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From: [e-mail]
Subject: Girly Men/How the Hell
Date: 01 Mar 2000 00:26:25 -0700

Oh god no, I really don't want to get into this - well maybe just a
little...

With all the talk of women into these strange musicks, I have to wonder
if there are many gay guys listening to or making this weird shit.
Don't want to "out" anybody - anybody still alive, anyway(isn't that the
proper etiquette?), but this isn't just a testosterone thing, is it?
Bet not.

Speaking for myself, I'd say no, huh-uh, not at all.  There, I've cast
my wrench.

By the by, while I'm at it, my first intro to all this started with
those double sampler albums that Warner/Reprise used to sell from their
inner sleeves, SongBook, Big Ball, etc.(at $1/disc, postpaid)  Their
"loss leaders" they called'em.  I had'em all, and they steered me
towards lots of cool not-quite-jazz stuff - Beefheart, Randy Newman, Van
Dyke Parks, Beaver & Krause, and I don't know what-all.

Also, I remember Verve was selling off all the first 7 or 8 Mothers
albums in the cutout bins around that time, '68 or '69.  And I actually
found the first Fugs album sticking out of the ground(pre-frisbee'ed out
of a top-floor window by an irate roommate?) in front of a college
dormitory across the street from my folks' house - I was 16 or so.  My
poor parents had to put up with a lot of what must have been pretty
scary music.

My first brush with jazz was Rashan Roland Kirk - mostly for me back
then it was the sheer novelty of two, two horns at once(or more!), but I
do remember liking it.

I didn't really get to jazz til the mid-'80's, when a friend of a friend
pulled out the 2nd and final "Madhouse" (Prince's excellent side
project) - I already had the first.  Anyway, this friend-of-a-friend had
much much more than that -  Naked City, Bungle, plus a big knowledge of
all the "standard" noise-avant-free-fusion guys, past & present, and I
haven't looked back since.

Spoiled, I no longer can stand most of what I hear on AM or FM radio,
except an esoteric show here or there.

Now I'm holding at least 50 Zorn or Zorn-related CDs, besides many of
the other names that crop up here, and I'm always hungry for more...

A total misfit, I no longer feel comfortable in the gay scene, the local
music scene, the Columbia Music Jazz Club or hardly any other scene,
except this list and a tiny wee circle of friends, but I've only myself
to blame - fortunately there's a certain joy in following your heart.

Dan


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From: Craig Rath <[e-mail]>
Subject: Re: How It Happened
Date: 01 Mar 2000 02:00:32 -0600

What did it for me:

Late night in the high school newspaper office listening to Eno's Ambient
One.

This led me to want to pick up more of his work.  I next tried Here Come
the Warm Jets.  As you might imagine, I was a bit stunned that this was the
same guy.  But it was nevertheless an eye opener.  There was actually music
out there that no radio station in their right mind would play (except of
course for the odd college station).  Eno led to Fripp and a myriad of
other people.  Somewhere along the way I had the opportunity to co-host a
radio show at my college where the other host introduced me to "Alternative
Rock" (before such a thing became the norm).  He eventually made a mix tape
for me which included among other things, Big Star, XTC, the dB's, Pylon,
Game Theory, and something he got off of a CMP compilation - a little tune
called Batman by a guy named John Zorn.  Since I lived at the time in
small-town Minnesota, it took me a while to locate more of Zorn's work, but
from the minute I bought the self-titled Naked City album, I was hooked.
Even more of a revelation than my first Eno encounters.  Zorn led to the
Boredoms, then to Fushitsusha and Haino, and the wonderful world of
Japanese Noise and more.

Rather a long way from my very early days of Chuck Mangione and Herb Alpert
(my first album ever was "Feels so Good" by Mangione).  Luckily along the
way I gained an appreciation of the better "classical" works as well, which
led me to such wonders as Bartok, Penderecki, Ligeti, etc.  Like someone
else who wrote recently, I find it impossible to listen to the radio these
days.  The stereo in my car hasn't been tuned into a radio station in over
four years.

So I guess with me it was part luck and part willingness to take a risk on
new things which led to me being where I am musically.  It's always nice to
go into the local stores and see their faces as I actually purchase things
out of the "Unconventional" bin.  I can safely say that I am one of the
only people around who would have Bill Frisell, Pete Namlook & Klaus
Schulze, Dissecting Table, My Bloody Valentine, Genesis, and Gate all
together in the CD changer in the car.



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From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: How It Happened
Date: 01 Mar 2000 10:28:28 +0100

I worte a longer story about how it hapened a while ago, but forgot the most
funny fact... my first contact with JZ's music.
    Zorn's has been in Poland with Masada in 1995. I could not attend the
show, although I heard that it is quite impressive (I must admit that even
if i had money i would have bought a ticket for ... DiMeola-Clarke - Ponty
at the same festival.)
A few months later, in September/October, with a few friends we decided to
have a little psychodelic evening and ate about 120 psylocibine mushrooms
each (which is quite a huge dose). We were sitting in the living room, and
waiting for the thing to begin. The TV was on with sound off, with some
stupid film. As we decided that the mushrooms begin to activate, we wanted
to turn the TV off to concentrate more on music (it was 'exposure', as i
suppose). At the very moment when i wanted to swith it off, i saw that there
is a drummer - maybe some concert? I told - 'hey let's see what is it" - it
was, of course the masada show (a terrific one, BTW).
Well... We wathed the entire thingm, being quite heavily stoned. It was not
only my first encounter with JZ, but with free jazz in general.
We were, to put it mildly, surprised.
When we watched the vid for the second time, a friend said that she thought
when she watched that most of this sound were here hallucinations...
be well, Marcin
"Oh Nick, I had the strangest dream!
I thought -  how could I know what I was never tought?"
Stravinsky/Auden "The Rake's Progress"


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From: "Marcin Gokieli" <[e-mail]>
Subject: more fz help.
Date: 01 Mar 2000 10:29:16 +0100

> my top 5 fz: uncle meat, weasels, weeny, lather & civilization phaze III.
Can anybody tell me where can I buy 'civilization'? Preferably some european
on-line store (I'm from Poland).
> any of you heard the new one, 'everything is healing nicely', by the way?
> awesome.
What is it?
Marcin Gokieli




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From: Rich Williams <[e-mail]>
Subject: Re: How did it happen?
Date: 29 Feb 2000 17:22:07 -0500

>In a message dated 2/28/00 9:24:16 PM, [e-mail] writes:
>
><< In the interests of full disclosure, I'm forced to
>admit that my first triple LP was *ahem* "Tommy" >>
>
>just for clarity's sake, is this the film soundtrack version with Ann-Margret
>et. al. singing, or the version by the Who? I seem to recall the Who's
>version just being a double LP. the film soundtrack is way more embarrassing.

    Yes, but the film soundtrack does succeed as camp. William
Shatners Transformed man LP pales in comparison to Oliver Reed and
Jack Nicholson singing Pete Townsend. ;-)


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From: [e-mail]
Subject: no girls allowed
Date: 01 Mar 2000 08:32:21 EST


>> 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...
>
>The music is danceable.  Go to any modern dance concert and you are bound to
>see a piece choreographed to avant music.

True. When I first met my wife, she used to attend many dance performances &
loved the music that was played, but never realized that this music had any
sort of "availability" or "profile" beyond dance performances. When I played
some stuff [remember, this was the early 80's] like Phillip Glass or Glenn
Branca for her, she liked it, as it was the stuff she had heard & liked at
dance performances.

Steve

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From: Joseph Zitt <[e-mail]>
Subject: Re: no girls allowed
Date: 01 Mar 2000 09:13:00 -0500

On Wed, Mar 01, 2000 at 08:32:21AM -0500, [e-mail] wrote:

> True. When I first met my wife, she used to attend many dance performances &
> loved the music that was played, but never realized that this music had any
> sort of "availability" or "profile" beyond dance performances. When I played
> some stuff [remember, this was the early 80's] like Phillip Glass or Glenn
> Branca for her, she liked it, as it was the stuff she had heard & liked at
> dance performances.

I useta have a friend back in NYC in the 80s, who was a fairly small
woman who did a lot of this kinda of dance. She disliked hearing this
music because it reminded her of being flung back and forth on stage :-)

--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |


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From: "Peter Marsh" <[e-mail]>
Subject: Ray Russell
Date: 01 Mar 2000 13:59:52 +0000


Jesse wrote;

>As for the Ray Russell "story," the Moikai press release at Forced Exposure
>(http://www.forcedexposure.com/artists/russell.ray.html) offers some clues.
>I think he retreated back into session-player obscurity (I imagine it pays a
>bit better than overlooked free jazz icon).  One of the guys on Rites and
>Rituals did the Beverly Hills Cop soundtrack, and CDNOW showed a Ray Russell
>playing on some Cher records.  So who knows?  I guess late '60's/early '70's
>England *was* a weird time and place.

Back when the earths crust was still cooling I was given a copy of an album
called 'Rock Workshop' which was I think a cheapie issue on some major label
like Polydor Special or somesuch. It was an extremely odd album which
featured Ray Russell as musical director and a cast of thousands including
Alex Harvey of all people. There was a lot of free jazz honking and deranged
metal guitar and to my fourteen year old head this was serious stuff which I
couldn't get into...the album went missing years ago and is probably worth a
ridiculous amount of money. Anyhow, thanks for the recommendations on Rites
and Rituals...I shall hunt it down. Mr Russell has I believe composed a few
TV themes here in the UK, and these days plays (to these ears anyhow) fairly
obvious technoflash fusion withthe likes of Simon Phillips.

Cheers

Peter

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From: patRice <[e-mail]>
Subject: Re: more on "the girl issue"
Date: 01 Mar 2000 14:58:19 +0100

margo red wrote:
>There's also the whole death metal thing.  That whole style is
> really male centered (and if you want to know more about gender
> constructions in heavy metal you can go read Robert Walsch).
> -Margo Red

it is amazing actually, how many girls you run into at death metal (and
all other forms of metal) gigs over here in europe. (though i can only
talk about austria and switzerland.)

and most of them not even dressed like your average "metal chick".
mainly all very well dressed, even in designer stuff!

that really still amazes me; and i think it's great!

patRice

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From: patRice <[e-mail]>
Subject: Re: How It Happened
Date: 01 Mar 2000 14:59:06 +0100

[e-mail] wrote:
>
> about females and zorn, you know..um..i'm pretty lonely. (personal ads on
> zorn list?)
>
> from,
> matt
>


now that is a GREAT idea!!! ;-)

yours,
patRice

on my stereo 2day: the cure "bloodflowers" & fields of the nephilim
"dawnrazor"

reading at the moment: miyuki miyabe "all she was worth"

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From: patRice <[e-mail]>
Subject: Re: how it happened
Date: 01 Mar 2000 14:59:17 +0100

[e-mail] wrote:
>
> I've been a bit surprised here. No one other than me has a soft spot for The
> Grand Wazoo and/or Waka Jawaka?
>
> Dale.
>
don't worry, you're not alone. i also quite like waka/jawaka.

i used to adore fz and his work, but must admit that i hardly ever
listen to any of it anymore. zoot allures, sheik yerbouti & you are what
you is, maybe once every two years.

yours,
patRice

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From: [e-mail]
Subject: Re: Girly Men/How the Hell
Date: 01 Mar 2000 09:47:42 EST

In a message dated 3/1/00 2:26:06 AM Eastern Standard Time,
[e-mail] writes:

<< I have to wonder
 if there are many gay guys listening to or making this weird shit. >>

Well yes, there is this other one at least!

Dale.

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From: [e-mail]
Subject: kiss, the girls
Date: 01 Mar 2000 10:32:44 -0500


Benito suddenly felt compelled to haul out the tired old "Great Jewish Music:
Chaim Witz" thread again as well, and figured that Someone here *must* have
Zorn's ear.

well, i heard it from a friend who heard it from a friend who heard it from
another who'd suggested it to zorn. apparently his jaw dropped in horror and he
walked away. looks like erstwhile will have to put it out...

as for the question of women at shows ... i've been scared to get into this, but
i'll try. i have, of course, noticed the same y-chromosone-heavy situation, both
in the audience and (interesting that this part hasn't come up) on stage. women
i know who do go to shows have wondered to me about this as well. i have no
definitive answers either, but there are a few factors.

because we're in a minority as listeners of weird shit, difficult music,
discordant and intense and challenging and callitwhatyouwill, those of us who
are in a position to go to lots of shows would probably agree that you, at least
sometimes, end up going alone and maybe running into some of the other loners
you've come to know. women, for socialization, safety, or some other reasons,
just don't do stuff alone as much. that's one thing.

however, go see ikue mori or susie ibarra (or even a nonasian, nonpercussionist,
those are just the two that come to mind first) and do a gender count. there's a
lot more women in the audience when there's women on stage. not too mysterious.

so why aren't there more women on stage? well as someone said and someone else
challenged, i think young girls are often discouraged from the sort of play that
might lead to musical experimentation. my guess is that girls who show an
interest in music are either discouraged or encouraged to be serious about it.
as has been pointed out, the gender balance in symphonies is quite different
than in free jazz units.

i do think, however, that the chromosones have gotten more evenly distributed
both onstage and off in the last few years, in nyc anyway.

kg
np: duck baker plays the music of herbie nichols



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From: "Jeni Dahmus" <[e-mail]>
Subject: RE: No girls allowed
Date: 01 Mar 2000 10:56:58 -0500

> From: [e-mail]
> [mailto:[e-mail]]On Behalf Of Dan Given

> However, she loves live performances of free jazz and improv, and is
> usually as interested as I am in attending.  But it has to be
> something that is visually interesting to watch -- a show with interesting
> interaction among the players, or someone who does interesting things with
> their instrument, etc.  Just good music isn't enough.
> Her explanation for this -- women have more active brains, and require
more
> than one form of stimulation.

I hesitate to bring this up, but isn't it true that men traditionally
require more visual stimulation than women?  Strip clubs, porn, etc.

Jeni


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From: Ken Waxman <[e-mail]>
Subject: Re: No girls allowed
Date: 01 Mar 2000 10:39:54 -0500 (EST)

Hm, maybe there's an Improv Wives club forming here. My wife has the same
response as Keith and Dan's wives when it comes to CD music. But when it
comes to live stuff she's so involved in the music that she's turned her
impressive photography skills to taking pictures of jazz and other
musicians. (See the John Butcher shot on EuroFreeImprov and the William
Parker and Susie Ibarra pix on Rick's Velocity pages for examples).

Ken Waxman
(who sometimes feels like JFK in Berlin. He said "he was the man who came
to the cityty with Jackie Kennedy". I'm the guy at Improv shows who comes
with fotog Susan O'Connor).


On Tue, 29 Feb 2000, s~Z wrote:

> My wife wants to know if Dan Given's wife would like to go out for coffee.
> And, sure, she'd like to double date the next time Cecil comes to town.

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From: Ken Waxman <[e-mail]>
Subject: Re: Girly Men/How the Hell
Date: 01 Mar 2000 10:42:20 -0500 (EST)

I don't think it's any great secret that among the folks making this
weird avant garde shit that Cecil Taylor is gay.

Ken Waxman

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From: Matthew Ross Davis <[e-mail]>
Subject: Re: No girls allowed
Date: 01 Mar 2000 10:59:56 -0500

At the Mike Patton w/ Ribot show last week at the Knit (incredible show,
btw), three college-age girls with tight tops, bobbed hair, and token
nose piercing were right in front of me - every other word they said was
"like".

They left after about 30 minutes, I'm surprised they stayed that long.

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


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From: "s~Z" <[e-mail]>
Subject: Re: Girly Men/How the Smell
Date: 01 Mar 2000 08:50:39 -0800

I don't think it's any great secret that among the folks making this
weird avant garde shit that Cecil Taylor is gay.

Ken Waxman

Well, my wife is disappointed to learn that! And regarding the difference
between men and women, research shows that the olfactory sense is the only
sense equally developed in men and women. So, if you want your honey to
snuggle up and listen to Descension with you, try a bit of his/her favorite
cologne, or light up a bit of incense or a scented candle. I just patented a
technique for scratch and sniff CDs whcih will make me millions I tell you,
millions.

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From: "Stefan Verstraeten" <[e-mail]>
Subject: john wall
Date: 01 Mar 2000 18:23:18 +0100

Hi all,

Just would like to put a certain musician in the spotlight:

I recently discovered the music of john wall. His music is based on samples
plus additional live instruments (remember bob osterag say no more
projects).
But what makes this person so special: Well, his samples consist of music by
john zorn, naked city, evan parker, iannis xenakkis, john cage, lillith,
anthony braxton, carcass, metallica, misha mengelberg, etc., you know, all
the people who are regularly discussed on this list.

The most beatiful part here is: don't expect plain collage (so in my opinion
john wall is better than otomo yoshihide), but well composed and interative
bits of music (one cd makes three years of work, and that can be heard).

Anyway, if you like david shea, bob ostertag or otomo yoshihide and if you
have the chance to buy these beautiful releases, please do so.

Best wishes

stefan verstraeten

What follows are brief descriptions, made by Vince from Manifoldrecords, the
U.S. didtributor. Europeans should buy these releases from the label (based
in the UK) of from ReR (also based in the UK)

>(Fear of gravity) John Walls first (rare) disc, the precursor to the genius
>works Alterstill and Fractuur. He has sworn no one will ever get copies of
>this again as he claims "...to be so far removed from that piece of work"
>and would rather people didnt have it to reference him by. This album
>however shows the embryonic state of Walls neo-classical collage and
>instrumental/ambient reconstructions. Satisfying, mysterious and full of
>repeated plays.
>
>(Alterstill) The first of Walls masterpiece sound collage. A groundbreaking
>piece of experimental work, ambient, classical, elegant.
>
>(Fractuur) The second of Walls masterpiece sound collage. A continuation of
>the genre-defying and multi-artist sampling collage thaumaturgy that is
>Walls singular miracle
>
>(Construction I-IV) At last, the new creation from John Wall. Made from
>materials and in a style that no other musical release ever has. And the
>sound; at first listen i am inspired to say that its better than anything
>he's ever done before, but these things require.....research? Wall's work
is
>like that, it requires many listens and then in the end just defies all
your
>'research' and becomes a good listen. The kind of listen you occasionally
>have to have, so you put your copy of Fractuur or Alterstill in for a good
>play. I know there is a part of 'Constructions I-IV' thats much more
>immediate than the others, a part that grabs you and creates interest in me
>sooner than anything on Alterstill did. Alterstill took several listens
>before its secret was revealed. Much more instrumentation here, in fact,
>theres almost a band on this disc, John Edwards on Double Bass, Mark
Sanders
>on Percussion, Andrew Sparling on Clarinet, Mark Wastell on Cello and Alex
>Dorner on Trumpet. Fantastic. Beyond my expectations. Any other desription
>will have to wait as i am still enjoying it and can't possibly do this
>justice yet
>


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From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Fantastic Ray Russell reissue on Moikai!!!
Date: 01 Mar 2000 09:50:50 -0800


On Tue, 29 Feb 2000 21:03:48 -0500  "Jesse Kudler" wrote:
>
> I haven't heard the Moikai reissue yet, but I have the reissue of "Rites and
> Rituals" on Columbia and it's pretty damn good.  I don't quite see the
> Bailey comparison (other than the overdrive and sustain), but he's maybe

There are few moments where Ray sounds like Derek on SAISORO. They are short
but, I think, amazing (considering when it was done).

Thanks for the advices!

    Patrice.

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From: [e-mail]
Subject: Re: Girly Men/etc
Date: 01 Mar 2000 13:12:22 EST

Dan wrote:

<<With all the talk of women into these strange musicks, I have to wonder if
there are many gay guys listening to or making this weird shit. Don't want to
"out" anybody - anybody still alive, anyway(isn't that the proper
etiquette?), but this isn't just a testosterone thing, is it? Bet not.

Speaking for myself, I'd say no, huh-uh, not at all.  There, I've cast my
wrench.>>

Nope. I'm at least one more out here. Never found another gay man but one who
I could convince to like the music I do though except in the occasional spot.
Makes it hard to find a date to go see Cecil Taylor with, even if he's gay
too. Luis Bunuel's films make for an interesting thing though, seeing as so
many are about frustration and usually of a sexual nature. Always lots of
single males at revival screenings and I've always wondered about that....

Patrick Brown
[e-mail]

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From: "Artur Nowak" <[e-mail]>
Subject: MP3 - Zorn, Naked City, Masada, Douglas...
Date: 01 Mar 2000 19:16:37 +0100

Hi Philozorners,

since nobody said loud "NO" to MP3s, here it goes: 27 songs - 1h 27m
of live music to download.
Check this out: http://www.emd.pl/emd/pl4/mp3.htm

To make myself clear, ance again: these samples are NOT made from
commercial recordings but live shows, I'm against distribution of MP3
files as relacements of original albums. I own ALL Douglas (including
the two albums from 2000), Frisell, Masada, Naked City, plus 40 other
Zorn records - all originals. I spent a little fortune to buy these
albums, and I think that all these artists deserve more financial
support than this. These live recordings are just great, especially
for me and my friends in Poland, where Zorn was only twice. I hope
these artists will get better recognition if people here will hear,
how great artists they are.

There are few songs which I don't know, one by Dave Douglas, two by
Naked City and one by Charged. I'll appreviate if you would guess the
titles.

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


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From: "Scott Handley" <[e-mail]>
Subject: Re: Girly Men/etc
Date: 01 Mar 2000 19:01:44 GMT

<<...I have to wonder if
>there are many gay guys listening to or making this weird shit. Don't want
>to
>"out" anybody - anybody still alive, anyway(isn't that the proper
>etiquette?), but this isn't just a testosterone thing, is it? Bet not.>>

For those who haven't read the two-part Fred Hersch interview on CD Now's
"jazz" site, it might be interesting.  He talks quite openly about the
business, being gay, out, and HIV positive.  The fact that Cecil Taylor's
gay and now out, is news to me; it makes me happy, though, for all the
solidarity-type reasons.  Bob Ostertag's personal life is irrelevant, but he
seems to deal (playfully, oddly) with queerness of all colors in some of his
music/performances.  (cf. FEAR NO LOVE)

----s, not nosy, but still happy


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


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From: "Robert A. Pleshar" <[e-mail]>
Subject: Re: Girly Men/etc
Date: 01 Mar 2000 13:22:27 -0600

I don't know that Cecil Taylor is all that open about his sexuality. He was
outed several years ago by Stanley Crouch in an article, which may be the
most offensive thing he's done (that I know of). Anyway, Cecil's private
life is none of my business.

Ralph


At 07:01 PM 3/1/00 +0000, Scott Handley wrote:
>For those who haven't read the two-part Fred Hersch interview on CD Now's
>"jazz" site, it might be interesting.  He talks quite openly about the
>business, being gay, out, and HIV positive.  The fact that Cecil Taylor's
>gay and now out, is news to me; it makes me happy, though, for all the
>solidarity-type reasons.  Bob Ostertag's personal life is irrelevant, but he
>seems to deal (playfully, oddly) with queerness of all colors in some of his
>music/performances.  (cf. FEAR NO LOVE)
>
>----s, not nosy, but still happy
>
>
>______________________________________________________
>Get Your Private, Free Email at http://www.hotmail.com
>
>
>-
>

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From: Dennis Summers <[e-mail]>
Subject: How'd it happen
Date: 01 Mar 2000 11:25:58 -0800

I'm coming in a little late on this conversation, and I'll have to be brief.
Regarding the thread that brought me to the Avante world (because I, as many
of you, also listen to many other kinds of music, in fact I have Kristin
Hersch playing right now), it probably started in the '70s with the Yes,
Pink Floyd, Can kind of thing. But the pivital experiences for me both
happened at about the same time. I picked up Cabaret Voltair/Voice of
America and Pere Ubu/ The Modern Dance, both based on hearing tracks from a
New Musical Express cassette sampler series (which opened me up to all kinds
of music). My experience with both disks was the same. I couldn't believe
that this noise could be called music; both were disturbing, and both kept
calling me back and making me listen.

Most of my subsequent out there musical experiences have been very similar:
couldn't believe it at first, but somehow kept listening. This of course was
mid-late '70s. By the early '80s the "pop" music world was getting pretty
bad (as many of you remember), so I thought I'd check up on the jazz world.
This led me to a mistake, which was the best mistake I'd ever made. I was in
a used record store, and being bad with names picked up an Ornette Coleman
record thinking it was Coleman Hawkins. An easy mistake I'd say. Anyway it
was The Great London Concert, and I couldn't believe my ears. So I spent the
'80s giving myself the usual jazz and free jazz education. And there I was
at the beginning of the '90s thinking there is nothing left to listen to. I
read an article in the NYTimes about Zorn, and thought this sounds
interesting, checked it out, and there's been no looking back.

yours in zornocity --ds


-



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

From: "Jeni Dahmus" <[e-mail]>
Subject: RE: No girls allowed
Date: 01 Mar 2000 15:08:37 -0500

> From: Matthew Ross Davis
>
> At the Mike Patton w/ Ribot show last week at the Knit
> (incredible show, btw)

Indeed!

> three college-age girls with tight tops, bobbed hair, and token
> nose piercing were right in front of me - every other word they said was
> "like".

Patton's audience tends to be more diverse because of Faith No More's
immense popularity and his physical attractiveness.

Jeni


-



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

From: "Nirav Soni" <[e-mail]>
Subject: Re: How It Happened (young 'uns)
Date: 01 Mar 2000 15:38:16 -0500


> Well, I guess this topic is interesting enough, and I think I have a
> different story to tell. I'm 17 now.

Right on! Nice to see another yoot on the list. Well, as long as I'm de-lurking, I
may as well tell my story.

When I was in fourth grade, I had a friend who had a brother with somewhat
progressive music tastes. He introduced my friend and I to The Cure, and Front 242.
After a while, I saw the Cure as being far too foppish for me and my (then) badass
self, and pursued the "industrial" end of things for a while, like Skinny Puppy,
Neubauten, etc. This progressed further into a desire for really "dense" music of
all kinds, the busier the better. I went to a summer program at Duke University
where I met an RA who decided it was necessary for me to own a copy of the Torture
Garden/Leng T'che box. I fell in love, and that summer I picked up on a huge amount
of great music like Cul De Sac, Ruins, Merzbow, the Incapacitants, Flying Saucer
Attack and Tortoise. I was in a record store in near Duke when I fell to talking to
someone about musics and such. In the middle of the conversation, he said something
along the lines of "Wait, here." I waited, and when he came back he handed me two
cds by the Incapacitants that he "couldn't get rid of." Since then, I've developed
an affinity for nearly everything, and spending lots of time and money on music. I
made a connection at a music magazine called Ink19 (http://www.ink19.com) and began
to write for them, so that has given me better access to various musics out there.
Lately, I've been listening to whatever I can convince labels to send me, which is
predominantly "intelligent" beats, and avant-electronics. I'm saving my pennies
(literally) for all the new stuff on Erstwhile, and the In Order to Survive cds on
AumFidelity.

Could anyone describe Peter Kowald's work? He's coming to Orlando in a few days,
and I'm curious to know what to expect. I've heard him described as an "incredibly
resourceful bass player and multiphonic throat singer." The first set is solo, and
for the second, he will be improvising with local drummer Micheal Welsch. I saw
Welcsh improv with Jon Rose, so I am eagerly anticipating this show.

Cheers,
Nirav
--
OnNow- Other Dimensions in Music w/ Matthew Shipp- Time is the Essence Beyond Time
"Don't try to make me consistent. I am learning all the time."  - R.
Buckminster Fuller



-



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

From: Cindy Emch <[e-mail]>
Subject: No girls allowed/How'd it happen
Date: 01 Mar 2000 13:16:09 -0800

         Reply to:   No girls allowed/How'd it happen
Interesting debate, but I find it curious since most of my female friends
love avante garde music and jazz.  however in the exchange of how'd it
happens, I have noticed a lot of prog roots, whereas all of the women I know
into the music have come from a jazz context.

I came to Zorn (and thus the rest of it all) through a Kurt Weill tribute
album that Hal Willner produced.  That in conjunction with the Mingus
album that Willner also did threw me into the explorations of esoteric and
avant jazz in the most wonderful ways.

Back to the gender issue though, I don't see as many women at shows
either, most of my friends who are fans can't really afford to go to them, but
also, a lot of the men in the crowd can be real jerks, groping, pushing,
trying to intimidate, do just being inconsiderate to smaller people in the
audience (male and female)
so that's a part of it too I am sure.
I often wonder why when I go to avant shows here in SF, there seems to be
crowd of avid fans, who are very respectful and intent on the music (and
the gender gap among these folks is not so wide) and then there are lots
of frat boy/hipster types who just want to be rowdy and disruptive.  I
rarely see women making this sort of a commotion at the jazz shows that I go
to...
just an observation.

On the queer front, I know a least a few queers who love this music, from
both sides of the gender front.  You are not alone!

:-)
cindy




-



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

From: [e-mail]
Subject: Ornette reissues
Date: 01 Mar 2000 16:31:16 -0500

Following is from the new Columbia/Legacy release schedule.  (Also in June are some Louis Armstrong incl a box of the Hot 5s & 7s--though it doesn't say if they're remastered--and expanded editions of other albums including his Fats Waller tribute).   LT



MAY 2

 ORNETTE COLEMAN (Columbia Legacy)

 Skies Of America
 The Complete Science Fiction Sessions (double-disc, remastered)



-



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

From: [e-mail]
Subject: GrAYting Music
Date: 01 Mar 2000 16:31:38 -0500


Scott H nicely put it that:
Bob Ostertag's personal life is irrelevant, but he seems to deal (playfully,
oddly) with queerness of all colors in some of his music/performances.

The same, I think, can be said of Chris Cochrane's work, although maybe not as
overtly.

And while on the subj, I don't know if Justin Bond has done a lot of
experimental stuff (he's part of the hugely popular, unseen by me, Kiki and Herb
show in NYC). He told me he was involved in several Ostertag projects, and Panty
Christ (w/Otomo) has got to hold the title for biggest, flamingest avant hoot of
all time.

Zorn, also, is gay, or at least that's what it says on the bathroom wall at
Tonic. (For those who've not frequented that loo, someone changed it to "GrAYt"
and then someone else made it "GrAYting" -- one of my fave graffitos of late).

I agree, this thread doesn't need to continue along the lines of innuendo and
outing, but are there others that deal with the such subj matter? I know little
about the SF scene, but I'm guessing there's got to be some queer
experimentalism (musical, I mean) out there.

np: Roman Bunka: Color Me Cairo (1995, enja) - live record with oud, piano,
percussion, kanoon (what's a kanoon?) and the great Malachi Favors on bass
(which is why I got it). Bunka's German, and the rest of the band (save Malachi)
are Egyptian. Does anyone know anything else about Bunka or this disc?



-



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

From: "Bob Kowalski" <[e-mail]>
Subject: girls & boys
Date: 01 Mar 2000 16:43:15 -0500

aren't we all though! =20

Speaking of gender identity - no one has mentioned fantabulous Jon Spencer =
Blues Explosion - gosh darn it who else could make ya wanna wear spandex & =
feather boas, quit your day job, piss off your neighbors (riffing on your =
stereo) and take out a subscription to cosmo and teen-beat all at same =
time!

stereolab mostly on the stereo these days - also mingus, brokeback, ray =
corvair trio, morphine's The Night cd, Woody Allen's sweet & low down =
soundtrack (so so good!) & michael nyman (!dude!)

happy listening

Bob




-



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

From: "J.M. Schuller" <[e-mail]>
Subject: Chaim Witz
Date: 01 Mar 2000 14:00:30 PST


Yes, I agree! It is time for the Chaim Witz/Stanley Eisen Tribute CD. These
two musical forces have had such an affect on modern day musicians that it
is obvious how important they are.

If it weren't for these two and Paul Frehely/Peter Criscoula I would have
never become a music fan.

C'mon Zorn it is time to do it!
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: [e-mail]
Subject: Re: john wall
Date: 01 Mar 2000 17:00:39 EST


In a message dated 3/1/00 12:30:49 PM, [e-mail] writes:

<< Just would like to put a certain musician in the spotlight:


I recently discovered the music of john wall. >>

I'm pretty sure we've discussed Wall here a fair amount in the past, but I'm
all for doing it again. he's one of the most interesting musicians working
today. both of his last two records, Fractuur and Constructions I-IV, are
superb. the two earlier ones are a bit more primitive.

<<But what makes this person so special: Well, his samples consist of music by

john zorn, naked city, evan parker, iannis xenakkis, john cage, lillith,

anthony braxton, carcass, metallica, misha mengelberg, etc.>>

but the amazing thing is how he stitches together his music seamlessly, so
that you can't tell what's sampled and what's live.

<<so in my opinion john wall is better than otomo yoshihide>>

the thing about Otomo is he does so many different things so well
(turntables, sine wave electronics, guitar, all in a myriad of contexts).
it's apples and oranges, but as you said, it's your opinion.

<<if you have the chance to buy these beautiful releases, please do so.>>

I'll second this. all four are on Wall's own label, Utterpsalm, gorgeously
packaged in mini-hardbound books (actually, Fear Of Gravity is in a jewel
case). Dutch East India distributes Utterpsalm also in the US.

Jon
www.erstwhilerecords.com

NP: pre-release master of Christof Kurzmann/Burkhard Stangl-Schnee (Erstwhile
008). (this should be out in a couple of months. fans of either of these two
musicians will not be disappointed.)


-



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

From: Diego Gruber <[e-mail]>
Subject: The Cure- Bloodflowers
Date: 02 Mar 2000 13:57:57 -0500

I've seen many ppl mention this record already as something they're
listening to, but still no comments. So, [insert obvious question here].

D



-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: Ornette reissues
Date: 01 Mar 2000 17:51:58 -0500

[e-mail] wrote:

> MAY 2
>
>  ORNETTE COLEMAN (Columbia Legacy)
>
>  Skies Of America
>  The Complete Science Fiction Sessions (double-disc, remastered)

Does anyone know what constitutes the "complete" SF sessions? I'm
thinking it might include some of the tracks issued on the 'Broken
Shadows' LP, but perhaps (drool) there's more?? Aside from being my
first jazz purchase, 'Science Fiction' remains one of my absolute
favorites.

While I'm here, I'll also second the last two John Wall releases _very_
strongly. Required listening!

Brian Olewnick

-



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

From: "Scott Handley" <[e-mail]>
Subject: Re: Girly Men/etc
Date: 01 Mar 2000 23:00:58 GMT

>I don't know that Cecil Taylor is all that open about his sexuality. He was
>outed several years ago by Stanley Crouch in an article, which may be the
>most offensive thing he's done (that I know of). Anyway, Cecil's private
>life is none of my business.

OK, assuming something as complex, malleable, mutable, and varied as
sexuality and (separately) sexual identity, is specifiable in the first
place, then assuming we can specify Cecil's gay (or that he can, even), then
assuming it's true..._then_ I'd be able to say that Crouch's comment was a
monstrously inconsiderate thing to do.  But in America, at least, the very
concept of OUTING defies this "business" (mine or yours, theirs, etc etc)
business.  "Don't ask, don't tell"---hell, why not?  A perfectly sound
policy.  After all, it's nobody's business in the first place.  Outing
assumes the (unfortunately) politicized nature of sexuality.  If I cared
about Cecil or Bert/Ernie being gay and being public about that fact, I
would care because---for me, at least---it would be a powerful step, and
maybe a powerful risk, taken for sake of legitimizing something human,
thereby freeing the "public" arena for greater freedom of action by more
people.  If someone's taking the risk to out, I want to make it my business
to appreciate that risk.  If someone---like John Cage---would just as soon
stay closted, or at least "discrete", then more power to them.  It is, then,
truly not MY business.  And if assholes like Stanley Crouch want to take
that risk FOR them, then fuck them.  I WISH Matt Shipp had shifted from
boxing-theory to boxing-praxis with that fool.

BTW, on a less outrage-driven note (then again....), Diamanda Galas, an
erstwhile Zorn collaborator, has done some powerful activist/visible work
about HIV and the culture which creates(?), promotes(?), and sweeps it under
the rug.  I found a powerful, kind of scary article on her on the net,
though I yet to find it again.  Do a search...Also a neat interview with her
in the Re/Search ANGRY WOMEN book.

-----s

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


-



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

From: Greg Mills <[e-mail]>
Subject: The United States of America (the band)
Date: 01 Mar 2000 16:48:02 -0800

Anyone know anything about this band (circa '68)?

-



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

From: marc silver <[e-mail]>
Subject: Nike
Date: 01 Mar 2000 19:57:55 -0500

Has anyone else seen or heard of the nike video's zorn did?  If so, do
you know how to get a copy of them.  I am doing a research paper on john
and this sounds like some cool stuff to show a class of college music
students.

Also, in comment to the no girls thing, I found it to be the same
situation when I saw Bill Frisells new Quintet a couple of months ago.

Please let me know if the Video thing is in the public domain.

Thanks..
Marc


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: The United States of America (the band)
Date: 01 Mar 2000 20:11:29 -0500

At 04:48 PM 3/1/00 -0800, Greg Mills wrote:
>Anyone know anything about this band (circa '68)?

The one with Joseph Byrd?  I remember this album, one of the few which a)
was really out there for the late 1960s, and b) hasn't been reissued on CD.
 Unfortunately I lost it somewhere along the way, but as I remember, Byrd
was a disciple of John Cage, and this album uses all kinds of electronics
in unusual ways.  I've seen it referred to in positive words, perhaps in
Roger Sutherland's Perspectives in New Music.  Is this about to be reissued?

--
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: The United States of America (the band)
Date: 01 Mar 2000 20:33:57 EST

In a message dated Wed, 1 Mar 2000  8:07:54 PM Eastern Standard Time, "Caleb T. Deupree" <[e-mail]> writes:

> At 04:48 PM 3/1/00 -0800, Greg Mills wrote:
> >Anyone know anything about this band (circa '68)?
>
> The one with Joseph Byrd?  I remember this album, one of the few which a)
> was really out there for the late 1960s, and b) hasn't been reissued on CD.
>  Unfortunately I lost it somewhere along the way, but as I remember, Byrd
> was a disciple of John Cage, and this album uses all kinds of electronics
> in unusual ways.  I've seen it referred to in positive words, perhaps in
> Roger Sutherland's Perspectives in New Music.  Is this about to be reissued?

They were one of the handful of U.S. bands along with Silver Apples,  Lothar and the Hand People, 50 Foot Hose, and West Coast Pop Art Experiment who were true experimentalists in the rock field at the time.  Theramin lovers should embrace this one with reverence- it's loaded with those instantly recognizable frequency swoops.  It has not been reissued in the U.S., but a CD *has* been reissued on either BGO or Big Beat- both British labels, and I think has also been reissued on a German label.

--
=dg=

-



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

From: "Alan Lankin" <[e-mail]>
Subject: Re: Ornette reissues
Date: 01 Mar 2000 19:39:03 -0500

Not sure if it's been mentioned here before, but Tone-Dialing will be
re-issued by Verve on April 18th.

Alan Lankin
[e-mail]

http://home.att.net/~lankina/jazz == Jazzmatazz
http://home.att.net/~lankina/jazz/upcomingcds.html == upcoming jazz CDs



-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: The United States of America (the band)
Date: 01 Mar 2000 18:23:09 -0800

At 8:11 PM 3/1/00, Caleb T. Deupree wrote:
>At 04:48 PM 3/1/00 -0800, Greg Mills wrote:
>>Anyone know anything about this band (circa '68)?
>
>The one with Joseph Byrd?  I remember this album, one of the few which a)
>was really out there for the late 1960s, and b) hasn't been reissued on CD.

It is out on CD, I have a copy around here somewhere, bought it ~8 months
ago. Wasn't hard to find.

> Unfortunately I lost it somewhere along the way, but as I remember, Byrd
>was a disciple of John Cage, and this album uses all kinds of electronics
>in unusual ways.  I've seen it referred to in positive words, perhaps in
>Roger Sutherland's Perspectives in New Music.  Is this about to be reissued?
>

____________________________________________
Dave Trenkel : [e-mail]
Minus Web Site: http://listen.to/minusmusic
Minus MP3's: http://www.mp3.com/-minus-
____________________________________________



-



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

From: neongreen7 <[e-mail]>
Subject: extra Tom & Gerry
Date: 01 Mar 2000 20:37:34 -0600

i just got my order from the downtown music gallery and got some great
stuff. i think there was a miscommunication and i got copy of Tom & Gerry
that i didn't want(i already have it). for those of you that may not know,
it Gerry Heingway on drums and Thomas Lehn on analogue synth.
i think you can download a track here:
http://www.erstwhilerecords.com/catalog/004.asp

anyway, if anyone wants it for $20, that'd be cool. i can fed-ex from work,
so postage isn't a problem within the USA. otherwise, i'll have to hasle
with returning it.

thanks,
craig
(i'm new to zorn and the list. how new to zorn? just bought ALL of the
masada stuff this week! i also bought quite a bit of naked city and tzadik
stuff too.)


-



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

From: "J. Kan" <[e-mail]>
Subject: RE: how it happened...
Date: 01 Mar 2000 23:08:09 -0500

I've been enjoying reading these, but I haven't seen these two particular
gateways to free jazz/etc. mentioned:

  +  The movie _Stranger Than Paradise_, with the great string quartet
     soundtrack by John Lurie, the record of which had a piece called
     "The Resurrection of Albert Ayler" on the flip side;

  +  The now sadly defunct nm-list, which was (I guess) the direct
     ancestor to zorn-list.  Is anybody else (other than mike rizzi)
     still here?

Jim


-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Ornette reissues
Date: 01 Mar 2000 23:42:53 -0500

On Wed, Mar 01, 2000 at 07:39:03PM -0500, Alan Lankin wrote:
> Not sure if it's been mentioned here before, but Tone-Dialing will be
> re-issued by Verve on April 18th.

Hm! It's still in a lot of stores in its original incarnation.

Eagerly awaiting the Columbia reissues...

--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |


-



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

From: Lang Thompson <[e-mail]>
Subject: Re: The United States of America (the band)
Date: 02 Mar 2000 00:12:01 -0500

>was really out there for the late 1960s, and b) hasn't been reissued on CD.


There *was* a US CD release a few years back, perhaps on Columbia?  I've
got it somewhere.

LT

Full Alert Film Review
http://wlt4.home.mindspring.com/fafr.htm

Funhouse
http://wlt4.home.mindspring.com/funhouse.htm

-



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

From: [e-mail]
Subject: avant-girls
Date: 02 Mar 2000 03:27:09 -0500

Like everything else, a fondness for out music is probably a combination of
nature and nurture.  Most of my music friends are guys, and most of my
female friends have pretty prosaic and limited record collections.  But
then again, I have a female cousin who mostly listens passively to whatever
stupid classic rock her husband happens to be playing, but when I got her
to come see NRBQ with me, she completely flipped over the decidedly out
stylings of Tyrone Hill and Dave Gordon from the Sun Ra Arkestra, who were
touring w/ the band.  Her 15-year-old daughter was all wide-eyed, too.  I
think a lot of people of both sexes just need more exposure to adventurous
music. Viva la dissonance.

I expect I first gained a curiosity about improvised music when I saw a
Pharoah Sanders album in a store at the mall.  I was 11 or 12 so I bought
some dumb thing I'd semi-heard of instead, but I was terribly intrigued by
the Sanders album cover and figured anybody called Pharoah had to be
playing some kind of dangerously arcane and exotic music.

Parry (female, and yes, I hate the Three Stooges)

P.S. When I was in grade school, I wanted a trumpet or trombone but the
band director wouldn't let girls have anything but clarinets or flutes,
because girls supposedly didn't have enough lung power -- a theory we
disproved on the playground every day.  I'm sure the jazz world didn't lose
much when I dropped out of band, and hopefully few music educators are as
blatantly sexist as that, but I imagine a lot of little girls encountered
negative attitudes and found other means of creative expression instead.
(Does this explain the macrame craze in the '70s?)



-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: RE: how it happened...
Date: 02 Mar 2000 01:30:51 -0800 (PST)

On Wed, 1 Mar 2000, J. Kan wrote:

>   +  The now sadly defunct nm-list, which was (I guess) the direct
>      ancestor to zorn-list.  Is anybody else (other than mike rizzi)
>      still here?

it's still around, just completely dormant.
every few months, xby likes posting to it. hehehe

hasta.

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


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: The United States of America (the band)
Date: 02 Mar 2000 01:44:10 -0800 (PST)

On Wed, 1 Mar 2000, Dave Trenkel wrote:

> It is out on CD, I have a copy around here somewhere, bought it ~8 months
> ago. Wasn't hard to find.

where did you find it?

i've looked around amoeba and not found it.
(but then again, i couldn't find any of the erstwhile
records either! Jon - fyi, i found your recs
at Streetlight down in san jose of all places! hehehe)

hasta.

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


-



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

From: Steve Berman <[e-mail]>
Subject: Kowald (Re: How It Happened (young 'uns))
Date: 02 Mar 2000 10:53:07 +0100 (MET)

>>>>> "Nirav" == Nirav Soni <[e-mail]> writes:

    Nirav> Could anyone describe Peter Kowald's work? He's coming to
    Nirav> Orlando in a few days, and I'm curious to know what to
    Nirav> expect. I've heard him described as an "incredibly
    Nirav> resourceful bass player and multiphonic throat singer." The
    Nirav> first set is solo, and for the second, he will be
    Nirav> improvising with local drummer Micheal Welsch.[...]

Kowald is one of the key musicians of so-called European free
improvisation, and has been since the mid 60s. He's played in a very
wide variety of settings, from solo and duo to small and midsize group
to big band/orchestral, and I believe he's also played relatively
mainstream jazz in addition to free jazz/free improv. His solo bass
playing is wonderful, my impression is that it's generally (but not
always) more melodic, more rhythmically regular, and less percussive
than, say, Barry Guy's playing, but much more abstract than, say, Dave
Holland's. His throat singing is used relatively sparingly, to good
effect. His solo CD _Was da ist_ on FMP is superb, perhaps my favorite
solo bass recording. For more info on Kowald see e.g.:
<www.shef.ac.uk/misc/rec/ps/efi/ehome.html> and <www.kowald.de>.

--Steve Berman

-



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

From: "Jeroen de Boer" <[e-mail]>
Subject: jazz!
Date: 02 Mar 2000 11:16:30 GMT+0100

Hi all,

Last weekend I was discussing the music of Dave Douglas with a
friend. Besides effortlessly agreeing he is on of the most
interesting musicians around, we were particularly talking about the
projects he does with his quartet and sextet. With these groups he
achieves on of the highest standards in jazz today, and made us
wondering: is the most interesting mainstream-jazz today performed
and composed by musicians coming from a "free" background?

Jeroen

np. Pita - Seven tons for free





Jeroen de Boer
co-initiator Cyberslag Foundation
music director Open Electronic Festival
Munnekeholm 10
9711JA Groningen
The Netherlands
tel: [phone]
fax: [phone]
[e-mail]
[e-mail]
http://www.cyberslag.com

-



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

From: Tom Gatzen <[e-mail]>
Subject: steps across the border(frith)
Date: 02 Mar 2000 03:24:25 -0800 (PST)

anyone out there have a copy of the VHS or can make
one for a trade????  Let me know..

Tom
__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: frisell and npr
Date: 02 Mar 2000 06:57:43 -0500

There was an interesting story about Bill Frisell on NPR this morning,
including some discussion and excerpts from his upcoming solo guitar
(although multi-tracked) album coming out next week.  Among the
collaborators interviewed were Curtis Fowlkes and Victor Krause, and it
also included discussion/excerpts from an album of jazz arrangements of
songs by Elvis Costello and Burt Bacharach.  Morning Edition repeats around
here, so if you get this message in time you might catch it later this
morning.


--
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: Linares Hugo <[e-mail]>
Subject: RE: frisell and npr
Date: 02 Mar 2000 09:17:58 -0300



> There was an interesting story about Bill Frisell on NPR this morning,
> including some discussion and excerpts from his upcoming solo guitar
>
>
    What d'you mean for NPR?

    Hugo

-



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

From: "Joslyn Layne" <[e-mail]>
Subject: re: several posts
Date: 02 Mar 2000 08:59:32 -0500

   first, Kurt's "GrAYting" post:
i believe that a kanoon, or qanun, [i'm sure there are endless spelling
variations] is a plucked zither. and i'd like to know more about Bunka,
too...

   second, has the John Wall discussed here done engineering/mixing/sampling
for others?
i realize it's not the most uncommon name, but just wondered if he was the
same guy on 13th floor elevators 'circus under the sky' -- probably not.

   and, to Scott Handley, or anyone else who is familiar with it:
are there different issues of the Angry Women book? or is it just
repressings that i'm seeing as multiple listings? And, Angry Women in Rock
is also different?  it's all on Re/Search, edited by Andrea Juno...


    joslyn



-



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

From: "Robert A. Pleshar" <[e-mail]>
Subject: RE: how it happened...
Date: 02 Mar 2000 08:02:57 -0600

At least one more from nm-list days. I'm sure there are a few more.

Ralph

At 11:08 PM 3/1/00 -0500, J. Kan wrote:
>  +  The now sadly defunct nm-list, which was (I guess) the direct
>     ancestor to zorn-list.  Is anybody else (other than mike rizzi)
>     still here?
>
>Jim


-



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

From: [e-mail]
Subject: re: extra Tom & Gerry
Date: 02 Mar 2000 10:16:40 -0500


were you billed for this? i wouldn't necessarily be a prude about stiffing
tower, but since bruce is a fellow traveller, think about returning it or
sending him the $20.

kg
_______________________


i just got my order from the downtown music gallery and got some great
stuff. i think there was a miscommunication and i got copy of Tom & Gerry
that i didn't want(i already have it). for those of you that may not know,
it Gerry Heingway on drums and Thomas Lehn on analogue synth.
i think you can download a track here:
http://www.erstwhilerecords.com/catalog/004.asp

anyway, if anyone wants it for $20, that'd be cool. i can fed-ex from work,
so postage isn't a problem within the USA. otherwise, i'll have to hasle
with returning it.

thanks,
craig
(i'm new to zorn and the list. how new to zorn? just bought ALL of the
masada stuff this week! i also bought quite a bit of naked city and tzadik
stuff too.)




-



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

From: [e-mail]
Subject: chix'n'dudes/nike/u.s.a. (what list is this?)
Date: 02 Mar 2000 10:36:15 -0500


cindy e makes a good point, that "a lot of the men in the crowd can be real
jerks, groping, pushing,trying to intimidate, do just being inconsiderate to
smaller people in the audience (male and female)." i remember being at a melt
banana gig at the knit where two guys lunged on stage after the show when they
started bringing out the merchandise. the poor (small, female) singer looked
truly frightened, and then -- realizing i guess that they weren't trying to harm
her -- said 'please, back, we're japanese.'

another time (another melt banana gig at the knit, as it happens), some young
suited fratty moron jumped on top of me, fell and kicked my bag, scattering
stuff everwhere (never found my discman), i guess in an attempt to start a mosh.
funny thing was, he and a few others like him didn't know the band. once they
realized it wasn't the thrash they were expecting, they stood in the front,
having forced all of the bands fans (not that there were a lot of us, it was a
while ago) to the back.

so, yes, boys can behave badly at shows. and without trying to start a gender
war here (i held off on this observation on my previous post), i think women are
more likely to end up seeing a band they've never heard of. i've never seen men
complain loudly about how much a band sucks without just leaving, but i've seen
plenty of women loudly display their resent at having to be in the room. it goes
back to my previous post that women, perhaps, are more likely to end up at a
show with a date or a group of friends. (i have been dragged to see bands that
bored me on dates, by the way, but i kept my cakehole shut).

more important, methinks, is parry's suggestion that "a lot of people of both
sexes just need more exposure to adventurous music. Viva la dissonance." (i love
that.)

as for the nike vids -- i saw them 6 yrs ago at the zorn retrospective, when he
did a night of playing videos. the commercials, the cynical hysterie hour, and
the naked city enema video. the commercials stick out the least in my mind.
nothing really exceptional about them, as i recall. but i don't know how you can
get them.

i was at downtown music gallery recently and was pleased to hear bruce playing a
"united states of america" disc. i only knew them from the charmingly odd track
"i won't trade my wooden wife for you, sugar" from a rock comp i had about a
decade ago (but i can still sing the song). since bruce usually only plays new
releases and reissues, you might be able to get it from him.

cheers.



