I'm a bit puzzled about the appeal of Cibo Matto. I remember seeing them mentioned here, and I had no reservations about buying it given that Douglas, Ribot, and 2/3 of MMW are on board the album (Stereotype A). But I find it barely creative. Nothing that Beastie Boys or Bjork don't do 10times better. What's the deal? Has it grown on any of you? Are these guys just paying the rent by playing on this record?? Or perhaps their incentive is scoring some cute and spunky Japanese ladies?? Can't figya it out...
Dave's second RCA Victor release will be a Charms of the Night Sky disc due out in October of this year. Part of the music will be "Five Part Weather Invention," a suite composed for the Trisha Brown Dance Company, which features Charms onstage with the dancers. It has been performed here in the US and in Europe, most recently last weekend at the Kennedy Center in Washington DC, and coming to the Joyce Theater in NYC in May. I do know that high quality video footage from Europe does exist already, and there has been talk about releasing it commerically. But so far that talk is still in early stages, I believe. Dave is already working on another piece for Trisha, which I believe will be scored for Greg Tardy, James Genus and Susie Ibarra.
Steve Smith
ssmith36@sprynet.com
(posting from work during lunch hour...)
"Patrice L. Roussel" <proussel@ichips.intel.com> wrote:
>
The following was in the March issue of JAZZIZ:
"[...] In addition, the label's [RCA Victor] classical division plans
to issue music composed by Douglas for the choregrapher Patricia
Brown (possibly in icia Brown (possibly in DVD format, to allow
All New Yorkers not planning on seeing Mark Dresser's Moisture on Saturday night:
Come to the Pink Pony, a cafe in the Lower East Side (Ludlow, b/n Houston and Stanton). If you've never been there, it's a great place to see local music of both the etablished and up-and-coming types. Of the former group, William Parker, Joe McPhee, Test, and more have been recent performers. (Myra Melford will be playing a rare solo set on Feb 29th, for $5!)
SO:
at 8:00, it's Eye-Door, a young improv group singled-out recently by Thurston Moore in an interview about the future of the scene. It's Matt Mottel on synths and electronics, Dave Jones on clarinet and alto sax, and Josh Benash on guitar.
at 9:00, it will be my pleasure to play bass in a trio with pianist Stephanie Stone and drummer Tim Keiper. Stephanie has been like a mother (& grandmother) figure to countless 'downtown' musicians since the 1970s. She and her husband Stone are nearly eighty, and they're more active and alive than anyone a quarter their age, making the trip in from Brooklyn to see challenging live music *almost every night*. She's a great pianist from the swing and caberet traditions. Tim is a good friend of ours too; he's a student of Susie Ibarra's and has an amazing resume for his age. Tonight we're playing free, and it should be a nice challenge, that dialog between generations.
at 10:00, Eye-Door returns for another set of improv, this time with three cats who need no introduction: Daniel Carter, Sabir Mateen and Matthew Heyner.
I haven't heard the work in a few years now, but from what I remember (though I guess I didn't have such a trained ear then), I was not too fond of it. Maybe it's that it is just Zorn & Frith freely improvising for 60 minutes and I wish for a rhythm section, but if you are a fan of totally free improvisation, I think it is a work one could really get into. Me, I really like a rhythm section to keep the work moving. Put Joey Baron or Mick Harris behind them, and I'd be willing to bet that I would still have the album.
>plus, the Christgau '70s record guide turned me onto some great stuff >(Big Star, Modern Lovers, New York Dolls come to
Am I the only person to have my fwagile widdle mind warped by this? When I was first getting hooked on music I'd tried using the Rolling Stone Record Guide and had avoided things like Pere Ubu because David Marsh's review read (in its entirity unless my memory is slipping): "Anti-rock for anti-rockers. Boo." But my first accidental hearing of Pere Ubu in a record store left me stunned and shaking and forevermore dubious of Mr. Marsh. Of course having a record store that would play Pere Ubu may have been as big a bonus (the owner also turned me on to the Velvet Underground when you still had to buy British imports not to mention Richard Hell and the Nuggets comp which were cut-outs and.....).
On Tue, Feb 29, 2000 at 09:55:23AM -0500, wlt4@mindspring.com wrote:
> >plus, the Christgau '70s record guide turned me onto some great stuff >(Big Star, Modern Lovers, New York Dolls come to
>
>
> Am I the only person to have my fwagile widdle mind warped by this? When I was first getting hooked on music I'd tried using the Rolling Stone Record Guide and had avoided things like Pere Ubu because David Marsh's review read (in its entirity unless my memory is slipping): "Anti-rock for anti-rockers. Boo." But my first accidental hearing of Pere Ubu in a record store left me stunned and shaking and forevermore dubious of Mr. Marsh. Of course having a record store that would play Pere Ubu may have been as big a bonus (the owner also turned me on to the Velvet Underground when you still had to buy British imports not to mention Richard Hell and the Nuggets comp which were cut-outs and.....).
Both books were essential to my late-in-the-game discovery of rock.
With each, I found that stuff that they liked was usually worth seeking
out -- as was stuff that they really hated.
--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
In a message dated Tue, 29 Feb 2000 2:26:42 PM Eastern Standard Time, Martin_Wisckol@link.freedom.com writes:
> Zornlist question of the day:
>
> Why is it predominantly guys that are so fascinated by this avant music
> we listen to?
>
> -
This same question pops up on RMP every other month. I continue to say that it's because 99.99% of the music is non-danceable, but I've been told that was wrong. Yet I've still not heard a better reason...
