>
> -
I sightly remember a one-shot CD by a group called "Psychograss" that had Darryl Anger (sp?) and others, possibly Trischka (sounds like something he'd be involved in)- supposedly a bluegrass band doing Hendrix, Blue Cheer, and other 60's heavies. I looked for this in vain- never came across it.
Nice to see some bluegrass chatter here, as un-Zornlike as it may be. I've always considered bluegrass musicians to be among the best musicians around.
Anybody heard the Czech bluegrass band Bruha Trava? (sp?, again...) Supposedly this genre has a _huge_ following in that country- Czechnya/Slovenya, to be proper...Amazing to see how this form of music has a worldwide following.
but beautiful. Last night I saw the film at the Brooklyn Academy of
Music, accompanied by Kronos along with Glass and Michael Riesman on
keyboards. The ensemble was placed behind the screen in a circle; >Glass
>faced the audience and Riesman conducted. Because the screen was
Does anybody know if the announced DVD of this is still in the works? It was to have the original film, the film w/the Glass score, the Spanish-language version and some extra documentary material.