-



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

From: [e-mail]
Subject: =?ISO-8859-1?Q?PROMO:=20Kevin=20Drumm/Martin=20T=E9treault-Parti?=
Date: 02 Mar 2000 11:36:19 EST

sorry for the promotional intrusion, and further apologies if you receive=20
more than one copy of this:

I'm proud to announce the release of the latest CD on my label:

Erstwhile 006: Kevin Drumm/Martin T=E9treault-Particles and Smears

Chicago-based Kevin Drumm (guitar, electronics) and Montreal-based Martin=20
T=E9treault (turntables) traveled in separate musical circles, each unaware=20=
of=20
the other's work, until a Chicago-based organization, Lampo, booked T=E9trea=
ult=20
for a concert with Drumm and the ubiquitous Jim O'Rourke in September of=20
1999. While T=E9treault was in Chicago, he and Drumm spent some time in the=20
studio, and this CD contains the results, as recorded by TV Pow's Todd=20
Carter. Drumm, best known for his two superb solo records on Perdition=20
Plastics, and T=E9treault, best known for his collaborative series of discs=20=
on=20
Ambiances Magnetiques with the likes of Otomo Yoshihide and Ikue Mori, meld=20
their techniques seamlessly to form a thoroughly integrated record. While=20
both musicians are more than capable of playing solo sets filled with=20
compelling ideas from beginning to end, here both seem to make a conscious=20
effort to subsume their identities in order to create a greater work.=20

"The often brittle, overwhelmingly tactile sounds which Drumm and T=E9treaul=
t=20
produce are so finely intertwined it=92s an act of futility to guess whose=20
thwacks, crackles, pops, hums, and squeaks are whose. The duo=92s enjoyment=20
practically oozes from their savvy interactions, as they rigorously reach=20
deeper and deeper into themselves and their instruments to find new noises.=20
But even as they forage, their sense of purpose is never lost. This is free=20
improvisation of the highest level; stunning proof of imagination=20
transcending scrap-heap technique."-Peter Margasak

14 tracks, 59 minutes.

all Erstwhile CDs can be purchased from numerous worldwide distributors, all=
=20
of which are listed on my web site. also, all Erstwhile releases can be=20
purchased via mail order (prices are for single CDs):=20

$13 US each postpaid within the United States=20
$14 US each postpaid to Canada=20
$16 US each postpaid overseas=20

all payments must be made in US funds. cash and money orders shipped=20
immediately. mail cash at your own risk. shipments paid for with checks held=
=20
until they clear. please send your order to:

Erstwhile Records
189 Christopher Columbus Dr.
Apt. #4
Jersey City, NJ 07302

future releases from Erstwhile will include:

005-Keith Rowe/G=FCnter M=FCller/Taku Sugimoto-The World Turned Upside Down=20
(available March 20)
007-John Butcher/Phil Durrant=20
008-Christof Kurzmann/Burkhard Stangl-Schnee
009-G=FCnter M=FCller/L=EA Quan Ninh
010-Otomo Yoshihide/Voice Crack
012-Thomas Lehn/Marcus Schmickler
013-Kevin Drumm/Axel D=F6rner

also available now:

001-VHF-Extracts
002-Haunted House-Up In Flames
003-Earl Howard/Denman Maroney-Fire Song
004-2-Thomas Lehn/Gerry Hemingway-Tom & Gerry (double CD)

thanks for reading.

Jon
www.erstwhilerecords.com

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: jazz!
Date: 02 Mar 2000 12:00:37 -0500

On Thu, Mar 02, 2000 at 11:16:30AM +0000, Jeroen de Boer wrote:

> Last weekend I was discussing the music of Dave Douglas with a
> friend. Besides effortlessly agreeing he is on of the most
> interesting musicians around, we were particularly talking about the
> projects he does with his quartet and sextet. With these groups he
> achieves on of the highest standards in jazz today, and made us
> wondering: is the most interesting mainstream-jazz today performed
> and composed by musicians coming from a "free" background?

It may be that musicians coming from a "free" background do the
mainstream jazz that listeners coming from a "free" prespective are
most likely to find interesting.

--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |


-



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

From: "Jeroen de Boer" <[e-mail]>
Subject: Re: jazz!
Date: 02 Mar 2000 17:50:15 GMT+0100

> > is the most interesting mainstream-jazz today performed
> > and composed by musicians coming from a "free" background?
>
> It may be that musicians coming from a "free" background do the
> mainstream jazz that listeners coming from a "free" prespective are
> most likely to find interesting.

But how does this explain the interest from mainstream-focussed
magazines such as Downbeat in Douglas' music?

Jeroen



Jeroen de Boer
co-initiator Cyberslag Foundation
music director Open Electronic Festival
Munnekeholm 10
9711JA Groningen
The Netherlands
tel: [phone]
fax: [phone]
[e-mail]
[e-mail]
http://www.cyberslag.com

-



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

From: "Mark Corroto" <[e-mail]>
Subject: Lil' help/No girls here
Date: 02 Mar 2000 12:56:00 -0500

Sunday night in Columbus, Ohio
we will be visited by Chris Speed and his band
plus opening act Avant Collective (local band)

Anyone know who is touring with Mr. Speed these days?

the show is at Little Brothers on High St.
I'll be one of the many Male's there
my wife cannot make it

although if she does see a band like
Tim Berne's Bloodcount
and Sex Mob
she is their biggest fan
If she hasn't seen them
she sez turn off that NOISE


MC

-



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

From: Whit Schonbein <[e-mail]>
Subject: Re: united states of america / joe byrd
Date: 02 Mar 2000 13:14:23 -0600 (CST)


> Date: Wed, 01 Mar 2000 20:11:29 -0500
> From: "Caleb T. Deupree" <[e-mail]>
> Subject: Re: The United States of America (the band)
>
> At 04:48 PM 3/1/00 -0800, Greg Mills wrote:
> >Anyone know anything about this band (circa '68)?
>
> The one with Joseph Byrd?  I remember this album, one of the few which a)

hmmm. this rang a bell in the depths of my memory.  is this the same
'joseph byrd' as 'joe byrd and the field hippies'?  i *think* i have an lp
called 'joe byrd and the field hippies' that i bought used back in 86 or
so (being a hippie at the time ;).  i haven't listened to it since i
bought it b/c it was too weird for my virgin ears.

whit



-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: The United States of America (the band)
Date: 02 Mar 2000 11:52:07 -0800

At 1:44 AM 3/2/00, SUGAR in their vitamins? wrote:
>On Wed, 1 Mar 2000, Dave Trenkel wrote:
>
>> It is out on CD, I have a copy around here somewhere, bought it ~8 months
>> ago. Wasn't hard to find.
>
>where did you find it?
>
>i've looked around amoeba and not found it.

I ordered it through my local record store, it was listed in their
distributors catalog. My copy is an English import, on Demon Records, 1997,
but I don't recall paying more than usual retail for it, had it been more
expensive I probably wouldn't have ordered it.

____________________________________________
Dave Trenkel : [e-mail]
Minus Web Site: http://listen.to/minusmusic
Minus MP3's: http://www.mp3.com/-minus-
____________________________________________



-



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

From: Whit Schonbein <[e-mail]>
Subject: Re: united states of america / joe byrd
Date: 02 Mar 2000 13:14:23 -0600 (CST)


> Date: Wed, 01 Mar 2000 20:11:29 -0500
> From: "Caleb T. Deupree" <[e-mail]>
> Subject: Re: The United States of America (the band)
>
> At 04:48 PM 3/1/00 -0800, Greg Mills wrote:
> >Anyone know anything about this band (circa '68)?
>
> The one with Joseph Byrd?  I remember this album, one of the few which a)

hmmm. this rang a bell in the depths of my memory.  is this the same
'joseph byrd' as 'joe byrd and the field hippies'?  i *think* i have an lp
called 'joe byrd and the field hippies' that i bought used back in 86 or
so (being a hippie at the time ;).  i haven't listened to it since i
bought it b/c it was too weird for my virgin ears.

whit



-



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

From: [e-mail]
Subject: Chis Speed
Date: 02 Mar 2000 15:37:05 EST

to the cat that asked:

Chris is touring with Jim Black, Chong Vu, and Skuli Sverrisson (bad spelling). they've got 2 great records on Songlines ("Deviantics" and "Yeah No"). Go see them... and re: the men/women thing, for what it's worth, the music they'll be playing is pretty accessable and chick-friendly. I mean "the typical trendy chick," not the typical Zornlist chick.... :)

cheers,
Dave

[NP: "La Mer," Charles Trenet / Complete Charles Trenet, volume 5.]

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Chis Speed
Date: 02 Mar 2000 12:44:48 -0800


On Thu, 2 Mar 2000 15:37:05 EST  [e-mail] wrote:
>
> [NP: "La Mer," Charles Trenet / Complete Charles Trenet, volume 5.]
        ^^^^^^

The original or the DJ Low remix?

    Patrice.

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: jazz!
Date: 02 Mar 2000 16:09:39 -0500 (EST)

Easy.
Mainstream magazines like to cover musicians who pay mainstream music.

Ken Waxman


On Thu, 2 Mar 2000, Jeroen de Boer wrote:

> > > is the most interesting mainstream-jazz today performed
> > > and composed by musicians coming from a "free" background?
> >
> > It may be that musicians coming from a "free" background do the
> > mainstream jazz that listeners coming from a "free" prespective are
> > most likely to find interesting.
>
> But how does this explain the interest from mainstream-focussed
> magazines such as Downbeat in Douglas' music?
>

-



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

From: [e-mail]
Subject: Trenet , Accordion & Ravel Film
Date: 02 Mar 2000 16:22:35 EST

The original; I didn't know there was a remix (only the Bobby Darin translation "Beyond the Sea"). I wonder how that sounds....

speaking of French pop music from th 40s (which I really love), there's a 2cd set of accordion music from that era that is just incredible. I suggest it to anyone starting out in accordion music. I stay away from compilations, but most of what's on here isn't on cd or long out of print.... Also I love the Erik Satie disc on W&W, featuring piano transcriptons for accordion. that is really a treat, because it covers stuff from the oft-neglected later period.

there was this french film several years back that featured a fantastically beautiful actress & a score comprised of Ravel chamber pieces (quartet, trio, sonatas, etc). does anyone recall the name of that film?

Cheers,
Dave

[NP: Charlie Haden & LMO / Ballad of the Fallen, ECM]

-



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

From: "Alastair Wilson" <[e-mail]>
Subject: Re: united states of america / joe byrd/van dyke parks
Date: 02 Mar 2000 21:54:35 -0000

> hmmm. this rang a bell in the depths of my memory.  is this the same
> 'joseph byrd' as 'joe byrd and the field hippies'

Yes, they're one and the same. "The United States of America" is a classic
psychedelic/electronic album, with some interesting cut ups (shades of NC?
Not really) on the last track of the rest of the album. Unfortunately "Joe
Byrd and the Field Hippies" is nowhere near as good, although it has its
moments.

If you like that... try "White Noise" by White Noise which came out in '69
(I think), the brainchild of David Vorhaus. Or anything by the current
english band Broadcast, who admit to USA influences on their website
www.broadcast.uk.net, and also sound like John Barry's groovier moments.
There are plenty of clips to listen to to back up my claim, and no, I don't
have any connection to the band.

I've just come across Van Dyke Parks' "Song Cycle" and am finding it hard
going. Is it me?



-



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

From: [e-mail]
Subject: White Noise (was Re: united states of america / joe byrd/van dyke
Date: 02 Mar 2000 17:17:44 EST


In a message dated 3/2/00 5:12:46 PM, [e-mail] writes:

<< If you like that... try "White Noise" by White Noise which came out in '69

(I think), the brainchild of David Vorhaus. >>

Paul Lytton, of all people, is the drummer on this record, although not so
you'd recognize him.

Jon
www.erstwhilerecords.com

-



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

From: "Gabriel Lichtmann" <[e-mail]>
Subject: How did it happen & Girls
Date: 02 Mar 2000 19:40:06 -0300

This is a multi-part message in MIME format.

------=_NextPart_000_0017_01BF847F.1CCEEF60
Content-Type: text/plain;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

  Sorry for the late post, but I didn't want to left out of this one.
  I live in Argentina, a country where until recently you couldn't get =
your hands on a Zorn CD (or anything else slightly "out there") unless =
you were really curious, and persistent,  or wealthy enough to travel =
frequently. As many people here on this list I came to Zorn when I was =
18 through Faith No More and Mr. Bungle, I was pretty much an =
alterna-kid and listened mainly to Sonic Youth, Pixies, Smiths, MBV, et =
al,  but had switched at the time to the metal world since I discovered =
there were more girls on it's domains. Then once, while lurking through =
a record shop near my parents house, the owner made me listen to the =
first Naked City album, y'know =
"thisissostrangeitsbytheproducerofthefirstmrbungleblablabla". I didn't =
buy it at the time because I had no money on me and they sold it pretty =
soon, so I became obsessed by it and looked for it through the whole =
world (literally). That record changed my perspective of jazz, in high =
school I was surrounded by guys who were obsessed by all the session =
geeks and virtuosos of the time, like Satriani, Vai & Co, and what they =
called jazz was a horrible thing that sounded like muzak on speed; those =
same guys triggered my hate for prog rock (hard in a city that worships =
Fripp) and fusion, the mere sound of the word "Di Meola" makes me =
fisically ill.
   Getting back to the zorn side of things, one of the things that first =
interested me of that first NC record was his take on film music. As a =
film buff that was the right hook for me, in fact I went on to become a =
film student and his "Godard" piece has made the guy pretty popular =
between my friends (the radical jewish culture did the same thing for =
him in my family).
    And about girls...well I think it has to do with something called =
masturbation that we guys are more prone to doing. I had the same =
experience some of the members had with their wives at concerts. We tend =
to more to solitary activities and obsessive behaviour than they do, and =
that's why they are far better than us and we love them soo much.
    Sorry, again, for the long post.

LA LICHUZA

P.D: for all the spanish speaking subscribers I reccomend the book =
"Memorias de un ladron de discos" by Carlos Sampayo, which deals =
extensively on the subject of why girls and record collections don't =
usually go togeteher.

------=_NextPart_000_0017_01BF847F.1CCEEF60
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#d0bcd0>
<DIV><FONT color=3D#000000 size=3D2>  Sorry for the late post, but =
I didn't=20
want to left out of this one.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2>  I live in Argentina, a =
country where=20
until recently you couldn't get your hands on a Zorn CD (or anything =
else=20
slightly "out there") unless you were really curious, and persistent, =20
or wealthy enough to travel frequently. As many people here on this =
list I=20
came to Zorn when I was 18 through Faith No More and Mr. Bungle, I =
was=20
pretty much an alterna-kid and listened mainly to Sonic Youth, Pixies, =
Smiths,=20
MBV, et al,  but had switched at the time to the metal world since I =
discovered=20
there were more girls on it's domains. Then once, while lurking through =
a record=20
shop near my parents house, the owner made me listen to the first Naked =
City=20
album, y'know =
"thisissostrangeitsbytheproducerofthefirstmrbungleblablabla". I=20
didn't buy it at the time because I had no money on me and they sold it =
pretty=20
soon, so I became obsessed by it and looked for it through the =
whole world=20
(literally). That record changed my perspective of jazz, in high school =
I was=20
surrounded by guys who were obsessed by all the session geeks and =
virtuosos of=20
the time, like Satriani, Vai & Co, and what they called jazz was a =
horrible=20
thing that sounded like muzak on speed; those same guys triggered my =
hate for=20
prog rock (hard in a city that worships Fripp) and fusion, the mere =
sound of the=20
word "Di Meola" makes me fisically ill.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2>   Getting back to the =
zorn side of=20
things, one of the things that first interested me of that first NC =
record=20
was his take on film music. As a film buff that was the right hook =
for me,=20
in fact I went on to become a film student and his "Godard" piece =
has made=20
the guy pretty popular between my friends (the radical jewish culture =
did the=20
same thing for him in my family).</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2>    And about =
girls...well I=20
think it has to do with something called masturbation that we guys are =
more=20
prone to doing. I had the same experience some of the members had with =
their=20
wives at concerts. We tend to more to solitary activities and obsessive=20
behaviour than they do, and that's why they are far better than us and =
we love=20
them soo much.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2>    Sorry, again, for =
the long=20
post.</FONT></DIV>
<DIV> </DIV>
<DIV align=3Dcenter><FONT color=3D#000000 size=3D2>LA =
LICHUZA</FONT></DIV>
<DIV align=3Dcenter> </DIV>
<DIV align=3Djustify><FONT color=3D#000000 size=3D2>P.D: for all the =
spanish speaking=20
subscribers I reccomend the book "Memorias de un ladron de discos" by =
Carlos=20
Sampayo, which deals extensively on the subject of why girls and record=20
collections don't usually go togeteher.</FONT></DIV></BODY></HTML>

------=_NextPart_000_0017_01BF847F.1CCEEF60--


-



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

From: Tom Benton <[e-mail]>
Subject: Kowald
Date: 02 Mar 2000 17:01:19 -0600 (CST)


Steve Berman wrote -

> Kowald is one of the key musicians of so-called European free
> improvisation, and has been since the mid 60s.

> His solo bass playing is wonderful, my impression is that it's generally
> (but not always) more melodic, more rhythmically regular, and less
> percussive than, say, Barry Guy's playing, but much more abstract than,
> say, Dave Holland's.

Though anyone who followed the link to his web page probably already saw
this, I feel like it's worth pointing out that if you live in the states,
chances are Peter Kowald will be in or near your town in the next three
months.  His travel schedule can be found at <www.kowald.de/us2000.html>.
Definitely not a performance to miss.


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: RE: frisell and npr
Date: 02 Mar 2000 18:36:13 -0500

At 09:17 AM 3/2/00 -0300, Linares Hugo wrote:
>    What d'you mean for NPR?

National Public Radio, originally a non-commercial US alternative radio
source which is now leaning more toward the mainstream in an attempt to
maintain funding.

--
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:  Re: jazz!
Date: 02 Mar 2000 18:43:30 EST

Then how does one account for the media's rally around David Murray (whose
play I do not admire at all) or Lester Bowie (whose playing I love)?

This is partially a devil's advocate question.

skip h

-



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

From: =?ISO-8859-1?Q?"Mathieu_B=E9langer"?= <[e-mail]>
Subject: Bailey/Holland and Cioran
Date: 02 Mar 2000 18:53:12 EST

Hello,

I recently found "Improvisations for Cello and Guitar" by Mrs. Holland
and Bailey. It is the vinyl edition on ECM. I noticed that the first
track is called Improvisation Piece III which suggests that there was
an Improvisation Piece I and II... Was there a sort of first volume to
this ? Or was it reissued on cd with the five (or maybe more) pieces ?

In a totally different topic, most of you probably know that the text
printed in the "Music for Children" booklet is by E.M. Cioran, a French
philosopher. I have tried to see from which book the text was taken but
had no success although I have read almost everything by Cioran.
Anybody knows ?

Thanks,

Mathieu

-



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

From: neongreen7 <[e-mail]>
Subject: Re: extra tom & gerry
Date: 02 Mar 2000 17:52:18 -0600


let me clarify. i was billed for AND RECEIVED the cd. it's just that in the
meantime i ordered one from gerry himself and thought i told bruce to not
send that disc to me. so, now i have two copies that i paid for and am just
trying to sell it instead of doing a return on my credit card.
thanks


on 3/2/00 2:05 PM, Zorn List Digest at
[e-mail] wrote:

> ------------------------------
>
> Date: Thu, 02 Mar 2000 10:16:40 -0500
> From: [e-mail]
> Subject: re: extra Tom & Gerry
>
> were you billed for this? i wouldn't necessarily be a prude about stiffing
> tower, but since bruce is a fellow traveller, think about returning it or
> sending him the $20.
>
> kg
> _______________________
>
> Date: Wed, 01 Mar 2000 20:37:34 -0600
> From: neongreen7 <[e-mail]>
> Subject: extra Tom & Gerry
>
> i just got my order from the downtown music gallery and got some great
> stuff. i think there was a miscommunication and i got copy of Tom & Gerry
> that i didn't want(i already have it). for those of you that may not know,
> it Gerry Heingway on drums and Thomas Lehn on analogue synth.
> i think you can download a track here:
> http://www.erstwhilerecords.com/catalog/004.asp
>
> anyway, if anyone wants it for $20, that'd be cool. i can fed-ex from work,
> so postage isn't a problem within the USA. otherwise, i'll have to hasle
> with returning it.
>
> thanks,
> craig
> (i'm new to zorn and the list. how new to zorn? just bought ALL of the
> masada stuff this week! i also bought quite a bit of naked city and tzadik
> stuff too.)


-



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

From: [e-mail]
Subject: Re: jazz!
Date: 02 Mar 2000 19:40:33 EST


In a message dated 3/2/00 6:47:14 PM, [e-mail] writes:

<< Then how does one account for the media's rally around David Murray (whose
play I do not admire at all) or Lester Bowie (whose playing I love)? >>

the mainstream media is much more likely to write about jazz artists on one
of the major labels, whether the musicians are in or out. talent is also
seemingly largely irrelevant. Bowie's last record was on WEA/Atlantic. Murray
had at least one stretch where his DIW records were being distributed by
Columbia. writers in the mainstream media (keep in mind I worked at Time
Magazine for 10 years, although they're an extreme case) rarely search out
music on their own, especially jazz. they write about CDs that they've
received promos of, then read about in magazines or been pitched by a PR flak
to take an extra-special look at. I'd guess if someone checked the last 10
years of jazz reviews in Time, they'd find that more than 90 percent of them
were released by the Verve/Polygram juggernaut.

anyway, Steve Smith knows about a trillion times more than me on this topic.
so I'll shut up now.

Jon
www.erstwhilerecords.com

-



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

From: [e-mail]
Subject: Re:  Re: jazz!
Date: 02 Mar 2000 20:01:52 EST

You just made my point -- mainstream money buys mainstream press.  It has
nothing to do with whether the music is any good or not.

Steve's in a fortuitous position -- he has reams of press about how bitchen
Dave is (and Dave's pretty bitchen).  But, if he were at HatArt and having to
sell Ellery eskelin -- great though Ellery is -- would he get any magazine
covers? Not without taking those big color ads.

What's the polite euphemism for payola?

skip h

-



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

From: Fritz Senn <[e-mail]>
Subject: NPR's All Things Considered
Date: 02 Mar 2000 20:19:18 -0500

Hello, sorry for the off-topic nature of this post, but I need to know if
there is some song from Dexter Gordon's "Go" that is used as the opening
music to National Public Radio's "All Things Considered" (?). I guess its
opening melody is heard (by some) as the same as the main phrase in the
title track of "Go." Is this correct? If not, where is the opening melody
from? Thanks.

Fritz on Thorsday.


-



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

From: Mike Chamberlain <[e-mail]>
Subject: Re: jazz!
Date: 02 Mar 2000 20:40:18 -0500

[e-mail] wrote:
>
> You just made my point -- mainstream money buys mainstream press.  It has
> nothing to do with whether the music is any good or not.
>
> Steve's in a fortuitous position -- he has reams of press about how bitchen
> Dave is (and Dave's pretty bitchen).  But, if he were at HatArt and having to
> sell Ellery eskelin -- great though Ellery is -- would he get any magazine
> covers? Not without taking those big color ads.
>
> What's the polite euphemism for payola?
>
> skip h
>
> -

That explains why Dave is on the cover of the current issue of Coda, I
guess.  It also explains how Bill Smith got as rich as he is. :-)

--Mike
--
Mike Chamberlain
Teacher, Writer, Broadcaster, Father, Farmer,  Baseball Fan, Jazz Nerd,
Sumo Nut, Bald Guy

"I used to be disgusted, now I try to be amused."

-



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

From: Steve Smith <[e-mail]>
Subject: Warner Loss Leaders - My $2 Worth
Date: 02 Mar 2000 20:54:37 -0500

[e-mail] wrote:

> By the by, while I'm at it, my first intro to all this started with
> those double sampler albums that Warner/Reprise used to sell from their
> inner sleeves, SongBook, Big Ball, etc.(at $1/disc, postpaid)  Their
> "loss leaders" they called'em.  I had'em all

Hear, hear!  "Troublemakers," which ranged from the sacred (Sex Pistols live
at Winterland on their last date, PiL, Wire, John Cale, Jonathan Richman,
Robin Lane and the Chartbusters) to the profane (Buggles, Pearl Harbour and
the Explosions, Urban Verbs), was a very important set for me.  So was
"Music for 58 Musicians," which was an ECM loss leader that featured an
excerpt of the Steve Reich work from which the title is derived, as well as
Pat Metheny, Codona, Oregon, Egberto Gismonti and others, including perhaps
most importantly of all my very first exposure to Old and New Dreams and the
Art Ensemble of Chicago, at a time when I could be impressed without
understanding exactly why.

And while all of the above would have been a bargain for $4, what happened
in my case was that when I sent in my $2 for "58 Musicians" I included a
note asking if "Troublemakers" was still available, and they simply sent
both...

A few years later I found a bunch of ECM cassettes in a 25 cent bin since
they had just parted with Warners - one of them at the time struck me as far
too weird and "out there" to be worth listening to at the time, but I hung
onto it all the same.  It was 'Rambler' by Bill Frisell... my, how things
change...

Steve Smith
[e-mail]


-



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

From: =?iso-8859-1?q?A?= <[e-mail]>
Subject: Re: more on "the girl issue"
Date: 02 Mar 2000 18:49:32 -0800 (PST)


*it is amazing actually, how many girls you run into at death metal
(and
*all other forms of metal) gigs over here in europe. (though i can
only
*talk about austria and switzerland.)

*and most of them not even dressed like your average "metal chick".
*mainly all very well dressed, even in designer stuff!

*that really still amazes me; and i think it's great!

patRice

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

Ahhh, Europe....
I don┤t go to metal shows here in Peru because no international bands
come here, and the national acts are shitty...anyway, 3 years ago I
worked at a small record store, and it carried all kinds of metal
shit (most CD places here don┤t), and every time a girl asked for
something like Morbid Angel, she would be fat, pimple-faced and
ugly...and dressed in customary black...and then most of the
decent-looking girls here only listen to the popular shit like
alternative rock or salsa or whatever...that┤s why I┤m pretty much
hopeless when it comes to thinking about finding someone musically
compatible.
Lucky bastard
A
__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: NPR's All Things Considered
Date: 02 Mar 2000 22:08:36 -0500

The theme music is supposedly by one B J Liederman (spelling unknown),
of whom I've heard nothing other than his (?) consistently enjoyable NPR
music. Does anyone know of any other releases?

On Thu, Mar 02, 2000 at 08:19:18PM -0500, Fritz Senn wrote:
> Hello, sorry for the off-topic nature of this post, but I need to know if
> there is some song from Dexter Gordon's "Go" that is used as the opening
> music to National Public Radio's "All Things Considered" (?). I guess its
> opening melody is heard (by some) as the same as the main phrase in the
> title track of "Go." Is this correct? If not, where is the opening melody
> from? Thanks.

--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Kowald
Date: 02 Mar 2000 22:24:51 -0500

At 05:01 PM 3/2/00 -0600, Tom Benton wrote:
>
>Though anyone who followed the link to his web page probably already saw
>this, I feel like it's worth pointing out that if you live in the states,
>chances are Peter Kowald will be in or near your town in the next three
>months.  His travel schedule can be found at <www.kowald.de/us2000.html>.
>Definitely not a performance to miss.

Anyone by any chance know where Kowald will be playing in Columbus, Ohio?
This site lists him there on March 25.

--
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: Maurice Rickard <[e-mail]>
Subject: Re: NPR's All Things Considered
Date: 02 Mar 2000 23:04:35 -0500 (EST)

Since I've been too busy to delurk for the "How'd it happen" thread (I've
wanted to, though), I'll at least contribute to this one.  Just about
anything you'd want to know is at (yep) http://www.bjleiderman.com/ where
he's got information about his new CD, _Life at the Bottom of the Dial_.

HTH,

Maurice Rickard                       | "Multimedia will never go anywhere
Designer                              |  until the amateurs take over."
http://www.envirolink.org/maurice     |                     --David Thomas

On Thu, 2 Mar 2000, Joseph Zitt wrote:

> The theme music is supposedly by one B J Liederman (spelling unknown),
> of whom I've heard nothing other than his (?) consistently enjoyable NPR
> music. Does anyone know of any other releases?
>

-



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

From: Matthew Wosnitzer <[e-mail]>
Subject: John Zorn at Columbia University
Date: 02 Mar 2000 23:25:58 -0500

Just writing the list to let those in NY know that John Zorn will be presen=
t
according to www.columbia.edu website:
          Thursday, March 9, 8 PM
          7 PM preconcert discussion with John Zorn

          John Zorn (b. 1953) and
          Paul Schoenfield

"Perhaps New York's most-respected all-around musician, John Zorn joins us
at Miller to hear performances of three new works drawn from the spirit of
French Absurdism, paired with music by Paul Schoenfield, another major
American composer."

Schoenfield: Piano Trio * Three Country Fiddle Tunes * Three British
Folksongs
          Zorn: Amour Fou * Le M=F4mo * Untitled [for Joseph Cornell]

          Ahn Trio
          Jennifer Choi, violin
          Eric Friedlander, cello


-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: NPR's All Things Considered
Date: 02 Mar 2000 23:56:25 -0500

On Thu, Mar 02, 2000 at 11:04:35PM -0500, Maurice Rickard wrote:
> Since I've been too busy to delurk for the "How'd it happen" thread (I've
> wanted to, though), I'll at least contribute to this one.  Just about
> anything you'd want to know is at (yep) http://www.bjleiderman.com/ where
> he's got information about his new CD, _Life at the Bottom of the Dial_.

Thanks! I just went to the site and sent him a fan letter. He might get
more of those if he got the NPR hosts to s-p-e-l-l o-u-t his name once
in a while. (It also drives me nuts, and is more of a problem, when they
don't spell out URLs. While I'm unlikely to hit the site, I still
wonder idly on long drives how they expect people to ever find
www.s'dex'lmariot.com or whatever that is...

--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |


-



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

From: "ajda snyder" <[e-mail]>
Subject: Girlymusik
Date: 02 Mar 2000 23:48:46 EST

Wow.  I'm really enjoying all the posts on the "why aren't more girls
interested in avant music" thread.  It is very comforting to see that my
fellow Zornlisters are so open-minded.

It's also nice to hear so many more females speaking out on the list.  I had
kind of wondered if there were many others...and it's even cooler to hear
gay people talking about being on the list.

That comment about fat, "ugly", pimply-faced, black-wearing girls who like
metal made perfect sense.  After all, those girls are definitely solitary.
Sadly.  So no wonder they like the more out of the mainstream shit.

Secretly, (pour moi) I think part of the attraction of being into things
less common, like the avant-garde, is doubled for females into it, since we
are few.  I know you other folks know what I mean - how nice it feels to
have something rather unknown and unexploited, and feel like it's yr own...

Forgive me if I self-confess.

Ajda, the Turkish Queen
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: "Scott Handley" <[e-mail]>
Subject: Girlymusik + politics
Date: 03 Mar 2000 05:57:04 GMT

It's interesting to me that, perhaps, women are sometimes unfairly expected
to "represent" something...say, feminism.  Or Women At Large.  Or that
Empowerment (whatever that is) needs to even be an issue.  This is about as
bad, IMO, as commenting that a female musician "plays like a man", which
might be a little more clearly offensive to many of us.  In terms of unfair
expectations, this might be likened, inversely, to the experience of the
list member who said she entered a (male) friend's room and was asked if the
Fantomas should be "turned down".  If I remember correctly, she speculated
that there might possibly be the compulsive assumption that she was
incapable of enjoying extreme music.  (I don't think she emphasized gender
quite that heavily, though.)  In Graham Locke's FORCES IN MOTION, a fine
book on the music of Anthony Braxton, Locke is persistently baffled by
marilyn Crispell's ambivalence to feminism, or to politics in general.
Gerry Hemingway intervenes, "justifying" feminism-at-large (huh?) in,
really, pretty reasonable, generous language.  Locke frets and wrings hands.
  (He seems to be on the threshhold of apoplexy when Brax eats fast food and
dreams of opening a Brax Burger chain.)  Crispell remains wary of
condemnation of "the patriarchy", and doesn't mind at all having her playing
referred to as "masterly", which bothers Lock.  The point of interest to me,
here, is not the specific politics at hand, but the fact that Lock and, to a
lesser extent, Hemingway, seem to take a rather---irony of
ironies---"paternal" stance towards Crispell's choice to be somehwat
apolitical.  It is characteristic of the full circle: a new, leftist,
pedastaling of woman, the insistent offering of Enlightenment, Rationality,
and ...urp...Common Sense.

-----s, sorry, I will edit next time.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: King Wilson <[e-mail]>
Subject: Sex Mob in Chicago
Date: 03 Mar 2000 00:21:21 -0600

Next thursday at the Empty Bottle.  7pm (early show)

   Anyone want to post a review or two of a recent show?  I'd like to
know what it's like.....


















                            read icculus







-



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

From: [e-mail]
Subject: =?ISO-8859-1?Q?PROMO:=20Kevin=20Drumm/Martin=20T=E9treault-Parti?=
Date: 02 Mar 2000 11:36:19 EST

sorry for the promotional intrusion, and further apologies if you receive=20
more than one copy of this:

I'm proud to announce the release of the latest CD on my label:

Erstwhile 006: Kevin Drumm/Martin T=E9treault-Particles and Smears

Chicago-based Kevin Drumm (guitar, electronics) and Montreal-based Martin=20
T=E9treault (turntables) traveled in separate musical circles, each unaware=20=
of=20
the other's work, until a Chicago-based organization, Lampo, booked T=E9trea=
ult=20
for a concert with Drumm and the ubiquitous Jim O'Rourke in September of=20
1999. While T=E9treault was in Chicago, he and Drumm spent some time in the=20
studio, and this CD contains the results, as recorded by TV Pow's Todd=20
Carter. Drumm, best known for his two superb solo records on Perdition=20
Plastics, and T=E9treault, best known for his collaborative series of discs=20=
on=20
Ambiances Magnetiques with the likes of Otomo Yoshihide and Ikue Mori, meld=20
their techniques seamlessly to form a thoroughly integrated record. While=20
both musicians are more than capable of playing solo sets filled with=20
compelling ideas from beginning to end, here both seem to make a conscious=20
effort to subsume their identities in order to create a greater work.=20

"The often brittle, overwhelmingly tactile sounds which Drumm and T=E9treaul=
t=20
produce are so finely intertwined it=92s an act of futility to guess whose=20
thwacks, crackles, pops, hums, and squeaks are whose. The duo=92s enjoyment=20
practically oozes from their savvy interactions, as they rigorously reach=20
deeper and deeper into themselves and their instruments to find new noises.=20
But even as they forage, their sense of purpose is never lost. This is free=20
improvisation of the highest level; stunning proof of imagination=20
transcending scrap-heap technique."-Peter Margasak

14 tracks, 59 minutes.

all Erstwhile CDs can be purchased from numerous worldwide distributors, all=
=20
of which are listed on my web site. also, all Erstwhile releases can be=20
purchased via mail order (prices are for single CDs):=20

$13 US each postpaid within the United States=20
$14 US each postpaid to Canada=20
$16 US each postpaid overseas=20

all payments must be made in US funds. cash and money orders shipped=20
immediately. mail cash at your own risk. shipments paid for with checks held=
=20
until they clear. please send your order to:

Erstwhile Records
189 Christopher Columbus Dr.
Apt. #4
Jersey City, NJ 07302

future releases from Erstwhile will include:

005-Keith Rowe/G=FCnter M=FCller/Taku Sugimoto-The World Turned Upside Down=20
(available March 20)
007-John Butcher/Phil Durrant=20
008-Christof Kurzmann/Burkhard Stangl-Schnee
009-G=FCnter M=FCller/L=EA Quan Ninh
010-Otomo Yoshihide/Voice Crack
012-Thomas Lehn/Marcus Schmickler
013-Kevin Drumm/Axel D=F6rner

also available now:

001-VHF-Extracts
002-Haunted House-Up In Flames
003-Earl Howard/Denman Maroney-Fire Song
004-2-Thomas Lehn/Gerry Hemingway-Tom & Gerry (double CD)

thanks for reading.

Jon
www.erstwhilerecords.com

-


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: The Cure- Bloodflowers
Date: 03 Mar 2000 00:54:54 -0800 (PST)

On Wed, 2 Mar 1994, Diego Gruber wrote:

> I've seen many ppl mention this record already as something they're
> listening to, but still no comments. So, [insert obvious question here].

i found myself agreeing with aquarius' review.
as a longtime cure fan, it was disappointing.
but certainly far better than their previous effort.

hasta.

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


-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: Girlymusik
Date: 03 Mar 2000 09:36:45 GMT

Adja wrote:
>Wow.  I'm really enjoying all the posts on the "why aren't more girls
>interested in avant music" thread.

I'm on a lot of lists and I've also wondered why men tend to dominate the
discussions so much.  And since I'm a teacher I think it has something to do
with the degree of privileges afforded men, privileges we all-too-often
unconsciously bask in.  Women are also not encouraged to be confident in
engaging in such discussions in the education system.  I've also noticed a
tendency toward discursive differences as well--men often argue (I'm no
exception I'm afraid on this score), while women look for areas of agreement
and attempt to deflect or disarm conflict.

>Secretly, (pour moi) I think part of the attraction of being into things
>less common, like the avant-garde, is doubled for females into it, since we
>are few.

Perhaps for those women who are not inclined toward the "avant-garde" as it
were, it has something to do with healthy suspicion toward old tropes of
masculinist idolatry, like the "artist as seer" or the dictum of "newness"
which becomes a kind of drug for "avant" heads as well as a mode of
evaluation:  "I found nothing new in this piece that wasn't already done by
so-and-so etc."  The avant-garde has historically hooked up with
masculinist/modernist impulses that often afflict people like Zorn as well,
who has a powerful modernist/avantist superego to go with his more
"anti-aesthetic," e.g. "metal" etc. sensibilities.  Sometimes all this rant
about victimized and isolated avantism gets a bit tedious and dishonest,
perhaps most obviously when it hooks up with capital process to ensure IPR
protection, morally and pragmatically.  (And who really wants any of our
beloved avant cats to go out of business?)  (And when is an artist ever so
"original" as to deserve a patent on their production no matter the edicts
of the "new").  I don't know but perhaps a lot of women pick up on all this
and are simply unable or don't want to be bothered with articulating it.

More recently I've found it refreshing to see "new?" paradigms emerge with
people like We(tm), who have a new CD pending called "Decentertainment"
(wonderful title) where the whole question of property and artistic
positionality become imploded.  It's nice to see such self-conscious develop
in "artists."
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: Steve Berman <[e-mail]>
Subject: Re: Bailey/Holland and Cioran
Date: 03 Mar 2000 10:50:14 +0100 (MET)

>>>>> "Mathieu" == Mathieu B=E9langer <ISO-8859-1> writes:

    Mathieu> Hello, I recently found "Improvisations for Cello and
    Mathieu> Guitar" by Mrs. Holland and Bailey. It is the vinyl
    Mathieu> edition on ECM. I noticed that the first track is called
    Mathieu> Improvisation Piece III which suggests that there was an
    Mathieu> Improvisation Piece I and II... Was there a sort of first
    Mathieu> volume to this ? Or was it reissued on cd with the five
    Mathieu> (or maybe more) pieces ?

Actually, "Improvisations for Cello and Guitar" is by *Mr.* Holland
and Bailey. But I've heard that Dave Holland's mother did make a
recording of Improvisation Pieces I and II with Mr. Bailey, which was
very briefly available in the Incus Taps series. Neither recording has
been reissued on CD AFAIK.
--Steve Berman

-



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

From: Matt Teichman <[e-mail]>
Subject: Re: Girlymusik
Date: 03 Mar 2000 07:31:44 -0500

I'm suprised with all this talk of women and the avant-garde that nobody
has mentioned Maya Deren, the leader of the American avant-garde in film in
the 1940s.  She sort of rejuvenated it after a ten-year or so hiatus.
Anyway, just my 2=A2...

-



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

From: Simon Hopkins <[e-mail]>
Subject: john wall and madonna
Date: 03 Mar 2000 12:35:05 +0000

>In a message dated 3/1/00 12:30:49 PM, [e-mail] writes:
>
><< Just would like to put a certain musician in the spotlight:

John is a genuinely brilliant composer (and while he's a good friend, I
don't *think* that's clouded my judgement, not least since I knew John's
work before I knew him). Anyway, I've written quite a bit about John on the
motion site; check out some of these links - many are soundfile accompanied:

http://motion.state51.co.uk/reviews/481.html
http://motion.state51.co.uk/features/wall/index.html
http://motion.state51.co.uk/features/wall/extend/alterstill.html
http://motion.state51.co.uk/features/wall/extend/fractuur.html

And... what was this all about:

"I mean, just think of this - what's the female equivalent of the Beatles??
Madonna, maybe.  But she is more of a highly sexualized farce."

Not sure I get the Madonna/Fab Four comparison in the first place, but this
flippant, un-thinking, throwaway gibe about one of the most consistently
interesting figures in pop music (and pop culture generally) is out of
place on this generally considered/ing list.

Simon





-



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

From: [e-mail]
Subject: Re: Girlymusik
Date: 03 Mar 2000 14:59:24 +0200


I consider myself very lucky about this issue. You should've seen the smile
on my face when my girlfriend(wasn't at the time) told me that she liked
John Zorn during our first date :-)))

BTW, It's good to know that there are other Turkish people (and
surprisingly female) here on this list.

Cheers,
Umit.

Ajda wrote:
>Secretly, (pour moi) I think part of the attraction of being into things
>less common, like the avant-garde, is doubled for females into it, since
we
>are few.




-



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

From: "Peter Marsh" <[e-mail]>
Subject: Re: we
Date: 03 Mar 2000 13:14:43 +0000

bill wrote:

>More recently I've found it refreshing to see "new?" paradigms emerge with
>people like We(tm), who have a new CD pending called "Decentertainment"
>(wonderful title) where the whole question of property and artistic
>positionality become imploded.  It's nice to see such self-conscious develop
>in "artists."

i'm interested to know how a cd can implode the question of property and
artistic positionality. do they give it away free and not put their names on
the sleeve ? :-) excuse the flippancy but seriously bill, tell us more (is
the same We who were on asphodel ?)

cheers

peter

-



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

From: Yves Dewulf <[e-mail]>
Subject: Re: Chis Speed
Date: 03 Mar 2000 14:40:20 +0100 (CET)


On 02-Mar-00 Patrice L. Roussel wrote:
>
> On Thu, 2 Mar 2000 15:37:05 EST  [e-mail] wrote:
>>
>> [NP: "La Mer," Charles Trenet / Complete Charles Trenet, volume 5.]
>         ^^^^^^
>
> The original or the DJ Low remix?
>
>       Patrice.
>
A DJ Low remix of "la mer"??
Please, tell me more (which label?...)!

Yves

-



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

From: "margo red" <[e-mail]>
Subject: kletka red and dog faced hermans question
Date: 03 Mar 2000 10:04:34 EST

I noticed in the post on Kletka Red a while back that the group includes
Andy Moor, formerly of the Dog Faced Hermans.  Does anybody know what other
projects he and the other DFH members were involved in after they broke up?
-Margo Red
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: "Benito Vergara" <[e-mail]>
Subject: RE: Trenet , Accordion & Ravel Film
Date: 03 Mar 2000 07:27:51 -0800

> -----Original Message-----
> From: [e-mail]
> [mailto:[e-mail]]On Behalf Of [e-mail]
> Sent: Thursday, March 02, 2000 1:23 PM

> there was this french film several years back that featured a
> fantastically beautiful actress & a score comprised of Ravel
> chamber pieces (quartet, trio, sonatas, etc). does anyone recall
> the name of that film?

"Le Coeur d'Hiver," maybe?

Later,
Ben

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


-



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

From: [e-mail]
Subject: all things considered
Date: 03 Mar 2000 10:37:52 -0500


well, now that you say 'bj liederman,' i guess i do recognize that name. but
somewhere i had read that joel futterman, who plays with the brilliant new
orleans saxophonist kidd jordan, composed it. is there anyone out there npr
junkie enough to know what, if anything, futterman did for npr? fresh air,
maybe?

kg



-



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

From: [e-mail]
Subject: mr. mister
Date: 03 Mar 2000 10:43:20 -0500


>"Improvisations for Cello and Guitar" is by *Mr.* Holland and Bailey.

or by Mr. Holland and Mr. Bailey, therefore the Misters H and B, as i believe
the original poster intended.

but it is a way, perhaps, to have more people involved in free music: last
month's set by mrs. zorn and frith at tonic was fantastic.

listening to jj johnson and keeping up appearances,

kg



-



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

From: Maurice Rickard <[e-mail]>
Subject: Re: all things considered
Date: 03 Mar 2000 10:45:59 -0500

Joel (Something--Forrester?) of the Microscopic Septet did the Fresh
Air theme, as I recall.

At 10:37 AM -0500 3/3/00, [e-mail] wrote:
>well, now that you say 'bj liederman,' i guess i do recognize that name. but
>somewhere i had read that joel futterman, who plays with the brilliant new
>orleans saxophonist kidd jordan, composed it. is there anyone out there npr
>junkie enough to know what, if anything, futterman did for npr? fresh air,
>maybe?

Maurice Rickard
http://mauricerickard.com/

-



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

From: Matthew Moffett <[e-mail]>
Subject: Re: all things considered
Date: 03 Mar 2000 10:55:04 -0500



[e-mail] wrote:

> well, now that you say 'bj liederman,' i guess i do recognize that name. but
> somewhere i had read that joel futterman, who plays with the brilliant new
> orleans saxophonist kidd jordan, composed it. is there anyone out there npr
> junkie enough to know what, if anything, futterman did for npr? fresh air,
> maybe?
>
> kg
>
> -

Follow this link and then click on "all music considered" .  It lists all the
music recently played in the intros and bumpers, including composers, and gives
mp3s for some of them.

http://www.npr.org/programs/atc/


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: more on "the girl issue"
Date: 03 Mar 2000 08:08:57 -0800


On Thu, 2 Mar 2000 18:49:32 -0800 (PST)  =?iso-8859-1?q?A?= wrote:
>
> Ahhh, Europe....
> I don┤t go to metal shows here in Peru because no international bands
> come here, and the national acts are shitty...anyway, 3 years ago I
> worked at a small record store, and it carried all kinds of metal
> shit (most CD places here don┤t), and every time a girl asked for
> something like Morbid Angel, she would be fat, pimple-faced and
> ugly...and dressed in customary black...and then most of the
> decent-looking girls here only listen to the popular shit like
> alternative rock or salsa or whatever...that┤s why I┤m pretty much
> hopeless when it comes to thinking about finding someone musically
> compatible.
> Lucky bastard

Don't worry, compatibility in taste is almost irrelevant to any
serious relationship (but can be used as a crutch when nothing else
works...), although it is often the reason at the start (same tastes
-> being both at the same place -> blablabla).

    Patrice (who does not want somebody with the same taste).


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: kletka red and dog faced hermans question
Date: 03 Mar 2000 08:20:31 -0800 (PST)

On Fri, 3 Mar 2000, margo red wrote:

> I noticed in the post on Kletka Red a while back that the group includes
> Andy Moor, formerly of the Dog Faced Hermans.  Does anybody know what other
> projects he and the other DFH members were involved in after they broke up?

the Ex.

hasta.

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


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: all things considered
Date: 03 Mar 2000 09:39:47 -0800 (PST)

On Fri, 3 Mar 2000 [e-mail] wrote:

> well, now that you say 'bj liederman,' i guess i do recognize that name. but
> somewhere i had read that joel futterman, who plays with the brilliant new
> orleans saxophonist kidd jordan, composed it. is there anyone out there npr
> junkie enough to know what, if anything, futterman did for npr? fresh air,
> maybe?

wasn't it phillip johnston?

which brings us full circle since johnton was
a member of the microscopic septet and
has played with zorn.

hasta.

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


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: all things considered
Date: 03 Mar 2000 09:50:15 -0800


On Fri, 3 Mar 2000 09:39:47 -0800 (PST)  SUGAR in their vitamins? wrote:
>
> On Fri, 3 Mar 2000 [e-mail] wrote:
>
> > well, now that you say 'bj liederman,' i guess i do recognize that name. but
> > somewhere i had read that joel futterman, who plays with the brilliant new
> > orleans saxophonist kidd jordan, composed it. is there anyone out there npr
> > junkie enough to know what, if anything, futterman did for npr? fresh air,
> > maybe?
>
> wasn't it phillip johnston?

You might think of Joel Forrester, no?

    Patrice.

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Re: jazz!
Date: 03 Mar 2000 15:17:46 -0500 (EST)

Both had major label contracts at one time. When the novelty wore off
and the major label affiliation ceased onto the Marsalis Quints (Wynton,
Branford, Jason, Delfayo & Ellis)

Ken Waxman


On Thu, 2 Mar 2000 [e-mail] wrote:

> Then how does one account for the media's rally around David Murray (whose
> play I do not admire at all) or Lester Bowie (whose playing I love)?
>
> This is partially a devil's advocate question.
>
> skip h
>

-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: we
Date: 03 Mar 2000 21:06:49 GMT

>bill wrote:
>
> >More recently I've found it refreshing to see "new?" paradigms emerge
>with
> >people like We(tm), who have a new CD pending called "Decentertainment"
> >(wonderful title) where the whole question of property and artistic
> >positionality become imploded.  It's nice to see such self-conscious
>develop
> >in "artists."
>

Peter wrote:
>i'm interested to know how a cd can implode the question of property and
>artistic positionality. do they give it away free and not put their names
>on
>the sleeve ? :-) excuse the flippancy but seriously bill, tell us more (is
>the same We who were on asphodel ?)


Good to hear from you again Peter.  I should have placed a comma above after
"wonderful title" so as not to confuse the source of conceptual action as
coming from the group rather than the CD.  It is indeed the same group that
used to be with Asphodel who is now constructing performances in geographic
spaces (note: Electroluxe 3/15 NYC) where the group is not central but
working in the periphery and often outside the view of the attendees.  Or
where the audience becomes directly involved in the selection of moves in
game pieces (DJ Olive's Composition 11).  The point isn't that the "artists"
aren't "getting paid" (they are) or aren't selling but rather giving away
CDs.  The point has to do with the centrality of the artist and on the
conceptual level, the "ownership" of the "work of art" (there are numerous
problems on the pragmatic level, not least of which is capital and the
distribution of merchandise, etc.)  Perhaps I am wrong, but I always took
the "tm" in their name to be a kind of joke, since a name like We could
never be trademarked as such, dominant first person plural pronoun as it is.
  Obviously, neither We(tm) nor any other musical artist can escape capital
process, but they can, if they wish, "conceptually" escape artistic
centrality, the property of the musical composition in the age of sampling
and appropriation, and the residual avantgardism found in people like Zorn
etc.  I say this as a person who loves avant-garde music but hates all the
attending signifiers which attempt to position the music outside politics,
economics or "responsibility" or which uncritically privilege art and the
artist all over again.  For a comparable but far more political move in art
rather than music, look at the work of Hans Haacke.

The electroluxe link is below:

http://www.metal-tiger.com/electroluxe.html
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: "Jeni Dahmus" <[e-mail]>
Subject: RE: The Cure- Bloodflowers/how it happened
Date: 03 Mar 2000 17:57:30 -0500

> SUGAR in their vitamins? wrote:
> as a longtime cure fan, it was disappointing.
> but certainly far better than their previous effort.

As another longtime Cure fan, I agree with the statement above.  The album
has some beautiful moments (tracks 2,4,8,& 9 come to mind) and some less
interesting lyric-centered songs.  The new issue of Pulse!, Tower Records'
monthly magazine, includes a cover story entitled "Killing the Cure: Robert
Smith Delivers His Finest Eulogy," and other features about Matthew Shipp,
Yo La Tengo, and John Adams.

Since Margo asked about classically-trained people on the list, I'll
describe my background briefly.  I started out studying classical music,
then in high school I studied jazz simultaneously.  Meanwhile I was into
metal, punk, blues, and popular artists such as Blondie and Prince.  As a
college undergrad I abandoned everything to focus on classical.  After
exposure to pieces like Schoenberg's Pierrot Lunaire and Beethoven's Grosse
Fuge in my first music history course, I was permanently changed:  a
musicology geek was born.  The Kronos Quartet introduced me to Zorn's music.
Since then I've been exploring all things avant while continuing to enjoy
other styles.

Jeni






-



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

From: =?iso-8859-1?q?A?= <[e-mail]>
Subject: Re: The Cure- Bloodflowers
Date: 03 Mar 2000 15:24:34 -0800 (PST)



i found myself agreeing with aquarius' review.
as a longtime cure fan, it was disappointing.
but certainly far better than their previous effort.

hasta.
---------

Please...anything could be better than the last Cure album...I┤ve
heard most of the new album, and I expected better. But it┤s pretty
good still, just not the great recording I expected
A
__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com

-



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

From: "mr jason p berry" <[e-mail]>
Subject: Re: The United States of America (the band)
Date: 03 Mar 2000 15:49:07 PST


> >Anyone know anything about this band (circa '68)?
>
>The one with Joseph Byrd?  I remember this album, one of the few which a)
>was really out there for the late 1960s, and b) hasn't been reissued on CD.
>
this album does exist on 2 different cd reissues, the 2nd of which has a few
bonus tracks from byrd's 'field hippies'  album. awesome, incredible, much
like 50 foot hose meets the first velvets' album. there's a great book
called 'unknown legends of rock & roll' that has a pretty in-depth bit on
this group.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: [e-mail]
Subject: reccordian-me
Date: 03 Mar 2000 16:08:21 -0800

Complete album names please? And a label for the former, an artist for
the latter, since I'll be ordering these? Merci! P.S. Anyone know where
I can get a set of the R. Crumb accordianist trading cards? (I am not
making this up.) Merci! Merci! i!i!i!i!i!i!i!i!i!i!i!i!i!i
>speaking of French pop music from th 40s (which I really love), there's
>a 2cd set of accordion music from that era that is just incredible. I
>suggest it to anyone starting out in accordion music. I stay away from
>compilations, but most of what's on here isn't on cd or long out of
>print.... Also I love the Erik Satie disc on W&W, featuring piano
>transcriptons for accordion. that is really a treat, because it covers
>stuff from the oft-neglected later period.


-



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

From: [e-mail]
Subject: re: FA Musique label
Date: 03 Mar 2000 21:20:13 EST

ok, here is the info on that collection of French accordion music... I
would've included all the info before, but I was at work and I couldn't
recall the name of the label.

36 SUCCES DE L'ACCORDEON MUSETTE. the label is FA Musique, from France. that
is my favorite reissue label. they do another collection called DE 'AMOUR FOU
AU FOL AMOR. that's a collection of Frenc vocal pop, from 1907 to 1947.
that's amazing as well. all the melodies are beautiful. both sets are
frequently played at my place.

the FA MUSIQUE label does a charles trenet 10 cd set, a django reinhadt 24 cd
set (these are split up, 2cds at a time), and a perfect collection of all the
Billie Holiday-Lester Young sides. of that, there is a 3cd version
(masters&outtakes), 2cd version (masters) and a single disc of the "greatest
hits" (kind of useless, as hits collections are). I have the 2cd set; totally
essential stuff.... take that set & the commidore recordings & the "Solitude"
album on Verve, and it's all the Lady Day you may need (certainly the best of
her records, IMO).

FA Musique has a collection of eary 40s Fado music from Portuagal... I'm sure
it's great. All I have of fado is a 2cd Amalia Rodregues on Blue Moon that's
terrific. However, the Irene de Trebert 2cd set on FA Musique is not all that
good (french vocals, sub-par 1940s jazz big band).

you can get all this stuff at Tower or Virgin or Borders. Bruce at DMG said
he'd never heard of the label, and that says a lot. they're priced at about
$31-33 per set.

I really wish they had more stuff out; they're a really great label....

BY THE WAY, does anyone know where I can find the original recording of the
tune sampled in the original version of Song for Che? PatRice?

Cheers,
Dave

-



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

From: Steve Smith <[e-mail]>
Subject: Re: all things considered
Date: 04 Mar 2000 00:04:07 -0500

Patrice is quite correct, as usual.  Joel *Forrester* is the former Microscopic
Septet member who wrote the theme music for NPR's "Fresh Air."  He has numerous
recordings available with his delightful band People Like Us (not to be confused
with the other People Like Us that The Wire has written about recently) on Koch
Jazz, as well as a solo piano set that was recorded live at the radio station where
"Fresh Air" is produced.  Phillip Johnston also has a recent release on Koch, and
I'm pretty sure they've reissued a Microscopic Septet disc and some even earlier
material by the abovementioned.

Steve Smith
[e-mail]
NP - nada

Patrice L. Roussel wrote:

> On Fri, 3 Mar 2000 09:39:47 -0800 (PST)  SUGAR in their vitamins? wrote:
> >
> > On Fri, 3 Mar 2000 [e-mail] wrote:
> >
> > > well, now that you say 'bj liederman,' i guess i do recognize that name. but
> > > somewhere i had read that joel futterman, who plays with the brilliant new
> > > orleans saxophonist kidd jordan, composed it. is there anyone out there npr
> > > junkie enough to know what, if anything, futterman did for npr? fresh air,
> > > maybe?
> >
> > wasn't it phillip johnston?
>
> You might think of Joel Forrester, no?
>
>         Patrice.
>
> -




-



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

From: Sinclair <[e-mail]>
Subject: Understanding/appreciating Jap Noise
Date: 04 Mar 2000 22:32:23 +1030

Hi all,
 I recently took the plunge and bought my first JApanese noise related
album, this being Maldoror's "She.." I have given it a pretty fair
hearing, and I really cant seemd to fathom any kind of meaning, or
pleasure from it. In fact It makes me quite uneasy.
Am I looking at it too objectively, as in form more structured music's
perspective?
Is there a better way to get aquainted with this genre, suggestions
please.
Is it simply "Shock art"
Is there any reviews of this particualr album anywhere, ie did it get a
good rap, or did I pick up on a particualrly odd piece?

Hope someone can shed some light,
 Case

-



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

From: Sinclair <[e-mail]>
Subject: Patton-Ribot show
Date: 04 Mar 2000 22:32:29 +1030

Hello all,
 Just wondering if anyone would care to post a reveiw of the recent KF
show featuring these 2 artists?
Is there any chance of trading with someone who may hav taped this show?

REgards,
 Case

-



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

From: Diego Gruber <[e-mail]>
Subject: [Fwd: WoM E-mail List Update 2/12/00]
Date: 05 Mar 2000 12:03:13 -0500

This is a multi-part message in MIME format.
--------------B308442F2ED404B71BD2DF01
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Hi ppl,

I forward you this message sent by Trey Spruance's website, The Web Of
Mimicry. I seriously advise you to go listen to those Estradasphere
samples if you haven't already, they're amazing. Some of them sound to
me like Bar Kokhba meets country music, but in a very original way.
Secret Chiefs 3 re-releases coming up...

WEB of MIMICRY wrote:
>
> WoM is pleased and proud to announce that Estradasphere's
> fabulous new CD "It's Understood" will be the inaugural release on
> our new MIMICRY RECORDS label.  The level of musicianship is
> truly amazing!  It's a must, particularly for fans of Mr. Bungle and
> Secret Chiefs 3. There are several mp3 files you can check for
> yourself on our web site (http://www.webofmimicry.com) where
> you'll also find Trey's review.  We can only gaurantee this
> introductory, low price through the release date on March 9, so we
> suggest you pre-order the CD now.
>
> "First Grand Constitution and Bylaws" by Secret Chiefs 3 will be re-
>  issued on MIMICRY RECORDS sometime this spring.  An exact
> release date will be announced as soon as we know it.  Rumor has
> it that the bonus track will be "Theatrum of Suprasensory Universes
> - vol. 2: Emir of the Bees).  "Second Grand Constitution and
> Bylaws: Hurqalya" will likely be re-issued within a month after that
> probably with "Zulfikar" bonus track(s).  AND there's a new Secret
> Chiefs 3 CD in the pipeline too.
>
> Finally, a Secret Chiefs 3/Estradasphere Tour is in the works for
> the May/June timeframe.  No, we don't know where or when yet,
> but we'll let you know when we do.
>
> We at WoM are going to take a break until February 28, so we
> may be a little slow in answering e-mails and stuff for the next
> couple of weeks.  Please remember that if you order stuff by e-mail
> to split your credit card info between two or more messages for
> security purposes.
>
> We hope that our new domain (http://www.webofmimicry.com)
> makes it easier for you to find us and that you enjoy what you find.
>
> WoM
>
> P.S.  Apologies to anyone who got this message twice.  We had a
> screw-up.
--------------B308442F2ED404B71BD2DF01
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WoM is pleased and proud to announce that Estradasphere's
fabulous new CD "It's Understood" will be the inaugural release on
our new MIMICRY RECORDS label.  The level of musicianship is
truly amazing!  It's a must, particularly for fans of Mr. Bungle and
Secret Chiefs 3. There are several mp3 files you can check for
yourself on our web site (http://www.webofmimicry.com) where
you'll also find Trey's review.  We can only gaurantee this
introductory, low price through the release date on March 9, so we
suggest you pre-order the CD now.

"First Grand Constitution and Bylaws" by Secret Chiefs 3 will be re-
 issued on MIMICRY RECORDS sometime this spring.  An exact
release date will be announced as soon as we know it.  Rumor has
it that the bonus track will be "Theatrum of Suprasensory Universes
- vol. 2: Emir of the Bees).  "Second Grand Constitution and
Bylaws: Hurqalya" will likely be re-issued within a month after that
probably with "Zulfikar" bonus track(s).  AND there's a new Secret
Chiefs 3 CD in the pipeline too.

Finally, a Secret Chiefs 3/Estradasphere Tour is in the works for
the May/June timeframe.  No, we don't know where or when yet,
but we'll let you know when we do.

We at WoM are going to take a break until February 28, so we
may be a little slow in answering e-mails and stuff for the next
couple of weeks.  Please remember that if you order stuff by e-mail
to split your credit card info between two or more messages for
security purposes.

We hope that our new domain (http://www.webofmimicry.com)
makes it easier for you to find us and that you enjoy what you find.

WoM

P.S.  Apologies to anyone who got this message twice.  We had a
screw-up.


--------------B308442F2ED404B71BD2DF01--



-



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

From: [e-mail]
Subject: PROMO: Dafeldecker/Fennesz/Kurzmann/O'Rourke/Drumm/Siewert
Date: 04 Mar 2000 13:59:30 EST

well, after a few months of trying, I've finally managed to get my hands on
some copies of this superb CD, on Christof Kurzmann's Charhizma label, based
in Vienna, and not distributed in the US as of now (his co-productions with
other labels are distributed here, but not the Charhizma-only ones.)

anyway, there's a track listing, MP3s, and some reviews (although mostly in
German) at www.charhizma.com/quart/index.html

if you'd like one, please e-mail me ASAP to reserve a copy, and send payment
as follows:

$14 US each postpaid within the United States
$15 US each postpaid to Canada
$17 US each postpaid overseas

All payments must be made in US funds. Cash and money orders shipped
immediately (mail cash at your own risk). Shipments paid for with checks held
until they clear.

Please send your order to:
Jonathan Abbey
189 Christopher Columbus Dr.
Apt. #4
Jersey City, NJ 07302

sorry for the commercial nature of this post, but I figured I'd give people
on this list a chance to buy copies before I sold them all elsewhere.

Jon

-



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

From: [e-mail]
Subject: Kowald in Orlando/More Girls
Date: 04 Mar 2000 15:45:20 -0500

FYI:
Peter Kowald w/Sam Rivers & Michael Welch @ Rollins College 3/4
>Saturday, March 4th- Bush Auditorium, Bush Science Center, Rollins College,
>1000 Holt Avenue, Winter Park, Fl
>7:30pm doors, 8:00pm concert
>$8.00 general admission tickets available at the door
>All ages welcome
>Info@ 407-646-2398

Found this interesting:


> And since I'm a teacher I think it has something to do
>with the degree of privileges afforded men, privileges we all-too-often
>unconsciously bask in.  Women are also not encouraged to be confident in
>engaging in such discussions in the education system.  I've also noticed a
>tendency toward discursive differences as well--men often argue (I'm no
>exception I'm afraid on this score), while women look for areas of agreement
>and attempt to deflect or disarm conflict.

There is certainly something to this theory, but I think in the case of
mailing lists, women in general may also just have less "free" time to
devote to posting, or else they're more into communicating w/ friends
individually via e-mail than communicating with a whole group.  I'd have to
agree that on the whole, men seem to get involved in more list arguments.
However, those are broad generalizations. One mailing list I'm on is
frequently dominated by a woman who has appointed herself the leading
authority on all subjects and feels compelled to post a response to every
comment made (sigh, or more like, yawn). And I have seen some really
vicious flame wars break out between women, where men were among the
conciliators.

If Deborah Tannen is looking for a subject for her next book.....

>Don't worry, compatibility in taste is almost irrelevant to any
>serious relationship

Another interesting topic.  I suppose it depends on how godawful the loved
one's taste is, exactly.  I know from sad experience that near-complete
musical compatibility is not a guarantee of eternal love.  But on the other
hand, I wouldn't even consider a casual date with someone who liked, say,
Mariah Carey or Kenny G.  It's OK if cinematic tastes are somewhat
dissimilar, because I like going to movies by myself anyway, and I don't
care if someone loves steak, even though I'm pro-tofu. But I could never
contemplate a romantic relationship with someone who might subject me to
the Top 40 or pseudo-jazz on a car radio.

Parry



-



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

From: [e-mail]
Subject: new Roulette schedule/more Tom & Gerry
Date: 04 Mar 2000 16:21:55 EST

the new Roulette schedule, for March-May, is posted on their web site,
www.roulette.org, for those in the NYC area.

has anyone out there seen any of the first three nights of the Tom and Gerry
tour? I'm curious to hear how it's going.

Jon
www.erstwhilerecords.com

-



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

From: "Tom Johnson" <[e-mail]>
Subject: Re: mr. mister
Date: 04 Mar 2000 19:47:39 -0700

> or by Mr. Holland and Mr. Bailey, therefore the Misters H and B, as i
believe
> the original poster intended.

I think this is "mssrs." actually.  :-)

Tom

----------------------------
"Go for super-stud!  Go for super-stud!"
                                         --Bill, on Freaks & Geeks

"I don't want to sell anything, buy anything, or process anything as a
career.
I don't want to sell anything bought or processed, or buy anything sold or
processed, or process anything sold, bought, or processed, or repair
anything sold, bought, or processed. You know, as a career, I don't want to
do that."
                                        --Lloyd, from Say Anything



-



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

From: "Scott" <[e-mail]>
Subject: White Noise update
Date: 05 Mar 2000 14:53:41 +0000

Scotland's experimental events listings site, White Noise, has been updated
for events in March. Details at the URL below.

Scott Russell


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

-



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

From: Ken Waxman <[e-mail]>
Subject: rE: Song For Che
Date: 05 Mar 2000 13:31:49 -0500 (EST)

Don't know exactly. But considering the liner notes said it was recordec
by Barbara Dane on a trip to Cuba, I figure (considering the "folk" and
politics) Folkways may help.

Try the peope running the Smithstonean/Folkways label in Washington D.c.
It has a Web page. They may be able to help.

Ken Waxman



On Fri, 3 Mar 2000 [e-mail] wrote:
>
> BY THE WAY, does anyone know where I can find the original recording of the
> tune sampled in the original version of Song for Che? PatRice?
>
> Cheers,
> Dave


-



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

From: "Bruno Bissonnette" <[e-mail]>
Subject: disc info needed
Date: 05 Mar 2000 18:00:20 EST

Would someone please comment or offer their opinions on the following discs:
Bob Ostertag: Fear no love (Avant)
Steve Beresford: Signals for Tea (Avant)
Guillermo Gregorio: Red Cube(d)  (Hatology)

Thanks for your help.
Bruno Bissonnette
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: Rick Lopez <[e-mail]>
Subject: Knit / WKCR /  anyone have access?
Date: 05 Mar 2000 20:53:24 +0000

Hello folks-- if this isn't an appropriate cross-post, I wouldn't know what
would be...

Looking for some session details. Most have to do with Knit gigs, WKCR
broadcasts, or NYC gigs. Any leads, help, or mysteries solved will be
appreciated. If you know someone with access to tapes; if you were there; if
you can put me in contact with..., if you feel like hunting anything down
for me...

----------
There is a WKCR session from June 1, 1992. Resulted in a Matt Shipp Trio on
7" vinyl from YAKUZA magazine. No personnel noted, so I need a BASS PLAYER
(WP probably, but I'd like it confirmed), and a DRUMMER.

Knitting Factory session resulting in
Prima Materia: Peace on Earth (music of John Coltrane) KFW 158 (CD) 1994
New York City
w/ Louie Belogenis (ts) Allan Chase (ss; as) John Zorn (as-1,3)
Joe Gallant (b) William Parker (b) Rashied Ali (d)
I need a date for this one.

Knitting Factory session resulting in
Derek Bailey, John Zorn & William Parker: Harras AVAN 056 (CD) 1995
I also need a date for this one.

There is an early '70's recording of APOGEE, w/ DS Ware, Gene Ashton
(Cooper-Moore) and Marc Edwards which was broadcast and done to reel-to-reel
by WKCR. Doesn't everyone here think this should be re-broadcast,
considering the places these folk have gone since? Who would need talking
to?

That's it. Thanks for the help,

Best regards,
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

UPDATE January 10, 2000:
vids, a few CDs, baseball books, a few Cadence back issues, a few more
CDs...
***Very Various For Sale:
***http://www.velocity.net/~bb10k/4SALE.html


-



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

From: Ben Axelrad <[e-mail]>
Subject: another request for reviews
Date: 05 Mar 2000 22:09:27 -0600


     Has anyone heard the following discs:

     Steve Lacy -- NY Quirks (hatology)
     Koch/Studer/Schutz/+2 djs -- (Intakt)
     Rieben/Burgener/Hoffman -- Lilith (For 4 Ears)

     Thanks in advance,

     Ben

-



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

From: Fritz Senn <[e-mail]>
Subject: Re: another request for reviews
Date: 05 Mar 2000 23:34:31 -0500


>     Koch/Studer/Schutz/+2 djs -- (Intakt)

Although I've only given this one listen, I have pretty mixed feelings
about it. The jazz element is a bit too "recognizable"/cliched(?) for my
tastes, and the drumming locks into these rocking muscle-y patterns that I
don't like. But the record scratching/sampling (which is laid on pretty
thick at some points) is nice when it's not so obviously in sync with the
drumming and sax/bass clarinet. It'll get your attention though, no doubt
(i.e., shit happens, unlike the 2nd Orchester 33.3 record). The closing
minutes of the first track is this total ascension into chaotic noise
that's very impressive.

Fritz on Shunsday.


-



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

From: [e-mail]
Subject: NYC underground
Date: 06 Mar 2000 01:25:10 EST

maybe a naive question here, maybe not

I'm visiting NY for a couple weeks. Went to Tonic last night for the first
time (Liminal playing) and was rather surprised at the amount of mousse in
the room (as in Vidal Sassoon). Seemed quite a trendy place.

Might anyone have the goods to point me toward some more underground
clubs/perf. venues, spots that would perhaps not be found in the Voice?

Appreciative that it is much easier to solicit your collective wisdom that go
asking/wandering around town---
Joe




-



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

From: Todd Bramy <[e-mail]>
Subject: Re: The Cure- Bloodflowers
Date: 06 Mar 2000 00:30:50 -0800 (PST)

>> I've seen many ppl mention this record already as something they're
>> listening to, but still no comments. So, [insert obvious question here].
>
>i found myself agreeing with aquarius' review.
>as a longtime cure fan, it was disappointing.
>but certainly far better than their previous effort.

Alternately, I too am a career-spanning fan, and I find the new album to be
a masterful return to form. I've seen it written that the album is the
third in a trilogy that started with "Pornography" and "Disintigration", an
observation I would agree with.

Course, I liked the previous effort quite a bit, too.



```````````````````````````````````````````````````````
Todd Bramy
[e-mail]
```````````````````````````````````````````````````````
Once the new art is created, it is up to us to
ensure its rightful place in the pantheon of
art history by persecuting and denouncing it.
                          -Steve Martin
```````````````````````````````````````````````````````




-



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

From: Steve Berman <[e-mail]>
Subject: Re: mr. mister
Date: 06 Mar 2000 11:18:43 +0100 (MET)

>>>>> "Tom" == Tom Johnson <[e-mail]> writes:

    >> or by Mr. Holland and Mr. Bailey, therefore the Misters H and
    >> B, as i
    Tom> believe
    >> the original poster intended.

    Tom> I think this is "mssrs." actually. :-)

From <www.m-w.com>:

Main Entry: Mr.
Pronunciation: 'mis-t&r, in rapid speech esp in sense 2 (")mis(t)
Function: noun
Inflected Form(s): plural Messrs. /'me-s&rz/
Etymology: Mr. from Middle English, abbreviation of maister master;
Messrs. abbreviation of Messieurs, from French, plural of Monsieur
[...]

Cheers!
--Steve

-



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

From: "Sean Terwilliger" <[e-mail]>
Subject: Curlew
Date: 06 Mar 2000 11:03:16 -0500

Hey all -

On Ebay there is the first Curlew album up for bid. The cover photo is
nothing like the cover that I have. Mine is a black kind of xray photo of a
bird, with LCDT typeface. The one on ebay is more cartoon-ish. Anyone know
which was first, or what the deal was with the 2 issues? Sorry for Xpost.

Thanks,

Sean
http://www.geocities.com/sterwilliger


-



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

From: [e-mail]
Subject: Curlew
Date: 06 Mar 2000 11:32:04 EST

Sean

>On Ebay there is the first Curlew album up for bid. The cover photo is
>nothing like the cover that I have. Mine is a black kind of xray photo
>of a
>bird, with LCDT typeface.

That's the UK version.

>The one on ebay is more cartoon-ish. Anyone know
>which was first, or what the deal was with the 2 issues? Sorry for Xpost.

This is the original Landslide version.
Sonically identical.

Steve F.

-



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

From: [e-mail]
Subject: hair care products at Tonic
Date: 06 Mar 2000 11:46:11 EST

Tonic's a wierd place. they get a lot of different scenes and, often (like on SexMob/Bernestien nights), the crowd is terribly trendy. the first Masada gigs there were full of a great mix of people-- a real crowd that was obsessed with the music. (a guy actually snorted a line of coke next to me, right beore one of the short and 'spastic' type tunes!)

at Tonic, the trend is basically the same as the neighborhood--- trendier and more expensive. this means more hair care products. just check out the trust fund-endowed 20-somethings on sunday brunch at Baby Jupiter's.

however, Tonic is the most consistant place we have for 'our music.' and, when someone like Misha Mengelberg plays solo, you can hear a pin drop in the place....

I'm trying to get rid of my studio 3 blocks west from Tonic. Any takers?


cheers,
dave

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Curlew
Date: 06 Mar 2000 08:49:50 -0800


On Mon, 6 Mar 2000 11:03:16 -0500  "Sean Terwilliger" wrote:
>
> Hey all -
>
> On Ebay there is the first Curlew album up for bid. The cover photo is
> nothing like the cover that I have. Mine is a black kind of xray photo of a
> bird, with LCDT typeface. The one on ebay is more cartoon-ish. Anyone know
> which was first, or what the deal was with the 2 issues? Sorry for Xpost.


*** - CURLEW: Curlew

    Recorded at The Creative Music Studio, Woodstock, NY 2-29 through 3-2,
    1980
    (5,9) recorded live at C.B.G.B., 2-6-80

  Bill Laswell: bass; Nicky Skopelitis: guitar; George Cartwright: reeds;
  Bill Bacon: drums; Tom Cora: cello.

    1981 - Landslide Records (USA), LD 1004 (LP)
    1984 - Landslide Records (USA), LD 1004 (LP)

  Note: the two pressings have different covers.


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Interview with Zorn in JazzTimes
Date: 06 Mar 2000 08:58:51 -0800


This is on behald of Artur Nowak (who is having trouble to post to the list).

------- Forwarded Message


Hi Philozorners,

there is a interview with Zorn in the March issue of Jazz Times. It
may not be new, because I can recall pieces of it form somewhere,
probably form the german magazine Jazz Thing (part of it was available
online at http://www.jazzthing.de/feature/featu.html).

Go to the newsstand and get it!!!
Zorn speaks!

    __________________________________________________________________
    Artur Nowak [arno AT emd.pl]
    www.emd.pl - Discography of Bill Frisell & some MP3!!!


__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com

------- End of Forwarded Message


-



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

From: Jason Tors <[e-mail]>
Subject:  hair care products at Tonic
Date: 06 Mar 2000 12:05:28 -0500

One reason for the mass hair products, besides the trust funded
neighborhood, is that tonic used to have a hair salon in the front
room [which is now a bookstore].

I just moved out of the area [163 ludlow st] this month and the only
thing I regret is the proximity to tonic. I kind of miss laughing at
the guys in straw cowboy hats on antique bikes, or the lonely nova
usa fabulous sales folks.

I find that the subtonic lounge is even more trendy and super hip
than the upstairs. Tho I love going down there early and getting one
of those great barrels. I think the best one has to be in the far
left corner in the back. It is just a matter of time before tonic
goes through the roof. \

Can it be bad that this music is cool to listen to?

-



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

From: Greg Mills <[e-mail]>
Subject: Music Is My Bag
Date: 06 Mar 2000 09:47:14 -0800


    In the latest issue of Harper's, there is a very funny personal
essay about "Music Is My Bag" people (so named because of the supposed
ubiquity of NPR totebags emblazoned with this clumsy pun). These are the
people that think PDQ Bach is a hoot, wear keyboard scarfs and have framed
"Mostly Mozart" posters from the local Mozart festival. The essay is a
pretty exact and merciless exploration of the weird (to me anyway)
subculture of local theater, high school bands and regional orchestras.

    There is one detail that the author hit dead on: these people who
steep themselves in the outward trappings of the music connoisseur actually
love bland music. Billy Joel, Phil Collins, Amy Grant and other folks of
that ilk.

    How does music scholarship promote conservatism? This maybe a
fundemental question to some of you, but I'm not a musician, so perhaps I'm
naive.

-



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

From: [e-mail]
Subject: WFMU Pledge Drive
Date: 06 Mar 2000 12:59:56 -0500

Hi,  Don't remember seeing this mentioned but WFMU is making its annual pledge drive and I think most of us on this list benefit from keeping truly "alternative" radio active.  I listen nearly every day over the Internet.

For more info  http://www.wfmu.org/Mara/


LT

-



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

From: [e-mail]
Subject: musicology (hello Jeni)
Date: 06 Mar 2000 13:24:03 EST

This weekend I heard Charles Wuorinen, of all people, dub musicology as:

"Words without Song"

NP: Digable Planets - Reachin' (a New Refutation of Time and Space)

-



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

From: Jason Tors <[e-mail]>
Subject: dave douglas sextet
Date: 06 Mar 2000 13:46:15 -0500

Did anyone catch the DD group at the vanguard?

-



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

From: [e-mail]
Subject: NP stereolab
Date: 06 Mar 2000 13:50:28 EST


<< stereolab mostly on the stereo these days  >>

was it them with the "The Seduction of Claude Debussy" album? Perhaps Art of
Noise?
Anyways, any comments on it?

Joseph

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: NP stereolab
Date: 06 Mar 2000 10:56:07 -0800


On Mon, 6 Mar 2000 13:50:28 EST  [e-mail] wrote:
>
>
> << stereolab mostly on the stereo these days  >>
>
> was it them with the "The Seduction of Claude Debussy" album? Perhaps Art of
> Noise?

It was Art of Noise.

-



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

From: [e-mail]
Subject: Zorn on Zappa
Date: 06 Mar 2000 10:26:52 -0800

Given recent topics here ... one thing I haven't noticed mentioned was
that in the current Jazz Times interview with Zorn, the saxophonist
talks a bit about his respect for Zappa's, well, political efforts ...
then goes on to say that he doesn't read newspapers or magainzes and
doesn't watch television, that he is not the person to take Zappa's
role but he wishes someone would. He's not real specific about what
this role was/is....

-



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

From: Dan Hewins <[e-mail]>
Subject: Re: dave douglas sextet (plus clapping and drummers)
Date: 06 Mar 2000 14:24:16 -0500

I caught the first set on Friday night.  High quality stuff as one
should expect from Dave and band.  As I always say after watching
Joey Baron play, He is a joy to watch.  I hadn't previously seen
Roseman, Genus, or the new sax player play before and they were
great.  Josh Roseman had a good solo in the first few songs that had
him snorting and honking which drew a few laughs from the audience.
One of the highlights for me was the Mary Lou Williams tune, "Aries,"
from the Zodiac suite.  I had to look at my copy of Soul On Soul to
realize that it's on there.  There was also a M. L. Williams fusion
tune that Dave, Joey, and James played as a trio.  Nice little groove
and some really good interplay between Joey and James.

This has caused me to think about a couple things...

One is that sometimes the Jazz protocol of clapping after solos
annoys me.  Some people just do it because everyone else is clapping
and they don't even really know why or feel compelled, themselves, to
applaud.  It is of particular bother when the transition between,
say, the trumpet and sax solo is in a quiet mood.  If the players are
playing quietly an onslaught of applause can really ruin the mood of
the music, for me.  Some of the most brilliant improvisations I have
heard have been when one player copies or continues an idea of the
previous soloist, which applause can cover up.  One recording that
comes to mind is Joshua Redman's "Wish" which has Pat Metheny on it.
There is a tune at the end of which Joshua and Pat trade fours and
some of the most amazing quoting and playback occurs.  On the other
hand, if the music is loud and raucous, applause and cheering can
help enhance the mood.

The second is that I don't often like bass solos or drum solos.  Bass
solos often seem like they don't fit in with the mood of most upbeat
tunes.  The level of the music has to come way down in order for the
bass to even be heard well enough.  Bass solos can work as an intro
or outro often.  But that's not really what I wanted to mention.
It's more about the drummers.  I think there are very few drummers
who can take a meaningful solo.  I think Jowy Baron is one of them.
He can actually convey something (to me) when he solos.  Most of the
other drummers sound like they're having a show-off session or a chop
practice.  Art Blakey is notorious in my book for having extremely
boring drum solos.  The only other drummers that I know of who really
can move me during a drum solo are Jim Black and Max Roach.  Any
thoughts on this?

Dan Hewins


At 1:46 PM -0500 3/6/00, Jason Tors wrote:
>Did anyone catch the DD group at the vanguard?
>
>-


-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: NP stereolab
Date: 06 Mar 2000 11:55:58 -0800

At 10:56 AM 3/6/00, Patrice L. Roussel wrote:
>On Mon, 6 Mar 2000 13:50:28 EST  [e-mail] wrote:
>>
>>
>> << stereolab mostly on the stereo these days  >>
>>
>> was it them with the "The Seduction of Claude Debussy" album? Perhaps Art of
>> Noise?
>
>It was Art of Noise.
>
>-
And, thought it's pretty far off-topic, I have to admint that this is one
of my favorite records from last year. It's really an audiophile record, an
amazing listen on headphones, and the sense of humor keeps it out of
Enigma/Deep Forest territory. Eric B. rapping about the scent of flowers in
the evening air is priceless.

____________________________________________
Dave Trenkel : [e-mail]
Minus Web Site: http://listen.to/minusmusic
Minus MP3's: http://www.mp3.com/-minus-
____________________________________________



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Zorn on Zappa
Date: 06 Mar 2000 11:52:25 -0800


On Mon, 6 Mar 2000 10:26:52 -0800  [e-mail] wrote:
>
> Given recent topics here ... one thing I haven't noticed mentioned was
> that in the current Jazz Times interview with Zorn, the saxophonist
> talks a bit about his respect for Zappa's, well, political efforts ...
> then goes on to say that he doesn't read newspapers or magainzes and
> doesn't watch television, that he is not the person to take Zappa's
> role but he wishes someone would. He's not real specific about what
> this role was/is....

Which is basically the only refreshing part of the interview...

After reading that interview, I almost felt sorry for the journalists Zorn
has been criticizing. This interview looks more like a transcribing of a
tape, without cutting and editing. The result? Repetition ad nauseum of
something which could have fit on 4-5 sentences ("Big record business is
evil").

Did John really think that a magazine like the NEW YORKER (one of the few
left where writing still means something) could have published such endless
rantings? If this interview in JAZZ TIMES is characteristic of what John
has to say (and I still hope that it might have been a bad day for him), I
understand what kind of dilemma these journalists had to go through when
writing their articles.

    Patrice (who never understood what was wrong with the NEW YORKER
        interview).

-



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

From: [e-mail]
Subject: Apartment for Rent
Date: 06 Mar 2000 15:01:36 EST

I got such a big response to mentioning that my place is for rent, I might as well post the info to the group. If NYC real estate doesn't interest you, don't bother reading. NO ZORN CONTENT.


LOWER EAST SIDE STUDIO/1BR

I live at 100 Allen, apt 2B. it's really 101 Orchard, but the door is on Allen st. it's a newly-restored tenament (next to the Tenament Museum), and it's pretty much on the corner of Delancey. It's on the second floor, above Congee Village, the best chinese restaurant in the area.

The place is a studio/1 bedroom (about 250 sqft?), perfect for 1 person or a couple. I have it split up kind of differently-- in the bedroom I have my cds, bass, amp, couch and my PC. in the living room there is my stereo, a chair, table and bed. I've had a buddy stay for a few days on my couch and, if he weren't a bass player also (with amp) then it would've been fine. 2 people, 2 amps, 2 basses are just too much for the room....!

but the place is clean and modern, and the bathroom is nice. the landlord tells me the place goes for $1350 now, and brokers have no 1 bedrooms in that area under $1800. just what I heard... everyone that sees the place says it's a unique and 'cute' layout.

I would move ASAP.

and the benefits of living next to Tonic, the Pink Pony, Katz's Deli, etc is obvious to folks on this list...


cheers,
Dave




-



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

From: Jason Tors <[e-mail]>
Subject: Re: dave douglas sextet (plus clapping and drummers)
Date: 06 Mar 2000 15:19:05 -0500



>I caught the first set on Friday night.  High quality stuff as one
>should expect from Dave and band.  As I always say after watching
>Joey Baron play, He is a joy to watch.  I hadn't previously seen
>Roseman, Genus, or the new sax player play before and they were
>great.

That sax player was Gregg Tardy. I really liked his playing a lot, he
had this great trane tribute solo, quoting a love supreme and
developing into to wild and wooly 60s trane style.

Josh Roseman totally blows me away in this context, he really covers
a lot of ground, what I love about him is that he doesnt adhere to
the adage that faster is better, he plays with such clarity. He plays
a mute/muffle so well, sounded like a ragged old jazz singer fresh
from smoking a pack of reds.

Did you see how locked in joey and james were, they were goofing the
whole time, smiling at each other. All of joey's little tempo changes
and fills james was onto, the man looked like he was in a trance, his
tougue hanging out and eyes rolling back.

Did you see Jeff "Tain" Watts come in late and sit behind james
genus. A buddy of mine was trying to convince me that the soul on
soul group reminds him a lot of wynton marsalis' band in the early
90's with Tain on drums, I wonder if there is a connection.

>Josh Roseman had a good solo in the first few songs that had him
>snorting and honking which drew a few laughs from the audience. One
>of the highlights for me was the Mary Lou Williams tune, "Aries,"
>from the Zodiac suite.

I want to hear the original zodiac suite, that composition was really
dense I can imagine some sections being played in the 30s but I think
DD brought a lot to that song.

The thing that amazes me the most is how different the first set was
from the second set. The feel of the band changed entirely, they were
a lot more loose and ready to blow. The first set was a lot of tunes
and second set was all out jamming, some earth shattering solos by DD
and roseman.

>
>The second is that I don't often like bass solos or drum solos.
>Bass solos often seem like they don't fit in with the mood of most
>upbeat tunes.  The level of the music has to come way down in order
>for the bass to even be heard well enough.  Bass solos can work as
>an intro or outro often.

I love the bass solos, james had an incredible bass solo on the third
tune!! What other projects has he been involved in? I want to hear
more of him.

> But that's not really what I wanted to mention. It's more about the
>drummers.  I think there are very few drummers who can take a
>meaningful solo.  I think Jowy Baron is one of them. He can actually
>convey something (to me) when he solos.  Most of the other drummers
>sound like they're having a show-off session or a chop practice.

joey is the choppiest player but does it tastefully, he will use a
trick once and that is it. He was so melodic, the solos he takes are
so musical! Did you notice how he would smack the triangle at the end
of almost every tune?


-



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

From: [e-mail]
Subject: Apartment NOT for Rent
Date: 06 Mar 2000 16:07:45 EST

Ok, here is a crazy thing... my landlord just called, telling me he rented the apartment to some guy named Joe. He moves in April 1st. People are getting in line and fighting each other over this place.... the markert is CRAZY. and it was on the market for less than 5 days!

Now I've got to find a loft in Brooklyn-- real quick.

Sorry,
Dave

-



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

From: [e-mail]
Subject: semaphore
Date: 06 Mar 2000 16:15:41 EST

anyone know anything about this ensemble headed by don byron?
is it contemporary classical music?
how large is the group?
anything released?

joseph

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: another request for reviews
Date: 06 Mar 2000 15:29:24 -0800


On 05 Mar 2000 22:09:27 -0600  Ben Axelrad wrote:
>
>      Steve Lacy -- NY Quirks (hatology)

This is the reissue of:


111 - CAPERS: Steve Lacy

    1/ The Crunch                               (Lacy)                  12:35
    2/ We Don't I                               (Lacy)                  12:55
    3/ Quirks                                   (Lacy)                   9:25
    4/ Bud's Brother I                          (Lacy)                  17:05
    5/ Capers                                   (Lacy)                   9:20
    6/ We Don't II                              (Lacy)                  16:50
    7/ Kitty Malone                             (Lacy)                  13:55
    8/ Bud's Brother II                         (Lacy)                  12:15

    Recorded live by Peter Kuhn at Soundscape, NYC, December 29, 1979

  Steve Lacy: soprano; Ronnie Boykins: bass; Dennis Charles: drums.

    1981 - Hat Hut Records (Switzerland), 2R14 (2xLP)
    1985 - Hat Hut Records (Switzerland), hat ART 2014 (2xLP)
    1999 - Hat Hut (Switzerland), hatOLOGY hat 532 (CD)

  Note: the 1985 reissue is called NEW YORK CAPERS.
  Note: the CD reissue is called CAPERS & QUIRKS.


    Patrice.

-



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

From: Matt Moran <[e-mail]>
Subject: re: musicology and hair care
Date: 06 Mar 2000 18:46:34 -0500 (EST)

> Date: Mon, 6 Mar 2000 13:24:03 EST
> From: [e-mail]
> Subject: musicology (hello Jeni)
>
> This weekend I heard Charles Wuorinen, of all people, dub musicology as:
>
> "Words without Song"

I'm guessing that he was putting a spin on Charles Ives' phrase "songs
without words"; Ives sure had it in for a lot of nice musicologists
himself.

Tonic sure does book great moussic.  I pertsonally haven't been distracted
by the hair care choices of the patrons.

-matt


-



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

From: "Julian" <[e-mail]>
Subject: Re: dave douglas sextet (plus clapping and drummers)
Date: 07 Mar 2000 11:11:05 +1100

> It's more about the drummers.  I think there are very few drummers
> who can take a meaningful solo.  I think Jowy Baron is one of them.
> He can actually convey something (to me) when he solos.  Most of the
> other drummers sound like they're having a show-off session or a chop
> practice.  Art Blakey is notorious in my book for having extremely
> boring drum solos.  The only other drummers that I know of who really
> can move me during a drum solo are Jim Black and Max Roach.  Any
> thoughts on this?

There are many players of melodic instruments who don't take meaningful
solos also...


-



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

From: Dan Hewins <[e-mail]>
Subject: Re: dave douglas sextet (plus clapping and drummers)
Date: 06 Mar 2000 19:41:26 -0500

At 11:11 AM +1100 3/7/00, Julian wrote:
>  > It's more about the drummers.  I think there are very few drummers
>>  who can take a meaningful solo.  I think Jowy Baron is one of them.
>>  He can actually convey something (to me) when he solos.  Most of the
>>  other drummers sound like they're having a show-off session or a chop
>>  practice.  Art Blakey is notorious in my book for having extremely
>>  boring drum solos.  The only other drummers that I know of who really
>>  can move me during a drum solo are Jim Black and Max Roach.  Any
>>  thoughts on this?
>
>There are many players of melodic instruments who don't take meaningful
>solos also...

That's true.  I guess what I'm getting at is that perhaps a higher
percentage of drummers don't take meaningful solos.

I'm beginning to realize, based on responses on list and off, that I
may catch a lot of flak for these remarks.

Dan

-



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

From: Dan Hewins <[e-mail]>
Subject: Re: dave douglas sextet (plus clapping and drummers)
Date: 06 Mar 2000 19:44:04 -0500

>>The second is that I don't often like bass solos or drum solos.
>>Bass solos often seem like they don't fit in with the mood of most
>>upbeat tunes.  The level of the music has to come way down in order
>>for the bass to even be heard well enough.  Bass solos can work as
>>an intro or outro often.
>
>I love the bass solos, james had an incredible bass solo on the
>third tune!! What other projects has he been involved in? I want to
>hear more of him.

I am not knocking James' playing.  I'm just referring to bass solos in general.

>>But that's not really what I wanted to mention. It's more about the
>>drummers.  I think there are very few drummers who can take a
>>meaningful solo.  I think Jowy Baron is one of them. He can
>>actually convey something (to me) when he solos.  Most of the other
>>drummers sound like they're having a show-off session or a chop
>>practice.
>
>joey is the choppiest player but does it tastefully, he will use a
>trick once and that is it. He was so melodic, the solos he takes are
>so musical! Did you notice how he would smack the triangle at the
>end of almost every tune?

by "chop practice" I mean that the drummer seems to be practicing
his/her chops.

I loved the triangle as punctuation!

Dan

-



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

From: "Tom Johnson" <[e-mail]>
Subject: Re: mr. mister
Date: 06 Mar 2000 18:53:45 -0700

> Messrs. abbreviation of Messieurs, from French, plural of Monsieur

. . . and now I stand corrected!  :-)

Tom

----------------------------
"Go for super-stud!  Go for super-stud!"
                                         --Bill, on Freaks & Geeks

"I don't want to sell anything, buy anything, or process anything as a
career.
I don't want to sell anything bought or processed, or buy anything sold or
processed, or process anything sold, bought, or processed, or repair
anything sold, bought, or processed. You know, as a career, I don't want to
do that."
                                        --Lloyd, from Say Anything



-



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

From: Whit Schonbein <[e-mail]>
Subject: Re: bass solos (was dave douglas sextet)
Date: 06 Mar 2000 22:10:41 -0600 (CST)


On Mon, 6 Mar 2000, Zorn List Digest wrote:
> Date: Mon, 6 Mar 2000 14:24:16 -0500
> From: Dan Hewins <[e-mail]>
> Subject: Re: dave douglas sextet (plus clapping and drummers)
>
<SNIP>
>
> The second is that I don't often like bass solos or drum solos.

I in general agree, although one of the reasons bass solos don't always
work is because the aforementioned 'post-solo-clapping' always overwhelms
the all important subtle transition from the previous soloist.  That being
said, Dave Holland and Richard Davis can both pull off bass solos
that somehow fit with the music, more than with your typical bass solo

whit (not a bass expert)

np - don caballero, 10 december 1999 @ the knit fac (thanks, smash)



-



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

From: [e-mail]
Subject: Re: Zorn List Digest V2 #878
Date: 06 Mar 2000 23:58:28 EST

I would put Jack DeJohnette with those who can construct a drum solo that is
meaningful and moving.

jb

<< The only other drummers that I know of who really
 can move me during a drum solo are Jim Black and Max Roach.  Any
 thoughts on this? >>

-



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

From: Steve Smith <[e-mail]>
Subject: Re: NYC underground
Date: 07 Mar 2000 01:26:09 -0500

[e-mail] wrote:

> I'm visiting NY for a couple weeks. Went to Tonic last night for the first
> time (Liminal playing) and was rather surprised at the amount of mousse in
> the room (as in Vidal Sassoon). Seemed quite a trendy place.

Perhaps you shouldn't have initiated your experience with a show by Liminal, a
d'n'b project which, however clever, would not disrupt the conversations of those
partisans bearing said quantities of mousse.  After hours, the lower east side is
now crawling with all kinds of party scum, but during prime music hours (8
p.m.-12 a.m.), well, that's another story.  And actually, Tonic more often than
not tries to extend the "real music" curfew by presenting some pretty exemplary
stuff on Thursday-Saturday nights after midnight...

Pardon me for being a bit defensive, but 99% of the time, Tonic is the outest
place you'll find in NYC, Zornlist-wise.  (I can't speak to any trends bubbling
up more currently than that.)  True, they do have to make a buck here and there,
and true, they're in a currently trendy Ann Powers-Bohemian part of town.  But
give them the benefit of a doubt - if it's mousse you're noticing above all else,
then you've just come to the wrong show or on the wrong night or at the wrong
time.  Like pretty much any other club you might have sampled.

Steve Smith
[e-mail]


-



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

From: [e-mail]
Subject: Genus
Date: 07 Mar 2000 01:41:57 EST


<< I love the bass solos, james had an incredible bass solo on the third
 tune!! What other projects has he been involved in? I want to hear
 more of him.
  >>

Though mine's not around to confirm, I believe you can find him on Uri
Caine's Blue Wail. And yes that would be in an elegant snuggly cozy Winter
and Winter case.

Joseph

-



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

From: [e-mail]
Subject: Re: NYC underground
Date: 07 Mar 2000 01:44:09 EST


In a message dated 3/7/00 1:34:27 AM, [e-mail] writes:

<< Pardon me for being a bit defensive, but 99% of the time, Tonic is the
outest
place you'll find in NYC, Zornlist-wise.  (I can't speak to any trends
bubbling
up more currently than that.)  True, they do have to make a buck here and
there,
and true, they're in a currently trendy Ann Powers-Bohemian part of town.  But
give them the benefit of a doubt - if it's mousse you're noticing above all
else,
then you've just come to the wrong show or on the wrong night or at the wrong
time.  Like pretty much any other club you might have sampled. >>

yup, agreed on all counts. I'd say at least half of the shows I go to these
days are at Tonic, and many of the best ones are there. I checked out the
subTonic lounge for the first time on Saturday night (I saw Hrvatski,
I-Sound, and DJ Scud), and it was kind of a lame crowd, but no more
trendy/Eurotrash than any other NYC club might be on a Saturday night.

plus, rumor has it that Derek Bailey is curating the May schedule. I'm
guessing the mousse factor will be low that month....

Jon
www.erstwhilerecords.com

-



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

From: Anders Fransson <[e-mail]>
Subject: Drummers
Date: 07 Mar 2000 08:18:37 +0100



[e-mail] wrote:
>=20
> I would put Jack DeJohnette with those who can construct a drum solo th=
at is
> meaningful and moving.
>=20
> jb

Yes! and Peter Erskine, Tony Oxley, Han Bennink, Roy Haynes...

> << The only other drummers that I know of who really
>  can move me during a drum solo are Jim Black and Max Roach.  Any
>  thoughts on this? >>

Black is one of the best, but Roach was better in the fifties.

--=20
_________________________________________________________________________=
____
Anders Fransson
F=F6rv=E4rv monografier/Acquisition monographs,
Universitetsbiblioteket, =D6rebro universitet,
701 82 =D6rebro, Sweden.
e-mail. [e-mail]
Phone. [phone] Fax. [phone]
_________________________________________________________________________=
____

-



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

From: "Jeroen de Boer" <[e-mail]>
Subject: Re: Drummers
Date: 07 Mar 2000 11:50:18 GMT+0100

> > << The only other drummers that I know of who really
> >  can move me during a drum solo are Jim Black and Max Roach.  Any
> >  thoughts on this? >>

Jim Black definitely is one of my absolute favourites. I saw him the
first time a couple of years ago when he performed with the Tiny Bell
Trio at the Groningen Jazz Marathon. I think he is one of the most
promising drummers, because he plays 'musically'. Does he ever do
solo-performances?

Another drummer who used to amaze me is Trilok Gurtu, especially with
the John McLaughlin Trio. I lost track of him after his second
solo-record. I don't remember the title of the album, but it features
ao David Gilmore.

Jeroen

np. Dafeldecker, Fussenegger, Kovacic - Printer (Durian Records
011-2)



Jeroen de Boer
co-initiator Cyberslag Foundation
music director Open Electronic Festival
Munnekeholm 10
9711JA Groningen
The Netherlands
tel: [phone]
fax: [phone]
[e-mail]
[e-mail]
http://www.cyberslag.com

-



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

From: [e-mail]
Subject: people like us/(was all things considered )
Date: 07 Mar 2000 10:08:41 -0500


ok, now that that's settled, let me confuse it again. this weekend i picked up a
disc on soleilmoon, looks to be a tribute to "people like us," tracks by coil,
negativland, stock hausen and walkman, etc. nothing about it sounds a bit like
the joel forrester record i have (yeah, i was confused on the forrester/
futterman situation) so it couldn't be that. is this a tribute to some one/thing
else, or is it just to people like us? there's no kinda liner notes. it's pretty
good, pretty twisted.

kg



-



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

From: [e-mail]
Subject: ribotpatton/fearnolove/claps'n'solos
Date: 07 Mar 2000 11:11:17 -0500


Case askd:
 Just wondering if anyone would care to post a reveiw of the recent KF
show featuring these 2 artists?

i was there. i was interested in the whole line-up, but was probably one of the
few (only?) there mostly to see kato hideki. i think he's a really strong
bassist who often needs to be pushed. drummer sim cain did just that, and kato
was doing some nice, strong, heavy work. that said, sim i thought forced the
band into grooves a little more than i'd like. (is this a big mmw aftershock?
i'm getting tired of the tendency toward groove among players that i think have
a much wider vocabulary). ribot was absolutely there to play and worked his
freakin ass off, and it was the best patton outside performance i've seen (altho
i've only seen him in setting like this, no faith, bungle, fantomas, etc., just
one-off things or solo things). a lot more textures and ideas going on then at
the zorn/mori/patton set, for example.


Bob Ostertag: Fear no love (Avant) - my generous review could be that i haven't
listened to this enough to find the redeeming qualities. unfortunately, i
probably never will. i like ostertag's work (although his tape loops of a boy in
el salvador at his father's funeral were way too much for me), but this is like
a bad joke. draggy disco crap.


Meanwhile, Dan H sez: One is that sometimes the Jazz protocol of clapping after
solos annoys me.

i agree. i find it obnoxious -- although i really like it when someone feels
moved to talk back to the soloist. miles davis once called applauding audience
members something like overstimulated cavemen.


And adds: The second is that I don't often like bass solos or drum solos.

i feel sorry for you.

kg



-



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

From: [e-mail]
Subject: Re: people like us/(was all things considered )
Date: 07 Mar 2000 11:13:15 EST


In a message dated 3/7/00 10:09:51 AM, [e-mail] writes:

<< this weekend i picked up a

disc on soleilmoon, looks to be a tribute to "people like us," tracks by coil,

negativland, stock hausen and walkman, etc. nothing about it sounds a bit like

the joel forrester record i have (yeah, i was confused on the forrester/

futterman situation) so it couldn't be that. is this a tribute to some
one/thing

else, or is it just to people like us? there's no kinda liner notes. it's
pretty

good, pretty twisted. >>

this is an English woman named Vicki Bennett, who also calls herself People
Like Us, and performs plunderphonic type material. web site at
www.peoplelikeus.org, short article in the November issue of the Wire.

Jon
www.erstwhilerecords.com

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: ribotpatton/fearnolove/claps'n'solos
Date: 07 Mar 2000 08:19:42 -0800


On Tue, 07 Mar 2000 11:11:17 -0500  [e-mail] wrote:
>
> Meanwhile, Dan H sez: One is that sometimes the Jazz protocol of clapping after
> solos annoys me.
>
> i agree. i find it obnoxious -- although i really like it when someone feels

What is even more obnoxious is to notice the audience psychology (or to phrase
it more accurately, its total lack of). The vast majority of the audience has
no clue about clapping or not. All this phenomena is triggered by a very small
number of people in the audience, and, I guess, the vast majority of the
audience feels too stupid not to follow on... If these people decide to clap,
everybody claps; if they judge the solo not worth to, they don't and the room
is totally silent...

    Patrice (wondering about the new trend: systematic stand up ovation).

-



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

From: [e-mail]
Subject: march releases
Date: 07 Mar 2000 11:48:04 -0500


coupla things that might be of innerest to this list, in case you didn't know...

3/7 - The Melvins crank "The Crybaby" (Ipecac) with help from Tool, Mike Patton
(ex-Faith No More) and Leif Garrett (revisiting "Smells Like Teen Spirit").

3/14 - Guitarist David Fiuczynski puts standards tunes from Chick Corea, Jimi
Hendrix, Pat Metheny, Frederic Chopin and more through some wicked changes on
"JazzPunk" (Morsel, available only on line at torsos.com).



-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: ribotpatton/fearnolove/claps'n'solos
Date: 07 Mar 2000 12:00:54 -0500

One interesting challenge is to structure the compositional aspects of
the piece so that solos don't stand out as detachable chunks, but dovetail
in and out, defeating the pavlovian "applaud now" trigger. We do this in
a lot of our pieces in Comma/Gray Code, and I suspect it's true in the
Zorn games.

(And where the bleep is the long-rumoured book of his scores?)

On Tue, Mar 07, 2000 at 08:19:42AM -0800, Patrice L. Roussel wrote:
>
> On Tue, 07 Mar 2000 11:11:17 -0500  [e-mail] wrote:
> >
> > Meanwhile, Dan H sez: One is that sometimes the Jazz protocol of clapping after
> > solos annoys me.
> >
> > i agree. i find it obnoxious -- although i really like it when someone feels
>
> What is even more obnoxious is to notice the audience psychology (or to phrase
> it more accurately, its total lack of). The vast majority of the audience has
> no clue about clapping or not. All this phenomena is triggered by a very small
> number of people in the audience, and, I guess, the vast majority of the
> audience feels too stupid not to follow on... If these people decide to clap,
> everybody claps; if they judge the solo not worth to, they don't and the room
> is totally silent...
>
>     Patrice (wondering about the new trend: systematic stand up ovation).
>
> -
>

--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |


-



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

From: [e-mail]
Subject: Wuorinen
Date: 07 Mar 2000 11:50:50 -0500

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Where did you hear Wuorinen speak?  A lecture or a radio broadcast?  He's an
interesting guy, and like Ives, a bit prickly, or so I hear.

I was sorry to have missed the performance of his "Percussion Symphony" at
Cooper Union a few months back.  Did you catch it?  I have the recording on
Nonesuch, with different performers, and it's worthwhile but a piece like that
really ought to be experienced live for full effect (like most music, I
suppose).  Same thing with Joseph Schwantner's work which I was lucky enough to
hear at Avery Fisher Hall (his Percussion Concerto) a couple seasons ago with NY
Phil. and Christopher Lamb as soloist.  Amazing.






 (Embedded
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 to file:      03/06/2000 06:46 PM
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cc:    (bcc: Colin Cigarran)



> Date: Mon, 6 Mar 2000 13:24:03 EST
> From: [e-mail]
> Subject: musicology (hello Jeni)
>
> This weekend I heard Charles Wuorinen, of all people, dub musicology as:
>
> "Words without Song"

I'm guessing that he was putting a spin on Charles Ives' phrase "songs
without words"; Ives sure had it in for a lot of nice musicologists
himself.

Tonic sure does book great moussic.  I pertsonally haven't been distracted
by the hair care choices of the patrons.

-matt


-




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wNzApsrw//vwoKCkgICA/wAAAP8A//8AAAD//wD/AP//////AAAAgAAAAIAAgIAAAACAgACAAICA
wMDAwNzApsrw//vwoKCkgICA/wAAAP8A//8AAAD//wD/AP//////AAAAgAAAAIAAgIAAAACAgACA
AICAwMDAwNzApsrw//vwoKCkgICA/wAAAP8A//8AAAD//wD/AP//////AAAAgAAAAIAAgIAAAACA
gACA//vwoKCkgICA/wAAAP8A//8AAAD//wD/AP//////

--0__=vaVjUvMgmZwTdR04MytWWYfYVevjeWi7F38TaK8jEyO6JARvBmlxxCHV--


-



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

From: [e-mail]
Subject: Neues Kabarett
Date: 07 Mar 2000 12:23:20 -0500


Neues Kabarett presents SATLAH & Will Connell

Saturday, March 25 at 9 pm
$8 to get in at the Brecht Forum
122 West 27th Street, 10th Floor
call 718-398-2810 for info

Brilliant and versatile saxophonist/flutist Will Connell has worked as an
arranger and librarian for big bands led by Horace Tapscott and David
Murray, and has worked in ensembles with composers and improvisers like
Jason Hwang and William Parker. Now, after decades of working as a sideman
and score-keeper, Will is stepping up to the front, leading his own trio in
the last couple of years, performing at the Internet Cafe and receiving a
commission from Roulette. "It's like the kids are grown and its time for mom
and dad to go to Hawaii," Will says of his new role as a bandleader.

SATLAH is Danny Zamir, Shanir Ezra and Kevin Zubek.  Their debut album,
produced by John Zorn for TZADIK records, will be released in the U.S. in
March 2000.  SATLAH is a mainstay on the NYC jazz scene, regularly
performing in clubs around town.  SATLAH, a word used in Israeli slang,
means a euphoric kind of feeling, something like beauty and relaxation
together.  The band's sound is a unique blend of jazz and avant-garde with a
strong Jewish/middle eastern flavor.





-



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

From: [e-mail]
Subject: derek may tonic
Date: 07 Mar 2000 12:27:42 -0500


>rumor has it that Derek Bailey is curating the May schedule. I'm
>guessing the mousse factor will be low that month....

just got this straight from the incus' mouth, so rumor confirmed.

kg



-



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

From: Linares Hugo <[e-mail]>
Subject: Recent Goodies
Date: 07 Mar 2000 14:31:51 -0300

Hi Zornheads!

I wonder what happened with "Recent Goodies", one of the most interesting
"sections" on this List, ruled (among others) by felow zornlisters Brian
Olewnick, Tom Pratt, Jon Abby.

C'mon guys, come back with reviews!

Hugo

-



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

From: [e-mail]
Subject: Re: Recent Goodies
Date: 07 Mar 2000 13:06:49 EST


In a message dated 3/7/00 12:33:16 PM, [e-mail] writes:

<< I wonder what happened with "Recent Goodies", one of the most interesting
"sections" on this List, ruled (among others) by felow zornlisters Brian
Olewnick, Tom Pratt, Jon Abby. >>

well Tom's off list for a little while, while he moves, and I've been
spending most of my time assembling CDs to go into other people's Recent
Goodies list. this was always mostly Brian's thing anyway, so I'll leave it
to him.

best CDs I've heard so far in 2000:

Steve Beresford-The Bath Of Surprise (Amoebic)
Bill Dixon/Tony Oxley-Papyrus, Volume 1 (Soul Note)
e-rex-Live At The Bimhuis 1999 (X-Or)
Hecker-[R+] ISO/CHALL (Mego)
Konk Pack-Big Deep (Grob)

all of which have been mentioned here, at least in passing, with the possible
exception of the Beresford, which is violently amateurish, yet incredibly
compelling.

Jon
www.erstwhilerecords.com

-



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

From: "Joslyn Layne" <[e-mail]>
Subject: drummers and the upright
Date: 07 Mar 2000 13:22:48 -0500

 re: drummers
i don't know of any jim black solo recording, but i have daydreamed of he
and satoshi takeishi recording as a percussion duo. it would have to be a
large room to hold the both of them, but i have a feeling that truly amazing
and tasteful interaction would result from the pair.. imagine the grooves,
polyrhythms and unthought-of array of timbres....  [sigh]

[ps to Jeroen: how's that disc? i've heard _very_ mixed things about
dafeldecker]

Like Patrice, i've wondered at the seemingly obligatory standing ovations
that i just recently noticed have become the norm.  what committee passed
this new unspoken etiquette?  it makes me feel like a protestor when i
actually like a group, but not enough to stand, stomp and hoot.
maybe too many people watched the state of the union address this year...


    joslyn, who loves solo bass recordings above all else



-



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

From: "s~Z" <[e-mail]>
Subject: Bath Of Surprise
Date: 07 Mar 2000 10:36:23 -0800

all of which have been mentioned here, at least in passing, with the
possible
exception of the Beresford, which is violently amateurish, yet incredibly
compelling.

Jon


.......and heavily sampled in the Yoshihide/Stone collaboration: 'Monogatari
: Amino Argot'


-



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

From: Dan Hewins <[e-mail]>
Subject: Re: drummers and the upright
Date: 07 Mar 2000 13:32:45 -0500

>    joslyn, who loves solo bass recordings above all else

Now here is an environment where a bass solo can and does work!

Dan

-



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

From: "Bob Kowalski" <[e-mail]>
Subject: american bandstand
Date: 07 Mar 2000 13:45:48 -0500

American Bandstand, new cd by Wayne Horovitz, is a new favorite after only =
a few spins in the cd player!  Loads of acoustic piano!  Wonderful mello =
sounds!  Are Horovitz and Frisell the new (sort new, as this trend of down =
- town - toned - down has been going since the mid nineties or so) west =
coast jazz?  Doesn't matter so long as they continue recording and =
performing wonderful music.

btw, NPR sound clip person managed to play an awful lot of Moondog (Sax =
Pax for a Sax - my favorite album of last few years) and John Lurie cuts =
in between all our fave NPR shows.  Actually, lots of cool stuff!  They =
must have some big Frisell fans there.  And Adrian Legg too!  (but who =
doesn't like Adrian "fingers" Legg?  he who makes gorgeous finger picking =
acoustic guitar recordings w/ occassional non gorgeous noise / joke tracks =
thrown in for fun.)

happy listening

Bob


-



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

From: "Joslyn Layne" <[e-mail]>
Subject: 3/1 knit show
Date: 07 Mar 2000 13:51:07 -0500

i forgot to ask in my last post:

Did anyone catch last Wednesday's non-main space [can't remember which one,
though] show at the knit? if so, how was it?  i've heard good things about
The Negro Problem, and know The Original Brothers And Sisters Of Love, and
i'm just curious how the show went and what audience members' reactions
were.

    joslyn



-



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

From: [e-mail]
Subject: Re: Bath Of Surprise
Date: 07 Mar 2000 14:41:39 EST


In a message dated 3/7/00 1:35:47 PM, [e-mail] writes:

<< .and heavily sampled in the Yoshihide/Stone collaboration: 'Monogatari
: Amino Argot' >>

yeah, Otomo has called it his favorite record of the eighties, which is why
he worked on getting it rereleased.

Jon
www.erstwhilerecords.com

-



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

From: Michael Howes <[e-mail]>
Subject: Re: People Like Us
Date: 07 Mar 2000 11:57:10 -0800 (PST)

>ok, now that that's settled, let me confuse it again. this weekend i
>picked up a disc on soleilmoon, looks to be a tribute to "people like us,"
> tracks by coil,negativland, stock hausen and walkman, etc.
>nothing about it sounds a bit like
>the joel forrester record i have (yeah, i was confused on the forrester/
>futterman situation) so it couldn't be that. is this a tribute to some
>one/thing else, or is it just to people like us? there's no kinda liner
>notes. it's pretty good, pretty twisted.

 As someone already stated PLU is a one woman show. The record you picked
up is somewhere between a tribute and a remix record. I'd say it's more
remixes of her stuff.
 There is a US and UK version of the release. The UK version is 2(!!)
CDs with many many more tracks.
 She does have a bunch of other releases. Check out her site
 http://www.peoplelikeus.org/

mike

-



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

From: [e-mail]
Subject: Wuorinen
Date: 07 Mar 2000 15:17:54 EST


<< Where did you hear Wuorinen speak?  A lecture or a radio broadcast?  He's
an
 interesting guy, and like Ives, a bit prickly, or so I hear. >>

He was the moderator at a "Works & Process" concert at the Guggenheim this
weekend that featured Oliver Knussen and Julian Anderson, as well as their
music.

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: standing ovations
Date: 07 Mar 2000 15:18:08 -0500 (EST)

It's an outgrowth of arena rock. Performers seem to feel that they can't
properly end a show until their idolatrous audience has made enough noise
to show it still wants to bask in the musicians' presence.

Bands soemtimes did this by leaving a "hit" unplayed therefore ensuring
and encore.

Two of the funniest situations I ever observed were:

 1) at a Peter Allen show, done with a large, hired orchestra. He had
already left after his supposed finale, but from my seat I could see the
band members getting out the sheet music for the "encore" number.

2)One rock ban, the identity of which I've mercifully forgotten got such
lukewarm response
to their "last" number, that the members rushed back to centre stage
before they exited to make sure the applause didn't die down before they
actually got out of sight.

However as sophisticated Improv etc. folks why don't we not give in to
this. Let the musician play as much as he or she figures is it and let it
go at that.

Ken Waxman

-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: People Like Us
Date: 07 Mar 2000 12:42:29 -0800 (PST)

a few minor clairifications...
it is entirely a remix project.
the double cd version was released by staalplaat.
it is not a uk version.
this is now out of print.
the soleilmoon version will remain in print.

for those in europe,
plu will be playing in amsterdam this thursday evening (3-9).
there will also be concerts in paris on 3-17 18.
edinburgh on the 3-30 (tbc).

show time 20.30
@
steim
utrechtsedwarsstraat 134
fl. 7,50 at the door

www.steim.nl

hasta.


On Tue, 7 Mar 2000, Michael Howes wrote:

>  As someone already stated PLU is a one woman show. The record you picked
> up is somewhere between a tribute and a remix record. I'd say it's more
> remixes of her stuff.
>  There is a US and UK version of the release. The UK version is 2(!!)
> CDs with many many more tracks.
>  She does have a bunch of other releases. Check out her site
>  http://www.peoplelikeus.org/


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



-



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

From: Dan Hewins <[e-mail]>
Subject: Re: standing ovations
Date: 07 Mar 2000 15:50:39 -0500

>However as sophisticated Improv etc. folks why don't we not give in to
>this. Let the musician play as much as he or she figures is it and let it
>go at that.
>
>Ken Waxman
>

I don't think there's anything wrong with wanting more.  It doesn't
have to be a standing ovation, but applause and shouts of, "encore,"
can bring someone back or persuade them to play more.  I don't see
anything wrong with that.

I do find the encore protocol a bit amusing at large shows.  It's as
if the encore will always happen and that the band has to walk off
the stage and wait the required 2-3 minutes then jog back on stage
waving and mouthing "thank you."  It might be funny if a band
finished the "set" then says, "that was the end of the show and the
next few songs are the encore.  We don't want you to have to clap to
an empty stage for five minutes."

Dan

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: standing ovations
Date: 07 Mar 2000 16:18:30 -0500

On Tue, Mar 07, 2000 at 03:50:39PM -0500, Dan Hewins wrote:

> I do find the encore protocol a bit amusing at large shows.  It's as
> if the encore will always happen and that the band has to walk off
> the stage and wait the required 2-3 minutes then jog back on stage
> waving and mouthing "thank you."  It might be funny if a band
> finished the "set" then says, "that was the end of the show and the
> next few songs are the encore.  We don't want you to have to clap to
> an empty stage for five minutes."

I understand the California Guitar Trio (or was it the Trey Gunn Band?)
did that recently, at a club too small to have an "offstage" to go to.

--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |


-



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

From: [e-mail]
Subject: Prelapse in D.C.
Date: 07 Mar 2000 16:22:27 EST

Hey, Zorn-listers

This is Alex from Prelapse, mentioning that we have a gig in D.C. this
Sunday.    We'll be playing some originals, some Naked City; the usual
mayhem.  Hope you can make it out!

PRELAPSE
The Black Cat
Washington D.C.
Sunday, March 12
w/ Le Shis
Doors @ 9pm
1831 14th St NW
202-667-4527

www.blindermusic.com/prelapse


Alex

-



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

From: Dave <[e-mail]>
Subject: Re: standing ovations
Date: 07 Mar 2000 16:26:28 -0500

At 03:50 PM 3/7/00 -0500, you wrote:
>  It might be funny if a band
>finished the "set" then says, "that was the end of the show and the
>next few songs are the encore.  We don't want you to have to clap to
>an empty stage for five minutes."
>
It's been done. Dick Dale (the King of Surf Guitar) does that at the end of
each show. He says the time spent clapping could be used for more music. He
lets everybody clap for a few seconds and says something to the effect of
"Now is the time i am supposed to get off stage and let you clap for
several minutes knowing I will come back out". He them plays his encore
without leaving the stage.


"Reality is too harsh.  Imagination makes everything nice.  Use your
 imagination to get out of the most drab places by simply holding on
 to the imagination and making it real." - Sun Ra


-



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

From: "Bill Ashline" <[e-mail]>
Subject: Otomo Yoshihide
Date: 07 Mar 2000 21:32:06 GMT

On a rare trip to NYC last spring I had the good fortune of buying a copy of
the Microcosmos Pilgrimmage CD with Tenko and Otomo and after a few listens
fell in love with it.  This was my first encounter with Otomo's work.  Moved
by the descriptions of Jon Abbey and others to invest more, I've been
acquiring his other work at an accelerated rate including Ground Zero, the
Filament piece on Extreme, Dragon Blue, and of course Cathode, which just
arrived.  And while my comments here probably strike most as the belated
effusive musings of a novice, I must say how moved I was by the way in which
the sine waves on Cathode fill the geographic space of a room and add a
dimension to the experience of music which is really unlike any other I've
witnessed.  The Filament piece is far more abstract than the other works but
compelling in its own right.  And I'm moved to continue this exploration
into other recordings mentioned here.  I extend my appreciation to the
members for pointing out these directions.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: "Joshua Valocchi" <[e-mail]>
Subject: Re: standing ovations
Date: 07 Mar 2000 13:49:42 PST

It might be funny if a band finished the "set" then says, "that was the end
of the show and the next few songs are the encore.  We don't want you to
have to clap to an empty stage for five minutes."

===================
I was covering the Orchestra Morphine show at the Trocadero here in
Philadelphia on Saturday evening and as the band was leaving the stage for
what I can only assume was the pre-encore ritual, they were signalled by
security that they were already pushing stage curfew limit time (or
something to that effect).
Upon learning this, Dana Colley (sax) returned to the microphone and
announced "Okay, here's where imagination comes into play...just pretend
we've left the stage, you've clapped long enough to drag us out again, we've
taken obligatory bows, et cetera." That having been said, he dove directly
into a searing encore.

-joshua


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


-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: standing ovations
Date: 07 Mar 2000 14:02:01 -0800

At 4:26 PM 3/7/00, Dave wrote:
>At 03:50 PM 3/7/00 -0500, you wrote:
>>  It might be funny if a band
>>finished the "set" then says, "that was the end of the show and the
>>next few songs are the encore.  We don't want you to have to clap to
>>an empty stage for five minutes."
>>
>It's been done. Dick Dale (the King of Surf Guitar) does that at the end of
>each show. He says the time spent clapping could be used for more music. He
>lets everybody clap for a few seconds and says something to the effect of
>"Now is the time i am supposed to get off stage and let you clap for
>several minutes knowing I will come back out". He them plays his encore
>without leaving the stage.
>
The Melvins, always a great live band, and never one to feed audience
expectations, did one of the coolest encores when I saw them on their most
recent tour. At the end of the set, without announcing it was the end, the
guitarist and bassist just walked offstage. The drummer had a gong hanging
behind him, and he would hit the gong as hard as possible, while flailing
as fast as possible on his double kick drums. The gong was mic'ed and very
VERY loud. As the gong sound died away, he'd stop playing, sit with his
head bent down for 30 seconds or so, and do it again. This went on for a
very long time. I started timing it after 4-5 minutes, and he kept it up
for 12 minutes after I started timing. Hit gong, fast kicks, then silence.
Over and over. At first the audience was cheering, but after a while, you
could sense the crowd getting pissed off. People started yelling,
screaming, pounding on the floor to get the band to come back. Drummer
keeps going. Finally, he gets up, walks offstage and the house lights come
up. End of show, no encore. I thought it was great, but I could tell some
people in the audience were pretty unhappy.


____________________________________________
Dave Trenkel : [e-mail]
Minus Web Site: http://listen.to/minusmusic
Minus MP3's: http://www.mp3.com/-minus-
____________________________________________



-



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

From: "Scott Handley" <[e-mail]>
Subject: Re: claps'n'solos
Date: 07 Mar 2000 22:04:24 GMT

Cattle-response and mob-appreciation might be obnoxious, or even
distressing, to the less jaded hayseeds among us, but I want to feel free to
respond to the music, while considering that there are in fact others
listening around me.  In some churches, for example, it is a matter of
course for the audience to express appreciation for ideas, destures, or
aspects of a performance of which they approve.  Mingus said that the first
time he saw the Ellington band, he screamed.  The entire few front rows of
people with whom I sat at the (Re)Soundings Fest in Atlanta a couple years
ago, rose to the occasion---it looked like we were doing a
wave---simultaneously shouting out as Hamid Drake dropped one perfect bomb
after the next behind Brotz and Fred Hopkins.  Haven't we broached this
subject before, though in terms of _laughter_?  Or was that on Chi-improv?
At any rate, I want to appreciate music collaboratively and socially, but
not "appropriately".  Appropriateness is determined by whom?

Still, I realize many of the fortunate frequent show-goers on this list
might well have been pissed off with good reason by music drones. (I mean
the audience, not the music.)

------s

>What is even more obnoxious is to notice the audience psychology (or to
>phrase
>it more accurately, its total lack of). The vast majority of the audience
>has
>no clue about clapping or not.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: Fritz Senn <[e-mail]>
Subject: solo bassists records
Date: 07 Mar 2000 17:28:45 -0500

Before this discussion passes away, I have a quick question.

I have this Barre Phillips record, "Journal Violone" (Opus One), from 1968,
and I've always wondered if this was the first jazz record of unaccompanied
bass to come out(?). I've not been able to find anything earlier...

I too have trouble listening to solo bassists, but I have a few records
with 4 bassists jamming away and they're pretty listenable: Phillips' "For
All It Is" (with Stu Martin), Peter Warren's "Bass Is" (the second side has
Surman, Stu Martin, and some other guys).

Fritz on Truesday.


-



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

From: [e-mail]
Subject: claps'n'solos
Date: 07 Mar 2000 17:33:32 -0500


"...I want to feel free to respond to the music, while considering that there
are in fact others listening around me," said Scott Handley.

Fine by me. The difference is that it's easy to tell when someone is or is not
moved to respond. I hate it when people talk during performances, but I actually
like it when someone says back to the performer "all right, Joe" "Yeah" or
"Damn" or some such. The point is, you're communicating with the musician in a
sincere way. But when people make a racket banging their hands together because
they've learned it's the time they're supposed to do that, it's only slightly
less annoying to me than people talking during the show.

In other words, at the Brecht Forum (where I book shows) I'll quietly ask people
to step to the back of the room if they're going to talk. But I've been asked to
quiet someone who was loudly showing her love of the playing, and I told the
requester that they could, but I wouldn't.

For what it's worth, it seems Chicago audiences talk back and lot more than New
York ones do.

(btw, scott, i believe we have a friend in common...)

kg



-



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

From: Tom Benton <[e-mail]>
Subject: Re: standing ovations
Date: 07 Mar 2000 16:33:35 -0600 (CST)

Dan Hewins wrote -

> I do find the encore protocol a bit amusing at large shows.  It's as
> if the encore will always happen and that the band has to walk off
> the stage and wait the required 2-3 minutes then jog back on stage
> waving and mouthing "thank you."  It might be funny if a band
> finished the "set" then says, "that was the end of the show and the
> next few songs are the encore.  We don't want you to have to clap to
> an empty stage for five minutes."

Funny that someone has already mentioned Orchestra Morphine - about four
years ago I saw Morphine in a club here in Austin, the place was packed
beyond capacity, the crowd was going completely insane.  The band
introduced their last tune, rocked out, and rather than leaving the stage,
Sandman and Colley each took about three steps back, just out of the
main lights.  They stood there a minute or two as the applause ramped up
from figuratively to literally deafening.  Finally Sandman (who I maintain
might have been one of the few people in rock&roll possessed of the
effortless, impenetrable cool necessary to really pull this off) stepped
up to the mic and said "You know, people have told us we don't play very
long sets.  But there's one thing you can count on: a lot of encores."

He wasn't joking...the above routine repeated itself several times for
quite a while as I recall.


-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: dave douglas sextet (plus clapping and drummers)
Date: 07 Mar 2000 10:17:10 +0100

It is not that I am against drummers, but I do think it is a shame that so
many bands have one. I mean, playing with drummer makes (not always, of
course) rythm quite rigid ( and again it is not a bad thing - i mean that i
is a shame that it happens so frequently). And the practice of 20-minutes
drum solos (a kind of "so ok, you did not have solos during the entire show,
now you can show what you can do") on everey 'jazz' concert is
unsupportable - especially when the drummers insist on showin what an
incredible amount of technique and speed he has (it happens quite often -
drummers tend to be very technical musicians). Of course there are wonderful
drummers, wonderful drum solos...
> It's more about the drummers.  I think there are very few drummers
> who can take a meaningful solo.  I think Jowy Baron is one of them.
>The only other drummers that I know of who really
> can move me during a drum solo are Jim Black and Max Roach.  Any
> thoughts on this?
Joey's incredible. Other great soloist is Roy Haynes (see
Metheny/Holland/Haynes "q&a" - one of the best jazz albums - and the guy was
about 80 years old when he recorded it!). Bobby Previte plays great solos -
not to long, very intellligent and melodic. But the drummer's drummer is
Tony Williams - his playing with davis's quintet is incredible ('filles de
kilimanjaro'...what a thing).
Concerning Joey: does anyone see connections between his style and the drums
written by Stravinsky in 'L'histoire du Soldat'? I do believe that he was
very inspired by these drums, there is an ironic element strongly present in
his playing. Anyhow, it is an incredible piece, one of the most important
pieces of 20th century music...
Have fun,
Marcin Gokieli
"Oh Nick, I had the strangest dream!
I thought -  how could I know what I was never taught?"
Stravinsky/Auden "The Rake's Progress"





-



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

From: neongreen7 <[e-mail]>
Subject: jim black
Date: 07 Mar 2000 18:05:27 -0600

what's a good recording to start with that has jim black on drums?
i love the new dave douglas cd, so maybe i should start with a DD cd with
jim on it.
any thoughts or suggestions?

how about han bennink recordings that are "must haves"?

craig


-



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

From: "ADM" <[e-mail]>
Subject: Re: jim black
Date: 07 Mar 2000 19:19:11 -0500

How about Pachora's Unn?

-Aaron

----- Original Message -----
Sent: Tuesday, March 07, 2000 7:05 PM


> what's a good recording to start with that has jim black on drums?
> i love the new dave douglas cd, so maybe i should start with a DD cd with
> jim on it.
> any thoughts or suggestions?
>
> how about han bennink recordings that are "must haves"?
>
> craig
>
>
> -
>


-



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

From: Matt Teichman <[e-mail]>
Subject: Cooper-Moore
Date: 07 Mar 2000 20:23:16 -0500

Does anyone have any background info on this Cooper-Moore character that
plays with William Parker/In Order to Survive?  He's AMAZING!

-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: Recent Goodies
Date: 07 Mar 2000 22:13:46 -0500

Linares Hugo wrote:

> C'mon guys, come back with reviews!

Well, most of the things I've acquired recently aren't brand new, but in
order to forestall any possibility of Hugo losing it and attempting to
retake the Falklands:

AMM            The Crypt            Matchless

From 1968, during their noisier period. What to say except that I think
most unsuspecting Blindfold testees would easily believe that this
could've been recorded last year and would _still_ be considered
cutting-edge or what have you. Amazing that it was done so long ago,
done without any telltale traces of jazz influence that marks virtually
all free-improv from the period. I had forgotten that Christopher Hobbs
was in the group at this time; his work here is certainly in contrast to
his pieces recorded a few years later for the Obscure label. I think
I've asked this before, but if anyone knows of any currently available
Hobbs on disc, please clue me in. The final 18 minute track here (not
included on the original vinyl, I believe) seems to point towards the
quieter, sparser tack AMM would take later in its lifetime. Highly
recommended.

Thomas Brinkmann    Concept 1  96:VR        Minus

This latest buying splurge was partially curated by Tom Pratt and this
disc he virtually forced into my hands. While I'm not so high on it as
he is, I'm glad to have heard it. From what I understand (correct me if
I'm wrong), Brinkmann approaches vinyl mutilation as a craft and
hand-tools his source material to the precise level/amount of clicks,
scratches etc. he desires. He also utilizes Reichian phasing techniques,
gradually introducing, for example, a set of clicks at one rhythm over
scratches at another, generally keeping three or four levels going at a
time. All well and good. The problem arises when his rhythms are simply
not very interesting, as occurs on the majority of tracks here. Except
for the first and last pieces, which work very well, we're left with
fascinating and unusual sounds in search of a solid base.

John Fahey        Requia                Vanguard

Recorded in 1967, an interesting half and half deal. What was side 1
consists of three "standard" Fahey pieces, which is to say gorgeous solo
acoustic guitar working through Americana, folk and blues themes. On
"Side 2", his 'Requiem for Molly' makes extreme use of taped sounds,
playing guitar behind and through them. It's an awkward mix--the sound
sources for the tapes strike one in hindsight as cliched ("Deutchsland
Uber Alles", a baby crying, screams, gunfire)
and the guitar doesn't seem to have anything pertinent to add or accent.
Interesting, though, that a supposed "folkie" was doing this at the time
and pointing towards his much later, far more successful efforts in this
vein ('Womblife'), but otherwise unsatisfying. Worth it for Side 1!

Bernard Gunter        Un Peu de Neige Salie        Table of Elements

Very tough to describe. Rude electronic sounds, generally very quiet,
sometimes sounding like your amp's shorted out, many ultra-high
frequency sine waves. One is never sure if you're hearing the disc or
the waves sent out by your stereo equipment. Gunter forces you to listen
extremely closely and succeeds in creating a unique sound-world.     He
admires Feldman; if you can imagine Feldman's spatial sensitivity shorn
of almost all melodic content, you're nearing Gunter territory.
Recommended, but be forewarned: Guaranteed to force one's spouse from
the room.

I.S.O.            I.S.O.                Alcohol

Similar to the above...but entirely different in a way that's tough to
explain. Perhaps simply that, while utilizing similar sound sources and
general approaches, I.S.O.'s personality is not Gunter's so their
"conversation" flows  differently. A little more use of rhythm (though
apparently tracked to that of the turntable or disc player), a few more
"musical" sounds. Whatever, it's quite beautiful and ranks, imo, with
Yoshihide's best work.

Thomas Lehn/Gerry Hemingway    Tom & Gerry        Erstwhile

A few folk here have already commented a good bit on Jon's latest
production. I'll just chime in to say it's a wonderful session, superb
and sensitive free improv. Ranges betwen ultra-soft and raging
maelstroms and rarely fails to hit home.

Terry Riley        Music for The Gift/Mescalin Mix    Organ of Corti

Often astonishing series of tape pieces from 1960-65. If, like me,
you've pretty much given up on any Riley after 1975 or so (when he
drifted perilously close to newagism, imho), you owe it to yourself to
check this out. Music for the Gift uses a small jazz combo led by, I'm
not kidding, Chet Baker, playing in a muted, Milesian mode. Riley loops
the precedure and subjects it to various other transformations;
interesting, but not essential. 'Bird of Paradise' and 'Mescalin Mix',
however, are both amazing. The former is much more aggresive (even
violent) than what we've come to expect from Riley, often sounding a lot
like Carl Stone's work from the 80's. The last piece comes _this close_
to a work of proto dub-funk! 'Mescalin Mix', from 1960-62 prefigures
work like Eno's 'On Land' with incredible accuracy and is lovely and
seductive in and of itself. Highly recommended both for historical
reasons and for the music.

Frederic Rzewski    The People United...        New Albion

This is the version by Steve Drury, recorded in 1992. 'The People
United...' remains one of my single favorite pieces of music ever and
Mr. Drury acquits himself wonderfully here. If I prefer the hat ART
version with Rzewski playing, it's only for the composer's sheer
strength and incisive attack which is hard to compete with. As that
recording is almost impossible to find nowadays, Drury's version easily
compares with the original performance by Ursula Oppens and even outdoes
hers in sensitivity and concentration on the wistfully romantic mood
that permeates the piece. This disc begins (presumably on the suggestion
of Drury) most effectively with a recording of the original song
performed by Quilapayun before a seriously enthusiastic crowd in Chile.
I've yet to hear the recordings by Takahashi or...a Dutch pianist whose
name I can't recall, but if you haven't heard this yet, this one's a
beautiful place to start. Great job, Mr. Drury.

Rafel Toral        Aeriola Frequency        Perdition Plastics

In two long pieces (46 and 20 minutes), Toral concentrates on washes of
electronic overtones, alternately harsh and soothing, layer upon layer,
with very occasional, hardly-there rhythmic pulses. As with the Gunter
and I.S.O. recordings, he successfully creates a sonic landscape that's
at once alien and highly convincing, where one is content to observe and
appreciate the seemingly random goings on. Probably simlar to sitting
with your back against a huge electric generator and digging the groove
therein.

All for now,

Brian Olewnick

-



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

From: "Hugo Linares" <[e-mail]>
Subject: RE: Recent Goodies
Date: 08 Mar 2000 01:07:31 -0300





>Linares Hugo wrote:
>
>> C'mon guys, come back with reviews!
>
>Well, most of the things I've acquired recently aren't brand new, but in
>order to forestall any possibility of Hugo losing it and attempting to
>retake the Falklands:

>All for now,
>
>Brian Olewnick
>


Bravo Brian!  Bravo!

The engine started again...

Thank you.

Hugo Linares



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From: [e-mail]
Subject: encores
Date: 08 Mar 2000 02:45:17 EST


<<  It might be funny if a band
 finished the "set" then says, "that was the end of the show and the
 next few songs are the encore.  We don't want you to have to clap to
 an empty stage for five minutes." >>

exactly what Dick Dale does.

-



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From: [e-mail]
Subject: Orch Morphine
Date: 08 Mar 2000 02:59:20 EST


<< I was covering the Orchestra Morphine show at the Trocadero here in
 Philadelphia on Saturday >>

Any association here at all with Morphine, as in the late Mark Sandman's
group??

And sorry for mentioning Dick Dale before reading the whole digest,
Joseph

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From: "Jeroen de Boer" <[e-mail]>
Subject: Re: jim black
Date: 08 Mar 2000 09:22:05 GMT+0100

Try any album of the Tiny Bell Trio (Douglas, Shepik and Black). My
personal favourite is 'Songs for Wandering Souls' (Winter & Winter).

Jeroen


> > what's a good recording to start with that has jim black on drums?
> > i love the new dave douglas cd, so maybe i should start with a DD cd with
> > jim on it.
> > any thoughts or suggestions?


Jeroen de Boer
co-initiator Cyberslag Foundation
music director Open Electronic Festival
Munnekeholm 10
9711JA Groningen
The Netherlands
tel: [phone]
fax: [phone]
[e-mail]
[e-mail]
http://www.cyberslag.com

-



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From: "Jeroen de Boer" <[e-mail]>
Subject: Henry Hills
Date: 08 Mar 2000 10:54:36 GMT+0100

Next week a program of films by Henry Hills is presented in three
cities in The Netherlands, including my hometown. So for everyone in
or near Holland, go see "Introducing Henry Hills, featuring John
Zorn". Hills will be present at all the screenings.

Part I

George
Porter Springs 3
Kino Da!
SSS
Gowah Lawah
Little Lieutenant
Porter Springs 4

Part II
John Zorn related stuff

Gotham
Osaka Bondage
Money
Heretic
Mechanics of the Brain
Igneous Ejaculation


Friday, March 10, 21.30
Cinema De Balie, Amsterdam

Monday, March 13, 21.30
Nighttown, Rotterdam

Tuesday, March 14, 21.00
Vera Zienema, Groningen


More info @ http://www.henryhills.com/


Jeroen

np: schizotrope, the Richard Pinhas & Maurice Dantec Schizospheric
Experience - Le Plan (Sub Rosa SR169)







Jeroen de Boer
co-initiator Cyberslag Foundation
music director Open Electronic Festival
Munnekeholm 10
9711JA Groningen
The Netherlands
tel: [phone]
fax: [phone]
[e-mail]
[e-mail]
http://www.cyberslag.com

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Recent Goodies
Date: 08 Mar 2000 07:40:39 -0500

At 10:13 PM 3/7/00 -0500, Brian Olewnick wrote:
>
>Frederic Rzewski    The People United...        New Albion
>
>This is the version by Steve Drury, recorded in 1992. 'The People
>United...' remains one of my single favorite pieces of music ever and
>Mr. Drury acquits himself wonderfully here. If I prefer the hat ART
>version with Rzewski playing, it's only for the composer's sheer
>strength and incisive attack which is hard to compete with.

This is one of my favorite contemporary piano pieces too, and I consider
myself fortunate to have heard Rzewski perform it live once.  He permits a
section of improv between the last set of variations and the finale, and on
his Hat recording he takes this opportunity (part 7 on the track listings),
whereas Ursula Oppens omits this section.  Is there an improv section on
this recording?

--
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

-



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From: Linares Hugo <[e-mail]>
Subject: RE: jim black
Date: 08 Mar 2000 10:40:41 -0300




> Try any album of the Tiny Bell Trio (Douglas, Shepik and Black). My
> personal favourite is 'Songs for Wandering Souls' (Winter & Winter).
>
    You'd try Tiny Bell Trio's "Live in Europe" (Arabesque Jazz, 1997):
there you can also listen to an incredible track called "Bardot" (kind of
actress Brigitte Bardot's tribute?) where Douglas' blowing is truly amazing
and Black shines as well.

    Hugo Linares

-



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From: Whit Schonbein <[e-mail]>
Subject: Re: jim black / tiny bell trio
Date: 08 Mar 2000 08:15:45 -0600 (CST)


i second the reccommendation for dave douglas' tiny bell trio as a good
place to hear jim black's work.  my favorite disc is 'constellations', on
hatart, followed by 'songs for wandering souls' on winter&winter, the
first album on songlines (i think), and lastly, the 'live in europe' on
arabesque (i think).  (ranking subject to change without notice ;).

whit


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From: Jason Tors <[e-mail]>
Subject: Re: jim black
Date: 08 Mar 2000 09:20:29 -0500

Pachora is a good start, I am into the third one [ast?]

and another side of his playing on any recording by Tim Berne's act,
Bloodcount.

>what's a good recording to start with that has jim black on drums?
>i love the new dave douglas cd, so maybe i should start with a DD cd with
>jim on it.
>any thoughts or suggestions?
>
>how about han bennink recordings that are "must haves"?
>
>craig
>
>
>-


-



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From: Jason Tors <[e-mail]>
Subject: tW
Date: 08 Mar 2000 09:31:28 -0500

                      Tom Waits Digest News Feed
                       The Official Tom Waits Web Site

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

Remember, you may not reply to this message.  If you have problems
with this listserv,
please contact Seth Nielsen ([e-mail]).

======================================================================
================
As most of you have heard now, Tom Waits was nominated for Best Male Rock
Vocal Performance for 'Hold On' and Best Contemporary Folk Album for 'Mule
Variations'.  I actually missed the Grammy Awards show, but he did win for
Best Contemporary Folk Album.  I don't put much stake in the Grammys but it
is nice to get his name mentioned.

I have also found that Tom Waits appears on a little known album called
'Moanin' Parade: The Gatmo Sessions Vol. 1' recorded by C-Side and Petit
Mal.  This album is a studio recording of improvisations with experimental
and traditional instruments. Tom Waits is on all tracks on this album as
well as the follow-up album 'Swarm Warnings' which is yet to be released.
C-Side (California Sonic Instrument Designers Ensemble) includes Bart
Hopkin, Darrell Devore, Richard Waters and Tom Nunn. Petit Mal includes
Richard Waters, Gary Knowlton and Michael Knowlton. Other guest musicians
include Steve Shain, Tom Dondelinger, Doug Carroll, Bob B. Hobbs and Chris
Saunders. For more information and to hear two of the tracks, please visit
Jackalope Records at www.jackaloperecords.com.

As always, if you prefer not to get these news updates, please send an
e-mail to [e-mail] with LEAVE in the
message body.

Sorry for the long delay.  I also hope to be updating the site more
regularly again.  It has been a very interesting time for me.

Best of luck,
Seth Nielsen


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

                         Tom Waits Digest News Feed
                       The Official Tom Waits Web Site

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

-



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From: Mark Saleski <[e-mail]>
Subject: re: Odp: dave douglas sextet (plus clapping and drummers)
Date: 08 Mar 2000 10:11:30 -0500


have to agree about q&a. haynes is wonderful on that recording.  i saw
him play in boston with metheny a few years back. the man was in great
shape and his playing was spectacular.

speaking of spectacular... i saw the metheny trio a few nights ago in
boston (really, somerville ma.) and have to put in a good mention for
bill stewart. i always was always impressed with his work with scofield
but never had a chance to see him live. man, he was just smokin'. the
interplay between him, larry grenadier, and metheny was nearly
telepathic. stewart's playing was very musical, muscular and _loud_!
reminded me a little of joey baron.


>Joey's incredible. Other great soloist is Roy Haynes (see
>Metheny/Holland/Haynes "q&a" - one of the best jazz albums - and the
guy was
>about 80 years old when he recorded it!).

--
Mark Saleski - [e-mail]
Do not try to understand everything, lest you thereby be ignorant of
everything. --Democritus



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From: Ken Waxman <[e-mail]>
Subject: Re: Cooper-Moore
Date: 08 Mar 2000 10:20:20 -0500 (EST)

Cooper has been playing on and off with Parker (initially with David S.
Ware and Marc Edwards) for years. He also composes for theatre groups and
choirs and plays other instrumets such as diddley-bow and horizontal harp.

He is part of the Susie Ibarra Trio that has a CD on Hopscotch. A CD on
his solo piano performance at the Guelph Jazz Festival should be released
by Hoscotch in a couple of months.

Ken Waxman


On Tue, 7 Mar 2000, Matt Teichman wrote:

> Does anyone have any background info on this Cooper-Moore character that
> plays with William Parker/In Order to Survive?  He's AMAZING!
>

-



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From: [e-mail]
Subject: re: Cooper-Moore
Date: 08 Mar 2000 10:45:25 -0500


First off, I'm very, very pleased to see that Cooper and William Parker are
playing together in a Bill Cole group at the Vision Festival in May.

Cooper-Moore is a fantastic, engaging performer. He's a great pianist, as
evidenced by In Order to Survive records that were mentioned in a previous post.
But playing piano is just one of his roles. He's an instrument maker, and his
assortment of stringed and bowed instruments (the diddley-bo, the twanger, the
homemade hoe-handle harp) are simplistic, inventive and, more importantly, sound
good. Those instruments can be heard on the Susie Ibarra Trio disc (with Charles
Burnham, violin) on Hopscotch. Hopscotch should have a solo Cooper-Moore disc
coming out soon as well.

If you're fortunate enough to catch him play a solo set (he did one at the
Brecht Forum last year, following a set by the Organic Trio -- Parker, Moore,
Daniel Carter), you'll likely see him as a storyteller as well -- long, funny,
well-told tales of growing up black in the south, playing in an r'n'b band and
keeping a knife out on the keyboard. At the Brecht Forum he brought up a dancer
and they did a piece together and then he explained, to the dancer's surprise,
that they were going to do something called "Puzzlin'" where the performers
interview each other. It went on for quite a long time, was very funny and
consistently interesting.

He's also one of the warmest people I know.

I don't know a whole lot about his jazz background. I should ask him sometime.
But he did tell me that he had been offered a record contract by a big label in
the 70s, but hated the way he was treated, not being allowed to make choices (he
wanted his record to be free and the release party to be at a soup kitchen, he
told me, so frustrations might well have been on both sides). Since that
experience, he's refused to record until Susie Ibarra and Assif Tsahar started
their label.

He'll be doing the following sets at the Vision Fest in New York:

>  TUESDAY MAY 23
>* Bill Cole w. William Parker, Cooper-Moore, Joseph Daley,
>   Atticus Cole, Sam Furnace, Warren Smith,  Tracie Morris poet

>  THURSDAY MAY 25
>* Cooper Moore Choir "From the Sea"
>    w Sharon Heller, Jane Gabriels, Lisa Sokolov, Tiye Giraud, Aleta Hayes,
>    Ayana Lowe, Bruce Mack, Michael Wimberly, Fred L. Price

I believe I posted the entire schedule, but if anyone wants it, email me
privately.

Cheers,

kg



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

From: Dante Sawyer <[e-mail]>
Subject: november music
Date: 08 Mar 2000 11:59:14 -0500

does anyone know if november music in belgium is still going on? and if
it is how to get in touch with someone involved?

dante

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From: Nils <[e-mail]>
Subject: Re: jim black
Date: 08 Mar 2000 12:42:47 -0500

neongreen7 <[e-mail]> wrote:

> what's a good recording to start with that has jim black on drums?

bloodcount: unwound (screwgun) a personal favorite.  3-disc live set.

and while i'm at it, let me offer a self-promoting reference to my jim
black interview/feature at all about jazz:

http://www.allaboutjazz.com/articles/a0599_06.htm

which may provide some interesting information for the curious.

hasta
nils

-



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From: patRice <[e-mail]>
Subject: Re: The Cure- Bloodflowers
Date: 08 Mar 2000 19:18:59 +0100

hi y'all

i know i'm rather late on this topic, but so what...

Todd Bramy wrote:
> >
> >i found myself agreeing with aquarius' review.
> >as a longtime cure fan, it was disappointing.
> >but certainly far better than their previous effort.

i'd agree on this. the album as a whole is definitely better than "wild
mood swings"; though there were some great songs on that as well.

> Alternately, I too am a career-spanning fan, and I find the new album to be
> a masterful return to form. I've seen it written that the album is the
> third in a trilogy that started with "Pornography" and
>"Disintigration", an
> observation I would agree with.

i'm also a career-spanning fan, and do not agree at all.
"pornography" and "disintegration" are just too perfect. "bloodflowers"
doesn't come anywhere near them. especially since the drummer sucks big
time.
i feel they could have done a lot better if they'd had a better drummer.
he drags the quality of the songs way down...

the trilogy thing was a marketing plot by robert smith.

i must admit that i would feel a little sad if the cure split up (which
seems to be very likely right now), but at the same time i feel that
that would be the best possible move.

robert smith has done everything he possibly can with this band (though
i'm sure he could still write a lot of interesting stuff for other
people or another group), and any further release can only de-mistify
this cult band. being a fan i hope that this wont happen; because so far
they've done pretty well!

yours,
patRice

-



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

From: "Joslyn Layne" <[e-mail]>
Subject: re: jim black & cooper-moore
Date: 08 Mar 2000 13:29:51 -0500


> what's a good recording to start with that has jim black on drums?
> i love the new dave douglas cd, so maybe i should start with a DD cd with
> jim on it.
> any thoughts or suggestions?

As Jeroen said, Douglas' Tiny Bell Trio..  i have to admit, though, that
[for me] none of their recordings live up to the group's live performance --
but this is just a compliment on their live shows, not a dis on the CDs..  I
Strongly Recommend the Eskelin/Parkins/Black trio!! you'll find them on Hat.
they just get better & better, so i guess i'd have to recommend the latest,
"5 Pieces (+2)."

> how about han bennink recordings that are "must haves"?

Clusone Trio, "i am an indian" and/or "love henry"
w/ cellist Ernst Reijseger & reeds man Michael Moore
-and-
Myra Melford/Han Bennink "eleven ghosts" [hatology]
 [icp orchestra is g-reat, but a large group, so if you're looking to hear
lots of han..]

> From: Matt Teichman <[e-mail]>
> Subject: Cooper-Moore
> Does anyone have any background info on this Cooper-Moore character that
> plays with William Parker/In Order to Survive?  He's AMAZING!

Agreed.. be sure to check him out on the recent Susie Ibarra Trio [w/
violinist Charles Burnham]. it's called "Radiance" & is on her own label,
hopscotch.  really lovely disc.
as for 'who is he?' :
i believe he used to be named Gene Ashton. Regardless, Cooper-Moore has led
his own quartet & played at NYC's Vision Fest the last 3 yrs running and had
a solo set at Guelph Festival [canada] last year.. he's a
multi-instrumentalist & composer, builds his own wacky instruments.. he's in
Parker's Little Huey Orch and In Order to Survive and the Organic Trio w/
Parker and Daniel Carter [TEST], and has also played with David S. Ware,
Alan Braufman, and the George Carver Band...

cheers-

        joslyn



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From: [e-mail]
Subject: Contrabass viol; Msr. Han Bennik
Date: 08 Mar 2000 10:26:15 -0800

I find the bass soloing of Mark Dresser exceedingly pleasant. Indeed,
capable of sustaining my extended interest.

As for the good Mr. Bennik, all three of the Clusone 3 continue to
delight me to no end.

Martin

np Satoko Fujii Orchestra

-



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From: Shlomo Weintraub <[e-mail]>
Subject: Re: jim black
Date: 08 Mar 2000 21:48:11 +0100

there is a german free jazz band called "DER ROTE BEREICH". They have
recorded 3 albums. Jim Black played on their first two albums, called "de=
r
rote bereich" and "der rote bereich 2". the first album features Rudi Mah=
all
on bassclarinet, Frank M=F6bus on guitar, Henning Sieverts on Bass and Ma=
rty
Cook on trombone, the second album features Rudi Mahall on bassclarinet,
Frank M=F6bus on guitar and Hal Crook on trombone. On their last release =
a guy
called John Schr=F6der plays drums ( and again Rudi Mahall on bassclarine=
t and
Frank M=F6bus on guitar). The third is called (guess what..) "der rote be=
reich
3". Very nice KRONKEL-music... Has anyone out there on the zorn-list ever
listed to the Nils Wogram quartett? another great german avant-jazz band.=
..

neongreen7 schrieb:

> what's a good recording to start with that has jim black on drums?
> i love the new dave douglas cd, so maybe i should start with a DD cd wi=
th
> jim on it.
> any thoughts or suggestions?
>
> how about han bennink recordings that are "must haves"?
>
> craig
>
> -


-



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From: [e-mail]
Subject: Boycotting Schubert?
Date: 08 Mar 2000 16:43:18 -0500


Boycotting Schubert? (Washn)
By Joseph McLellan
Special to The Washington Post
WASHINGTON - An organized campaign to boycott Austrian cultural activities has
grown up since Joerg Haider's Freedom Party became a member of the country's
coalition government.
But several presenters in Washington have decided not to accept the connection
between Austrian politics and Austrian culture implied in that campaign.
Jerome Barry, director of the popular Embassy Series of chamber music concerts,
announced that his organization's performances at the Austrian Embassy will be
given as scheduled on March 31 and April 1.
Gloria Thompson, founder and director of the Schubert, Schubert and Schubert
Festival at Georgetown University, reported that some contributors have been
asked - and have declined - to withdraw their support.



-



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From: [e-mail]
Subject: RE: jim black..
Date: 08 Mar 2000 17:30:17 EST

the best Jim Black i've heard, besides live, is probably his work with Tim
Berne's Bloodcount, especially on Discretion...very powerful.
from,
matt

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From: Tony Reif <[e-mail]>
Subject: Horvitz/Delbecq/Shepik new releases
Date: 08 Mar 2000 14:57:46 -0800

Some new releases from Songlines (and if it makes things easier our website
is finally set up for credit card sales):


WAYNE HORVITZ, American Bandstand (SGL 1528-2)
with Timothy Young (guitars), Keith Lowe (acoustic bass), Andy Roth (drums)

With Zony Mash "unplugged" - Horvitz's first piano record since 1987's Nine
Below Zero. Impressionistic ballads that might recall Paul Bley,
Ellington/Strayhorn, Debussy, or the wistful and piquant irony of Satie,
blend with mid-tempo songs likewise steeped in the history of jazz,
r&b/r&r, soul, funk, blues, gospel, & the avant-garde. A chamber-jazz
homage to musical roots...an open-hearted yet serenely beautiful record.

Publisher's pick of the week, All About Jazz (www.allaboutjazz.com)


BENOIT DELBECQ 5, Pursuit (SGL 1529-2)
with Fran=E7ois Houle (clarinet), Michael Moore (reeds), Jean-Jacques Avenel
(acoustic bass), Steve Arg=FCelles (drums & electronics)

One the most innovative young keyboardists & composers of the '90s has
forged a personal approach from jazz, ambient, contemporary classical, and
non-western musics. His playing on prepared piano reveals fugitive
harmonies and a rich palette of colors and phrasings. Polyphonic
rhythmic-melodic "fabrics" suggest balafon, sanza, pygmy music, gamelan, or
John Cage. His new international quintet creates a collective music with
the shape-shifting, mutatating quality of a waking dream, a feeling
augmented by Arg=FCelles' stealthy live sampling and processing. Previous
release: Fran=E7ois Houle/Beno=EEt Delbecq, Nancali (SGL 1519-2)

CHOC (5 stars), Jazzman feature review
Disque d'emoi, Jazz Magazine


Release date March 14:

BRAD SHEPIK, The Well (SGL 1531-2)
with Peter Epstein (saxes), Skuli Sverrisson (electric bass), Michael Sarin
(drums & percussion), Seido Salifoski (dumbek & percussion)

The follow-up to his critically acclaimed The Loan (SGL 1518-2) finds
guitarist/saz player Shepik (Tiny Bell Trio, Pachora, BABKAS) deeper in the
music of the Balkans, Middle East, and North Africa and deeper in his own
style - driving or insinuating grooves and melodies in compound time
signatures, with subtle group interplay, effortless solos, and a downtown
edge. "Collectively they are making some incredibly difficult and different
music sound natural, free, and purposeful." (All Music Guide)


Songlines Recordings
1003 - 2323 W. 2nd Ave.
Vancouver B.C. V6K 1J4, Canada
Tel: [phone]
=46ax: [phone]
[e-mail]
www.songlines.com

US/Canada distribution/sales: Allegro, 1 800 288 2007




Tony Reif (Songlines Recordings)



-



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

From: Steve Smith <[e-mail]>
Subject: Re: standing ovations
Date: 08 Mar 2000 20:59:55 -0500

Dan Hewins wrote:

> I do find the encore protocol a bit amusing at large shows.  It's as
> if the encore will always happen and that the band has to walk off
> the stage and wait the required 2-3 minutes then jog back on stage
> waving and mouthing "thank you."  It might be funny if a band
> finished the "set" then says, "that was the end of the show and the
> next few songs are the encore.  We don't want you to have to clap to
> an empty stage for five minutes."

The one time I ever actually heard Zappa live was in San Antonio, and he
seemed decidedly less than thrilled to be there.  It was the late '80s 'Them
or Us' tour - Ike Willis, Ray White, Bobby Martin, Allan Zavod, Scott Thunes
and Chad Wackermann, with no one in the stunt guitar chair.  When the band
took the stage, Zappa came to the mike and said, "Good evening and thanks for
coming.  We're gonna play..." and here he read off the entire set list from
start to finish.  "And then," he continued, "we're gonna leave the stage,
you're gonna clap for a while, and we're gonna come back and play [insert
title of old classic number 1] and [insert title of old classic number 2], and
then we're gonna leave the stage again.  You're gonna clap for a little while
longer, we're gonna come back and play 'The Illinois Enema Bandit,' and then
we're gonna leave the stage and the lights will come on.  Okay?"  And that's
exactly what happened.

Steve Smith
[e-mail]
NP - King Crimson, "Groon," 'Live at Summit Studios, Denver' (King Crimson
Collectors Club, fresh out of the shrinkwrap)


-



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

From: Steve Smith <[e-mail]>
Subject: Re: jim black
Date: 08 Mar 2000 21:41:52 -0500

neongreen7 wrote:

> what's a good recording to start with that has jim black on drums?
> i love the new dave douglas cd, so maybe i should start with a DD cd with
> jim on it.
> any thoughts or suggestions?

As many have suggested, the Tiny Bell Trio is a fine place to start.  But for
me, the primest Jim Black on disc remains Tim Berne's bloodcount.  Tim's been
blessed with great drummers all along (Alex Cline, Paul Motian, Bobby
Previte, Joey Baron, Tom Rainey) but I've never heard any drummer interact
with the twitchy avant-funk nervous system of Mr. Berne as intuitively as did
Jim Black on the bloodcount recordings, especially the rawer ones on
Screwgun.  I recommend anyone start with 'Discretion,' an inexpensive single
disc release that will no doubt start an addiction.  Listen to Jim dropping
those bombs when the rhythm section hits high gear on "Is That a Gap?" and
you'll never doubt again.

Pachora is a great place to hear Jim do his Eastern European thing.  Another
place he shouldn't be missed is Ellery Eskelin's trio with Black and Andrea
Parkins - they made their first fine recording for Songlines, but the three
that followed on hatOLOGY, especially 'Kulak, 29 & 30,' are incredible, as
the trio had by that time become a seasoned working band.

And I'll also recommend most highly the two Peter Epstein discs on the M+A
label, 'Staring at the Sun' and 'The Invisible.'  Fellow Z-lister Tom Benton
will back me up on this, these two discs are full of lovely writing,
penetrating playing by saxophonist Eptein, accordionist and organist Jamie
Saft, bassist Chris Dahlgren and Black, and an added bonus is they are two of
the more exquisitely recorded discs I've ever heard.  You'll hear every
little detail of Black's inspired mayhem.

> how about han bennink recordings that are "must haves"?

Assuming that you want to stick to readily available CDs (so I won't be
demanding that you track down the long out of print LP 'Topography of the
Lungs'), and also that you want to focus on discs in which Bennink is
highlighted instead of part of the din (as in the ICP or Peter Brotzmann's
nevertheless essential 'Machine Gun'), here are my thoughts:

'Serpentine' by Bennink and Dave Douglas, since you've already said you like
Dave
'Spots, Circle and Fantasy' by Bennink and Cecil Taylor
One of the several available duos with Derek Bailey - the two new ones, 'Post
Improvisation 1' and 'Post Improvisation 2' are interesting in that they were
assembled by mailing solo tracks to one another to create duets after the
fact - 'Live at Verity's' or 'Han' might be better choices.
A representation of the Clusone Trio - they're all pretty great
And you should ultimately try to hear Bennink's work with Peter Brotzmann,
Fred van Hove and Albert Mangelsdorff, with Misha Mengelberg, and with Willem
Breuker.  There's a lot to digest but Han's an infinitely variable player and
it's hard to capture him in a disc or two.  I'm also fond of the hatOLOGY
duets with Myra Melford and Ellery Eskelin, but some folks round here are
decidedly cooler on those discs.
And actually, I *will* recommend that you try out the ICP Orchestra 'Jubilee
Varia' to hear Han in a more traditional supporting role - he can swing as
hard as any conventional jazz drummer of his generation.

Enjoy the exploration...

Steve Smith
[e-mail]
NP - King Crimson, "Sailor's Tale," 'Live at Summit Studios, Denver' (King
Crimson Collectors Club)



-



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

From: Steve Smith <[e-mail]>
Subject: Re: dave douglas sextet (plus clapping and drummers)
Date: 08 Mar 2000 22:17:00 -0500

Jason Tors wrote:

> Josh Roseman totally blows me away in this context, he really covers
> a lot of ground, what I love about him is that he doesnt adhere to
> the adage that faster is better, he plays with such clarity. He plays
> a mute/muffle so well, sounded like a ragged old jazz singer fresh
> from smoking a pack of reds.

Judging from this alone I just have to ask if you were there on Sunday
night.  I caught three nights of this run (Tuesday, Saturday and Sunday)
and only on Sunday night did Josh hit me in *exactly* this way.  I do
think that this particular band brings out the best in Josh.

> Did you see Jeff "Tain" Watts come in late and sit behind james
> genus.

Now I *know* you were there Sunday night, unless perhaps Tain came more
than one night.  He was definitely sitting behind Genus on Sunday night
and scooted just before the end of the first set.

> A buddy of mine was trying to convince me that the soul on
> soul group reminds him a lot of wynton marsalis' band in the early
> 90's with Tain on drums, I wonder if there is a connection.

Splitting hairs, perhaps, but Tain wasn't in the band anymore in the
early '90s.  His last record with Wynton was in '88, most likely recorded
a year earlier.  So I don't see a direct connection, but at the same time
I don't think it would be heresy to say that when Dave investigates the
tradition, although he comes from a different place, certainly it could
lead him to some of the same zones to which Wynton is led when he
investigates the same tradition, even if Wynton is approaching from a
more "orthodox" position.  My opinion, of course... it's not something
I've discussed with Dave.

> I want to hear the original zodiac suite, that composition was really
> dense I can imagine some sections being played in the 30s but I think
> DD brought a lot to that song.

It's easily available on a 1995 Smithsonian Folkways reissue, as is the
late album 'Zoning,' source of "Play It Momma," which Dave referred to
every night as a "fusion" tune.

> The thing that amazes me the most is how different the first set was
> from the second set. The feel of the band changed entirely, they were
> a lot more loose and ready to blow. The first set was a lot of tunes
> and second set was all out jamming, some earth shattering solos by DD
> and roseman.

Most of the first sets were dedicated to the new album entirely, while
the second sets generally included more originals and some selections
from the Wayne Shorter and Booker Little tributes, music which would
allow for more natural "stretching."

> I love the bass solos, james had an incredible bass solo on the third
> tune!!

Given how much I've heard the other players in the band, it was Uri Caine
and James Genus who consistently surprised me the most during the course
of the shows I heard.  Uri is of course brilliant, but even so his
playing stood out time and time again.  And James simply played more bass
than I've ever heard him play before.  And I'll also include Josh in that
tally on Sunday night, where he was obviously inspired.

I'll also say, not as Dave's current publicist but as the former
publicist for the Village Vanguard itself, that the crowds I saw on the
nights I went were the *youngest* crowds I've ever seen in the Vanguard.

And I don't think Stanley Crouch accepted my invitation to attend a show
"on the house," either.  Which basically says a lot about Stanley.

Steve Smith
[e-mail]
NP - King Crimson, "The Creator Has a Master Plan" (I kid you not...),
'Live at Summit Studios, Denver' (King Crimson Collectors Club)


-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: dave douglas sextet (plus clapping and drummers)
Date: 08 Mar 2000 22:53:06 -0500

On Wed, Mar 08, 2000 at 10:17:00PM -0500, Steve Smith wrote:

> NP - King Crimson, "The Creator Has a Master Plan" (I kid you not...),
> 'Live at Summit Studios, Denver' (King Crimson Collectors Club)

Damn all you who are earlier in the alphabet!-) (I know the KCCC handles
things alphabetically, so I should get mine tomorrow or so, depending on
the DC Post Offal.)

n.p. Peter Kowald, et al.: Cuts (looks like I'm going to be singing with
his improvisors' orchestra Saturday night in DC, so I snarfed a CD of
his ensemble stuff from the cutout bin at Tower near work.)

--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |


-



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

From: Steve Smith <[e-mail]>
Subject: Re: Knit / WKCR /  anyone have access?
Date: 08 Mar 2000 22:36:59 -0500

Rick Lopez wrote:

> Knitting Factory session resulting in
> Derek Bailey, John Zorn & William Parker: Harras AVAN 056 (CD) 1995
> I also need a date for this one.

Ralph Shapiro's intrepid Bailey sessionography is atypically vague on this one,
listing only September 1994.  You can find said sessionography at
http://www.shef.ac.uk/misc/rec/ps/efi/mbaileys.html

(I saw them in January 1995 with Dougie Bowne added on drums, percussion and big
empty plastic water cooler jugs.)

Steve Smith
[e-mail]
NP - King Crimson, "The Creator Has a Master Plan," 'Live at Summit Studios,
Denver, March 12, 1972' (King Crimson Collectors Club)


-



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

From: Dan Given <[e-mail]>
Subject: Re: Cooper-Moore
Date: 08 Mar 2000 21:18:28 -0700

>Date: Wed, 8 Mar 2000 10:20:20 -0500 (EST)
>From: Ken Waxman <[e-mail]>
>Subject: Re: Cooper-Moore
>
>Cooper has been playing on and off with Parker (initially with David S.
>Ware and Marc Edwards) for years. He also composes for theatre groups and
>choirs and plays other instrumets such as diddley-bow and horizontal harp.
>
>He is part of the Susie Ibarra Trio that has a CD on Hopscotch. A CD on
>his solo piano performance at the Guelph Jazz Festival should be released
>by Hoscotch in a couple of months.
>

The infamous Manhattan's Pizza Parlor set, is going to be released on CD!!!
 This show was amazing.  Because of it, the owner of Manhattan's has ended
all affiliation with the jazz festival --he was afraid that Cooper-Moore
was going to destroy his recently refurbished piano.   Hopefully the spoken
word segments of the show will be included on the disc.  I only wish I had
a tape recorder running for the odd encounter I had with Cooper-Moore in
the parking lot after the show, where he was complaining about how the
owner was so worried about him breaking the piano, and how if he really
wanted to do it, all it took was one finger.  He then told a story about
doing it at some venue in NYC, because the owner didn't stock his kind of
beer.  Of all the things I heard at that festival, the stories of
Cooper-Moore may stay with me the longest.

Dan
>Ken Waxman
>


-



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

From: Steve Smith <[e-mail]>
Subject: Re: dave douglas sextet (plus clapping and drummers)
Date: 09 Mar 2000 01:49:30 -0500

Joseph -

You're going to be singing with Peter Kowald this weekend, and you're
envious of me for receiving a King Crimson archival disc a day earlier than
you?  Hmmmm.  Can we change places?  You can have my CD and all... ;-)

Steve Smith
[e-mail]
NP - Napalm Death, "Cleanse Impure," 'Words from the Exit Wound' (Earache)

Joseph Zitt wrote:

> On Wed, Mar 08, 2000 at 10:17:00PM -0500, Steve Smith wrote:
>
> > NP - King Crimson, "The Creator Has a Master Plan" (I kid you not...),
> > 'Live at Summit Studios, Denver' (King Crimson Collectors Club)
>
> Damn all you who are earlier in the alphabet!-) (I know the KCCC handles
> things alphabetically, so I should get mine tomorrow or so, depending on
> the DC Post Offal.)
>
> n.p. Peter Kowald, et al.: Cuts (looks like I'm going to be singing with
> his improvisors' orchestra Saturday night in DC, so I snarfed a CD of
> his ensemble stuff from the cutout bin at Tower near work.)
>
> --
> |> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
> | [e-mail]           http://www.metatronpress.com/jzitt |
> | Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
> | Comma: Voices of New Music    Silence: the John Cage Discussion List |




-



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

From: [e-mail]
Subject: Re:  Re: jazz!
Date: 02 Mar 2000 12:07:33 EST

It might be, too, that Dave has as much in common with players/listeners on
both sides of the free/symmetrical music coin.

For other musicians dealing with jazz in a similar fashion as does DD, I
would say Uri Caine, Don Byron, Joey Baron, Terry Adams (his solo album,
TERRIBLE, more than his NRBQ stuff), and John Abercrombie.  There's always
Sun Ra and Carla Bley.  Mingus, too, had a lot of both elements.  Does "free"
cancel out other music? I didn't think so.

It's sad in a way that -- granted, "jazz" means a broad category -- it's
become so specialized.  Joey Baron told me once that people think, because he
plays with guys like Zorn, that he probably can't play a bar of straight time
on a ride cymbal.  I think he's right.  My experience has long been that, if
you play something that relies more or less on spontaneous generation, it's
like telling people you can't play standards.  Kind of unfair, but people are
used to specialists now, not general practitioners.

skip h





-



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

From: patRice <[e-mail]>
Subject: current politic situation in austria (was: Boycotting Schubert?)
Date: 09 Mar 2000 11:22:10 +0100

[e-mail] wrote:
>
> Boycotting Schubert? (Washn)
> By Joseph McLellan
> Special to The Washington Post
> WASHINGTON - An organized campaign to boycott Austrian cultural activities has
> grown up since Joerg Haider's Freedom Party became a member of the country's
> coalition government.
> But several presenters in Washington have decided not to accept the connection
> between Austrian politics and Austrian culture implied in that campaign.

thank whoever (since i don't believe in god) that there are still people
like that around!

i'm living in one of austrian's neighbouring countries and must say that
the only thing the political boycots from the european union and other
organizations/countries against austria have done nothing but one thing:
strengthened support for mister joerg haider!

most people in austria can't understand why so-called democratic
organizations/countries want to interfer with their politics. after all,
the austrian government has been democratically elected! is it possible
that maybe some leaders of other countries want to move attention away
from their right wing problems?

is "isolating" austria a good idea? i don't think so. that is one way of
making sure mister haider is going to get more and more support. the
people who have accused him of this and that have unfortunately not done
their homework and thoroughly investigated his background. most of the
accusations have fired backwards because of that. mister haider is not
quite right in his mind, but (unfortunately!) he is a very good speaker;
with a broad smile he will lie into anyone's face - and way too many
people are not able to realize this. he's always said the european union
is not democratic, and them boycotting austria because of the government
that has been democratically eleceted - well...

and so on and on and on...

patRice

-



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

From: [e-mail]
Subject: encores
Date: 09 Mar 2000 10:19:24 -0500


long as we're swapping stories ...

lounge lizards at the mercury lounge 3 or 4 yrs ago. lurie said that since the
only way to get backstage is to go right through there (cutting a diagonal
through the standing crowd with his hand and eye), everyone should make a lot of
noise and they would go ahead and do the encore now.

after they played, they started to make their way off stage and lurie said from
the stage, "ok, we're going to leave now. please don't touch any of the
musicians unless you know them."



-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Han Bennink
Date: 09 Mar 2000 11:07:52 -0500 (EST)

Another couple of good places to start re: Han

Dissonant Characters (hatology) -- a duo with Ellery Eskelin (ts)
3 points and a mountain ... plus (newly reissued with additional material
from FMP) --Misha Mengelberg (p and recitation); Peter Brotzmann (alto
and tenor saxes, clarinet, bass clarinet); Bennink (drums, percussion,
toys, noise, tenor saxophone[!] clarinet [!!] etc. etc.

I think Han is a great drummer. But because of his over-reliance of
shtick, he's one of the few musicians I would say is better heard than seen.

Ken Waxman

-



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

From: Dan Hewins <[e-mail]>
Subject: Re: encores
Date: 09 Mar 2000 12:26:16 -0500

As a matter of fact...

Last night at the Knit, the final band, Paul Newman, (a band not a
person.  Well, the bass player is named Paul Newman but he doesn't
make salad dressing) said they would play one more song if we all
could agree that it was the last song of the set and not an encore.

Dan Hewins

-



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

From:    [e-mail] (Patrick Carey)
Subject: March Sale Items
Date: 09 Mar 2000 12:53:19 -0500

I have the following items for sale.

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

If you don't like a price, please don't hesitate to
let me know what you'd be willing to pay.

$ 9 -- A=EFyb Dieng - "Rhythmagick" US CD (Subharmonic) 1996
       [Dieng (chatan, jimbe, bass/talking drums, gongs, bells etc.) w/
       Laswell (bs, bowed bs, samples), Skopelitis (6 & 12-string gtr),
       Sanders (ts, metal/wood flutes), Worrell (hammond b-3, clavinet)=
,
       Collins (gtr, space bass), Trilok Gurtu (dms, tablas), and more.=
]
$10 -- Elixir - "Hegalien Zone" US CD (Ion) 1997
       [DXT (drums, keys, perc, turntable, voice) with Laswell (bass),
       Sassan, J.P. Sluys (samples, flutes) & Umar Bin Hassan (voice).]
$12 -- Evan Parker/Lawrence Casserley - "Solar Wind" UK CD (Touch) 1997
       [Parker on soprano sax, Casserley (member of Parker's EA Ensembl=
e)
       electronically processing his playing almost beyond recognition.=
]
OFFERS -- Hanatarash - "5: We Are 0:00" JAP CD (Polystar/Shock City) 19=
96
       [Comes in transparent pink jewelcase w/ green tray, Hana logo &
       psychedelic art.  One long (53 min.) piece of swirling, droning,
       harsh electronics courtesy of Eye & Co.]
$22 -- John McLaughlin - "Remember Shakti" FRA 2CD (Verve) 1999
       [Recorded live in the UK in 1997 with Zakir Hussain (tabla),
       T.H. "Vikku" Vinayakram (ghatam), & Hariprasad Chaurasia (bansur=
i).]
$ 7 -- Masonna - "Masonanie Viva Los Angeles" US 7" (P-Tapes) 1993
       [Green vinyl.  Limited & numbered (804/1005) w/ insert.
       2 of Maso's first US live performances from 11/23-24/93.]
$24 -- Oval - "Iso Fabric" JAP CD (Tokuma) 1997
       [Tracks from "Systemisch" & "94 Diskont" plus exclusive cuts,
       "Instantan 1+2", "Gegenlesen", "Eigentlichen 2.0" & "70 Kino".
       In didgipak with infosheet.  Mint.]

Thanks for looking.


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




-



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

From: "Robert A. Pleshar" <[e-mail]>
Subject: Blind Idiot God
Date: 09 Mar 2000 12:32:21 -0600

Hi-

Anyone interested in a copy of the first Blind Idiot God lp on SST? I came
across a copy of it. It's in excellent condition, but the upper right
corner is cutout. Willing to trade or sell.

Ralph

Robert Pleshar
Head, Serial Orders
University of Chicago Library
1100 E. 57th Street
Chicago, IL 60637

-



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

From: [e-mail]
Subject: Re: Han Bennink
Date: 09 Mar 2000 13:51:54 EST


In a message dated 3/9/00 11:09:14 AM, [e-mail] writes:

<< But because of his over-reliance of
shtick, he's one of the few musicians I would say is better heard than seen.
>>

wow, I couldn't disagree more. maybe you're a bit jaded from seeing him too
many times, Ken, since he does tend to repeat some of the same bits in
different performances, but I think he's incredibly fun to watch live, and a
lot of the time, he's hilarious. two examples, from his solo sets last year
in the Old Office of the Knitting Factory:

1) he moved one stand-alone drum and his seat, so he was about a foot away
from the front row of the audience. he then started beating the hell out of
the drum, incredibly loudly. one audience member, right next to him, began
flinching, and subtly moving away, almost subconsciously. so, after a few
minutes, Bennink went out of his way to hit the audience member with his
sticks, incorporating him in as a drum. not hard at all, but it was so
unexpected that it was hysterical.

2) later in the set, he tied a cord to one of his cymbal poles, and brought
it out into the audience, down the aisle. he handed it to an unsuspecting
audience member, and showed him how to pull the cord gently to get the cymbal
to tip over slightly and bang the one next to it. after Bennink felt he had
this mastered, he left the room for a few minutes entirely, and let the
audience member play music for us.

does anyone know the full details of this BYG/Actuel catalog resuscitation
which Charly seems to have begun? I'm hearing Sun Ra's Solar Myth Approach
right now for the first time, and enjoying it quite a bit.

Jon
www.erstwhilerecords.com

-



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

From: "Michael Berman" <[e-mail]>
Subject: think BYG
Date: 09 Mar 2000 14:08:51 -0500

>does anyone know the full details of this BYG/Actuel catalog =
resuscitation=20
which Charly seems to have begun?=20

is there a list for this somewhere?  Does it include all those Archie =
Shepp recordings as well?


-



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

From: [e-mail]
Subject: Re: think BYG
Date: 09 Mar 2000 14:07:17 EST


In a message dated 3/9/00 1:59:12 PM, [e-mail] writes:

<< is there a list for this somewhere?  Does it include all those Archie
Shepp recordings as well? >>

the ones out so far are the Sun Ra, which is a 2 CD set, Shepp's Blase/Live
at the Pan African festival (2 CDs), and Don Cherry's Mu, the Complete
Session. plus, there's supposed to be a 3 CD label compilation out. that's
all I know, which is why I asked.

Jon
www.erstwhilerecords.com

-



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

From: [e-mail]
Subject: standards and the pizza parlor
Date: 09 Mar 2000 14:28:34 -0500


Dan ceremoneously announced that, "The infamous Manhattan's Pizza Parlor set, is
going to be released on CD!!!"

I wish it were infamous enough that I knew it. Tell more! When, what, where?
What label?
I love C-M. Like Eugene Chadbourne, his sensibilities add to my appreciation of
the music.
I've seen him destroy pianos, too. I guess I should be glad to be on his good
side, because he told me that he'll come play the Brecht Forum anytime, but "I
won't play your piano, 'cause I'll break it."


Later, Velaires recalled that, "Joey Baron told me once that people think,
because he plays with guys like Zorn, that he probably can't play a bar of
straight time on a ride cymbal."

I don't recall which early Braxton record it was, but I remember him playing
"Summertime" after a lengthy and amusingly academic spoken intro saying that
they were going to prove that outside players could play standards.



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: think BYG
Date: 09 Mar 2000 13:05:27 -0800


On Thu, 9 Mar 2000 14:08:51 -0500  "Michael Berman" wrote:
>
> >does anyone know the full details of this BYG/Actuel catalog resuscitation
> which Charly seems to have begun?

What do you mean by "seems to have begun"?

As far as I know, BLASE has been issued twice on Charly:

    1987 - Charly (UK), 77 (CD)
    1994 - Charly (UK), Le Jazz CD 26 (CD)

Are you talking about a new reissue?

Other Shepp on Charly:

*** - LIVE AT THE PAN-AFRICAN FESTIVAL: Archie Shepp (1987 - Charly (UK), ?? (CD))
*** - YASMINA, A BLACK WOMAN: Archie Shepp (1987 - Charly (UK), ?? (CD))
*** - POEM FOR MALCOLM: Archie Shepp (1987 - Charly (UK), ?? (CD))

    Patrice.

-



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

From: [e-mail]
Subject: Re: think BYG
Date: 09 Mar 2000 16:08:53 EST


In a message dated 3/9/00 4:05:50 PM, [e-mail] writes:

<< As far as I know, BLASE has been issued twice on Charly:

    1987 - Charly (UK), 77 (CD)
    1994 - Charly (UK), Le Jazz CD 26 (CD)

Are you talking about a new reissue? >>

yup, these are new, copyright 2000. they're also Charly, but I think they're
Charly Germany, which I've never heard of before.

Jon
www.erstwhilerecords.com

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: think BYG
Date: 09 Mar 2000 13:14:18 -0800


On Thu, 9 Mar 2000 16:08:53 EST  [e-mail] wrote:
>
> yup, these are new, copyright 2000. they're also Charly, but I think they're
> Charly Germany, which I've never heard of before.
                ^^^^^^^^^^^^

Following a long tradition, Charly/Affinity/BYG changes addresses on a
regular basis... They have been in Germany for at least four years (1996 is
the oldest that I know of -- reissue of THE GOLDEN PALOMINOS).

    Patrice.

-



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

From: Tom Benton <[e-mail]>
Subject: Re: jim black
Date: 09 Mar 2000 15:28:55 -0600 (CST)


Steve Smith boldly declared -

> And I'll also recommend most highly the two Peter Epstein discs on the
> M+A label, 'Staring at the Sun' and 'The Invisible.'  Fellow Z-lister
> Tom Benton will back me up on this, these two discs are full of lovely
> writing, penetrating playing by saxophonist Eptein, accordionist and
> organist Jamie Saft, bassist Chris Dahlgren and Black, and an added
> bonus is they are two of the more exquisitely recorded discs I've ever
> heard.  You'll hear every little detail of Black's inspired mayhem.

And it's perhaps some of the most delicate mayhem you'll ever hear; what
really gets me about both of these discs is that no matter how intense the
music feels, the band never seems to be playing _that_ hard.  Admittedly,
they do wander into the outer regions from time to time, but there's never
that overt shift in dynamics that you hear when Bloodcount is going full
throttle or Chris Speed's band is in rocked-out mode (just to cite two
other Jim Black groups).  But nevertheless the transitions still happen,
you can feel it ever so subtly when the band turns things up a notch, and
I can't think of anything else to chalk this up to other than Epstein's
clever writing and the incredible cohesion of his group.

'Staring at the Sun' continues to amaze me however long after its release,
and I'm really getting into 'The Invisible'.  I think Jamie really shines
on here - he plays just accordion on the first album, and splits his time
between organ and piano on this one; 'Ragged Jack' just doesn't do
justice, in my opinion, to his piano work.  I was sitting at home a couple
of nights ago and that crazy "anti-comping" he's doing behind Peter on the
first track just hit me like a truck, I had to just play it a bunch more
times and figure out what in the world was going on...

And while we're on this Jim Black thing, I can't believe no one has
brought up Human Feel.  Chris Speed and Andrew d'Angelo on reeds, Kurt
Rosenwinkle on guitar, and Jim Black on the tubs.  This group got started
up while all these guys were in school in Boston and, as I understand it,
operated as something of a "home base" for a couple of years after they
all moved to NYC.  They have a handful of records out there, though my
fave is definitely the most recent (from 1995 I think, they don't actually
play anymore) on Songlines, 'Speak To It'.  Among a very short-ish list of
records that serious kicked open my ears and really changed how I
appreciate music.

Since this hasn't been brought up either, it's probably worth mentioning
that Jim will be putting out a record as a leader on W&W this summer, with
Chris Speed, Skuli Sverrison on bass, and Icelandic guitar guy Hillmar
Jennson (whose album, 'Doffin', featuring this same cast and then some, is
well worth picking up if you can find it).


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: JOHN ZORN discography v. 13.0
Date: 09 Mar 2000 15:01:17 -0800


    To let you know that the discography of John Zorn has been updated.
There is a total of 270 record listed.

    Patrice.

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: New Andrew Hill with Marty Ehrlich?
Date: 09 Mar 2000 15:19:41 -0800


    Does anybody know on what label this Andrew Hill sextet (with Marty
Ehrlich) will be released?

    Thanks,

    Patrice.

-



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

From: Taylor McLaren <[e-mail]>
Subject: Just the pizza parlour.
Date: 09 Mar 2000 18:35:22 -0500


MEEP! A certain Kurt <[e-mail]> wrote:
>I wish it were infamous enough that I knew it. Tell more! When, what, where?
>What label?
Not to "me too" too obviously, but I'm particularly curious about the last
question... I lived about two blocks down the street from said pizza place
at the time of the show, and as with most events in Guelph, I didn't know
anything about it until about a month after it had happened. In fact, it
irks me now that I didn't get out of the basement hidey-hole of mine more
often when I was at school there, as I'm constantly reading about neat
stuff that I managed to miss by virtue of having my head in a book.
  For what it's worth, I also miss Manhattan's extra-thick three-cheese blend.

-me



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: JOHN ZORN discography v. 13.0
Date: 09 Mar 2000 15:01:17 -0800


    To let you know that the discography of John Zorn has been updated.
There is a total of 270 record listed.

    Patrice.

-



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

From: "Bruno Bissonnette" <[e-mail]>
Subject: CD sale
Date: 09 Mar 2000 20:30:52 EST

Here's a list of CDs I have for sale which might interest
members of this list; please e-mail me privately for prices
or other questions:

John Coltrane: Giant Steps
Kali Fasteau: Comraderie (w/Joe McPhee)
Masada: Vav (six)  (DIW)
Haino Keiji w/Cohen, Baron: An Unclear Trial, more than this (Avant)
Pat Metheny Group: Imaginary Day
Bennink/Douglas: Serpentine
Derek Bailey: Guitar drums n' bass (Avant)
Shining Path: Another World (w/Hellborg)
Glenn Branca: Symphony no.6
Purple Trap (Haino w/Laswell, Ali): Decided... (2CDs) (Tzadik)
Anthony Braxton/Richard Teitelbaum: Live at Merkin Hall
Caspar Brotzmann/Page Hamilton: Zulutime (Atavistic)
Haino Keiji: Tenshi No Gijinka  (Tzadik)
Previte/Ducret: In the Grass
John Zorn: the Circle Maker (2CDs)  (Tzadik)
David Murray/Milford Graves: Real Deal (DIW)
Marc Edwards Trio: Red Sprites and Blue Jets (CIMP)
Rashied Ali/Louie Belongenis: Rings of Saturn  (KFW)
Charles Gayle: Repent  (KFW)
John Butcher/Georg Grawe: light's view (nuscope)

Bruno Bissonnette

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


-



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

From: "Alan Lankin" <[e-mail]>
Subject: Re: New Andrew Hill with Marty Ehrlich?
Date: 09 Mar 2000 20:42:53 -0500


> Does anybody know on what label this Andrew Hill sextet (with Marty
> Ehrlich) will be released?

It's on Palmetto and is due out next Tuesday (3/14).

Alan Lankin
[e-mail]

http://home.att.net/~lankina/jazz == Jazzmatazz
http://home.att.net/~lankina/jazz/upcomingcds.html == upcoming jazz CDs



-



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

From: Dan Given <[e-mail]>
Subject: Re: Bennink
Date: 09 Mar 2000 18:40:20 -0700

>Date: Thu, 9 Mar 2000 11:07:52 -0500 (EST)
>From: Ken Waxman <[e-mail]>
>Subject: Re: Han Bennink
>
>Another couple of good places to start re: Han
>
>Dissonant Characters (hatology) -- a duo with Ellery Eskelin (ts)
>3 points and a mountain ... plus (newly reissued with additional material
>from FMP) --Misha Mengelberg (p and recitation); Peter Brotzmann (alto
>and tenor saxes, clarinet, bass clarinet); Bennink (drums, percussion,
>toys, noise, tenor saxophone[!] clarinet [!!] etc. etc.
>
>I think Han is a great drummer. But because of his over-reliance of
>shtick, he's one of the few musicians I would say is better heard than seen.

I have to agree with Ken here -- the last couple of times I saw Han playing
made me wish I had stayed home and listened to records.   And there are
some great records (CDs, whatever):

I think I've recommended Marion Brown's Porto Novo on the list before in
some other context, but still think it is one of the finest examples of
late 60s Bennink.

The new Tobias Delius quartet Toby's Mloby  (ICP 34) has some great
swinging jazz drumming. This quartet might be the best 'mainstream'  jazz
band I've heard in a while. Their previous disc, The Heron, was very good,
but I like this one better.

And for those who want to hear more of Han on other instruments (as Ken
mentions above) there is a new 2 disc set on Leo's Golden Years of Free
Jazz label called Jazz Bunker, cocredited to Bennink, Eugene Chadbourne and
Toshinoro Kondo. It is a live recording from 1980, of pretty dismall sound
quality (can't even here Chadbourne usually), and features some very sloppy
performances. However, when it does all  come together, there are some
spectacular moments.  Bennink plays both tenor and soprano sax, clarinet,
piano (as does EC), drums, and I can't remember what all else ( a friend
borrowed it today, so I can't get the exact list).

Dan

-



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

From: Brian Olewnick <[e-mail]>
Subject: Frank Denyer
Date: 09 Mar 2000 21:42:45 -0500

I only know Denyer from liner notes to various Matchless releases, but
apparently he has an album of his own out (on Matchless?). Anyone heard
it?

Brian Olewnick

NP-Disco Inferno, 'In Debt'

-



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

From: Matt Laferty <[e-mail]>
Subject: publishing on zorn, et al.
Date: 09 Mar 2000 22:43:09 -0500

Zornsters

I've been lurking for a while, and since I'm an editor for this
magazine, I want to personally extend an invitation to you folks to
submit articles or proposals on *this stuff.*  I reckon the recent
debates over women and the avant-garde, the "encore," or MP3 doo-hickeys
would make good articles, but we are open to all kinds of pop (or
obscure) culture pieces.

Email me off list for more information.

thanks

Matt Laferty
[e-mail]

NP: Waylon: Honky Tonk Heroes!



**CALL FOR SUBMISSIONS**

to the QUICK
the journal magazine of media and cultural studies at Binghamton
University

Who says "academic" writing can't be exciting?

CONTENT.
To the QUICK is seeking essays, articles, and columns (or proposals
outlining such projects) that perform thematic, theoretical, and
cultural
analyses of media arts like TV shows, films, music, or cultural
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or issues such as the recent rise of witchcraft, artificial
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and
cultural studies programs by drawing attention to the meaning existent
in
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to
heart, believing that each discipline is another way of reading the
world
and yet is part of a very similar critical attitude. To the QUICK
therefore
takes the stance that each discipline can--by writing in a carefully
contextualized fashion--say informative and fascinating things even to
readers outside of that field.

STYLE.
If not already implicit, you should make clear how your analysis is
culturally relevant, what issues your reading is bringing up. The less
the
subject is popular or well-known, the greater the need to point out this
cultural relevancy rather than relying on the weight of a theoretical
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It is not necessary that essays implement critical theory. However,
theory
is a way of reading the world and can be useful and exciting. Essays
should
still avoid one of the pitfalls of  academic writing: the dropping of
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have to wallow through a dense litter of meaningless prose.

Three quick tips:
-Describe your subject with enough context so that the reader does not
have
to have read/seen/experienced the subject in order to understand and
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-If your essay was written for a class or published elsewhere, go
through
it and revise it enough to have a TTQ "slant," explaining special terms
or
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the QUICK.
-TTQ does not publish film or music reviews.

SUBMIT.
Essays and articles: 4500 words maximum
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NEW DEADLINE: Monday, April 3, 2000 (postmarked by) for completed
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and proposals.  Once we determine which proposals TTQ will pursue, these
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Indicate a word count for all text, including endnotes. Style should be
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also
interested in reprinting pieces published elsewhere. TTQ also needs
pieces
for our three columns: The Obligatory Old Book Review takes an "old"
book,
author, or theorist and presents an original argument as to how and why
the
author's ideas still apply to or are reflected in today's society; The
Rewrite Department uses experimental non-fiction to comment on
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cultural issues; and Slipstream picks out an event of cultural
significance
from the contributor's life, describing and analyzing it in a
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creative style. For examples of these, peruse our journal magazine
on-line
at www.agoron.com/~matthewk/quick.

Our current Fall 1999 issue may be purchased by mailing  a check
(payable
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up
to three copies, $1.58 four to six) to our address below. This issue
features essays on Xena: Warrior Princess, Comedy Central's 'Cow and
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Feel free to query with essay, column, or artwork ideas. Queries
recommended for book reviews. We occasionally publish "feature" articles
that are a little longer; let us know if your piece has been truncated.
Electronic submissions are preferred in RTF, Word, or WordPerfect format
<[e-mail]> but you may also mail manuscripts or
correspondence to:

to the QUICK
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Include a self-addressed stamped envelope for our reply, and enough
postage
if you would like your material returned. to the QUICK takes FNA print
and
electronic rights for all non-artwork published.

-



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

From: "Scott Handley" <[e-mail]>
Subject: re: bennink
Date: 10 Mar 2000 05:30:40 GMT

I don't think another of Bennink's (erstwhile?) "working" groups has been
mentioned: his trio with trombonist Ray Anderson and guitarist Christy
Doran.  I know they have at least two records on HatArt, and I recommend
both highly, even---especially---for non-free-improv fans, and those who
prefer to avoid the schtick.  Anderson's and Bennink's respective senses of
humor blend beautifully, and Doran's at times fragile, at times ridiculously
overdriven electric guitar, is one of the band's most unique features.  I
prefer CHEER UP a shade or two to AZURETY.  Unique, noticeably different,
funky and wild.

And the FMP double-platter LIVE IN BERLIN 1971 (?) with Brotzmann,
Mangelsdorff, and van Hove, is a scary, beautiful thing.  Bennink creates a
dark cloud of garbage cans with what sounds like six arms and four feet:
perhaps there is a "ghost drummer".  He sccreams and plays what sounds like
homemade instruments, guffaws, snorts, and wails, and lays down a shimmering
kalima (mbira?) bed at times.  This is a great record, methinks.  If THREE
POINTS compares, I'm dieting next week as well.  Ha!

-----s, who is bored silly by Clusone Trio, except maybe SOFT
LIGHTS...  [O.O.P. :<  ]

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


-



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

From: Andrew Shay <[e-mail]>
Subject: braxton, anzellotti...
Date: 10 Mar 2000 03:03:46 -0800

So I've got a few too many things I've my eye on for my own good;
I thought I'd let those of you who know better set me on some
tracks:

First of all, what are some essential (in print/not terribly
difficult to find) Braxton cds?  And how is his Parker Project
release on Hat?

Second, do any of you have opinions on Teodoro Anzellotti's
"Push Pull" cd on Hat[now]Art?
I've been enthralled by accordions/etc. and unusually used
banjos lately, so if there's anything one of you may wish
to speak for in lieu of that...

And speaking of, what is the name of the artist who recorded
the CD of Erik Satie tunes for solo accordion?  How is it?

Finally, I've been listening to a lot of Robert Johnson
lately, but I find that placing aside a few exceptions,
I don't really get into much more modern blues.  I was
wondering if there was perhaps any artists doing
something original with the format/stretching it?  Blues
for someone who loves Tom Waits and Bernhard Gunter?

Thanks for any suggestions.

Take care,

Andy

-



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

From: "Jeroen de Boer" <[e-mail]>
Subject: Re: Han Bennink
Date: 10 Mar 2000 10:06:25 GMT+0100

> wow, I couldn't disagree more. maybe you're a bit jaded from seeing him too
> many times, Ken, since he does tend to repeat some of the same bits in
> different performances, but I think he's incredibly fun to watch live, and a
> lot of the time, he's hilarious.

Last summer The ICP-Orchestra performed at the JazzBicycleTour in a
small church in a village near Groningen, The Netherlands. The place
was totally packed and the ICP performance was great.

In between two songs Bennink walked from the stage (the altar), down
the gangway to the entrance hall, where he got a drink. While
manouvering through the crowded gangway though, a little mentally
handicapped boy (I think he was about 7 years old) pulled one of
Bennink's trouser legs. They obviously knew each other, I think
because of the fact Bennink has a mentally handicapped daughter. They
hugged and Bennink gave the boy his solo-cd, for which he took all
the time he needed to write something down on it for the boy. At the
time the ICP was already playing, but Bennink didn't seem to care at
all. All he and the boy did was talk and giving high fives to each
other.

When Bennink was on stage again the audience couldn't do else as
watch the boy go wild as Bennink did one of his tricks.

Jeroen

Jeroen de Boer
co-initiator Cyberslag Foundation
music director Open Electronic Festival
Munnekeholm 10
9711JA Groningen
The Netherlands
tel: [phone]
fax: [phone]
[e-mail]
[e-mail]
http://www.cyberslag.com

-



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

From: Steve Berman <[e-mail]>
Subject: Re: Han Bennink
Date: 10 Mar 2000 10:49:35 +0100 (MET)

How does Bennink pronounce his (last) name, with the 'k' sounded or as
if it were English 'Benning'? I've heard the latter numerous times
from German speakers, surprisingly, since in German the 'k' normally
would be pronounced here, so I wonder if it's unpronounced in Dutch.
--Steve Berman

-



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

From: Steve Berman <[e-mail]>
Subject: Re: braxton, anzellotti...
Date: 10 Mar 2000 10:54:31 +0100 (MET)

>>>>> "Andrew" == Andrew Shay <[e-mail]> writes:

    Andrew> Second, do any of you have opinions on Teodoro
    Andrew> Anzellotti's "Push Pull" cd on Hat[now]Art? I've been
    Andrew> enthralled by accordions/etc. and unusually used banjos
    Andrew> lately, so if there's anything one of you may wish to
    Andrew> speak for in lieu of that...

    Andrew> And speaking of, what is the name of the artist who
    Andrew> recorded the CD of Erik Satie tunes for solo accordion?

Would that be, um, Teodoro Anzellotti? (Winter & Winter 910 031-2)

When I have more time and if no one beats me to it, I'll mention some
Braxton CDs I think are worth hearing.

--Steve Berman

-



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

From: Stephen Rigg <[e-mail]>
Subject:  Exquisite Boxes of Japanese Noise
Date: 10 Mar 2000 10:08:27 -0000

I have the following for sale:-
MERZBOW - METALVELODROME 4 CD BOX SET (ED. OF 700)
&
HIJOKAIDAN - THE NEVER ENDING STORY OF THE KING OF NOISE 4 CD BOX SET (ED.
OF 500)
Both were released for a week or so by the planets' premier noise label
Alchemy Records of Japan.
Both are as rare as hens' teeth!


-



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

From: "Jeroen de Boer" <[e-mail]>
Subject: Re: Han Bennink
Date: 10 Mar 2000 12:08:39 GMT+0100

Hi Steve,

It's pronounced with the 'k' sounding as 'k'.

Jeroen


> How does Bennink pronounce his (last) name, with the 'k' sounded or as
> if it were English 'Benning'? I've heard the latter numerous times
> from German speakers, surprisingly, since in German the 'k' normally
> would be pronounced here, so I wonder if it's unpronounced in Dutch.
> --Steve Berman

Jeroen de Boer
co-initiator Cyberslag Foundation
music director Open Electronic Festival
Munnekeholm 10
9711JA Groningen
The Netherlands
tel: [phone]
fax: [phone]
[e-mail]
[e-mail]
http://www.cyberslag.com

-



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

From: "Felix" <[e-mail]>
Subject: Recent Goodies
Date: 09 Mar 2000 23:04:44 +0100

Weel, since somebody asked, here are a few recent goodies (recent for me
anyways):

OTOMO YOSHIHIDE: CATHODE
It's incredible how beautiful melodies can become almost unbearable to
listen. Beautiful, beautiful, beautiful...

AMBERCHAI/AVENAIM: THE ALTER REIBE'S NIGUN
This is a very strange recording. I'd like to know more about these two of
anyone knows anything (for example, what is phlegm? - the band, I mean).
It's very good, full of jewish tradition where you least expect it, like the
noisy guitars in the first track.

THE SELFHATERS: THE ABYSMAL RICHNESS...
I'm still growing in on this one. I quite like it, but didn't "fell in love"
imediatly. It's quite paranoic, actually...

JOHN ZORN: TABOO AND EXILE
This one blew me off. Probably repetitive for some of you, but I still loved
it. Has some tracks with tribal feel, like the Cyro Baptista/Joey Baron duo,
has some tracks out of Masada (I think) and has these brutal songs with a
new set that resembles Painkiller (with Lombardo, Laswell, Frith and
sometimes Zorn and Ribot). Great collection of songs, but I think Zorn could
have gone further with the theme...

SONIC YOUTH: SYR4
This is a nice recording showing SY's newest tendency in recording. This
time they're nailing piano keys. Has a funny little track with Coco Gordon
Moore "singing" a Yoko Ono piece... Most SY fansprobably hate it, while
avant gard/experimental types will find it interesting.

MASADA: HET
What can I say about this? It's Masada. Always great, in my humble
opinion...

Also, this is probably old news, but since I've been off the list for a
while:

MR. BUNGLE: CALIFORNIA
Here in Portugal alot of people called it the album of the year, and there
was a great fuss about it, though most people thought it was Mike Patton's
project AFTER Faith No More. I think alot of FNM fans were responsible for
the album's success around here (we have a solid FNM fan base)...

I also got some more things that are probably off topic, like stuff from The
Flamin Lips, Stereolab, Cat Power, Kiss My Jazz and also the new Primal
Scream, which made me wonder if we needed yet another big
beat/techno/hardcore thingie, but then again, what the hell, if it sounds
nice, why not hear it?

Felix


-



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

From: [e-mail]
Subject: pontiac? lurie?
Date: 10 Mar 2000 10:07:37 -0500


ok, i should have tried to write it down, but i've nearly crashed up my car in
the past trying to take notes off the radio. so last week i heard a song that i
was absolutely certain was from the fabled john lurie vocal album (i've heard
him talk about it, don't even know if it's recorded). the voice, the humor, the
music (another time i heard him say fela is easily his main musical inspiration,
which made me hear the llizards in a whole new light). near as i could tell when
the dj back announced, it was someone named marvin pontiac or something. wish i
could remember more. anyway, does anyone know the status of the lurie song
project? is there such a person as marvin pontiac? (if not, i'm considering
adopting the name myself).

np: "Jesse Helms busted with pornography: The C&W Opera by Eugene Chadbourne"



-



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

From: Daryl Loomis <[e-mail]>
Subject: Kiss My Jazz
Date: 10 Mar 2000 07:13:32 -0800

Maybe it is off topic, but the only Kiss My Jazz I've found around here is "Doc's Place Friday Evening".  There is a place on the net that I can order more, but what are the opinions on this album and their others?

Daryl R. Loomis

[e-mail]


-



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

From: "Michael Berman" <[e-mail]>
Subject: Fw: New Andrew Hill with Marty Ehrlich?
Date: 10 Mar 2000 10:35:00 -0500


From an NPR source:=20

> thanks for the heads up on andrew hill.  the record's been pushed back =
until
> may, though.
>=20


-



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

From: "Julian" <[e-mail]>
Subject: Ambarchi/Avenaim (was Re: Recent Goodies)
Date: 11 Mar 2000 03:22:23 +1100

> AMBERCHAI/AVENAIM: THE ALTER REIBE'S NIGUN
> This is a very strange recording. I'd like to know more about these two
of
> anyone knows anything (for example, what is phlegm? - the band, I mean).
> It's very good, full of jewish tradition where you least expect it, like
the
> noisy guitars in the first track.

Basically 2 nice little jewish boys from Sydney, Australia who just happen
to like playing really loud and screaming their heads off. Phlegm is those
two plus another guy, all going completely crazy. They have many projects
(nearly always together) and also run the What Is Music? festival here
which has featured such people as Faxed Head, Tony Buck and Shelley Hirsch
in the past, and usually has some game pieces inspired by Zorn...


-



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

From: [e-mail]
Subject: Re: Ambarchi/Avenaim (was Re: Recent Goodies)
Date: 10 Mar 2000 11:29:10 EST


In a message dated 3/10/00 11:25:45 AM, [e-mail] writes:

<< Basically 2 nice little jewish boys from Sydney, Australia who just happen

to like playing really loud and screaming their heads off. Phlegm is those

two plus another guy, all going completely crazy. They have many projects

(nearly always together) and also run the What Is Music? festival here

which has featured such people as Faxed Head, Tony Buck and Shelley Hirsch

in the past, and usually has some game pieces inspired by Zorn... >>

also, Oren Ambarchi recently released a much lauded solo CD on Touch, which
hasn't impressed me too much, but seems to have blown away pretty much
everyone else who's heard it.

Jon
www.erstwhilerecords.com

-



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

From: Fritz Senn <[e-mail]>
Subject: Re: Ambarchi/Avenaim (was Re: Recent Goodies)
Date: 10 Mar 2000 12:50:37 -0500


>also, Oren Ambarchi recently released a much lauded solo CD on Touch, which
>hasn't impressed me too much, but seems to have blown away pretty much
>everyone else who's heard it.

In agreement here. The Ambarchi disc, it'sentitled 'Insulation', was
interesting for about a day and then fell flat with me. Haven't listened to
it in weeks. The Matthew Thomas disc, "Architecture" I think it's called,
is interesting but didn't blow me away either

Jon, do you know if the new Dean Roberts disc off Ritornell is released yet?

,Fritz

-



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

From: [e-mail]
Subject: Re: Ambarchi/Avenaim (was Re: Recent Goodies)
Date: 10 Mar 2000 13:02:00 EST


In a message dated 3/10/00 12:53:12 PM, [e-mail] writes:

<< Jon, do you know if the new Dean Roberts disc off Ritornell is released
yet? >>

it's out in Europe already. it hasn't made it to the US yet, I'm pretty sure.
CD Now has it listed with a release date of 3/21.

Jon
www.erstwhilerecords.com

-



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

From: Mike Chamberlain <[e-mail]>
Subject: Re: pontiac? lurie?
Date: 10 Mar 2000 13:34:34 -0500

[e-mail] wrote:
>
> ok, i should have tried to write it down, but i've nearly crashed up my car in
> the past trying to take notes off the radio. so last week i heard a song that i
> was absolutely certain was from the fabled john lurie vocal album (i've heard
> him talk about it, don't even know if it's recorded). the voice, the humor, the
> music (another time i heard him say fela is easily his main musical inspiration,
> which made me hear the llizards in a whole new light). near as i could tell when
> the dj back announced, it was someone named marvin pontiac or something. wish i
> could remember more. anyway, does anyone know the status of the lurie song
> project? is there such a person as marvin pontiac? (if not, i'm considering
> adopting the name myself).
>
Yes, Marvin Pontiac is Mr. Lurie.

--Mike

--
Mike Chamberlain
Teacher, Writer, Broadcaster, Father, Farmer,  Baseball Fan, Jazz Nerd,
Sumo Nut, Bald Guy

"I used to be disgusted, now I try to be amused."

-



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

From: [e-mail]
Subject: Re: pontiac? lurie?
Date: 10 Mar 2000 13:33:51 -0500

Marvin Pontiac is Lurie's new fake alter ego.  There's an entire section of the Strange and Beautiful Music website devoted to this new release: http://www.strangeandbeautiful.com/marvin/index.html

Steve Smtih
[e-mail]

[e-mail] wrote:
>
ok, i should have tried to write it down, but i've nearly crashed up my car in
the past trying to take notes off the radio. so last week i heard a song that i
was absolutely certain was from the fabled john lurie vocal album (i've heard
him talk about it, don't even know if it's recorded). the voice, the humor, the
music (another time i heard him say fela is easily his main musical inspiration,
which made me hear the llizards in a whole new light). near as i could tell when
the dj back announced, it was someone named marvin pontiac or something. wish i
could remember more. anyway, does anyone know the status of the lurie song
project? is there such a person as marvin pontiac? (if not, i'm considering
adopting the name myself).

np: "Jesse Helms busted with pornography: The C&W Opera by Eugene Chadbourne"



-



-



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

From: [e-mail]
Subject: Re[2]: pontiac? lurie?
Date: 10 Mar 2000 14:32:32 -0500


so the record is out? has anyone heard it?

i used to use the name "pontiac flanagan," so i feel a sorta alter kindred
spirit to this marvin.
_______________________________________________________________________________

Marvin Pontiac is Lurie's new fake alter ego.  There's an entire section of the
Strange and Beautiful Music website devoted to this new release: http://
www.strangeandbeautiful.com/marvin/index.html

Steve Smtih
[e-mail]

[e-mail] wrote:
>
ok, i should have tried to write it down, but i've nearly crashed up my car in
the past trying to take notes off the radio. so last week i heard a song that i
was absolutely certain was from the fabled john lurie vocal album (i've heard
him talk about it, don't even know if it's recorded). the voice, the humor, the
music (another time i heard him say fela is easily his main musical inspiration,
which made me hear the llizards in a whole new light). near as i could tell when
the dj back announced, it was someone named marvin pontiac or something. wish i
could remember more. anyway, does anyone know the status of the lurie song
project? is there such a person as marvin pontiac? (if not, i'm considering
adopting the name myself).

np: "Jesse Helms busted with pornography: The C&W Opera by Eugene Chadbourne"



-






-



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

From: "Felix" <[e-mail]>
Subject: Re: Kiss My Jazz
Date: 10 Mar 2000 20:01:12 +0100


> Maybe it is off topic, but the only Kiss My Jazz I've found around here is
"Doc's Place Friday Evening".  There is a place on the net that I can order
more, but what are the opinions on this album and their others?

Well, "Doc's Place..." is quite good and wild. Basically it's a "raw" kind
of album (but then again, all KMJ albums are). It's the noisiest of them
all, but always with that cheesy, sleasy kind of jazz tunes attached to it.

Then there's "In the Lost Souls Convention" which is, IMHO, the best. More
instrumental and less focused on the lyrics (I don't think Rudy TrouvΘ is
very good at writing lyrics in english). It has this amazing song called
Wild Orchid that blows me away everytime I hear it (it's a sort of musical
stand-up comedy show)

And finally, there's "In the Service Station" which also includes the ghost
album "In a Ghost Truck". No, really, there is a hidden ep on this CD, if
you press the search button of your CD player back to 24 minutes in the
first track. This album is alot more lo-fi than any of the previous and alot
more country too. It was a surprise to me to see they had turned into
country both musically and thematically. It's quite good also.

I'd say go for the three of them, but start chronologically. If you're only
the curious listener, get "In the Lost Souls Convention".

Felix


-



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

From: [e-mail] (Benjamin Pequet)
Subject: RE: kletka red and dog faced hermans question
Date: 10 Mar 2000 16:42:23 -0600 (CST)

>Date: Fri, 03 Mar 2000 10:04:34 EST
>From: "margo red" <[e-mail]>
>Subject: kletka red and dog faced hermans question
>
>I noticed in the post on Kletka Red a while back that the group includes
>Andy Moor, formerly of the Dog Faced Hermans.  Does anybody know what other
>projects he and the other DFH members were involved in after they broke up?
>- -Margo Red
>______________________________________________________


Hi guys.
Late reply because digest version of the zorn list and also my message
bounced back for some reason. Anyone, if anyone is (still) interested to
hear, Andy is of course the Andy of The Ex, which should account for
countless side projects. I can only think of Music for the Little Red
Spiders though (name of the band: the Little Red Spiders)

MUSIC OF THE LITTLE RED SPIDERS, LITTLE RED SPIDERS, Production TES, 1998.
Tony BUCK Percussion, Sampler, Programming / Andy EX Electric guitar,
Acoustic guitar / Joe WILLIAMSON Acoustic bass / Stevie WISHART Violon,
Voice, Hurdy-Gurdy

Marion of Dog Faced Hermans did a couple of things with God is My Co-Pilot
these last years (particularly the Peel sessions, and she appears on their
Finnish cd as well). I read that Andy played sometimes with GodCo this year,
in New York. Other than that I lost track a bit too.
Benjamin




-



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

From: [e-mail] (Dave Trenkel)
Subject: Recent Goo
Date: 10 Mar 2000 15:01:06 -0800

Here's the fruits of my last shopping spree. Nothing particularly
earth-shattering, but I hope it's of some interest:

Ray Russell - Live at the ICA/Retrospective(Moikai): Unless I'm really
missing something, I don't find this disc as essential as Alan Licht's
liner notes make it out to be, but it's still an interesting listen.
Russell is a very cool guitarist, and at points (both versions of Stained
Angel Morning, IMHO the stand out tracks here) he gets to a very satisfying
skree that predates just about everybody like Sonic Youth and Nels Cline.
There's also some very nice playing from Harry Beckett (trumpet) and Gary
Windo (winds). But some of the compositions, especially on the 2nd disc,
are fairly weak and one tune has a really embarrassingly dated synth solo.
And when Licht wonders why Hendrix, with much the same equipment, doesn't
come up with as interesting sounds as Russell, he really loses me. I mean,
Russell is a very interesting guitarist, and he definitely doesn't deserve
to be as obscure as he is, but nothing he does redefines the instrument the
Hendrix did, and I think it does Russell a disservice to make these claims
for his playing. Still, it's a worthwhile disc, and I'm glad that Moikai
made it available.

Tied + Tickled Trio - EA1 + EA2(Drag City): This is probably my favorite of
this batch. The TTT are a German sextet, and they mix European small
ensemble chamber-jazz with the low-key electronics of groups like Mouse on
Mars or Pluramon. The band feels pretty stiff in places, but the composing,
arranging and production are consistantly interesting, and, with 9 tunes in
33 minutes, the disc leaves me wanting to hear more of this group.

Wayne Horvitz & Zony Mash - Upper Egypt(Knitting Factory): Another Zony
Mash record, and I feel like this band keeps getting incrementally better
with each release. The last couple of times I saw them live, they were
playing with a real fire that doesn't come through on this disc, but it's a
very nice set of tunes. I've always wondered why this band hasn't broken
through to the Medeski, Martin and Wood audience, they groove just as hard,
and Horvitz is a MUCH better composer than MMW. The introspective quality
that defines a lot of Horvitz' work comes through here more than on either
of the first 2 ZM discs, and he's expanded his keyboard pallette beyond the
Hammond B-3, though it's still a major feature of the band's sound. I've
always thought that Horvitz has an incredible talent for orchestrating
keyboards/synthesizers, and that is really evident on this disc. Two songs,
"Forever" and "Second Time Around", sound like they could be lost
instrumental gems from the Band or early Grateful Dead, and I mean that as
high praise.

Him - Sworn Eyes(Perishable): Him is led by drummer Doug Scharin, and is
one of the many Tortoise-satellite bands, with Jeff Parker(gtr), Bundy
Brown(bass) and Rob Mazurek(cornet) among others appearing here. Scharin
brings a lot of dub, minimalist and ethnic percussion elements into the
mix, but there's basic restraint and emotional coolness here that keeps me
from really enjoying the disc. I find a lot of the music from this scene
interesting but kind of emotionally flat, maybe that's what makes it
Post-Rock, I dunno, and it's not like I'm expecting Alber Ayler or
anything, but this music just doesn't grab me.

____________________________________________
Dave Trenkel : [e-mail]
Minus Web Site: http://listen.to/minusmusic
Minus MP3's: http://www.mp3.com/-minus-
____________________________________________



-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: recent goodies
Date: 10 Mar 2000 18:40:27 -0500

Here's some of what I've picked up over the last few.

Francisco Lopez, La Selva (V2_Archief).  Anyone else remember those
environment recordings which tried to duplicate sonic environments for
apartment dwellers?  You would be forgiven for thinking this was one of
them, because it was all recorded in a Costa Rican jungle and has undergone
very little processing (you can actually hear a bug land on the microphone,
then take off).  But the album includes a big fat booklet on the
compositional decisions involved in the piece, and a recommendation that
you not access these referential levels.  So, I haven't, and the work is
fascinating, particularly knowing that the intentionality exists, but not
knowing what it is (and isn't this the case of so much of our music?).  One
of Lopez' best and most seminal recordings.

Fushitsusha, I Saw It!  That which before I could only sense...
(Paratactile, 2cds).  This is my third Fushitsusha album, in addition to
one of the PSF live sets (PSF 15/16) and Allegorical Misunderstandings on
Avant, and it's by far the most intense and best sounding of the three.
Haino's guitar roars throughout, none of the ballads (ha ha) that show up
on the other albums.  There's no text on the album cover except for the
titles of the pieces and the label information, but I believe this is a
studio recording, and even with what otherwise appears to be excellent
sound, I can seldom hear any drums at all except for an occasional
pitty-pat on a cymbal.  Is his guitar really so loud it drowns out the rest
of the group?  Whatever, an excellent album, one I've been listening to a=
 lot.

Bernhard G=FCnter, Brown, Blue, Brown on Blue (For Mark Rothko) (Trente
Oiseaux).  From one extreme to the other.  This is G=FCnter's best work to
date (and I think I've become a G=FCnter completist).  For the first time, h=
e
deals with long sustained tones rather than the brittle clicks that
populate so much of his work, which almost puts this piece in the same
realms as works by Thomas K=F6ner.  I'm surprised that Brian's wife finds
these so repellent, as the quiet delicacy of all of G=FCnter's work is
relatively easy to listen to (especially compared to the racket of Haino et
al).  Also highly recommended.

Bernard Parmegiani, Pop'eclectic (Plate Lunch).  Much as I like Parmegiani,
I have to say this should be classified as juvenalia.  There are four
pieces, including a collage piece (with an amusing juxtaposition of
Stockhausen and Zappa) where *everything* is in segments long enough to be
recognizable (plunderphonicists take note), and an early
proto-electroacoustic improv piece where the players had some (unmentioned)
constraints in addition to having to play along with the prerecorded tape.
Interesting, but probably for Parmegiani completists only.

Otomo Yoshihide, Cathode (Tzadik).  I got this a while back, but haven't
listened to more than the first track until recently.  Boy, what a mistake!
 This could almost be called Otomo's ambient album (he actually recommends
that you put it on in the next room), but the sounds are pretty much very
delicate.  The first track put me off because of the combination of sine
waves and guitar, but after reading the Harvey article in last month's
Wire, maybe Otomo's another spectralist.  A great album, I love where Otomo
is going (and that no two albums are alike), and think he is one of the
most fascinating musicians playing today.



--
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: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Recent Goo
Date: 10 Mar 2000 15:42:55 -0800


On Fri, 10 Mar 2000 15:01:06 -0800  Dave Trenkel wrote:
>
> Wayne Horvitz & Zony Mash - Upper Egypt(Knitting Factory): Another Zony
> Mash record, and I feel like this band keeps getting incrementally better

I was a little bit frustrated by how short the version of Upper Egypt is. I
have seen the band stretching it more for than 10mn and here, it is almost
just the theme and no improvisation (kind of a radio-friendly version...).
Upper Egypt is a not a piece for a single.

    Patrice.

PS: like Dave Trenkel, I was puzzled by Alan Lich's statement on Jimi Hendrix.
In fact, it would have made more sense to compare Ray with Sonny Sharrock.

-



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

From: Rich Williams <[e-mail]>
Subject: Re:  Re: jazz!
Date: 10 Mar 2000 20:22:26 -0500

>
>It's sad in a way that -- granted, "jazz" means a broad category -- it's
>become so specialized.  Joey Baron told me once that people think, because he
>plays with guys like Zorn, that he probably can't play a bar of straight time
>on a ride cymbal.

    Its not just listeners that fall into this misconception
either. Having only previously worked with JZ during his game-call
period, a pleasantly surprised Sonny Sharrock, upon hearing him on
alto for the first time, remarked "Holy shit! fucking Zorn can PLAY
the saxophone!"


-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: Recent Goo
Date: 11 Mar 2000 01:45:40 GMT



Dave Trenkel wrote:
>Him - Sworn Eyes(Perishable): I find a lot of the music from this >scene
>interesting but kind of emotionally flat, maybe that's what >makes it
>Post-Rock, I dunno, and it's not like I'm expecting Alber Ayler or
>anything, but this music just doesn't grab me.
>


Actually I quite liked this CD.  While it isn't technically brilliant or
innovative apropos the interests of most list members, I found its emotional
peaks quite inspiring, particularly in the first and fourth tracks.  I also
liked Scharin's other configuration, Out In Worship, which played at the
Knit last April.  Again, not very avant, but interesting for those who may
favor ambient-dub-electronic and trip hop syntheses.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: "s~Z" <[e-mail]>
Subject: Re: Re: jazz!
Date: 10 Mar 2000 20:28:35 -0800

>>>"Holy shit! fucking Zorn can PLAY
the saxophone!"<<<

I thought this was a remark by Braxton?????




-




-



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

From: "Scott Handley" <[e-mail]>
Subject: zorn can play (was re: jazz!)
Date: 11 Mar 2000 06:28:23 GMT

Regarding Sharrock's and/or Braxton's comments about Zorn's alto playing: I
think there's the suspicion among craftsmen, virtuosos, that "restructural"
creativity is a cop-out; that is, that breaking new ground
by---_apparently_---TOTALLY BREAKING with tradition, is a simple,
sensational way to define oneself and one's artistry: "you can't fire me, I
quit"----making up a new game (figuratively or literally).  From hearing
musicians speak about radical (?) forms of which they disapprove, or which
they regard with bemusement, contempt, or suspicion, it seems that there is
the idea that some new forms are all theory, no practice (I mean this in
several possible ways).  In other words: "looks good on paper".

I'm thinking less here about "jazz" musicians (whatever) like Sonny and
Anthony, both of whom have radically reinvented the use of their instrument
and the method of improvising in general.  I'm thinking a little more of
friends of mine, acquaintances, musicians I've had the pleasure of speaking
with and listening with/to, interviews, etc etc.  For Braxton, it was
hearing the Sonny Clark Memorial group; for my friend Brian, it was Masada,
which gradually paved the way from something which he as
player-player-player could relate to, to things which might otherwise sound
like something from Mars (i.e., GUNDOWN, or Music For Children).  Zorn
speaks of his "ten hour practice days" in half his interviews: he seems both
proud and defensive of the WORK he's put into his technique, and at least
once explained the obsessive practicing as 1.) the product of a "late"
start, and 2.) the overwhelming desire to be taken seriously by fellow
musicians...PLAYERS.  He also seems to appreciate people who "play their ass
off" (a terms he's applied in turns to Frisell, Douglas, Baron, Wynton
Marsalis, and others).  I guess what I'm trying to get at is the persistence
of practicality and instrumentality (again, take that how you wish) in even
the most marginally jazz-related practices.  In fact: nix "jazz"----in even
the most marginally VIRTUOSIC practices.  The discourse of CRAFT and
COMPETENCE becomes so important, that being able to "hold one's own" makes
redefining the terms seem like the Road Less Travelled For A Reason (i.e.
because it's easier than mastering "The Tradition").  I just mention this
because it seems to be a persistent theme in this constellation musics we
listen to.  The challenge: "but can he/she PLAY?"  Or: the intense
subconscious terror of the threat of the non-musician musician.  This theme
leading to
1. The desire to be recognized by one's hero-icons (Brax's funny    story
about giving FOR ALTO to Warne Marsh, who _despised_ it).
2. The establishment of a normalized, standardized, unified, monolithic
"tradition" (cf. Marsalis, cf. Derek Bailey's response: "Who's Tradition?")
3. The vociferous avowal of genre ("but is it _jazz_?"--->in case you think
this irrelevant, consider that Louis Armstrong's famous aphorism cuts both
ways: if you don't already know, you'll never know, i.e. if you had common
sense, you'd know, i.e. I already know, i.e. myself and people who agree
with me on _____ level know, definitively, what jazz is, and what it is not,
and---somehow---it matters).

Sorry for the long post, but the idea of competence and standards vis-a-vis
"experimental music" remains, to me at least, interesting, problematic,
unresolved, even fertile.

-----s

N.P. Tetreault/Drumm - PARTICLES AND SMEARS (Erstwhile)
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: "Ljova" <[e-mail]>
Subject: Jarrett-alikes
Date: 11 Mar 2000 01:46:01 -0500

Hi, List.

Today, I ventured "forth" in my life, and bought Keith Jarrett's CD 'La
Scala', upon recommendation of a friend.
Though I have heard other Jarrett improv-cds before, I have never heard
quite anything like this.

So, two questions:

1) Anyone know when he's going to do an improv concert in New York (solo,
not with the trio)
and
2) Are there any other *SOLO* artists who do whole concerts of free-improvs?

Thank you!,

Ljova


--------
Lev "Ljova" Zhurbin
[e-mail]
http://www.Ljova.com/

"There is no spoon."
        -("The Matrix")


-



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

From: [e-mail]
Subject: OT!  Stateside Ultima Spiaggia distributors?
Date: 11 Mar 2000 03:59:14 EST

Anybody know of a Stateside distributor for this label?  From Wayside, I
picked up Roberto Colombo's _Botte da Orbi_ CD- a bigband CD from 1977 that
somewhat reminds me of the British jazz/prog bigbands of the early 70's ala
Centipede.  Anything else on this label worth searching out?  Tia...

--
=dg=

-



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

From: "Lev \"Ljova\" Zhurbin" <[e-mail]>
Subject: www.Ljova.com update
Date: 11 Mar 2000 04:57:24 -0500

website: http://www.Ljova.com
music: http://www.mp3.com/LevZhurbin (compositions)
   and http://www.mp3.com/Ljova (improvisations)

IN THIS UPDATE:
1.  At last, streaming MP3s,
1a. including four previously unreleased items!
2.  "Juvenilia" promo CD now available
3.  Juilliard Graduation (viola) recital info
4.  Who? Why? Remove!

1. At last, streaming MP3s!:
    I have been promising MP3s of my music for months, and, finally, I'm happy
to present them to you. In order to make room for future developments, I
have split up my MP3 collection in the following way:
http://www.mp3.com/LevZhurbin holds my compositions;
http://www.mp3.com/Ljova holds my improvisations.
Alternatively, you can see all this on one page:
http://www.Ljova.com/listen/mp3.htm

1a. Thanks in part to the mammoth composition recital of February 17th, four
new pieces are now also available as mp3s in gorgeous, live recordings:
     > "Sturm" for one cellist (1995) -- Ariel DeWolf
     > "Tango for a Cold Wintry Day" (1999) -- Elizabeth Morgan
     > "Sicilienne" for violin and piano (2000) -- Jesse Mills / Soyeon Lee
   Additionally, I recorded a new improv, while on a recent trip to
California:
     > Improvisation #2: "California" (2000)

  Please check these out, and let me know what you think!


2.  "Juvenilia" promo CD now available!

I am now offering a Promotional CD, which includes selections from the mp3
collection. If you are interested in obtaining a copy, please check out
http://www.Ljova.com/listen/juvenilia.htm.


3.  Juilliard Graduation (viola) recital info

Hard to believe, but, this May, I will graduate from Juilliard. My
graduation recital will be on April 24th, at 8pm, in Morse Hall. It will
include works by Bach, Hindemith and Shostakovich - as well as a couple of
other things I forgot to mention. Mark your calendars!


4.  Who? Why? Remove!

My name is Lev "Ljova" Zhurbin, and I am a composer/violist in New York
City. You are on my mailing list either because you signed up for it,
because you are my friend, or because I stole your email address from
somebody else - in which case, I thought you might be interested in what I
do.

I am on a lot of mailing lists, and I personally find the "delete" key very
handy. Sometimes, I have time, sometimes not. If you're not sure that you
want to be on my mailing list, then that's your best option.

*However, if you do not want to receive email from me ever again, please
reply, and write "remove" in the subject line. That will do it. But
beware -- who knows if I'll ever get to steal your email address again!


Merry Weekend to all of you bums celebrating it.

:)

Cheers,

Ljova



--------
Lev "Ljova" Zhurbin
[e-mail]
http://www.Ljova.com/

"Do not fear mistakes -- there are none."
            - Miles Davis


-



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

From: Theo Klaase <[e-mail]>
Subject: Bill Frisell - Ghost Town.
Date: 11 Mar 2000 07:08:43 -0800 (PST)

    I've just had the pleasure of listening to this
fine album, and I must say it's quite pleasing to the
ear.  I consider myself to be a Frisell fan, to a
large degree, but I tend to still have preferences
about some albums over others.  Specifically speaking,
everything he did from '89 to '93, when he was
recording with Joey Baron and Kermit Driscoll, I find
absolutely amazing.  In terms of a band leader,
composer, and guitarist.  The albums from '94 to '99
had a laid back, almost country/twang feel that was
nice and interesting but not quite as appealing as the
Post-Modern Jazz stuff of the earlier recordings.
     That's why the new album "Ghost Town" appeals to
me so much.  It's got both worlds.  Frisell seems to
remember his roots in the Post-Modern world, as well
as moving on with the sophisticated country feel.  As
I listen to the new album, it seems as though Frisell
had challenged himself to be interesting at all times,
never gratuitous, and never flawed.  A beautiful
balance when it can be achieved, and this album does
just that.
     Ghost Town.

=====
-That which is Theodorus...    "The way to see faith is to shut the eye of reason."   www.freeyellow.com/members7/theodorus/index.html
__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com

-



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

From: Theo Klaase <[e-mail]>
Subject: Zony Mash - Upper Egypt...
Date: 11 Mar 2000 07:12:52 -0800 (PST)

     All I can say about this one is, if you like Zony
Mash you'll love it.  It's great.  If you don't like
the band, this album won't change you mind.  I find it
typical Horvitz.  ...and as such, I enjoy it...

=====
-That which is Theodorus...    "The way to see faith is to shut the eye of reason."   www.freeyellow.com/members7/theodorus/index.html
__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com

-



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

From: [e-mail]
Subject: Re: Andrew Hill new one
Date: 11 Mar 2000 10:54:28 EST

Somebody wrote:

<<> Does anybody know on what label this Andrew Hill sextet (with Marty
Ehrlich) will be released?

It's on Palmetto and is due out next Tuesday (3/14).>>

Sorry to burst the bubble, but this release has been cancelled for reasons I
don't know. I buy Palmetto for my store from Allegro Distribution and both
label and distributor have told me that it's cancelled without giving a
satisfactory reason.

Patrick Brown
[e-mail]

P.S. Andrew Hill does appear on the new Greg Osby CD on Blue Note, if you're
interested. It's somewhat subdued, though.

-



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

From: [e-mail]
Subject: Re:  Braxton Recs
Date: 11 Mar 2000 11:29:31 EST

    Someone asked for easy to find and in print Braxton recommendations, and
while that cuts out some of my very faves ("Creative Music Orchestra Koln
1978" 2CD set on hatArt; any of the mid-70's collaborations with Dave
Holland, especially "Five Pieces 1975" and "The Montreaux-Berlin Concerts"),
I can work with it. I don't think anyone on list will disagree that anything
you turn up with his quartet of Braxton/Marilyn Crispell/Mark Dresser/Gerry
Hemingway ought to be snapped up. And for me at least, this included the
later stuff (especially "Santa Cruz 1993" 2CD set on hatArt) once they'd
reformed even moreso than the well-documented 1985 tour of this group
available on three 2-disc sets from Leo Records. But really, get anything
with this group. You asked about the "Charlie Parker Project 1993" and I
think it's great. One disc studio with Pheeroan Aklaff and one disc live with
Han Bennink. In a similar vein, i also like hearing him tackle the works of
other composers when it's all one composer on a disc - there are tributes to
Monk ("Six Monk's Compositions" on Black Saint) and Lennie Tristano ("Eight
(+3) Tristano Compositions" on hatArt) that I really enjoy, though I've heard
others say they don't like them. Personally I would avoid his other
"standards" and "In the Tradition" albums. It's kinda neat for a minute or so
to hear him rip all over a classic, but the other players aren't with him
generally and he leaves them in the dust. One exception would be "Seven
Standards 1995 Quintet," co-credited to bassist Mario Pavone and featuring
AkLaff, Dave Douglas and Thomas Chapin running through some familiar tunes.
Like the Charlie Parker project, these start from familiar points and move
increasingly out as they progress. But basically, I'd skip the standards
albums he made circa the early 70's, where he felt he had to prove something
by playing standards. Him playing his own music from the period is excellent.
Lately he's been releasing things on his own Braxtonhouse label and I'm sure
there's someone here who can recommend things from there. I have only one of
them "Octet New York 1995" and like it, but it hasn't yet grabbed me the way
earlier albums of his have. In fact, I'd like to hear if anyone knows those
albums well enough to recommend as well.
    On another note, can anyone recommend releases from Willem Breuker's
catalog as a leader? I just picked up "Heimel" and enjoy it, but still don't
know his M.O. and wonder what else is good in his world. Is it always larger
ensembles like this? Do they all sound scored like this (which is fine, I'm
just curious)? Any help is appreciated.

Patrick Brown
[e-mail]

-



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

From: James Hale <[e-mail]>
Subject: Re: Andrew Hill new one
Date: 11 Mar 2000 12:07:22 -0500

[e-mail] wrote:

> Sorry to burst the bubble, but this release has been cancelled for reasons I
> don't know. I buy Palmetto for my store from Allegro Distribution and both
> label and distributor have told me that it's cancelled without giving a
> satisfactory reason.

That may be because there was a mistake on the initial pressing and it
had to be re-done.

As far as I know it's still set for release. At least, I know that
Howard Mandel has written liner notes for it, and Down Beat has assigned
me to review it.
I have an advance copy here on my desk.

James Hale

-



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

From: [e-mail]
Subject: A quick retraction
Date: 11 Mar 2000 12:11:44 EST

I posted that the Andrew Hill release had been cancelled before I had caught
up on the list's postings and I should amend my statement. I am basing it on
3 week-old information. If a new date of May something has since been stated,
by all means, believe the person who said so and not my doom-n-gloom
cancellation story.

Patrick Brown
[e-mail]

-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: Recent Goo
Date: 11 Mar 2000 09:43:51 -0800

At 3:42 PM 3/10/00, Patrice L. Roussel wrote:
>On Fri, 10 Mar 2000 15:01:06 -0800  Dave Trenkel wrote:
>>
>> Wayne Horvitz & Zony Mash - Upper Egypt(Knitting Factory): Another Zony
>> Mash record, and I feel like this band keeps getting incrementally better
>
>I was a little bit frustrated by how short the version of Upper Egypt is. I
>have seen the band stretching it more for than 10mn and here, it is almost
>just the theme and no improvisation (kind of a radio-friendly version...).
>Upper Egypt is a not a piece for a single.

I agree. The song itself is basically a blowing vehicle, and live, ZM can
really take it places, Tim Young in particular, who, I think, is one of the
more interesting new guitarists around. I don't dislike the album version,
but I know it could go much further.
>
>        Patrice.
>
>PS: like Dave Trenkel, I was puzzled by Alan Lich's statement on Jimi Hendrix.
>In fact, it would have made more sense to compare Ray with Sonny Sharrock.

Especially since Licht dismisses Sharrock as a comparison to Russell
because, "Sharrock isn't really rock." That's true, but, as evidenced by
the more composed material on the 2nd CD, neither is Russell, who seems to
be coming from  a blues/jazz background.

____________________________________________
Dave Trenkel : [e-mail]
Minus Web Site: http://listen.to/minusmusic
Minus MP3's: http://www.mp3.com/-minus-
____________________________________________



-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: brubeck tribute
Date: 11 Mar 2000 19:07:00 -0500

The new Forced Exposure listing came today, and lists a Brubeck tribute on
Avant that includes many of our heroes (Caine, Frisell, MMW, Ruins, Baron,
Douglas, etc.).  Anyone heard this or have a track/personnel listing?

--
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: "Mark Corroto" <[e-mail]>
Subject: RE: brubeck tribute
Date: 11 Mar 2000 22:25:48 -0500





Blue Shadows In The Street    Dave Slusser
Far More Blues            Uri Caine
In Your Own Sweet Way        Pachora
Summer Song             Bill Frisell
Blue Rondo A LA Turk        Ruins
Tokyo Traffic            MM&W
The Duke                Anthony Coleman
Calcutta Blues            Eyvind Kang
Sixth Senth                Slowpoke
Winter Ballad            Erik Friedlander
Jumpin                Sexmob
Nomad                    Dave Doulas
Three To Get Ready        Joey Baron
Golden Horn                David Krakauer



-----Original Message-----
[mailto:[e-mail]]On Behalf Of Caleb T. Deupree
Sent: Saturday, March 11, 2000 7:07 PM


The new Forced Exposure listing came today, and lists a Brubeck tribute on
Avant that includes many of our heroes (Caine, Frisell, MMW, Ruins, Baron,
Douglas, etc.).  Anyone heard this or have a track/personnel listing?

--
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: "Marcin Gokieli" <[e-mail]>
Subject: Formanek's Low Profile, Carla Bley
Date: 12 Mar 2000 09:41:45 +0100

I just bought Michael Formanek's "Low Profile" CD (with Douglas, Berne,
Smith, Lacy, Erlich, and Bonafede - BTW who is this guy?). I am seriously
inspired by this recording - are there any other recordings by the same (or
similiar) band?
I also got 'musique mechanique' by Carla Bley.  Up to now I had just one of
her albums ('fleur carnivore'), and it wasn't very special - just a nice and
very well played modern big band music. This album, however, is different,
and I like it very much (although apparenly it hasn't been remastered so the
sound is rather flat). Could somebody recommend me some other things she
did? Is there any on-line info about her music?
Have fun,
Marcin Gokieli
"Oh Nick, I had the strangest dream!
I thought -  how could I know what I was never taught?"
Stravinsky/Auden "The Rake's Progress"



-



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

From: "Artur Nowak" <[e-mail]>
Subject: Tim Sparks' "Neshamah" on Tzadik
Date: 12 Mar 2000 10:10:36 +0100

Hi Philozorners,

I dont' remember anybody's comments about Tim Sparks' "Neshamah" album
released last year by Tzadik in the Radical Jewish Culture series.
IMHO, this album is great! Just solo acoustic guitar playing
beautifull traditional melodies. Tim's technique is excellent, I could
bet he did overdubbs in few tracks, but it's just him, playing with 5
fingers of his right hand. Really, an amazing guitarist. But not anly,
his arrangements are very interesting, some melodies are quite simple,
but Tim build whole "orchestration" around them. He plays odd meter
patterns easily, listening to it for the first time I was repeating
"wow, how he did that!". Ultimate listening!

Tim Sparks homepage: http://www.itascasw.com/timsparks/core.html

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


-



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

From: infolit <[e-mail]>
Subject: Newly Updated Site for Jazz Collectors & Traders!
Date: 12 Mar 2000 12:19:36 +0200

Dear List Members,

Our site JAZZ COLLECTORS & TRADERS at:
 http://www.litinfo.lt/jazz/jazz_home.htm
has been completely updated!

That is why you are requested to visit it and tell us what you think,
so that we could make some changes and improvements.

Please also fill in the form
 http://www.litinfo.lt/jazz/jazz_form.htm
 if you wish to submit your ad and address to our site.

All your opinions and advice will be considered.

Thank you.

Igor Balenko
web-master
[e-mail]



-



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

From: Stephen Fruitman <[e-mail]>
Subject: Review: V/A, _Knitting On The Roof_
Date: 12 Mar 2000 13:12:54 +0100

I=B4m so surprised there=B4s been so little mention of the wonderful _Knitti=
ng
on the Roof_ CD. I therefore humbly submit my own review; it has been
posted at the  following website, where a couple of sound samples may also
be found.

http://motion.state51.co.uk/reviews/533.html


Various Artists, _Knitting On The Roof_ (Knitting Factory Works)

The phenomenally successful 1960s Broadway musical Fiddler on the Roof has
been much execreted by intellectuals for pasteurizing, banalizing and
commercializing the vanished Jewish culture of Eastern Europe. However,
with the advent of a "radical Jewish culture" among the downtown NYC
avantgarde and its unabashed fondness for pop culture, a rehabilitation of
the show has been in evidence. Some artists have already featured covers of
various tunes on their albums, while others have recycled the so-called
ersatz "Jewish" or klezmer sounds featured in the original, thereby
acknowledging Fiddler as a seminal influence -
a gesture defying the tastemakers' compartmentalizing culture into either
high- or low-brow.

_Knitting on the Roof_ is a rousing, humourous, affectionate look at the
world of Tevye the Milkman, his wife Golda, his five daughters and his
little town of Anatevka. On the whole, the only disappointment here is the
fact that no one saw fit to sample the voice of the Ur-Tevye, Zero Mostel.
Some renditions are just plain silly fun, like The Residents' version of
"Matchmaker", others are klezmer rave-ups ("Tradition" by the New Orleans
Klezmer Allstars or Hasidic New Wave's "Wedding Celebration"). Eugene
Chadborne deracinates "Miracles of Miracles" and places it smack-dab on
some back porch in Appalachia, all twanging guitars and
strumming banjoes, transforming it into a slightly bent hillbilly revival
song. Still others are played straight, like Uri Caine's touching "Sabbath
Prayer" with the Yiddish singer Lorin Sklamberg or Jill Sobule's
Brooklyn-inflected rendering of "Sunrise, Sunset". In between are choice
cuts of experimental derring-do,including Negativland's remarkable
deconstruction of "Tevye's Dream" or the duo Come's stroke of genius -
having Tevye ask Golda the seminal question "Do You Love Me?" over a pay
phone from some downtown deli. The Paradox Trio round things off with a
Sephardic-tinged version of the play's closing number,
"Anatevka", which relocates the little shtetl from the Pale of Settlement
to somewhere on the Balkan peninsula. But why not? When you're in love
(with good music), the whole world is Jewish!

Stephen Fruitman








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



-



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

From: [e-mail]
Subject: a zorn interview without the term "postmodern bad boy"
Date: 12 Mar 2000 10:43:15 EST

i was thinking, i don't know if the rest of the list is with me on this, but
there are probably enough people on the list that have some intereaction with
zorn to pull it off, that we could develop a set of questions to get to the
man. Stuff that's not really covered in the interviews. I mean, there
probably aren't a lot of people as familiar with Zorn's body of work as the
people on this list, and in the JazzTimes article he seemed to be generally
empathetic about his supporters.
Is anyone interested in assembling this?

from,
matt

-



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

From: "ian r watson" <[e-mail]>
Subject: Re: a zorn interview without the term "postmodern bad boy"
Date: 12 Mar 2000 19:42:28 -0000

Personally, having read that Jazz Times interview (which I think it would be
a great idea if everyone just read instead of quoting bits in a Chinese
whispers kind of way), Zorn seems to have an aversion to being interviewed
at all.At one point he says (ok now I'm doing it )...

 "I also felt that, in general, I just don't have that much to say,really.I
do music , and a lot of times I don't understand fully what it is that I'm
doing at the moment. I understand 10 years later what it was"

what I'm trying to say is this, can't we just leave the guy in peace and
enjoy his music without having to have it explained to us?, it takes away
the mystery and magic of what music is for me................just a thought
.......Ian.


> i was thinking, i don't know if the rest of the list is with me on this,
but
> there are probably enough people on the list that have some intereaction
with
> zorn to pull it off, that we could develop a set of questions to get to
the
> man. Stuff that's not really covered in the interviews. I mean, there
> probably aren't a lot of people as familiar with Zorn's body of work as
the
> people on this list, and in the JazzTimes article he seemed to be
generally
> empathetic about his supporters.
> Is anyone interested in assembling this?
>
> from,
> matt
>
> -
>
>


-



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

From: neongreen7 <[e-mail]>
Subject: masada videos?
Date: 12 Mar 2000 16:43:02 -0600

if anyone has a good Masada video, i'd love to get a copy. being from
minnesota, i've never had the chance to see them, or any of its members
play.

thanks,
craig


-



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

From: neongreen7 <[e-mail]>
Subject: zorn interviews
Date: 12 Mar 2000 16:46:49 -0600

any zorn interveiw archives around the 'net?

thanks....again,
craig


-



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

From: neongreen7 <[e-mail]>
Subject: Masada/DD charts
Date: 12 Mar 2000 16:46:07 -0600

does anyone know where i can find charts for some of the Masada material.
i'm really struggling to try to understand the forms of the tunes(if they
have forms). also, what about dave douglas original material? form charts?
i'm a drummer and i'm really trying to concentrate on the form and time,
rather than all the technical stuff that joey is doing.

thanks,
craig


-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Masada/DD charts
Date: 12 Mar 2000 19:15:37 -0500

On Sun, Mar 12, 2000 at 04:46:07PM -0600, neongreen7 wrote:
> does anyone know where i can find charts for some of the Masada material.
> i'm really struggling to try to understand the forms of the tunes(if they
> have forms). also, what about dave douglas original material? form charts?
> i'm a drummer and i'm really trying to concentrate on the form and time,
> rather than all the technical stuff that joey is doing.

The Zorn issue of Sonora includes, along with other good stuff, the
chart for "Paran". But it doesn't say a whole lot, structurally.

--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |


-



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

From: "Julian" <[e-mail]>
Subject: Re: Masada/DD charts
Date: 13 Mar 2000 11:58:02 +1100

> does anyone know where i can find charts for some of the Masada material.
> i'm really struggling to try to understand the forms of the tunes(if they
> have forms). also, what about dave douglas original material? form
charts?
> i'm a drummer and i'm really trying to concentrate on the form and time,
> rather than all the technical stuff that joey is doing.

The Masada stuff is mostly head-solos-head. Once you've heard the head a
majority of the tunes have solos happening on the same chords. A really
simple example is Abidan (from Masada 3 and Bar Kokhba). The main melody
only goes for 16 bars and then those chords are repeated throughout.

Then there are those that have a more complex head and soloing on a vamp
(can't think of any off the top of my head now though).

And also those really fast ones where the solos tend to be group
improvisations rather than based on any particular set of chords.

And strangely enough, these 3 descriptions are pretty reminiscent of the
way Ornette Coleman's tunes work.

Dave Douglas stuff can be far stranger as can be seen in two scores at his
website (www.davedouglas.com I believe). But usually the structures are
similar to those mentioned above.


-



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

From: Brian Olewnick <[e-mail]>
Subject: Breuker (was Re: Braxton Recs)
Date: 12 Mar 2000 20:49:19 -0500

[e-mail] wrote:

>     On another note, can anyone recommend releases from Willem Breuker's
> catalog as a leader? I just picked up "Heimel" and enjoy it, but still don't
> know his M.O. and wonder what else is good in his world.

I'm not overly fond of "Heibel" (aside from the packaging, of course),
but I'd strongly recommend the following (all of which are at least
somewhat available on disc):

The European Scene        (BASF, 1975)
Summer Music            (Marge, 1978)
Willem Breuker Collective    (About Time, 1983)
Metropolis            (BVHaast, 1987)
Parade                (BVHaast, 1990)

...among others.

> Is it always larger
> ensembles like this?

With the Kollektif, it is. There are a few odd duets around with Han
Bennink and Leo Cuypers. "Music for His Films (Johann van der Keuken)",
a fine collection of soundtrack work from 1967-75, includes smaller
group pieces with Bennink, John Tchicai and others. Breuker also appears
as sideman to good effect on recordings with groups led by Leo Cuypers,
Henk de Jonge and others.

> Do they all sound scored like this (which is fine, I'm
> just curious)? Any help is appreciated.

imo, his work of the last ten or twelve years has grown a bit ponderous
as it's veered further and further from a jazz base and more into his
apparent goal of being the Kurt Weill of Holland. "Sensemaya" was the
last WBK disc I found of some value. That being said, they are still
capable of much butt-kicking in live performance. At Tonic last fall
they followed a lackluster first set with an awesome second. They're
playing there again on the 22nd.

Brian Olewnick

NP: DNA, DNA (Avant)

-



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

From: phil zampino <[e-mail]>
Subject: Tonic via the net ?
Date: 12 Mar 2000 21:32:56 -0500

Does anyone know if Tonic has a website or an email list for their
schedule?  Any other sources for nyc performance schedules online?

thanks!
    philz


-



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

From: Mike Chamberlain <[e-mail]>
Subject: Re: Tonic via the net ?
Date: 12 Mar 2000 21:50:29 -0500

phil zampino wrote:
>
> Does anyone know if Tonic has a website or an email list for their
> schedule?  Any other sources for nyc performance schedules online?
>
> thanks!
>         philz
>
> -

The Tonic website is at http://www.tonic107.com

--Mike

--
Mike Chamberlain
Teacher, Writer, Broadcaster, Father, Farmer,  Baseball Fan, Jazz Nerd,
Sumo Nut, Bald Guy

"I used to be disgusted, now I try to be amused."

-



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

From: [e-mail]
Subject: re : zorn   interview sans "postmodern bad boy"
Date: 12 Mar 2000 22:36:05 EST

well. i think that a list of i don't know how many might have something valid
to ask the man. i'm not trying to detract from the fantastic compositions,
but there must be some fellow composers who are curious about the way Zorn's
muses are translated to musical terms.

Looking at the statements about music he's made over the years, his ideas on
the Theatre of Musical Optics and the liner notes to Spillane, I have to
admit that I'm rather curious as what he's concieving of lately.

Of course, maybe if he wants people to know, he'll tell them himself.
 It seemed like he had plenty to say in the Jazz Times interview. The
introduction just made me cringe.


from,
matt

-



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

From: [e-mail]
Subject: otomo cd trade: pilgrimage/microcosmos
Date: 13 Mar 2000 01:56:28 EST

i have a copy of otomo yoshihide album "microcosmos" that i want to trade.
anyone interested in trading for another cd please email me privately.
thanks. jason





-



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

From: [e-mail]
Subject: E#
Date: 13 Mar 2000 02:44:17 EST

tonight i witnessed elliot sharp and orchestra carbon perform radiolaria at
the KF.
as this was basically my introductory experience to his work, could someone
be so kind as to respond with a crash-course in his other projects/output? i
ask in this in the same context as someone who only knew...say,
absinthe..would still have quite a long way to go to become informed about
zorn's megadiversified aesthetic. and although e# does seem slightly
enigmatic, i tend to presume that this query is far easier to answer than
that of the aforementioned would-be jz neophyte.
thanks in advance.
curious,
joseph

p.s. - and isn't radiolaria connected to the quasi-recent discussion of sine
waves and "difference tones"?


-



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

From: [e-mail]
Subject: re: a zorn interview...
Date: 13 Mar 2000 10:10:29 -0500


i think orangejazz's idea is an interesting one. if, as ian rightly points out,
he doesn't want to be "interviewed" by us, he can say so, or just ignore the
request. but he may well take the opportunity to, in a passive way, get the word
out.

i'd be interested to hear if he feels that the situation at the knit has
improved at all, if he has plans to develop another working band (like naked
city and masada), what are the advantages of tzadik being run as a nonprofit,
and how tower "avant garde" section has progressed or if any stores have really
done it.

since from what i understand, he's not lurking, but there are people who work
with him regularly who are on the list (even if they don't post). why not ask?

kg

np: bud powell: the complete blue note and roost recordings



-



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

From: [e-mail]
Subject: music collectors
Date: 13 Mar 2000 10:37:33 -0500


thinking back on our conversations about excessive collections (i'm out to by
another cd rack today) and times when collectors have been able to keep music
alive ... i've got an associated press article about a maryland guy who's been
collecting country records and taping concerts for decades. some of his
recordings are starting to be released and is attracting other industry
attention. email me if you want a copy with which to defend your massive
collection against complaining cohabitors.

kg

sp: bud powell: the complete blue note and roost recordings



-



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

From: Matthew Moffett <[e-mail]>
Subject: Re: zorn can play (was re: jazz!)
Date: 13 Mar 2000 11:15:01 -0500



Scott Handley wrote:

> Regarding Sharrock's and/or Braxton's comments about Zorn's alto playing: I
> think there's the suspicion among craftsmen, virtuosos, that "restructural"
> creativity is a cop-out; that is, that breaking new ground
> by---_apparently_---TOTALLY BREAKING with tradition, is a simple,
> sensational way to define oneself and one's artistry: "you can't fire me, I
> quit"----making up a new game (figuratively or literally).

I think this occurs in any art form/style.  Painters like Pollack, Duchamp, etc
were heavily criticized in their time for not being able to paint realistically
when many of them started out that way.  I'm experiencing it in my fiction
classes whenever I bring in experimental work through comments  like, "Okay,
this is fun, but can you write a story."  A lot of this seems to only happen in
the U.S.  For some reason they don't think artists should be able to work in
both an experimental and traditional vein.  Part of it may be the idea of the
crazy visionary; if your brain works in such a way to create more cutting edge
work, there certainly can't be enough room in your brain to create anything
traditional in a solid and impressive manner.  What they don't realize is that
artists play with what interest them the most, and artists always come from
their own traditions (meaning the avant garde has as much its own sense of
tradition as does work with a more mass appeal).


-



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

From: [e-mail]
Subject: death ambient
Date: 13 Mar 2000 11:30:32 -0500


saw ikue and kato last night at tonic with ted reichmann in the frith chair. i
like ted, but was unsure how he'd fit in. my fears, however, were unfounded.
it's hard to say it was better because, well, it is fred frith we're talking
about, but d.a. is a very interesting guitarless band. reichmann did a lot of
textured stuff on keyb, piano and accordian, and at times did some nice unison
playing with kato (who has been really solid the last coupla times i've seen
him, better imho than his dropping-chains-on-the-bass kinda stuff he was doing
more often when i'd see him).

pickd up the new cd, too, but haven't listened to it yet. working my way through
my new bud powell box set first.

also pickd up a jon rose disc i haven't played yet. got me thinking, i haven't
heard much talk of him round these cyberparts. i've been really digging to him
lately. anyone else?

kg



-



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

From: Linares Hugo <[e-mail]>
Subject: RE: Recent Goo
Date: 13 Mar 2000 13:33:07 -0300



> > Wayne Horvitz & Zony Mash - Upper Egypt(Knitting Factory): Another Zony
> > Mash record, and I feel like this band keeps getting incrementally
> better
>
> I was a little bit frustrated by how short the version of Upper Egypt is.
> I
> have seen the band stretching it more for than 10mn and here, it is almost
>
> just the theme and no improvisation (kind of a radio-friendly version...).
>
> Upper Egypt is a not a piece for a single.
>
>     Patrice.
>
>
    [Linares Hugo]
    By the way, which Sanders' recording was Upper Egypt originally
included? Label?

    Thanks in advance.

    Hugo

-



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

From: Whit Schonbein <[e-mail]>
Subject: Re: clapping after solos
Date: 13 Mar 2000 11:08:00 -0600 (CST)


at a performance of sex mob last night in st. louis, missouri, bandleader
stephen bernstein implored the audience to clap after solos.  later, he
told everyone to be quiet after one solo because "this is the good part".
so i guess he wanted the audience to clap after some solos, and withhold
clapping after others.  i just withheld from clapping.

good show, btw.  the interplay between tony sherr (b), kenny wollesen (d)
and brigan krauss (sax) was impressive and sticks in my mind as a high
point(s).

whit

William W. Schonbein
Philosophy-Neuroscience-Psychology Program
Department of Philosophy
Washington University
St. Louis, MO, USA 63130-4899

http://artsci.wustl.edu/~wwschonb/
[e-mail]


-



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

From: Yves Dewulf <[e-mail]>
Subject: Re: clapping after solos
Date: 13 Mar 2000 18:47:09 +0100 (CET)


> at a performance of sex mob last night in st. louis, missouri, bandleader
> stephen bernstein implored the audience to clap after solos.  later, he
> told everyone to be quiet after one solo because "this is the good part".
> so i guess he wanted the audience to clap after some solos, and withhold
> clapping after others.  i just withheld from clapping.

At a sex mob show in Seattle I witnessed in september, a little child in the
audience was making a horrible noise, banging his toys and screaming like hell
(this was an afternoon show at a festival). Bernstein urged the kid to go on an
make even more noise, "take his solo" and after that wanted the audience to give
him a big round of applause!

At the same gig he also told that John Lurie phoned him to tell that he was no
longer a member of the Lounge Lizards (apperently Lurie said he had found a
magnificent trumpet player, so Bernstein was out). Bernstein then gave the
audience the private phone number of Lurie, so everyone could complain about
this.

Marvellous show, by the way, but it ended to early because of a fire-alarm.

And speaking of encores and Lurie, I was told by a colleague of mine that Lurie
once played at a open air festival in Brussels (a long time ago) with the Lounge
Lizards and was forced by the authorities to end the concert, because there was
no authorisation to play after a certain hour. So Lurie invited the complete
audience into his dressing room (at least the part that had the luck of fitting
into the small room) and continued playing over there. Maybe some other Belgians
were over there when this happened and can confirm this story ??

Yves,
now off to see Toshinori Kondo (with the fabulous DJ Grazhoppa en Dirk
Wachtelaer)



-



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

From: "Scott Handley" <[e-mail]>
Subject: Re: zorn can play (was re: jazz!)
Date: 13 Mar 2000 19:11:17 GMT

THE SKINNY, IN THEORY: Adherents to the mainstream "traditions" tend to find
it MORE comfortable, not less, when someone can navigate his/her way through
the "taditional" and the "experimental", as opposed to simply the
"experimental" and not the "traditional".

>Scott Handley wrote:
I
> > think there's the suspicion among craftsmen, virtuosos, that
>"restructural"
> > creativity is a cop-out...making up a new game (figuratively or
>literally).

Matthew Moffett <[e-mail]> responded:
>I think this occurs in any art form/style.  Painters like Pollack, Duchamp,
>etc
>were heavily criticized in their time for not being able to paint
>realistically
>when many of them started out that way...  For some reason they don't think
>artists should be able to work in
>both an experimental and traditional vein.

The problem I'm talking about is kind of the inverse of this: a lot of
"traditional" virtuosos see experimentalism, for lack of a better word, as a
"week-end", "closet" kind of love affair.  Creative adultery.  What is
_un-adulterated_?  THEIR tradition, of course.  So it seems to be an
implicit or explicit argument that the experimentalist must AT LEAST BE
DEMONSTRABLY CAPABLE of working competently within the critic's lineage, the
mainstream, which necessarily commands the majority of participants (that's
why it's MAINstream: it's not marginal).  But in Sonny Sharrock's case, he
"defended" or justified his style the way Monk might have justified his own:
"play your own way".  Ad hoc aesthetics.  Sonny said that he couldn't, or
didn't play any other way.  His serrated-metal style _was_ the musician he
was.  I think people want to know that the dominant lineage is important
enough to an artist for said artist to have taken the time to "master" it.
People like the idea that the weirdness an artist is perpetrating is the
product of that person having NOWHERE ELSE TO GO in the traditional (read:
familiar) forms.  So if Peter Brotzmann wants to do his screaming thing,
great: I don't have to listen to it.  But if he can't meet me where I stand,
i.e. play bop changes, then that's conclusive that he's a charlatan: he's
settles for screaming because he _couldn't_ hack it as a bop musician.
Wynton Marsalis plays "classical" music and jazz quite well: we know he
plays them well because he plays them both like classical music, with a
persistent reference to "standards"---and I mean "norms", not "tunes".  But
by what standards do we judge ISO?  APORIAS?  "Le Marteau San Maitre"?
"Threnody for the Victims of Hiroshima"?

>Part of it may be the idea of the
>crazy visionary...

At least since Plato's ION...

artists always come from
>their own traditions (meaning the avant garde has as much its own sense of
>tradition as does work with a more mass appeal).

I don't know that much about the history or theory of the avant-garde,
though I've been trying to find time to read Peter Burger's THEORY OF THE
AVANT-GARDE back-to-back with Hal Foster's RETURN OF THE REAL for background
on these problems.  It seems like the "tradition" of the avant-garde is to
overthrow its antecedents, its predecessors, to detach itself from them and
declare either its own independence or its own currency (that is, "here I
am, the end result of ______ years of innovation and progression"); whereas
other traditions, at least in the West, are---in the most generous sense of
the word---conservative: they seek to preserve "the best that has been
thought and said".

-----s

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


-



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

From: "Scott Handley" <[e-mail]>
Subject: Re: death ambient + jon rose
Date: 13 Mar 2000 19:21:31 GMT

Kurt wrote:
>pickd up the new [Death Ambient] cd, too, but haven't listened to it yet.
>working my way through
>my new bud powell box set first.

Sorry if this has already been discussed, but I'd love to know how the two
D.A. CDs are, and which one folks like better.  I'm listening to the new
Ikue Mori, but I need to get through it again before I drop some comments on
the list.

>also pickd up a jon rose disc i haven't played yet. got me thinking, i
>haven't
>heard much talk of him round these cyberparts. i've been really digging to
>him
>lately. anyone else?

Never gotten around to checking him out.  I remember reading in some
interview or profile that he made a lot of enemies in the improvising
community for releasing a recording with a cast of dozens, without asking
for permission to do so.  I can't substantiate this now, but what's a little
gossip?

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


-



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

From: "Scott Handley" <[e-mail]>
Subject: Pharaoh Sanders (was RE: Recent Goo)
Date: 13 Mar 2000 19:32:41 GMT

>    [Linares Hugo]
>    By the way, which Sanders' recording was Upper Egypt originally
>included? Label?

TAUHID, a super-classic featuring Sharrock.  Damn!
(I think this was recently reissued on Impulse.)

One of my very favorite Pharaoh albums, and a choice bit of post-Trane stuff
that doesn't come across as terribly derivative, IMHO.

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


-



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

From: [e-mail]
Subject: nyc listings
Date: 13 Mar 2000 14:37:34 -0500


philz (and everyone else):

for the best nyc jazz listings, go to www.users.interport.net/~eye/jazznyc.html

kg



-



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

From: =?iso-8859-1?Q?Joaqu=EDn_Villaverde_Mart=EDnez?= <[e-mail]>
Subject: RE: Recent Goo
Date: 13 Mar 2000 22:34:50 +0100

> [Linares Hugo]
> By the way, which Sanders' recording was Upper Egypt originally
> included? Label?
>

Hello
It was included on
Pharoah Sanders: Tauhid (Impulse!)

Joaquφn Villaverde Martφnez
[e-mail]





-



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

From: [e-mail]
Subject: current jz conception
Date: 13 Mar 2000 16:52:22 EST



<< Looking at the statements about music he's made over the years, his ideas
on
 the Theatre of Musical Optics and the liner notes to Spillane, I have to
 admit that I'm rather curious as what he's concieving of lately. >>

concert music, staying home and churning it out. recently finished piece for
violin and chamber orch. working on piece for soprano and orchestra. and
there's the surrealist suite for vln, cello, piano. no plans to write more
masada tunes, game pieces, etc.. but the file-card method is still
interesting to him. this is not top secret info -- it's all from his
pre-concert chat this past thursday at columbia u, where the aforementioned
suite was performed.

joseph

-



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

From: 2L <[e-mail]>
Subject: Re: clapping after solos
Date: 14 Mar 2000 02:33:16 +0100

> now off to see Toshinori Kondo (with the fabulous DJ Grazhoppa en Dirk
> Wachtelaer)

Any other tour dates for Toshinori Kondo in Europe?
Thanx.
2L.




-



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

From: phil zampino <[e-mail]>
Subject: Re: death ambient
Date: 13 Mar 2000 22:31:11 -0500

kg ([e-mail]) wrote:

>also pickd up a jon rose disc i haven't played yet. got me thinking, i haven't
>heard much talk of him round these cyberparts. i've been really digging to him
>lately. anyone else?

actually i was just listening to the jon rose/miya masaoka cd
yesterday (probably released in '98 or '99 but new to me) and
thinking how compatible these two experimenters worked together, and
what great environments of sound i associate with rose...  he's one
of the few artists i'll buy anything from, no questions asked; one of
the more fractured conceptualists out there :)

philz


-



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

From: "Lee, Edgar" <[e-mail]>
Subject: Bley
Date: 14 Mar 2000 17:32:35 +1100


I've just read the Paul Bley autobiography. Mostly it's an interesting read
because of his descriptions of the avant garde and jazz scenes he's been
involved in. Unfortunately it's too short, there could have been a lot more
written on some of the lesser known musicians such as Dewey Johnson, Marion
Brown, amongst others. Also, Bley's rather large "I did it first" style ego
becomes wearying without him often crediting the valuable contributions of
others. However, it does provide some context for understanding Paul Bley's
style. I find reading about musicians illuminating, just as I try to read
any John Zorn article or interview,  because for me music is more than the
silver discs that I buy from a record shop (instead of downloading via the
net).


Edgar


-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Re: zorn   interview - interview in Soundpiecies
Date: 13 Mar 2000 19:34:09 +0100

Maybeit is old news, but there is an excellent interview with JZ in a book
'Sounpieces 2- interviews with american composers' by Steve Cole (I'm not
sure of the name, i can't find my copy - but the interview and the book have
been discussed here some time ago, so soembody will post some info)
BTW - Zorn has often stated that hedoes not like interviews. I do think it
is not because he thinks that 'music speaks for itself' or something like
that (if one likes both books and music, why not to read about music?) but
rather because of the sorry questions people ask. Somebody asked (in a short
polish interview, availble on the Atrur Nowak's EMD site http://www.emd.pl/
emd/pl4 /index.htm ) 'why do you write long tunes for masada, while the the
naked city songs were short?'. It is really a sad thing to talk on such a
level (JZ went quite mad - BTW, the guy spelled 'kristallnacht' as 'Cristal
Nut'...). I remember when Crimson came to poland in 1995, there was a short
interview with Bill Bruford on TV. And when the nice lady (who didn' know
anything about music) asked 'So what is the difference between '80s and the
'90s band?' BB looked like if he thought 'well, here's the proof that god
exists. that can't be nothing else then a punishment for my sins' and
replied quite shortly (the nice lady was very happy). Talking to such people
must be a horror. In longer statements or talks, JZ opinions are interesting
and brilliant. He does not seem to be unhappy to talk about music.
Sorry for being that long,
Marcin
"Oh Nick, I had the strangest dream!
I thought -  how could I know what I was never taught?"
Stravinsky/Auden "The Rake's Progress"


> well. i think that a list of i don't know how many might have something
valid
> to ask the man. i'm not trying to detract from the fantastic compositions,
> but there must be some fellow composers who are curious about the way
Zorn's
> muses are translated to musical terms.
> Looking at the statements about music he's made over the years, his ideas
on
> the Theatre of Musical Optics and the liner notes to Spillane, I have to
> admit that I'm rather curious as what he's concieving of lately.
> Of course, maybe if he wants people to know, he'll tell them himself.
>  It seemed like he had plenty to say in the Jazz Times interview. The
> introduction just made me cringe.
> from,
> matt



-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: zorn can play (was re: jazz!)
Date: 14 Mar 2000 09:15:04 GMT

Scott wrote:
>
>I don't know that much about the history or theory of the avant-garde,
>though I've been trying to find time to read Peter Burger's THEORY OF THE
>AVANT-GARDE back-to-back with Hal Foster's RETURN OF THE REAL for
>background
>on these problems.  It seems like the "tradition" of the avant-garde is to
>overthrow its antecedents, its predecessors, to detach itself from them and
>declare either its own independence or its own currency (that is, "here I
>am, the end result of ______ years of innovation and progression"); whereas
>other traditions, at least in the West, are---in the most generous sense of
>the word---conservative: they seek to preserve "the best that has been
>thought and said".


This is a pretty good take as well as a couple good references, since both
Berger and Foster focus a lot on institutions of art, and in Foster's case,
on readings of art that attribute to the works narratives about these very
institutions.  In jazz, the old demand for playing "in the tradition" or
playing "standards" is in many ways a much more oppressive tradition, one
that still thinks itself capable of figuring what "jazz" or what "music" is.
  On the other hand, the avant-garde was no less institutionalized in music,
on the level of aesthetic value if not "commodity aesthetics" (pop, rock,
etc.)  Your account of the conservative above is one located in the
"evaluative" register--questions of value, judgment, good art/music, bad
art/music etc.  Often very formalistic in approach.  Foster's readings
suggest that art does something quite different--that art is in a kind of
discursive modality, commenting on society/culture as well as itself and its
own "traditions."  So when we think about art we look at what it "does"
rather than how "good" it is.  I think the same readings apply to music as
well, and this is probably why Zorn gets tired of interviews with
journalists.  There's so little that gets accounted for or the matter in
which questions are posed severely limits the discursive situation, where a
person like Zorn won't be able to answer the question because it can only be
answered on the interviewer's terms.  If I were Zorn, I'd give interviews
but if the questions were not able to maintain the pace, I'd move the
discussion into other areas and simply become monological.  Listening and
recording information is the best that many interviewers can do.  As
Nietzche once wrote, in paraphrase, "if you cannot hear me it's probably
because you don't have the ears to hear."  What an apt metaphor for a music
list.  Foster wrote in that book that, since the sixties, theory has really
become the metonoymic substitute for the avant-garde among artists.  I'd say
the same holds for music as well.  There is no real avant-garde in music
anymore; there's only sound, pastiche, parody...or repetition.

I think if we want to read a good interview with Zorn, we'll need someone
like Pierre Bourdieu to do it.  In lieu of that, there's always the Arcana
book, a kind of "manifesto?" for musicians (or perhaps a "users manual?" for
listeners).
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: zorn can play (was re: jazz!)
Date: 14 Mar 2000 11:57:14 +0100


> I think if we want to read a good interview with Zorn, we'll need someone
> like Pierre Bourdieu to do it.  In lieu of that, there's always the Arcana
> book, a kind of "manifesto?" for musicians (or perhaps a "users manual?"
for
> listeners).
What is that book? Where can I get it?



-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: zorn can play (was re: jazz!)
Date: 14 Mar 2000 06:43:59 -0500

At 09:15 AM 3/14/00 GMT, Bill Ashline wrote:
>
>this is probably why Zorn gets tired of interviews with
>journalists.  There's so little that gets accounted for or the matter in
>which questions are posed severely limits the discursive situation, where a
>person like Zorn won't be able to answer the question because it can only be
>answered on the interviewer's terms.

I felt this pretty strongly in the JT interview, where it seemed like the
only questions the interviewer asked were very leading about the music
business, and not about the music.  He even tried to get Zorn to diss
Wynton (kind of like the TV talk/news shows put opposing viewpoints in the
hopes they'll go at each other -- fortunately Zorn didn't bite).  I thought
the interview was pretty disappointing.

>Foster wrote in that book that, since the sixties, theory has really
>become the metonoymic substitute for the avant-garde among artists.  I'd say
>the same holds for music as well.  There is no real avant-garde in music
>anymore; there's only sound, pastiche, parody...or repetition.

I wonder why there's no avant garde anymore too.  I'm starting to think you
need a more insular community, so that when you rebel, there's a concrete
other to rebel against.  The movements that I think of as avant garde,
which would include the surrealists and perhaps the French literati in the
1960s, all took place in a fairly closed community (Paris).  Now, with the
dissolution of geographic communities because of the internet, and the
ready availability of almost any kind of music you want, it's difficult to
say that you're part of or reacting to a specific kind of musical
institution.  20-30 years ago, all of us who cared about Zorn and his
position in the avant garde would have lived in Manhattan.  Now, the
rebellion is against commercialism in general (i.e., economic, viz the
interview) rather than what we might consider a specifically musical, or
artistic, institution.

--
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: "Bill Ashline" <[e-mail]>
Subject: Re: Odp: zorn can play (was re: jazz!)
Date: 14 Mar 2000 11:48:51 GMT

Amazon is selling copies at $20 each.  The link is below:

http://www.amazon.com/exec/obidos/ASIN/188712327X/qid=953033936/sr=1-1/002-2092371-9494025

>From: "Marcin Gokieli" <[e-mail]>

>What is that book? Where can I get it?
>
>

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


-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: zorn can play (was re: jazz!)
Date: 14 Mar 2000 12:29:32 GMT

>Caleb wrote:
>
>I felt this pretty strongly in the JT interview, where it seemed like the
>only questions the interviewer asked were very leading about the music
>business, and not about the music

I think this suggests very well the bankruptcy of the medium of the
interview, particularly in journalism.  There aren't many who can handle the
task.  John Corbett comes to mind as one who probably can.

>
>I wonder why there's no avant garde anymore too.  I'm starting to think you
>need a more insular community, so that when you rebel, there's a concrete
>other to rebel against.

I think it's probably because the tropes of rebellion have been so
overworked in the past century that they have become conservative.  It's
also because the insularity of the artworld found in places like Paris in
the early part of the last century have come into question.  We discovered
with Duchamp and others that avant-gardes have the capacity to be
capitalized and normative.  As you state below, in our time the concrete
foci of rebellion are commercialism and capital process, social injustice,
and inequality, not "aesthetic" difference (the aesthetic equated here with
art/sensibility not "sensation" or "ethology").  In this sense, the
recuperation of the avant-garde in music (our interests) stands as a kind of
critical refusal of the cooptation by capital/commercialism--though on the
aesthetic level, the avant-gardes have already complied with capital process
on the level of "high art" or the norms of a liberal education.


>The movements that I think of as avant garde,
>which would include the surrealists and perhaps the French literati in the
>1960s, all took place in a fairly closed community (Paris).  Now, with the
>dissolution of geographic communities because of the internet, and the
>ready availability of almost any kind of music you want, it's difficult to
>say that you're part of or reacting to a specific kind of musical
>institution.  20-30 years ago, all of us who cared about Zorn and his
>position in the avant garde would have lived in Manhattan.

Russell Jacoby has an interesting book out in this regard called "The Last
Intellectuals" (it's a bit old now).  He, however, would attribute this
decline in community not to the technology of the internet etc. but to real
infrustructural changes that took place in the 50s and 60s in New York,
including suburbanization.  One sees clearly with the urban planning of
Robert Morris, a willful intent to make living in Manhattan as difficult as
possible for those without resources (intellectuals prominent among them)
through the renovation of the urban neighborhoods and the construction of
highways that prevented buses from being able to transport office workers to
their suburban homes (narrow overpasses).  This led the public intellectuals
of the cities to flock to university campuses and was the deathknell of a
particular cultural way of life.  The status of journalism and the audience
for intellectual work were the next to decline.

>Now, the
>rebellion is against commercialism in general (i.e., economic, viz the
>interview) rather than what we might consider a specifically musical, or
>artistic, institution.


Yes, this is an important point.  While the critique of the institution
still goes on, there's enough to be worried about just in the question of
artistic expression and autonomy to keep institutional critiques on the
sideline.  What's happening now in the so-called avant-garde scenes does not
have the flavor and urgency it once did.  And with descriptors like the word
"out" getting bandied about in a rather common way, avantism starts to sound
fairly entrenched, which isn't necessarily a bad thing, given the state of
popular common sense that you alluded to above regarding the JT interview.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: Marcel Cobussen <[e-mail]>
Subject: bacharach and gainsbourg
Date: 14 Mar 2000 13:55:38 +0100

Hi Zorn-fans

I'm a Dutch PhD student writing a dissertation on deconstruction (the
thinking of Jacques Derrida) and music. One part will be on Zorn's
project with the music of Burt Bacharach and Serge Gainsbourg and I need

your help (I hope I can make a small contribution on writing serieously
about Zorn. In a few months I'll have my own website which will contain
an essay I wrote about Zorn, Derrida and Morricone. I would opt for
Derrida interviewing Zorn instead of Bourdieu!).
I'm interested in everything that is written about these projects: every

review, essay, commentary, interview, etc. in music magazines,
newspapers, internet sites, etc.
Who can help me?
I know you had some discussions on this topic already. Maybe somebody
can tell me where I can find these old e-mails you've sent to each
other.
--
Marcel Cobussen
Erasmus University Rotterdam
FHKW
Postbus 1738
3000 DR Rotterdam

tel. [phone] (work)
tel. [phone] (private)
fax. [phone]



-



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

From: Yves Dewulf <[e-mail]>
Subject: Vooruit Geluid Festival
Date: 14 Mar 2000 14:04:50 +0100 (CET)

Hi all,

Not directly Zorn-related but the line-up looks so promising=20
that I can imagine that some of you might be interested!

more info at http://www.vooruit.be   (only Dutch)

Yves



The program of the bi-annual Vooruit Geluid Festival in Gent,Belgium:
Th.4 May   18.30   Fr=E9d=E9ric Le Junter
Th 4-6 May 20.00   Larf: Victoria/Josse De Pauw=20
                   (+ Flat Earth Society and Roland)
Th 4 May   22.00   City Kingz & Greetings From Mercury=20
                   (Jeroen Van Herzeele+Krewcial+Tlp+...)
Th 4 May   22.00   Dave Douglas Sextet (Mary Lou Williams project)
=20
Th 4-6 May, Th 11 May, Fr 12 May   24.00  Koba & Payday in March

Fr 5 May  20.00  Ned Rothenberg's Sync=20
Fr 5 May  22.00  Lite 2.1: Ren=E9 Lussier & Victors

Sa 6 May 20.00  4 Walls ( Phil Minton, Veryan Weston, Luc Ex , Michael Va=
tcher)
Sa 6 May 21.30  The Spaceheads  &=20
                Crash Party (Tribute to Howard shore with Tom Barman(dEUS=
) and
                Dewaele Brothers (Soulwax))

Su 7, mo 8 May  20.00     A Medieval Circus on The Canterbury Tales=20
                          - John Cage Chauncecleer (Tom Hannes)

Su 7 May  21.30  DJ Spooky=20
Mo 8 May  21.30  Silent Block & Martin Tetrault=20

Tu 9 May  22.30  Bob Ostertag & Otomo Yoshihide
Tu 9 May  20.00  Shelley Hirsch & DJ Olive & Luc Ferrari:=20
                 Hermes Ensemble/DJ Olive
We 10 May 20.00  For my father: Shelly Hersch
We 10 May 22.30  Haco=20

Do 11 May 20.00  Misha Mengelberg & Ictus
Do 11 May 21.30  Erik M & Catherine Jauniaux =20
                 & Rene Lussier & Martin Tetrault                        =
 =20
Fr 12 May 20.00  Cikori: Iva Bittova
Fr 12 May 23.00  Eugene Chadbourne & Olla Vogala

Sa 13 May 20.00  Tobias Delius Kwartet (Delius,Honsinger,Bennink,Williams=
on) &
                 Flat Earth Society (Peter Vermeersch Big Band)
Sa 13 May 23.00  Jazzanova & Fauna Flash



-



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

From: "Joslyn Layne" <[e-mail]>
Subject:  Re: death ambient + jon rose
Date: 14 Mar 2000 08:27:53 -0500

Kurt wrote:
>also pickd up a jon rose disc i haven't played yet. got me thinking, i
>haven't
>heard much talk of him round these cyberparts. i've been really digging to
>him
>lately. anyone else?
Scott Handley wrote:
Never gotten around to checking him out.  I remember reading in some
interview or profile that he made a lot of enemies in the improvising
community for releasing a recording with a cast of dozens, without asking
for permission to do so.  I can't substantiate this now, but what's a little
gossip?

I recommend the 2CD retrospective on entropy records- both for those just
starting to check him out, and for fans. It's a well-done cross-section of
his recordings, with many photos of his creations.. 'paganini's last
testimony' is quite disturbed and interesting, but i believe it's out of
print.
i caught a solo show last year and enjoyed it quite a bit. he's a very
intense man; one of those who, in performance, make me [albeit respectfully-
even with a bit of awe] doubt their sanity.  another that comes to mind is
jaap blonk...
no idea about whether the above gossip is true..

    joslyn



-



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

From: David Keffer <[e-mail]>
Subject: Hano/Brotzmann/Haino Europe Live Dates
Date: 14 Mar 2000 08:46:15 -0500


I thought this might be of interest to the Zorn-listers
in Western Europe.

Here are the live dates for the upcoming European Tour
featuring the trio

Keiji Haino (gtr.)
Shoji Hano (perc.)
Peter Brotzmann(sax)

March 25  at SJU Jazzpodium in Utrecht, Netherlands.

March 26  at Dodorama in Rotterdam, Netherlands.

March 27 or 28  at Stadtgarten or Loft in Cologne, Germany.

March 30  at Minor Jazz in Graz, Austria.

March 31  at Schlachthof in Wels, Austria.

April 1  at Musik-Kultur in St. Johann, Austria.

April 2  at Jazzgalerie Hans Falb in Nickelsdorf, Austria.

If anyone in attendance happens to dub one of these shows,
let me know.  I am always interested in swapping Haino bootlegs.

David K.
Site Maintenance Man
An Unofficial Keiji Haino Website
http://www.planetc.com/users/keffer/haino/index.html



-



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

From: Simon Hopkins <[e-mail]>
Subject: city planning; bley; jazz times; recent goodies
Date: 14 Mar 2000 14:47:37 +0000

Bill Ashline wrote:
"One sees clearly with the urban planning of
Robert Morris, a willful intent to make living in Manhattan as difficult as
possible for those without resources..."

Sorry about this, Bill, but my learned colleague Dan Hill has asked me to
point out that that should be Robert Moses. Such pedantry!

Someone mentioned the Paul Bley book a few posts back. Just wanted to
mention that Dan and I interviewed Bley at the end of last year when he was
over for the ECM 30th Birthday Festival in Brighton. We found him extremely
engaging and funny. Had a couple of great stories about Robert Moog and
about Herbie Hancock. We should have the interiew up as text, audio and
video later this month. I'll keep you posted.

The consensus here seemes to be that the JT interview wasn't that great. I
beg to differ; I think it's pretty inspirational. Sure, there's not a whole
lot of depth there about working practices and so on, but how can you cover
stuff like that with such limited space. What comes over clearly is the
man's passion and anger. His admiration of artists and musicians (even
artists he has no real time for - eg Marsalis) is refreshing, while his
disdain for the industry and for media in general is spot on. Likewise his
pinpointing of TV specifically as a draining waste of time (reminded me of
the White Dot association's inspiring anti-TV polemic 'Get A Life'). Yes,
the man's pissed off, and sounds, at times, paranoid. But isn't he
justified? And he's doing something about it - trying to assert complete
independence in an increasingly, crushingly corporate world.

On the recent goodies front, it's been a promising start to the year, I
reckon. Here are some of the things that have tickled my fancy (some of
them might be 1999 tail-enders; I am writing from an Old World backwater,
after all...

Revenge of Camper Van Chadbourne (Knit Fac)
Fushitsusha - I Saw It! (Paratactile)
Otmo Yoshide - Cathode (Tzadik)
Susumu Yokota -  Magic Thread (Leaf)
Philip Tomasic - Figure (Sachimay)
Prelapse - Prelapse (Avant)
Ponga - Remixed (Loosegroove)
D'Angelo - Voodoo (EMI/Virgin)
Solutiore of Stareau (SoS)
Skull - Snapz (Output)
The Best of Os Mutantes (Luaka Bop)
Yagi Michiyo - Shizuku (Tzadik)
Extended Organ - XOXO (Birdman)
Mark Ribot - Yo! I Killed Your God (Tzadik)
Mike Ladd - Welcome to the Afterfuture (Ozone)
Anti Pop Consortium - Tragic Epilogue (Ozone)

As ever, most of these have got soundfile-accompanied reviews up on motion
http://motion.state51.co.uk


simon hopkins
a   state51  rhoda street  london e2 7ef
t   00 44 (0)171 729 8493

sh is a member of the state51 conspiracy, incorporating
motion http://motion.state51.co.uk
skam
musicbee
the knowhere guide http://www.knowhere.co.uk/



-



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

From: "Scott Handley" <[e-mail]>
Subject: arcana
Date: 14 Mar 2000 15:44:20 GMT

So is Downtown Music Gallery, for the same price.  Just 'cause I like the
underdog...


>Amazon is selling copies at $20 each.  The link is below:
>
>http://www.amazon.com/exec/obidos/ASIN/188712327X/qid=953033936/sr=1-1/002-2092371-9494025
>

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


-



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

From: Jason Tors <[e-mail]>
Subject: album design [no zorn content]
Date: 14 Mar 2000 14:07:39 -0500

I was thinking about getting into album / cd design. If anyone on the
list can share their thought and experiences with the medium that
would be great.

-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: bacharach and gainsbourg
Date: 14 Mar 2000 21:11:59 GMT



>From: Marcel Cobussen <[e-mail]>
>I would opt for
>Derrida interviewing Zorn instead of Bourdieu!).

I'd like to see an encounter between Derrida and Zorn too but I think
Bourdieu would do much better as an interviewer, especially since when
Derrida is in interviews he spends so much time talking about tape
recorders!

>I'm interested in everything that is written about these projects: every
>
>review, essay, commentary, interview, etc. in music magazines,
>newspapers, internet sites, etc.


I've posted this link previously, but will do so again...

http://jefferson.village.virginia.edu/pmc/text-only/issue.195/mcneilly.195

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


-



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

From: "Scott" <[e-mail]>
Subject: AMM play Scotland shock
Date: 14 Mar 2000 21:33:08 +0000

April/May coming, Glasgow plays host to a couple of serious improvisation
weekends under the stewardship of Evan Parker. Appearances by AMM, Barry
Guy, Han Bennink, Alex Von Schlippenbach and many others. Initial details
can be found under the news section at the url below.

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

-



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

From:  <[e-mail]>
Subject: RE: E#
Date: 15 Mar 2000 01:30:18 +0000 (GMT)

>Date: Mon, 13 Mar 2000 02:44:17 EST
>From: [e-mail]
>Subject: E#
>
>tonight i witnessed elliot sharp and orchestra carbon perform radiolaria at
>the KF.
>as this was basically my introductory experience to his work, could someone
>be so kind as to respond with a crash-course in his other projects/output? i

Why don't you have a look at the website of esharp. It tries to be comprehensive of the various facets of his work.

>enigmatic, i tend to presume that this query is far easier to answer than
>that of the aforementioned would-be jz neophyte.



>p.s. - and isn't radiolaria connected to the quasi-recent discussion of sine
>waves and "difference tones"?

I missed the discussion on sine waves. Indeed someone wrote - announcement of the concert you saw (taken from the 'Datacide' mailing list) ...

>>Premiered at the 42st. Whitney Museum in December '99, RADIOLARIA is the
>>latest of E#'s algorithmic compositions.  Based on biological models of
>>growth and reproduction, the 12-piece ensemble of winds, brass, samplers,
>>and percussion plus real-time computer processing, uses sets of simple
>>instructions to manipulate a variety of composed cores, creating structures
>>in a mode analogous to that of organisms such as "radiolaria," a kind of
>>aquatic, single-celled protozoa.  These structures are not just ordered in
>>time but also in acoustic space, with the stacked overtones of the
>>interacting instruments manifesting difference tone effects and "ghost
>>instruments."  This effect is enhanced by the live computer processing of
>>the massed sound of the ensemble to extract overtones and subharmonics fed
>>back into the mix.

Hope it answers. Urls below.
Benjamin Pequet

http://www.algonet.se/~repple/esharp/es.html
http://www.onelist.com/subscribe/datacide

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: bacharach and gainsbourg
Date: 14 Mar 2000 21:51:06 -0500

At 01:55 PM 3/14/00 +0100, Marcel Cobussen wrote:
>Maybe somebody
>can tell me where I can find these old e-mails you've sent to each
>other.

Archives are at ftp://ftp.xmission.com/pub/lists/zorn-list/archive.  For
news articles, if your university has access to lexis-nexis, I'd try there.


--
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: Recent Goodies (All Jazz, Little Zorn)
Date: 14 Mar 2000 22:39:26 -0500

This is a multi-part message in MIME format.

------=_NextPart_000_0053_01BF8E06.278F1660
Content-Type: text/plain;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

Just got the last disc by the Gerry Hemingway Quintet, 'Waltzes, Two =
Steps and Other Matters of the Heart' on the GM label.  What a fine, =
fine band that was.  It's possibly a bit superfluous if you've got the =
hatART releases and/or the Random Acoustics, but as those are all =
evidently out of print and scarce, this will do nicely.  Seven live =
tracks, nice sound.

But what really has me posting is a most unexpected little pleasure: a =
shiny new slab of emphatic and empathetic freebop jazz called 'Waterloo =
Ice House' by former Dallasite/current Oregonian trumpeter Rob =
Blakeslee, leading a quartet featuring the terrific and unheralded tenor =
saxophonist by night / computer programmer by day Rich Halley.  This is =
out on a little label out of Corvallis, OR called Louie Records.  It's =
nothing that's gonna change the world, just one more example that fine =
jazz is happening everywhere.  I've been a fan of Blakeslee since his =
collaborations with Dennis Gonzalez back in the late '80s, and more =
recently he's been active on the 9 Winds label as a Vinny Golia =
collaborator.  Halley I discovered in college via his recordings on the =
completely obscure Avocet label also out of Oregon - he reminds me of a =
David Murray with less showboating and more taste, and I find it =
incredible that he does this only part time (I was so taken with his =
records which somehow found their way to my little college radio station =
in San Antonio that I tracked him down and called him at home on a few =
occasions).  Drummer Dave Storrs also had some adventurous records on =
the Avocet label at the same time.  Bassist Clyde Reed is new to me but =
complements the band nicely.  Louie Records is at 644 SW 5th, Corvallis, =
OR 97333 and they do seem to have a number of discs available via =
Cadence, including a few led by Storrs which I probably ought to =
investigate.  Finally, I note that the quite lovely recording was =
mastered by one Dave Trenkel and wonder if he's our own "fast and =
bulbous" one...?

Also picked up 'SATLAH' by Danny Zamir on Tzadik.  I probably need to =
give this a few more spins - on first impression I'm only moderately =
impressed with this admittedly gifted young alto sax player who's a new =
favorite of Zorn's.  So far I'm just not too grabbed.  But Zornies will =
want to know that the man himself guests on a few cuts.

More later,
Steve Smith
[e-mail]
NP - Rob Blakeslee, "Give Up the Chair," 'Waterloo Ice House' (Louie)

------=_NextPart_000_0053_01BF8E06.278F1660
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    charset="iso-8859-1"
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<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 face=3DArial size=3D2>Just got the last disc by the Gerry =
Hemingway=20
Quintet, 'Waltzes, Two Steps and Other Matters of the Heart' on the GM=20
label.  What a fine, fine band that was.  It's possibly a bit=20
superfluous if you've got the hatART releases and/or the Random =
Acoustics, but=20
as those are all evidently out of print and scarce, this will do =
nicely. =20
Seven live tracks, nice sound.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>But what really has me posting is a =
most unexpected=20
little pleasure: a shiny new slab of emphatic and empathetic freebop =
jazz called=20
'Waterloo Ice House' by former Dallasite/current Oregonian trumpeter Rob =

Blakeslee, leading a quartet featuring the terrific and unheralded tenor =

saxophonist by night / computer programmer by day Rich Halley.  =
This is out=20
on a little label out of Corvallis, OR called Louie Records.  It's =
nothing=20
that's gonna change the world, just one more example that fine jazz is =
happening=20
everywhere.  I've been a fan of Blakeslee since his collaborations =
with=20
Dennis Gonzalez back in the late '80s, and more recently he's been =
active=20
on the 9 Winds label as a Vinny Golia collaborator.  Halley I =
discovered in=20
college via his recordings on the completely obscure Avocet label also =
out of=20
Oregon - he reminds me of a David Murray with less showboating and more =
taste,=20
and I find it incredible that he does this only part time (I was so =
taken with=20
his records which somehow found their way to my little college radio =
station in=20
San Antonio that I tracked him down and called him at home on a few=20
occasions).  Drummer Dave Storrs also had some adventurous records =
on the=20
Avocet label at the same time.  Bassist Clyde Reed is new to me but =

complements the band nicely.  Louie Records is at 644 SW 5th, =
Corvallis, OR=20
97333 and they do seem to have a number of discs available via Cadence,=20
including a few led by Storrs which I probably ought to =
investigate. =20
Finally, I note that the quite lovely recording was mastered by one Dave =
Trenkel=20
and wonder if he's our own "fast and bulbous" one...?</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>Also picked up 'SATLAH' by Danny Zamir =
on=20
Tzadik.  I probably need to give this a few more spins - on first=20
impression I'm only moderately impressed with this admittedly gifted =
young alto=20
sax player who's a new favorite of Zorn's.  So far I'm just not too =

grabbed.  But Zornies will want to know that the man himself guests =
on a=20
few cuts.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>More later,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Steve Smith</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"mailto:[e-mail]">[e-mail]</A></FONT></DIV=
>
<DIV><FONT face=3DArial size=3D2>NP - Rob Blakeslee, "Give Up the =
Chair," 'Waterloo=20
Ice House' (Louie)</FONT></DIV></BODY></HTML>

------=_NextPart_000_0053_01BF8E06.278F1660--


-



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

From: [e-mail]
Subject: Random Acoustics/Tom & Gerry (was Re: Recent Goodies)
Date: 14 Mar 2000 23:04:03 EST


In a message dated 3/14/00 10:41:11 PM, [e-mail] writes:

<< It's possibly a bit superfluous if you've got the hatART releases and/or
the Random Acoustics, but as those are all evidently out of print and scarce,
this will do nicely. >>

Random Acoustics will be resuscitated very soon, after a hiatus of a few
years. Georg Grawe's not running the label anymore; he's evidently living
somewhere in California (anyone know where?). I know that RA will be
releasing a solo Thomas Lehn CD imminently, but I'm not sure what this means
for their back catalog or what other new releases are coming up. I haven't
heard the Lehn yet, but I should be getting a bunch of copies soon.

so, I finally got to see Lehn perform over the weekend, in duo with Gerry
Hemingway (Friday night at Bard, Saturday at Experimental Intermedia in NYC).

the Bard show had a nice relaxed atmosphere, with a room full of
shaggy-haired college kids chugging cheap wine straight from the bottle. they
played 2 sets, about 90 minutes total. the second set ended with a crazy,
raucous piece in which both of them were beating the hell out of their
instruments, so hard I thought something might break. they stopped on a dime,
the crowd went nuts, and then they did one last supersilent piece. a
millisecond after they finished, subtly trailing off into silence, the clock
in the chapel next door began chiming out 10 PM, and the musicians and the
audience waited for it to end before again cheering loudly. it was a
memorable, serendipitous moment.

the XI concert also went really well, despite the terrible weather. it was
SRO, with the crowd mostly being mostly older, XI-types, but with some young
'uns mixed in. musically, the show was very good, with some amazing moments,
maybe not quite as consistent as their Bard show the night before, but still
pretty kick-ass. it seemed to me that they were a bit nervous in the first
set (it was Lehn's NYC debut), but the second set was gorgeous, the best of
the two nights.

what impressed me the most seeing Lehn live was his range of sounds and
ideas, all produced by an analog synth. I've heard a ton of his music now,
and he virtually never seems to repeat himself. I'd say over the two nights,
he had a 90-95 percent rate of interesting ideas, which is pretty impressive
for any free improv musician, let alone an electronic one.

Jon
www.erstwhilerecords.com

-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: Recent Goodies (All Jazz, Little Zorn)
Date: 14 Mar 2000 20:40:53 -0800

At 10:39 PM 3/14/00, Steve Smith wrote:

>But what really has me posting is a most unexpected little pleasure: a
>shiny new slab of emphatic and empathetic freebop jazz called 'Waterloo
>Ice House' by former Dallasite/current Oregonian trumpeter Rob Blakeslee,
>leading a quartet featuring the terrific and unheralded tenor saxophonist
>by night / computer programmer by day Rich Halley.  This is out on a
>little label out of Corvallis, OR called Louie Records.  It's nothing
>that's gonna change the world, just one more example that fine jazz is
>happening everywhere.  I've been a fan of Blakeslee since his
>collaborations with Dennis Gonzalez back in the late '80s, and more
>recently he's been active on the 9 Winds label as a Vinny Golia
>collaborator.  Halley I discovered in college via his recordings on the
>completely obscure Avocet label also out of Oregon - he reminds me of a
>David Murray with less showboating and more taste, and I find it
>incredible that he does this only part time (I was so taken with his
>records which somehow found their way to my little college radio station
>in San Antonio that I tracked him down and called him at home on a few
>occasions).  Drummer Dave Storrs also had some adventurous records on the
>Avocet label at the same time.  Bassist Clyde Reed is new to me but
>complements the band nicely.  Louie Records is at 644 SW 5th, Corvallis,
>OR 97333 and they do seem to have a number of discs available via Cadence,
>including a few led by Storrs which I probably ought to investigate.
>Finally, I note that the quite lovely recording was mastered by one Dave
>Trenkel and wonder if he's our own "fast and bulbous" one...?
>
Guilty as charged! Rob was my jazz teacher at college and remains a good
friend. Storrs and I have worked together for years. Glad you enjoyed the
record, it is a beautiful disc. Louie has a web site at:

www.peak.org/~louierec

with samples from most of the other discs.

____________________________________________
Dave Trenkel : [e-mail]
Minus Web Site: http://listen.to/minusmusic
Minus MP3's: http://www.mp3.com/-minus-
____________________________________________



-



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

From: "Steve Smith" <[e-mail]>
Subject: Re: Recent Goodies (All Jazz, Little Zorn)
Date: 15 Mar 2000 00:28:41 -0500



> At 10:39 PM 3/14/00, Steve Smith wrote:
>
> >But what really has me posting is a most unexpected little pleasure: a
> >shiny new slab of emphatic and empathetic freebop jazz called 'Waterloo
> >Ice House' by former Dallasite/current Oregonian trumpeter Rob Blakeslee
[snip] Finally, I note that the quite lovely recording was mastered by one
Dave
> >Trenkel and wonder if he's our own "fast and bulbous" one...?
> >
> Guilty as charged! Rob was my jazz teacher at college and remains a good
> friend. Storrs and I have worked together for years. Glad you enjoyed the
> record, it is a beautiful disc. Louie has a web site at:
>
> www.peak.org/~louierec

Yeah, like I REALLY had any doubt that it was you, Dave... ;-)

Thanks for the web address - I've spent the last hour sampling some of the
wares in glorious RealAudio and still feel my wallet protesting in advance
already... for Zornlisters at large, BTW, I'll add that this is really for
jazzheads only - if you're into metal or noise you won't find too much here.
Klezmer fans, on the other hand, might ought to take a peek...

Seriously, Dave, fine job on the Blakeslee disc... the sound is as fine as
the content.  And I state that as a now-jaded New York record company
type...

Steve Smith
[e-mail]
NP - nada at the moment... 'Goldeneye' on DVD is on pause...



-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: Recent Goodies (All Jazz, Little Zorn)
Date: 15 Mar 2000 06:51:18 GMT



>Steve Smith wrote:

>But what really has me posting is a most unexpected little pleasure: a
>shiny new slab of emphatic and empathetic freebop jazz called 'Waterloo Ice
>House' by former Dallasite/current Oregonian trumpeter Rob Blakeslee,
>leading a quartet featuring the terrific and unheralded tenor saxophonist
>by night / computer programmer by day Rich Halley.<

I'll second Steve's comments on Rob Blakeslee.  Caught a live set a year ago
in Portland with Blakeslee and Roswell Rudd and was mightily impressed.
"Emphatic and empathetic" are nice descriptions for his work.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: [e-mail]
Subject: Fwd: Help neccessary for bassist Lisle Ellis
Date: 15 Mar 2000 11:33:53 EST


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a forwarded message I just received:

Paul Plimley wrote:

> Urgent message for all people who know Lisle Ellis
>
> I am writing on Lisle Ellis' behalf to let people know that he is
> currently receiving emergency medical attention in San Francisco for
> liver and kidney malfunctions and is in need of any possible
> financial contribution that you can donate. At this moment in time,
> Lisle is living from a van in San Francisco (where he has lived
> since 1992) and is at present homeless. He has no telephone number
> where he can be reached. More to the point, he is in debt and is
> without any income at this time. Here is an excerpt from a recent E
> mail sent to me from him , dated March 7, 2000.
>
> .......My situation is CRITICAL. I need some $$$ to
> pay immediate medical bills and further medical
> expenses. that's excluding my day to day survival
> needs. right now i've my van to live in. i guess that
> is more than some have but knowing that dosen't help
> my spirits much or dosen't keep me any warmer at
> night. i'm accepting any donations that you or any
> others may offer. PLEASE let people know what is
> happening since i've no access to phone and only very
> limited access to email. (please pass along my email
> address). anyone who wants to help can do so so by
> making a deposit at any       Toronto Dominion bank (based in
> Canada):
>
> US$ account #7134505
> branch#4720
>
> i really need your help in getting the word out there.
> thanks,
> l.e.
>
>
> Lisle's E mail address (a free hotmail address where he can check
> his mail from anyone's computer) is [e-mail].
>
> If you would like to verify the Toronto Dominion bank account of
> Lisle, here is a 1 800 # for Toronto Dominion bank for anyone
> interested:
>
> 1 800 983 2265.      I assume that this tel. # is good for anyone
> dialing within North America.
>
> For those who do not know of Lisle Ellis on this E mail list, I
> apologize and do not expect any response from you.
> There are many on my E mail list who do know him and/or his music
> and it is to them that this letter is addressed.
>
> I thank all of you who have been touched by Lisle's music over the
> years and who care to offer any amount that you can afford.
>
>
>
> Yours sincerely,
>
> Paul Plimley
> Tel [phone]
> E mail address   [e-mail]


Jon
www.erstwhilerecords.com


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--



Thanks,
Daniel Kernohan
[e-mail]

87 FRANKLIN STREET
UXBRIDGE, ON
L9P 1J5 CANADA
TEL/FAX [phone]


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Paul Plimley wrote:

> Urgent message for all people who know Lisle Ellis
>
> I am writing on Lisle Ellis' behalf to let people know that he is
> currently receiving emergency medical attention in San Francisco for
> liver and kidney malfunctions and is in need of any possible
> financial contribution that you can donate. At this moment in time,
> Lisle is living from a van in San Francisco (where he has lived
> since 1992) and is at present homeless. He has no telephone number
> where he can be reached. More to the point, he is in debt and is
> without any income at this time. Here is an excerpt from a recent E
> mail sent to me from him , dated March 7, 2000.
>
> .......My situation is CRITICAL. I need some $$$ to
> pay immediate medical bills and further medical
> expenses. that's excluding my day to day survival
> needs. right now i've my van to live in. i guess that
> is more than some have but knowing that dosen't help
> my spirits much or dosen't keep me any warmer at
> night. i'm accepting any donations that you or any
> others may offer. PLEASE let people know what is
> happening since i've no access to phone and only very
> limited access to email. (please pass along my email
> address). anyone who wants to help can do so so by
> making a deposit at any       Toronto Dominion bank (based in
> Canada):
>
> US$ account #7134505
> branch#4720
>
> i really need your help in getting the word out there.
> thanks,
> l.e.
>
>
> Lisle's E mail address (a free hotmail address where he can check
> his mail from anyone's computer) is [e-mail].
>
> If you would like to verify the Toronto Dominion bank account of
> Lisle, here is a 1 800 # for Toronto Dominion bank for anyone
> interested:
>
> 1 800 983 2265.      I assume that this tel. # is good for anyone
> dialing within North America.
>
> For those who do not know of Lisle Ellis on this E mail list, I
> apologize and do not expect any response from you.
> There are many on my E mail list who do know him and/or his music
> and it is to them that this letter is addressed.
>
> I thank all of you who have been touched by Lisle's music over the
> years and who care to offer any amount that you can afford.
>
>
>
> Yours sincerely,
>
> Paul Plimley
> Tel [phone]
> E mail address   [e-mail]



--------------15AD1BEA600D58C2C5E38FFE--

--part1_26.302a0fd.26011571_boundary--

-



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

From: [e-mail]
Subject: =?ISO-8859-1?Q?PROMO:=20Keith=20Rowe/G=FCnter=20M=FCller/Taku=20?=
Date: 15 Mar 2000 11:54:58 EST

sorry for the promotional intrusion, and further apologies if you receive=20
more than one copy of this:

I'm proud to announce the release of the latest CD on my label:

Erstwhile 005: Keith Rowe/G=FCnter M=FCller/Taku Sugimoto-The World Turned U=
pside=20
Down

Keith Rowe and G=FCnter M=FCller are both prominent members of the European=20
improv circuit. Rowe, who is best known for his groundbreaking work with AMM=
=20
(the seminal improvising collective he co-founded in 1965 with Eddie Pr=E9vo=
st=20
and Lou Gare), also currently leads the Music In Movement Electronic=20
Orchestra, an all-star group featuring many of Europe's premier electronic=20
musicians. M=FCller has released numerous records on his For 4 Ears label,=20
including recent collaborations with Voice Crack, Otomo Yoshihide, Jim=20
O'Rourke and Erik M. Taku Sugimoto is best known for his gorgeous solo CD,=20
Opposite (hat Noir), for his projects with Kevin Drumm (on Meme and=20
BOXmedia), and as a prominent figure in the Japanese improvising underground=
.

The World Turned Upside Down documents their first meeting as a trio (and th=
e=20
first meeting ever between Rowe and Sugimoto), captured in vivid detail in=20
concert at Les Instants Chavir=E9s in October of '99. The performance builds=
=20
upon Sugimoto's guitar reflections, with Rowe and M=FCller slowly tracing=20
jagged spirals around his ever-evolving line. Much like an AMM performance,=20
this is a journey with no discernible beginning or end, striking a precariou=
s=20
balance between tranquility and turbulence. The front cover was painted by=20
Rowe, and the gorgeous drawings and calligraphy which adorn the rest of the=20
package come from a tour diary kept by Masae Tanabe.=20

"The trio evolves into an electroacoustic ecosystem of insect chirps,=20
bog-creature glissandi and Sugimoto's lone guitar qua guitar, whose ghostly=20
presence soaks the proceedings with a sober grace.  No strangers to the art=20
of palpable restraint, the participants create a masterpiece of=20
understatement in an idiom as unforced as it is entrancing."-Robert Lim

personnel:

Keith Rowe - tabletop guitar, electronics
G=FCnter M=FCller - electronics, selected drums
Taku Sugimoto - guitar

track listing:

1. phase two-34:44
2. phase one-22:11

more info available at:

http://www.erstwhilerecords.com
http://www.shef.ac.uk/misc/rec/ps/efi/mamm.html
http://www.shef.ac.uk/misc/rec/ps/efi/mmuller.html
http://www2.gol.com/users/miyuki/tsugimoto/tsugimoto.html
http://www.datacomm.ch/g.mueller/for4ears/

all Erstwhile CDs can be purchased from numerous worldwide distributors, all=
=20
of which are listed on my web site. also, all Erstwhile releases can be=20
purchased via mail order (prices are for single CDs):=20

$13 US each postpaid within the United States=20
$14 US each postpaid to Canada=20
$16 US each postpaid overseas=20

all payments must be made in US funds. cash and money orders shipped=20
immediately. mail cash at your own risk. shipments paid for with checks held=
=20
until they clear. please send your order to:

Erstwhile Records
189 Christopher Columbus Dr.
Apt. #4
Jersey City, NJ 07302

future releases from Erstwhile will include:

007-John Butcher/Phil Durrant=20
008-Christof Kurzmann/Burkhard Stangl-Schnee
009-G=FCnter M=FCller/L=EA Quan Ninh
010-Otomo Yoshihide/Voice Crack
012-Thomas Lehn/Marcus Schmickler
013-Kevin Drumm/Axel D=F6rner

also available now:

001-VHF-Extracts
002-Haunted House-Up In Flames
003-Earl Howard/Denman Maroney-Fire Song
004-2-Thomas Lehn/Gerry Hemingway-Tom & Gerry (double CD)
006-Kevin Drumm/Martin T=E9treault-Particles and Smears

thanks for reading.

Jon
www.erstwhilerecords.com

-



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

From: Jason Tors <[e-mail]>
Subject: RUINS
Date: 15 Mar 2000 12:01:26 -0500

For too long I have ignored this band. Their version of Blue Rondo
ala Turk on the avant Brubeck tribute floored me. Can some fellow
zornlisters suggest a good few starting out discs?


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: RUINS
Date: 15 Mar 2000 09:17:20 -0800


On Wed, 15 Mar 2000 12:01:26 -0500  Jason Tors wrote:
>
> For too long I have ignored this band. Their version of Blue Rondo
> ala Turk on the avant Brubeck tribute floored me. Can some fellow
> zornlisters suggest a good few starting out discs?

I should not mention this one as a first try, but I am amazed at how good
SAISORO is. I was fearing the worst when I heard about John proposing to Ruins
and Derek to play together. I was expecting a gimmick. To my surprise, the
records works fantastically well. It is neither a juxtaposition of genres (as
is too often the case with such against-nature collaborations), nor a adjust-
ment of one to the style of the other (as in collaborations with a "mythic"
artist). It is almost a perfect morphing where the sum is (blaspheme?) larger
than the parts. I am not saying that this level is sustained through the
complete record, but I could play non-stop the first 3/4 tracks without
the slightest attempt at a yawn (a exploit for me these days).

    Patrice.

-



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

From: [e-mail]
Subject: Re: RUINS
Date: 15 Mar 2000 12:24:30 EST


In a message dated 3/15/00 12:18:24 PM, [e-mail] writes:

<< I should not mention this one as a first try, but I am amazed at how good
SAISORO is. I was fearing the worst when I heard about John proposing to Ruins
and Derek to play together. >>

yeah, agreed, and seeing this trio live a couple of years ago at the Knit was
pretty exciting also. I don't recall the second collaborative CD being quite
as strong. the couple of times I've seen the Ruins by themselves live, I've
enjoyed myself, but they relied a bit too much on Magma homages for my
tastes. to be fair, I think they've had at least one personnel change since I
saw them last. as for records, I'm not a huge fan, but I believe that Burning
Stone and Stonehenge are the ones most often cited to start with.

Jon
www.erstwhilerecords.com

-



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

From: King Wilson <[e-mail]>
Subject: wait til you read this, zorners...
Date: 15 Mar 2000 13:38:52 -0600

 From MTV Online

It appears that Axl Rose is gaining a collaborator and losing a drummer.

                                                 Rose, the sole
remaining original member of Guns N' Roses, has been
                                                 working with the
near-indescribable Buckethead, an avant-garde
                                                 multi-instrumentalist
best known as a rapid-fire electric guitarist.

                                                 Sources say that the
two have been spending time working on material
                                                 together and that
Buckethead is involved in the recording process for
                                                 the upcoming Guns N'
Roses album, although they add that he's not
                                                 necessarily the
band's new guitar player.

                                                 The group has been
without a guitarist since the departure of Robin
                                                 Finck, who had
replaced original guitarist Slash. Finck left GN'R last
                                                 August to rejoin Nine
Inch Nails (see "Guitarist Robin Finck
                                                 Leaves GN'R To Return To NIN").

                                                 Guns N' Roses manager
Doug Goldstein declined to comment on
                                                 Buckethead or any
possible replacements for Finck, other than to say
                                                 the search continues.

                                                 Buckethead,
traditionally crowned by an upside down Kentucky Fried
                                                 Chicken bucket on his
head, has guested on dozens of records,
                                                 soundtracks and
games, and has released at least four solo albums, the
                                                 most recent being a
1999 effort called "Monsters And Robots." Guests
                                                 on that LP include
Primus bassist Les Claypool, drummer Brain,
                                                 P-Funk's Bootsy
Collins, and progressive producer/musician Bill
                                                 Laswell (Herbie
Hancock, DJ Spooky, Yoko Ono). Buckethead also
                                                 played in Laswell's
hip-hop flavored Praxis with Brain, Collins, and
                                                 Collins' P-Funkmate
Bernie Worrell, among others.

                                                 The guitarist also
made brief, frenetic appearances onstage with Primus
                                                 during Ozzfest '99
and toured with the band last year (see "Primus
                                                 Lines Up Post-Family
Values Dates"). He was also a key
                                                 performer at the 1999
International Progressive Music Festival in San
                                                 Francisco last May.

                                                 Meanwhile, it appears
that drummer Josh Freese, who's been manning
                                                 the Guns N' Roses
skins in the studio for the past two years, will not be
                                                 returning to the band
once he completes his current stint with A
                                                 Perfect Circle (see
"Nine Inch Nails Taps A Perfect Circle For
                                                 U.S. Tour").

                                                 Fronted by Tool's
Maynard James Keenan and featuring guitarist Billy
                                                 Howerdel, A Perfect
Circle is touring with Nine Inch Nails most likely
                                                 until the end of
June. Drummer Freese is a rotating member of The
                                                 Vandals and also
plays the occasional outing with Devo.

                                                 A management
spokesperson for A Perfect Circle said Freese's status
                                                 with Guns N' Roses
was "up in the air." In possibly a telling move, an A
                                                 Perfect Circle press
release issued by Virgin listed only The Vandals
                                                 among Freese's
credits, and not GN'R.

                                                 Sources close to
Freese confirm that the drummer is out of the band,
                                                 reportedly at the end
of his contract and no longer willing to remain
                                                 available for the
Guns N' Roses project. Freese's personal manager
                                                 could not be reached
for comment.

                                                 GN'R manager
Goldstein says that he has not heard from any official
                                                 representative
regarding Freese's status. He adds that the drummer's
                                                 parts are done, and
seeing as how Guns will not be touring anytime
                                                 soon, the door is
open for Freese's return in the future.


















                            read icculus







-



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

From: [e-mail]
Subject: sex life of 88 tuned bongos
Date: 15 Mar 2000 10:47:13 -0800

If you weren't interested in Cecil Taylor's sexual orientation, stay
away from this snippet of an interview with diamanda gala (from
motion.state51.co.uk). We should note that Galas' brother, to whom she
was very close, was gay and died of AIDS. She began working on the
AIDS-themed Plague Mass afterward.

P: Concerning your persona, there are the ongoing issues around this,
as far as the way you are
                       presented in the media, what I've read in
interviews, etc. You seem to be often portrayed as this
                       gigantic, Wagnerian female Vampire Bat ...

                       D: That weighs 700 pounds? I know! I always
disappoint people when they see I'm not fat. You know
                       who called me a Satanist the other day?

                       P: Who?

                       D: Cecil Taylor! That motherfucker! I said
you're the biggest pederast in New York and you are
                       calling me a fucking Satanist? You pig! What
happened is that I was in this gay restaurant the other
                       day with my friends, and I said to myself, I
have had tremendous respect for this man's music for 20
                       years, so I thought, I'm going to buy him a
drink. So I bought him a drink. The next thing I know ,
                       he's sitting at my table, and he's looking at
me, and he's talking to his friends and he's saying (in a
                       low croaky voice) "She's a Satanist".

                       P: This leads me to a question that I have been
wanting to ask you for a long time, and that is ...

                       D: Am I a Satanist?

Martin
NP Temptations -- Anthology

-



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

From: "Dann-Brown" <[e-mail]>
Subject: Re: RUINS
Date: 15 Mar 2000 16:07:08 -0500

as some zornlisters here probably already know, Ruins are my favorite band.
Far and away, my favorite Ruins album is "Burning Stone."  If possible, try
and lind the Japanese version of the album, which adds 10 live bonus tracks.
Other good starters for Ruins are "Stonehenge" and "Hyderomastgroningem".
But do try and hear "Burning Stone" - in my opinion, it's their best.

-dann

NP: "Kattorna", Krzystof Komeda  - ASTIGMATIC

"If you put something in quotes, it means you're quoting something."



-



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

From: [e-mail]
Subject: ruinz
Date: 15 Mar 2000 15:46:19 -0500


i'll agree with the suggestions so far. saisoro is great, but not
representative. oddly the follow-up derek + the ruins french release (i forget
the label) was not nearly as strong. the shimmydisc releases (stonehenge,
burning stone and a self-titled one) are great playing, but suffer from poor
sound quality. tatsuya has apparently remastered them for his own magiabutsu
(sp?) label, but i haven't heard those. does anyone know if the knit has or
plans to release them in their shimmy reissue series?

the tzadik ruins release might be a better place to start. better sound, and
just as good. it features matsuda as the bassist, my favorite of the three i'm
aware of (he's no longer in the band) (the band is basically tatsuya yoshida on
drums, vocals with a series of different bassists).

vrresto, on the same french label as the derek/ruins follow-up, is good as well.

others can be a pretty mixd bag. refusal fossil, on skin graft i think or some
other chicago label, is a live/outtake sorta comp, lot of it unnecessary unless
you're going completist. and if the magma overtones are hard for you to take (as
they are me a little and jon perhaps moreso) avoid sympohonica (on tzadik) at
all costs.

if you can find magiabutsu releases, a solo record of tatsuya's called 'one
million years' is maybe my favority record of his, even if it is pretty proggy
too.

tatsuya will be stateside this summer, touring with ybo2!

see ya.



-



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

From: [e-mail]
Subject: Homolodics with Stanely "Fagan" Crouch
Date: 15 Mar 2000 12:50:58 -0800

More from the Diamanda Galas interview
(http://motion.state51.co.uk/features/galas/index.html)

D: I was talking with Stanley Crouch the other day, I had a very
interesting conversation with him,
                       although we have been at war for 20 years. He is
a wonderful writer, and a hilarious and brilliant
                       person, although he cannot give up certain
attachments which are totally ludicrous.

                       P: He is pedantic, but you have to admire that
he has a singular genius when it comes to the
                       history and criticism of jazz

                       D: Isn't it true? What's so funny is, while we
were talking, out of the blue after talking to him, I got a
                       record from Wynton Marsalis! It was the last
thing in the world I ever thought I'd get in the mail,
                       because I am just completely anti-Wynton
Marsalis.

                       P: He sent you a Wynton Marsalis record?

                       D: Wynton Marsalis sent me a Wynton record.
Isn't that amazing?

                       P: I find that totally amazing! What was his
reason for doing this?

                       D: Because of the talk that I had with Stanley.
I mean he's worked with him (Marsalis) for many
                       years, This is a very poor way of putting it,
but Wynton's career is very, very supported by Stanley
                       Crouch. I've talked about it with Butch Morris
and other friends of mine, and his attitude is "Well
                       now, that's Stanley's new boy". You know how he
(Crouch) is, he did it with Cecil too, and he's
                       always sleeping with these guys, I can't believe
it! I said to him, "Stanley, you are really the most
                       cantankerous, problematic person that I know".
But I love him.

-



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

From: [e-mail]
Subject: Zorn is for lovers
Date: 15 Mar 2000 12:57:32 -0800

Diamanda on Zorn -- the last excerpt I'll send, promise.

P: On the flip side of this issue, one thing that I see in your
hardcore fans, it seems that many of
                       them are somewhat lost souls that have a
tendency to glom on to any image or personality that is
                       strong.

                       D: They do.

                       P: It is not necessarily your issue, but how do
you deal with this type of fawning adoration?

                       D: I would assume that this is what people do
with everyone that they see on stage, don't they?

                       P: It manifests itself to varying degrees. I
mean you have people that are really into John Zorn, but
                       they do their "fawning" in their bedrooms.

                       D: I sorry, I thought you were talking about
sex. I somehow just could not imagine fucking to John
                       Zorn!

                       P: No, no, that's not what I meant! That would
be dangerous, shit would be getting broken, things
                       would be falling apart, neighbours would be
picketing in the street ...

                       D: (Loud laughter) Guys would be pulling their
pliers out and saying "Turn over Bitch!"

Martin
np. Sergeant Garcia

-



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

From: "Neil H. Enet" <[e-mail]>
Subject: Joey Baron - Down Home
Date: 15 Mar 2000 18:28:12 -0400

I was just looking around for interesting albums, and I step across this
one.  I listened to some realaudios and it looks real good.
So, anyone has any opinions on this album?, please .. who else could I ask?
:-)

Thanks

Neil H. Enet
------------


-



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

From: "Michael Berman" <[e-mail]>
Subject: fire in the Sun Ra house
Date: 15 Mar 2000 18:16:19 -0500

EMERGENCY NOTICE:




There has been a fire in the Sun Ra house and extensive damage resulted. =
 The people are all right but help is needed to repair the building =
immediately.  Please send donations to:  Marshall Allen, 5626 Morton =
Street, Philadelphia, 19144.  Also, if you can help rebuild or repair =
the building or contribute construction materials, supplies, or other =
resources, please call [phone] and leave your coordinates so =
Marshall can get in touch with you.=20


 =20
 =20


-



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

From: 2L <[e-mail]>
Subject: Re: ruinz
Date: 16 Mar 2000 01:14:17 +0100

[e-mail] a =E9crit :

> i'll agree with the suggestions so far. saisoro is great, but not
> representative. oddly the follow-up derek + the ruins french release (i=
 forget
> the label)

The label's called Sonore and you can check out www.sonore.com
2L.



-



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

From: "Tom Johnson" <[e-mail]>
Subject: Re: Joey Baron - Down Home
Date: 15 Mar 2000 17:51:26 -0700

It's a good all-around album.  Very laid back, very mellow.  And very little
of Frisell's trademark twang.  Actually, this is the most traditional jazz
guitar I've ever heard him play.  You wouldn't guess it was Frisell playing
if you had heard it before knowing he was on there.

If you like what you heard, you won't be disappointed.  The whole album is
very good, if not excellent.  I also highly recommend Joey Baron's other
solo album, Raised Pleasure Dot.  It's very odd but very fun.

Tom

----------------------------
"Go for super-stud!  Go for super-stud!"
                                         --Bill, on Freaks & Geeks

"I don't want to sell anything, buy anything, or process anything as a
career.
I don't want to sell anything bought or processed, or buy anything sold or
processed, or process anything sold, bought, or processed, or repair
anything sold, bought, or processed. You know, as a career, I don't want to
do that."
                                        --Lloyd, from Say Anything

----- Original Message -----
Sent: Wednesday, March 15, 2000 3:28 PM


> I was just looking around for interesting albums, and I step across this
> one.  I listened to some realaudios and it looks real good.
> So, anyone has any opinions on this album?, please .. who else could I
ask?
> :-)
>
> Thanks
>
> Neil H. Enet
> ------------
>
>
> -
>


-



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

From: "Julian" <[e-mail]>
Subject: Re: RUINS
Date: 16 Mar 2000 12:47:02 +1100

I second the recommendations for Burning Stone and Hyderomastgronigem. And
despite what someone said about Symphonica, I would highly recommend it
simply for its addition of brilliant pianist/keyboardist Oguchi Kenichi...


-



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

From: "Steve Smith" <[e-mail]>
Subject: Re: ruinz
Date: 15 Mar 2000 21:33:44 -0500

I think Kurt might actually have been referring to the second Derek and t=
he
Ruins disc, "Tohjinbo," on the British label Paratactile.  It features th=
e
new bassist Sasaki Hishashi as well.

Steve Smith
[e-mail]
NP - nada

----- Original Message -----
Sent: Wednesday, March 15, 2000 7:14 PM


[e-mail] a =E9crit :

> i'll agree with the suggestions so far. saisoro is great, but not
> representative. oddly the follow-up derek + the ruins french release (i
forget
> the label)

The label's called Sonore and you can check out www.sonore.com




-



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

From: "mr jason p berry" <[e-mail]>
Subject: Re: RUINS/brubeck
Date: 15 Mar 2000 18:57:47 PST


> > For too long I have ignored this band. Their version of Blue Rondo
> > ala Turk on the avant Brubeck tribute floored me.

what is this? i haven't heard of it. who's on this?
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: "mr jason p berry" <[e-mail]>
Subject: Re: ruinz/ron anderson
Date: 15 Mar 2000 19:06:49 PST

also of interest to some might be the two cds by guitarist ron anderson (of
the late, great molecules) and yoshida, "first meeting" & "a is for
accident", as well as the "ronruins" cd that has ron sitting in with the
band. the music on these discs is completely improvised, quite different
from the standard ruins thing, and thousands of times better than derek
bailey wankage. you can order then from ron's website at
www.ronanderson-molecules.com


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


-



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

From: "Stephane Vuilleumier" <[e-mail]>
Subject: Re: promo Ersthwile records
Date: 16 Mar 2000 08:48:17 +0100

OK...
any (succint) summary reviews, preferred items regarding
Jon's (friendly) spam?

Stephane
----- Original Message -----
Sent: Mittwoch, 15. M=E4rz 2000 17:54
ed
Upside Down


> sorry for the promotional intrusion

> Erstwhile 005: Keith Rowe/G=FCnter M=FCller/Taku Sugimoto-The World Tur=
ned
Upside
> also available now:
> 001-VHF-Extracts
> 002-Haunted House-Up In Flames
> 003-Earl Howard/Denman Maroney-Fire Song
> 004-2-Thomas Lehn/Gerry Hemingway-Tom & Gerry (double CD)
> 006-Kevin Drumm/Martin T=E9treault-Particles and Smears


-



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

From: "Neil H. Enet" <[e-mail]>
Subject: Masada DIW & MSI
Date: 16 Mar 2000 06:56:50 -0400

Hello list,

    I always see in the e-stores that there are two sets of Masada albums, both
imported but one slightly cheaper than the other. What's this? What's the
diffference between the two? One says it's from the DIW Label and the other
from the MSI label.

Thanks

Neil H. Enet
------------


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: RUINS/brubeck
Date: 16 Mar 2000 06:08:17 -0500

At 06:57 PM 3/15/00 PST, mr jason p berry wrote:
>
>> > For too long I have ignored this band. Their version of Blue Rondo
>> > ala Turk on the avant Brubeck tribute floored me.
>
>what is this? i haven't heard of it. who's on this?

From a post on March 11:

Blue Shadows In The Street    Dave Slusser
Far More Blues            Uri Caine
In Your Own Sweet Way        Pachora
Summer Song             Bill Frisell
Blue Rondo A LA Turk        Ruins
Tokyo Traffic            MM&W
The Duke                Anthony Coleman
Calcutta Blues            Eyvind Kang
Sixth Senth                Slowpoke
Winter Ballad            Erik Friedlander
Jumpin                Sexmob
Nomad                    Dave Doulas
Three To Get Ready        Joey Baron
Golden Horn                David Krakauer


--
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] (Stephen Fruitman)
Subject: Caine, Bach & Gould
Date: 16 Mar 2000 12:24:40 +0100 (MET)

Exciting new release on its way this spring from Winter & Winter: The Uri
Caine Ensemble, _The Goldberg Variations_. According to the press material,
Caine performs his own, new variations of the piece, juxtaposes "foreign
sound elements" with one another, and samples Glenn Gould=B4s classic
recording of the piece. From the press sheet: "Bach=B4s music dallies in a
Leipzig cathedral, jumps out through the window and lands on a streetcorner
in New York, visits a Jewish wedding, spends some time in New Orleans, and
plunges into wild, free-form trumpeting before seeking refuge in blind
panic in the throbbing lights of a drum=B4n=B4bass club."

The players:

Uri Caine - piano, cembalo, keyboards
Barbara Walker - voice
Anegret Siedel - violin
Vittorio Ghiemli - viola di gamba
Don Byron - clarinet
Ralph Alessi - trumpet
Drew Grass - bass
Ralph Peterson - drums
DJ Olive - turntables

Can hardly wait! All the best, Stephen




Richard Pettersson
Department of History of Science and Ideas
Ume=E5 University
S-901 87 Ume=E5, Sweden
Phone: [phone]
Telfax: 046 90 14 33 74

E-mail: [e-mail]



-



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

From: [e-mail] (Stephen Fruitman)
Subject: Winter & Winter and Others Up for Trade
Date: 16 Mar 2000 12:25:29 +0100 (MET)

I have two brand-spankin=B4 new W&W releases available for trade:

Uri Caine Ensemble/La Gaia Scienza, _Robert Schumann: Love Fugue_

Here Caine takes on Robert Schumann=B4s lieder, interspersed with the four
movements of Schumann=B4s Piano Quartet Opus 47; the latter are "played
straight" by the piano/string trio La Gaia Scienza, while Caine et. al.
rework the lieder in a way familiar to folks who have heard his Mahler
recordings; perhaps a tad more restrained. Some silly vocal improvisation
by David Moss as well as some poetry readings by several contemporary
writers, including Caine=B4s mother (!).

I also have a copy of Fred Frith=B4s _Traffic Continues_, played by Ensemble
Modern, Zeena Parkins and Ikue Mori.

And while I=B4m at it, the following are also up for trade:

Pago Libre, _Wake Up Call_ (Leo Records)
Simon Picard/John Wolf Brennan/Eddie Pr=E9vost, _En=B7tropo=B7logy_
   (For 4 Ears)
Urs Leimgruber, _Ten Pieces for Saxophone_ (For 4 Ears)
=46redy Studer w/ Jin Hi Kim, Joelle Eleandre & Dorothea Sch=FCrch,
   _Duos 3-13_ (For 4 Ears)

Get in touch privately if interested. All the best, Stephen




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

Richard Pettersson
Department of History of Science and Ideas
Ume=E5 University
S-901 87 Ume=E5, Sweden
Phone: [phone]
Telfax: 046 90 14 33 74

E-mail: [e-mail]



-



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

From: 2L <[e-mail]>
Subject: Re: Joey Baron - Down Home
Date: 16 Mar 2000 13:02:08 +0100

Tom Johnson a =E9crit :

> It's a good all-around album.  Very laid back, very mellow.  And very l=
ittle
> of Frisell's trademark twang.  Actually, this is the most traditional j=
azz
> guitar I've ever heard him play.  You wouldn't guess it was Frisell pla=
ying
> if you had heard it before knowing he was on there.
>
> If you like what you heard, you won't be disappointed.  The whole album=
 is
> very good, if not excellent.  I also highly recommend Joey Baron's othe=
r
> solo album, Raised Pleasure Dot.  It's very odd but very fun.
>
> Tom
>

And what about his latest solo album, "We'll soon find out"?
Because I saw Joey play at the Banlieues Bleues Festival (near Paris, Fra=
nce)
last week (with Ribot and Medeski), I really liked it and I'm trying to f=
ind a
record on which the kind of music they played would be retranscribed. Any
recommendantions?
Thanx in advance.
2L.




-



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

From: [e-mail] (Stephen Fruitman)
Subject: New Sex Pistols Film
Date: 16 Mar 2000 13:22:21 +0100 (MET)

The comments of anyone who goes to see this film would be highly
appreciated. All the best, Stephen


THE FILTH AND THE FURY
Directed by Julien Temple

a Sex Pistols film

"You can't create me, I am me."
 -- John Lydon

Wednesday, 29 March
The Film Forum
209 W Houston St, New York City







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

Richard Pettersson
Department of History of Science and Ideas
Ume=E5 University
S-901 87 Ume=E5, Sweden
Phone: [phone]
Telfax: 046 90 14 33 74

E-mail: [e-mail]



-



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

From: Moudry <[e-mail]>
Subject: Re: fire in the Sun Ra house
Date: 16 Mar 2000 07:48:55 -0600

At 18:16 15-03-00 -0500, "Michael Berman" <[e-mail]> wrote:
>EMERGENCY NOTICE:
>
>There has been a fire in the Sun Ra house and extensive damage resulted.
The people are all right but help is needed to repair the building
immediately.  Please send donations to:  Marshall Allen, 5626 Morton
Street, Philadelphia, 19144.  Also, if you can help rebuild or repair the
building or contribute construction materials, supplies, or other
resources, please call [phone] and leave your coordinates so
Marshall can get in touch with you.
>

Michael & Zornists,

The above information is quite old; I'd imagine that the piece in the
latest Signal to Noise may have been the source for it. Last Saturday the
Arkestra did an evening at the Knit to earn some of the resources necessary
to rebuild the House of Ra. The following is the announcement from the
Concerts Area of my Saturn Web that gives the particulars for the event, as
well as the basic facts about the fire:
==============================================
The Arkestra @ The Knit

Elson Nascimento do Santos announced that the Sun Ra Arkestra under the
direction of Marshall Allen will appear at

The Knitting Factory
74 Leonard Street
New York City
(5 blocks below Canal between Broadway & Church)

on Saturday March 11, 2000.

This event will be a benefit concert to raise some of the funds needed to
fix the Arkestra house in Philadelphia that was damaged by a fire on
January 16, 2000. Those who were expressing interest in supporting the
Arkestra in defraying the large costs of fire damage repairs at the
historic Arkestra house are encouraged to attend on March 11.

Sun Ra Arkestra t-shirts and A Song For The Sun Arkestra CDs will also be
sold at the event to help raise funds to fix the house. For additional
information from the Knitting Factory, visit their website or call
212-219-3006.
==============================================

Although the concert has passed, anyone wishing to buy a copy of the CD or
enquire about the very nice tee-shirts might want to contact them. These
are proud men who are trying to rebuild and get back to the vital work of
keeping the Arkestra in existence; please respect their dignity.

Hope this helps.

Saturnally,
Joe Moudry
Office of Academic Computing & Technology
School of Education, The University of Alabama @ Birmingham
Master of Saturn Web (Sun Ra, the Arkestra, & Free Jazz):
<http://www.dpo.uab.edu/~moudry>
Producer/Host of Classic Jazz (Armstrong -> Ayler ->)on Alabama Public
Radio:

-



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

From: "Joslyn Layne" <[e-mail]>
Subject: Lisle Ellis in dire straits..
Date: 16 Mar 2000 09:07:43 -0500

I hope people don't mind me posting this here.. i would certainly want to
know after the wonderful performances i have seen from Ellis, so i'm
assuming there are a few other like-minded on the list. you may know Ellis'
bass playing from the What We Live group, with Larry Ochs [of Rova]. What We
Live has several CD releases, mostly on soul note, i think, with guests like
Dave Douglas...

   joslyn

----------------------------
Sent:        3/12/20 2:53 AM
Received:    3/15/00 8:52 AM

Urgent message for all people who know Lisle Ellis

I am writing on Lisle Ellis' behalf to let people know that he is
currently
receiving emergency medical attention in San Francisco for liver and
kidney
malfunctions and is in need of any possible financial contribution that
you
can donate. At this moment in time, Lisle is living from a van in San
Francisco (where he has lived since 1992) and is at present homeless. He
has
no telephone number where he can be reached. More to the point, he is in
debt and is without any income at this time. Here is an excerpt from a
recent E mail sent to me from him , dated March 7, 2000.

.......My situation is CRITICAL. I need some $$$ to
pay immediate medical bills and further medical
expenses. that's excluding my day to day survival
needs. right now i've my van to live in. i guess that
is more than some have but knowing that dosen't help
my spirits much or dosen't keep me any warmer at
night. i'm accepting any donations that you or any
others may offer. PLEASE let people know what is
happening since i've no access to phone and only very
limited access to email. (please pass along my email
address). anyone who wants to help can do so so by
making a deposit at any       Toronto Dominion bank (based in Canada):

US$ account #7134505
branch#4720

i really need your help in getting the word out there.
thanks,
l.e.


Lisle's E mail address (a free hotmail address where he can check his mail
from anyone's computer) is [e-mail].

If you would like to verify the Toronto Dominion bank account of Lisle,
here
is a 1 800 # for Toronto Dominion bank for anyone interested:

1 800 983 2265.      I assume that this tel. # is good for anyone dialing
within North America.

For those who do not know of Lisle Ellis on this E mail list, I apologize
and do not expect any response from you.
There are many on my E mail list who do know him and/or his music and it
is
to them that this letter is addressed.

I thank all of you who have been touched by Lisle's music over the years
and
who care to offer any amount that you can afford.



Yours sincerely,

Paul Plimley
E mail address   [e-mail]
Sent:        3/20/20 1:43 PM
Received:    3/16/00 8:35 AM

To all those who received a previous E mail yesterday from me,

Many people have responded to the last E mail sent regarding Lisle Ellis
and
his current circumstance. Here is some additional information sent to me
from Jed Bishop, trombonist from Chicago. This will help anyone who wishes
to contribute to Lisle's present situation. His E mail is as follows:

Hello Paul,

I wired some money to Lisle's account based on the info you gave in your E
mail, but some
additional info is also necessary to make a money transfer to his account:

the Toronto Dominion branch # is actually 47201
the bank's routing # is 026009593
the bank's institution # is 004
there is a "designation code" that may have to be prefixed to Lisle's
account #; that code is 040

I got this info from the 1 800 number for the bank, but you may want to
pass
it on to anyone interested in making a wire transfer.

Jeb Bishop

For those of you who wish to mail a  US money order or cheque in Lisle
Ellis's name directly to me (I live only 7 blocks from a Toronto Dominion
bank branch), here is my home address. A money order might be preferable
to
a cheque, since there will be no delay in the clearing time of a deposited
cheque


Paul Plimley
3016 Waterloo Street
Vancouver, BC
V6R 3J6
Canada

Kind regards to all,

Paul Plimley



-



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

From: Theo Klaase <[e-mail]>
Subject: Joey Baron - Down Home
Date: 16 Mar 2000 06:50:58 -0800 (PST)

    This is a great album!  Laid back traditional jazz
stuff.  Although someone said they'd never heard
Frisell play so traditionally, try the "Songs We Know"
CD with Frisell and Fred Hersch.
    I see the new Joey Baron album, do out this
spring, has the same line up as "Down Home."  This is
a must have for a guy like me.

=====
-That which is Theodorus...    "The way to see faith is to shut the eye of reason."   www.freeyellow.com/members7/theodorus/index.html

__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com

-



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

From: Linares Hugo <[e-mail]>
Subject: RE: Joey Baron - Down Home
Date: 16 Mar 2000 11:51:10 -0300





> It's a good all-around album.  Very laid back, very mellow.  And very
> little
> of Frisell's trademark twang.  Actually, this is the most traditional jazz
> guitar I've ever heard him play.  You wouldn't guess it was Frisell
> playing
> if you had heard it before knowing he was on there.
>
> If you like what you heard, you won't be disappointed.  The whole album is
> very good, if not excellent.  I also highly recommend Joey Baron's other
> solo album, Raised Pleasure Dot.  It's very odd but very fun.
>
> Tom
>
>
    [Linares Hugo]
    Seconded.
    Also Arthur Blythe is in great shape. You wouldn't guess it was
Blythe playing unless you read the credits.
    As Tom recommends Raised Pleasure Dot, I'd recommend "Crackshot",
with the same lineup, but different -musically speaking- from Down Home.

    Hugo


-



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

From: Jason Tors <[e-mail]>
Subject: Re: RUINS/brubeck
Date: 16 Mar 2000 10:11:23 -0500

avant put out a brubeck tribute album with ruins, eric freilander,
medeski martin and wood, sex mob, slow poke, dave douglas, uri caine
trio, pachora, a duet with joey baron and tony scher, and a few
others I am forgetting right now.

Its a good album. If you like the players you will like the cd.


>> > For too long I have ignored this band. Their version of Blue Rondo
>> > ala Turk on the avant Brubeck tribute floored me.
>
>what is this? i haven't heard of it. who's on this?
>______________________________________________________
>Get Your Private, Free Email at http://www.hotmail.com
>
>
>-


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Caine, Bach & Gould
Date: 16 Mar 2000 08:10:13 -0800


On Thu, 16 Mar 2000 12:24:40 +0100 (MET)  Stephen Fruitman wrote:
>
> recording of the piece. From the press sheet: "Bach┤s music dallies in a
> Leipzig cathedral, jumps out through the window and lands on a streetcorner
> in New York, visits a Jewish wedding, spends some time in New Orleans, and
> plunges into wild, free-form trumpeting before seeking refuge in blind
> panic in the throbbing lights of a drum┤n┤bass club."

Isn't scarry?

    Patrice.

-



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

From: Linares Hugo <[e-mail]>
Subject: RE: Caine, Bach & Gould
Date: 16 Mar 2000 13:40:52 -0300



> > recording of the piece. From the press sheet: "Bach=B4s music =
dallies in a
> > Leipzig cathedral, jumps out through the window and lands on a
> streetcorner
> > in New York, visits a Jewish wedding, spends some time in New =
Orleans,
> and
> > plunges into wild, free-form trumpeting before seeking refuge in =
blind
> > panic in the throbbing lights of a drum=B4n=B4bass club."
>=20
> Isn't scarry?
>=20
    [Linares Hugo] =20

    Did you mean "scary", Patrice?
    Or is it a new "slang" I've missed?=20

    Hugo


>     Patrice.
>=20
> -

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Caine, Bach & Gould
Date: 16 Mar 2000 08:50:06 -0800


On Thu, 16 Mar 2000 13:40:52 -0300  Linares Hugo wrote:
>
> > Isn't scarry?
>
>     [Linares Hugo]
>
>     Did you mean "scary", Patrice?
>     Or is it a new "slang" I've missed?

Oops! I meant scary, of course.

    Patrice.

-



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

From: [e-mail]
Subject: Inside Out, S. Rivers, D.Cherry, I. Stravinsky
Date: 16 Mar 2000 08:19:39 -0800

"It takes a long time to be traditional musician, but a few minutes to
be a free one.'' -- Sam Rivers, in a pretty good and fairly long
interview in the new Downbeat.

Continuing that thread: This morning I put on Don Cherry/Ed Blackwell
ECM duet, El Corazon, for the first time in a few years. I had
forgotten Cherry's facile, traditional piano rendition of Monk's Bemsha
Swing -- surprised even. It's not just the critics that fall into these
stereotypes....

Also, was listening to Stravinsky's Les Noces -- anybody else find this
chorus plus percussion work reminiscent of Harry Partch (altho it
precedes Partch)....

Martin

NP Dewey Redman -- Coincide

-



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

From: [e-mail]
Subject: Re:  RE: Joey Baron - Down Home
Date: 16 Mar 2000 12:26:14 EST

I agree.  CRACKSHOT is the best Joey so far, espec "Punt".

skip h

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Inside Out, S. Rivers, D.Cherry, I. Stravinsky
Date: 16 Mar 2000 09:31:38 -0800


On Thu, 16 Mar 2000 08:19:39 -0800  [e-mail] wrote:
>
> Also, was listening to Stravinsky's Les Noces -- anybody else find this
> chorus plus percussion work reminiscent of Harry Partch (altho it
> precedes Partch)....

I might not have listened to the right Harry Partch because the comparison
never came to me. I am a huge fan of LES NOCES and consider that this too
often overlooked piece is one of the masterpieces of this century. I dream
sometimes that people would give up on CARMINA BURANA and instead listen to
LES NOCES... (or at least stop making statements about CARMINA BURANA until
they have listened to LES NOCES).

    Patrice.

-



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

From: Whit Schonbein <[e-mail]>
Subject: Re: ruins
Date: 16 Mar 2000 11:48:02 -0600 (CST)



On Thu, 16 Mar 2000, Zorn List Digest wrote:
> Date: Wed, 15 Mar 2000 15:46:19 -0500
> From: [e-mail]
> Subject: ruinz
>
> others can be a pretty mixd bag. refusal fossil, on skin graft i think or some
> other chicago label, is a live/outtake sorta comp, lot of it unnecessary unless
> you're going completist. and if the magma overtones are hard for you to take (as
> they are me a little and jon perhaps moreso) avoid sympohonica (on tzadik) at
> all costs.

'refusal fossil' is the only ruins i have, and i think it is great.  the
lo-fi crap sound only enhances the experience for me.  it does have a high
prog-rock component (i think one of the later tunes is a prog-rock medley
of some sort), though (which is no problem to my ears).  i've heard two
live bootlegs from 98 and 99, and they did not strike me as radically
different from refusal fossil...which makes me curious about the other
reccommendations being given on the list.  whatever the case, i really
enjoy refusal fossil.

cheers,
whit

np - charles mingus, mingus mingus mingus mingus mingus


-



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

From: Whit Schonbein <[e-mail]>
Subject: Re: Zorn List Digest V2 #892
Date: 16 Mar 2000 12:05:30 -0600 (CST)


On Thu, 16 Mar 2000, Zorn List Digest wrote:
> Date: Wed, 15 Mar 2000 17:51:26 -0700
> From: "Tom Johnson" <[e-mail]>
> Subject: Re: Joey Baron - Down Home
> If you like what you heard, you won't be disappointed.  The whole album is
> very good, if not excellent.  I also highly recommend Joey Baron's other
> solo album, Raised Pleasure Dot.  It's very odd but very fun.

For the record, Down Home has Frisell, Ron Carter, Joey Baron, and Arthur
Blythe on Sax; it is very straightforward, as tom notes.

Raised Pleasure Dot i *think* is by Baron's earlier group, Barondown, with
Steve Swell on trombone and Ellery Eskelin on sax.  Strange
instrumentation for a fun trio.  I'm not much of a fan of this band, but I
know several people who love it.  They have two (?) other albums, the
names of which I forget.

(There may be some other bands, too; I recall an album by Baron called
'crackshot' - maybe this is a Barondown album?)

Finally, there's his more recent band consisting of Baron, John Medeski on
organ, and Marc Ribot on guitar.  There are several bootlegs of this band
in action floating around, and this band is by far my favorite Baron-led
band.  I think they began as an all-improv unit (i heard one tape where
they kept jokingly referring to every jam as 'song #1'), but 'real' songs
with 'real' names somehow came to be.

in that respect, 2L writes:

> Date: Thu, 16 Mar 2000 13:02:08 +0100
> From: 2L <[e-mail]>
> Subject: Re: Joey Baron - Down Home
>
> And what about his latest solo album, "We'll soon find out"?
> Because I saw Joey play at the Banlieues Bleues Festival (near Paris, Fra=
> nce)
> last week (with Ribot and Medeski)

My question is, is the new album with ribot and medeski? and when is it
released in the US?

cheers,
whit


-



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

From: Dan Hewins <[e-mail]>
Subject: Joey Baron stuff
Date: 16 Mar 2000 13:14:59 -0500

>Finally, there's his more recent band consisting of Baron, John Medeski on
>organ, and Marc Ribot on guitar.  There are several bootlegs of this band
>in action floating around, and this band is by far my favorite Baron-led
>band.  I think they began as an all-improv unit (i heard one tape where
>they kept jokingly referring to every jam as 'song #1'), but 'real' songs
>with 'real' names somehow came to be.

I saw this band at the Knitting Factory recently and I also think
they're a great band.  Also my favorite Baron led band.  They
definitely had written music to play.  I would say that there was a
lot of improvisation in the music but every tune had a chart.  (Even
the 20-30 min. long droning piece that Joey introduced "...this one
is for lovers...")

Dan

-



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

From: [e-mail]
Subject: Re: promo Ersthwile records
Date: 16 Mar 2000 13:52:06 EST


In a message dated 3/16/00 2:49:12 AM, [e-mail] writes:

<< any (succint) summary reviews, preferred items regarding

Jon's (friendly) spam? >>

don't hold back your opinions because I'm here, I'd love to hear the
feedback, good or bad. I know at least a few of you out there have fairly
complete Erstwhile collections.

Jon
www.erstwhilerecords.com

-



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

From: "Scott" <[e-mail]>
Subject: [thewire] AMM play Scotland shock
Date: 14 Mar 2000 21:33:08 +0000


April/May coming, Glasgow plays host to a couple of serious improvisation
weekends under the stewardship of Evan Parker. Appearances by AMM, Barry
Guy, Han Bennink, Alex Von Schlippenbach and many others. Initial details
can be found under the news section at the url below.

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

MAXIMIZE YOUR CARD, MINIMIZE YOUR RATE!
Get a NextCard Visa, in 30 seconds!  Get rates as low as
0.0% Intro or 9.9% Fixed APR and no hidden fees.
Apply NOW!
http://click.egroups.com/1/2122/5/_/473762/_/953069363/

TO Unsubscribe: mailto:[e-mail]

TheWire List Info Page: http://www.msu.edu/user/forddavi/wirelist.html


-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: promo Ersthwile records
Date: 16 Mar 2000 18:07:42 -0500

[e-mail] wrote:

> don't hold back your opinions because I'm here, I'd love to hear the
> feedback, good or bad. I know at least a few of you out there have fairly
> complete Erstwhile collections.

Erstwhile # 1, with VHF, is just superb, one of my favorite quiet improv
discs. #2, with Haunted House is OK, but I admit that Mazzacane Connors
hasn't won me over yet. Vol 3, Denman Maroney/Earl Howard, is pretty
good, with a couple of standout tracks. And, as mentioned in my last
Recent Goodies, #4, Lehn/Hemingway is all-around excellent. Haven't
heard Drumm/Tetreault yet or (drool) Rowe/Muller/Sugimoto. Given the
enormous potential of the releases in preparation, one is probably
well-advised to have the complete collection, otherwise 20 years from
now you'll feel like me for not having picked up the entire BYG/Actuel
catalog when I had the chance!

(The above was in no way paid for by Jon Abbey or kin) ;-)

Brian Olewnick

-



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

From: Fritz Senn <[e-mail]>
Subject: Re: promo Ersthwile records
Date: 17 Mar 2000 02:30:27 -0500

>good, with a couple of standout tracks. And, as mentioned in my last
>Recent Goodies, #4, Lehn/Hemingway is all-around excellent. Haven't
>heard Drumm/Tetreault yet or (drool) Rowe/Muller/Sugimoto.

Fritz here

Well, I trudged through the rain today for the new Rowe/Muller/Sugimoto
record, and have listened to it 2wice so far. It's comprised of two long
tracks, about an hour's worth of great + intelligent music. This is
terribly reductive, but if you can imagine a more laidback AMM (similar
chemistry) where Rowe is Rowe, Prevost is absent with Muller to fill in,
and Tilbury plucks a guitar kinda like how he plays the piano (this is
Sugimoto), then you come close to what's offered here. Sugimoto is kinda
like the line drawn thru everything, softly and unobtrusive, but Rowe fills
in all the spaces and (for me) he's what makes this record all-around
interesting --same can be said for most AMM.. Out of all the improv
releases from the erstwhile catalog that I've heard, this one offers the
most accessible pleasures..(maybe because I've spent a lot of time
listening to AMM?). However, the "Tom & Gerry" monster still takes the
crown for me, and is pleasurable because it continues to keep me on the
edge of my seat.. probably because Lehn takes his instrument to soaring
crash and burn levels.

my second fave, the Drumm/Tetreault, is more of a stringent challenge..
quiet with fleeting bursts of action, turntables and guitars making little
smears on magentic tape, hardly anything is recognizable (a very good
thing), sounds like totally free improv. yeah, it's challenging stuff, but
also totally unique.

I followed the link to the For 4 eARS site...there, a Wire quote which said
something to the effect that very few euro free improv labels have stepped
up to the challenge of documenting the newer improv of stranger
instrumentation [turntables, trash?...], genre-referencing, etc...  need i
say more/

very tired at the moment, aplgies for the confused descriptions.

-



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

From: MartinS <[e-mail]>
Subject: Re: Joey Baron - Down Home
Date: 17 Mar 2000 09:46:04 +0100

Joey's 3 releases with his trio baron down are all very good. Like they used
to say: 'the smallest big band around'. I saw them live a couple of times
and it was always very challening.
The two releases with the 'down home ensemble' disappointed me after the
first hearing. After seeing them live I changed my mind completely. A great
band. They had someone else at the bass (the one who also plays with
Slowpoke, I can't recall his name right now) which gave a lot of additional
power to the band. At least this was my impression.
The mentioned trio with Ribot/Medeski and Baron sounds very interesting.
Does anyone now if they are planning to do a recording?
--martin


-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: Inside Out, S. Rivers, D.Cherry, I. Stravinsky
Date: 17 Mar 2000 11:00:18 +0100

> Also, was listening to Stravinsky's Les Noces -- anybody else find this
> chorus plus percussion work reminiscent of Harry Partch (altho it
> precedes Partch)....
The story of the instumentation of the piece is very odd, BTW. When
Stravinsky wrote it (about 1916?), it was intended as a large orchestra
(+voices) piece, then he started to rearange it for chamber orchestra. What
is the most ineteresting, just before opting for the final 4 pianos
+ 2 drums + soloists + chorus version, he started to arrange it for folk
russian instruments - balalaikas, and other such strange stuff. But he
didn't do it because there were no folk musicians at the time who could play
such stuff... :-(
Marcin
"Oh Nick, I had the strangest dream!
I thought -  how could I know what I was never taught?"
Stravinsky/Auden "The Rake's Progress"


-



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

From: Linares Hugo <[e-mail]>
Subject: Kurt Rosenwinkel
Date: 17 Mar 2000 10:31:24 -0300

Hi Zornheads!

Just to know if anyone out there get some opinion on Rosenwinkel's latest
outing "The Enemies of Energy" (Verve) or his first "Under it all"
(Impulse!).

Thanks in advance for any comments,

Hugo Linares

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Odp: Inside Out, S. Rivers, D.Cherry, I. Stravinsky
Date: 17 Mar 2000 08:31:37 -0800


On Fri, 17 Mar 2000 11:00:18 +0100  "Marcin Gokieli" wrote:
>
> > Also, was listening to Stravinsky's Les Noces -- anybody else find this
> > chorus plus percussion work reminiscent of Harry Partch (altho it
> > precedes Partch)....
> The story of the instumentation of the piece is very odd, BTW. When
> Stravinsky wrote it (about 1916?), it was intended as a large orchestra
                        ^^^^^^^^^^^^^^^^^^^^^^
The composition date is given, if I remember well, as [1914-1923]. This
is the reason of a lot of problems since the spirit of the composition
is close to THE RITE, but it was created in France in 1923, when
Stravinsky had already switched to his "relecture" of classical style
(PULCINELLA, MAVRA, etc).

I never heard that Stravinsky intended it as "large orchestra (+voices)
piece." But I might just disagree on what "large orchestra" means :-).

> (+voices) piece, then he started to rearange it for chamber orchestra. What
> is the most ineteresting, just before opting for the final 4 pianos
> + 2 drums + soloists + chorus version, he started to arrange it for folk
> russian instruments - balalaikas, and other such strange stuff. But he
> didn't do it because there were no folk musicians at the time who could play
> such stuff... :-(

What I remember was that he wanted to use mechanical pianos but gave up on
the idea because they were impossible to synchronize. With the recent talk
about resurrecting old-impossible-to-play compositions with mechanical/
electric instruments, maybe we will see one day Stravinsky's dream
concretized.

Also, to my knowledge, there are only two versions of LES NOCES available
on CD. The most common one was finished in 1923 (piano + large choir +
percussion), and there is also a second and older version (with chamber
ensemble). It is usually sung in French or Russian, although Stravinsky
was not affraid to record it in... English!!! I doubt that nobody else
would have dare to do such blasphemous choice.

Thanks for the tip with the balalaikas (where did you read about it, BTW)!
I would love somebody to try it.

    Patrice.

-



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

From: [e-mail] (Fritz Feger)
Subject: Avant-garde (was: Zorn can play)
Date: 17 Mar 2000 18:54:10 +0100

Caleb T. Deupree says on the absence of an avant garde:
>I'm starting to think you need a more insular community, so that when you=
=20
>rebel, there's a concrete
>other to rebel against.  The movements that I think of as avant garde=20
>[...] all took place in a fairly closed community. Now, with the=20
>dissolution of geographic communities because of the internet, and the=20
>ready availability of almost any kind of music you want, it's difficult to=
=20
>say that you're part of or reacting to a specific kind of musical=
 institution.

Although I would agree in the consequence that insular communities are at=20
least a fertile ground for avant garde, if not a necessary condition, the=20
reason is IMO different: what unifies and pushes an avant garde movement is=
=20
the system of mutual confirmation, both artistically and socially, rather=20
than a common enemy. Forgot the title of the book, but the effectiveness of=
=20
"tribal" rites is well documented regarding Andy Warhol and his circle, and=
=20
there was an article and an extensive discussion at www.edge.org on the=20
social mechanisms of the "Boh=E8me" in Paris around 1900 (Isn't this Musical=
=20
"RENT" on that topic too?).

Beyond the social aspect, it seems quite important to have companions /=20
concurrents to discuss with on a specialized level and to learn from, which=
=20
is doubtlessly supported by a small community. In general, I think the idea=
=20
to rebel against artistic traditions as an end in itself is much more=20
widespred among fans as among the innovators themselves. The latter often=20
strike me as particularly affirmative towards the different traditions they=
=20
pick up in their own work - which is the other side of the coin of=20
"deconstructing" a tradition.

How about Zorn and his opinion about, say, the traditions he quotes with=20
Naked City?

My greetings to the list, which I abandoned for over a year. Now I'm=20
finally back as a full-time musician, thank god.
Fritz Feger


-



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

From: [e-mail]
Subject: Re: Newsgroups
Date: 17 Mar 2000 14:09:30 EST

In a message dated 2/25/00 1:39:22 PM Eastern Standard Time,
[e-mail] writes:

<< BTW I just wanted to recommend to people of the List that they start
 checking out the alt.binaries newsgroups.  They are starting to
 really take off.   >>

Can anyone inform the rest of us where to start looking for these, and how to
get access?

Thanks.

Dale.




-



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

From: [e-mail]
Subject: frisell review
Date: 17 Mar 2000 16:13:07 -0500


hello all -- haven't heard the disc yet, but i pulled this off the newswire and
edited it for local interest (meaning i cut scofield, sorry if you dig him).

(bal) (ATTN: Entertainment editors)
RECORDS: Capsule Reviews of Recent Releases
By J.D. Considine
(c) 2000, The Baltimore Sun
For years, jazz guitarists have tried to keep their distance from popular music.
Even during the fusion boom of the '70s, when the likes of John McLaughlin and
Larry Coryell aped the amplification and dynamics of rock, there was no
confusing their music with the riffs and rhythms of rock. Certain grooves and
certain kinds of melodies simply seemed off-limits to jazz musicians.
Not anymore. The walls between jazz and pop are slowly coming down, thanks to
the work of such musicians as John Scofield and Bill Frisell.
<snip>
Rhythm plays a much smaller role on Frisell's "Ghost Town" (Nonesuch 79583), but
in part that's because this is a solo album. Instead of leaning on drums, bass
or keyboards, Frisell sticks to overdubbed guitars and banjos, an approach that
emphasizes the totality of his approach to the instruments.
That's not to say he doesn't try to work a groove here, just that he does so in
a fairly unorthodox fashion. "Tell Your Ma, Tell Your Pa," for example, uses
repeating "loops" of pre-recorded guitar licks for its rhythmic foundation,
establishing a loping, insistent pulse beneath Frisell's piquant banjo.
Other tracks, however, take more of a folk-song approach, downplaying the rhythm
so the slowly unfolding melody may take center stage. There's something almost
elegiac about the tuneful purity of "Ghost Town/Poem for Eva," while "Follow
Your Heart" takes a rambling, discursive approach that seems to suggest what
might have happened had Charlie Parker grown up a Delta bluesman.
Perhaps the most interesting aspect of the album is Frisell's way with
standards. He renders the jazz chestnut "When I Fall in Love" on banjo, upending
the expected sentimentality with the instrument's tart, twangy sound, while Hank
Williams' "I'm So Lonesome I Could Cry" is given such an eerie, atmospheric
twist you'd almost think it was a Pat Metheny number. It would be hard to
imagine stylistic lines being blurred more effectively.

np: Black 47: Home of the Brave (Happy St. Patrick's Day, y'all)



-



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

From: [e-mail]
Subject: Re: Inside Out, S. Rivers, D.Cherry, I. Stravinsky
Date: 17 Mar 2000 11:53:22 -0800


>>I wrote:
>> Also, was listening to Stravinsky's Les Noces -- anybody else find
>this
>> chorus plus percussion work reminiscent of Harry Partch (altho it
>> precedes Partch)....
Patrice responded:
>I might not have listened to the right Harry Partch because the
>comparison
>never came to me.

And now I should probably stop before I sink deeper into the quicksand,
but....

I suppose I was thinking of Partch's Delusion of the Fury (perhaps also
Bewitched -- in any event the later pieces, with larger ensembles and
choruses). The haunting, sentence-like phrasing. The abrupt intrusions,
particularly intrusions by dry, staccato percussion.... I read with
interest the post that pianos were not in the original conception --
indeed, the emphasized percussive qualities veil a bit that they are
pianos on the version I have (Leonard Bernstein w/ English Bach
Festival Chorus and Percussion Ensemble, playing the 1923 rendition).

Martin

NP Old&New Dreams -- Tribute to Ed Blackwell

-



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

From: Paul Audino <[e-mail]>
Subject: Re: frisell review
Date: 17 Mar 2000 17:45:50 -0600 (CST)


On Fri, 17 Mar 2000 [e-mail] wrote:

>
> hello all -- haven't heard the disc yet, but i pulled this off the newswire and
> edited it for local interest (meaning i cut scofield, sorry if you dig him).

I highly recommend the new Scofield album, _Bump_.  It's a thouroghly
modern groove record and features a whole host of downtown artists
including members of Sex Mob and MMW as well as Mark De Gli Antoni from
Soul Coughing.

Out 2 Lunch With Lunchmeat,

Paul
[e-mail]


-



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

From: "James Kirchmer" <[e-mail]>
Subject: SUN CITY GIRLS - Live! Saturday (3/18/00) in Seattle!!!
Date: 17 Mar 2000 16:39:20 -0800

YEAH YEAH YEAH, that's right - !!!!!!!! FYI !!!!!!!!! --->
the *LEGENDARY* ~~~Sun~City~Girls~~~ -->
sprung from the deteriorating half-life rubble of Southwestern
USA society, and now happily subverting the puget sound's
pasty-white paradigms,

--> PLAY a *RARE* LIVE show at the =Rainbow= in Seattle
(U-District, I-5 & NE 45th St., near Kinko's) TOMORROW
NIGHT, SATURDAY, MARCH 18, cheap cover, 10pm approx.,
probably only like $6.....(I am a fan, not the promoter....
- call the club at 634-1761 to check if you'd like...)

+++chances to see these guys don't come along too often,
they have been mostly holed up for some time, and when
they do come out to play these days it is always
a totally freaky livewire-in-the-shaman-moment kinda thing.
ANYTHING goes, they are one of the most unpredictable,
psycho-cacophonic bands of all time......

There's lot's going on tomorrow I'm sure, but it's not
*every weekend* (or month or season for that matter)
that one can see this SEMINAL "OUT-PUNK" band in
"action".....

Don't know of them? You should.
Don't believe me? You will -->

>>>>>>Check out these links<<<<<<
a trading page, with a "listen" link, lots of clips! -->
http://members.tripod.com/~otistoke/scg.html
on the ultimate band list:
http://www.ubl.com/ubl/cards/007/1/48.html
a discography: (partial, still huge....)
http://www.uoguelph.ca/~dhorne/scg.html
a 1.4mb streamable sound file, with win media
player or what have you (.au file) --->
http://wfmu.org/Juke/suncity.html


-



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

From: =?iso-8859-1?q?A?= <[e-mail]>
Subject: Susana Baca
Date: 17 Mar 2000 18:32:50 -0800 (PST)

Greetings
Luaka Bop has just released a CD by a Peruvian singer, Susana Baca,
who's a very talented popular singer from here.  I suggest you check
it out, if only for the appearances of Marc Ribot on guitar and Greg
Cohen on bass. I don't know the name of the CD but you should know
which one it is (2000)
Later
A

__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com

-



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

From: "Neil H. Enet" <[e-mail]>
Subject: Sonny Clark recommendations
Date: 19 Mar 2000 09:40:23 -0400

Hello List,

    I still don't own The Sonny Clark Memorial Quartet Voodoo Album, but  there
are some Sonny Clark albums in some record stores here and I was wondering
which one do you recommend.  I understand there are some albums that only
have the PIANO-BASS-DRUMS line up,  I'm looking for one with a SAX on it.
Thanks again ..

Neil H. Enet
------------


-



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

From: thehodgsons <[e-mail]>
Subject: Re: Sonny Clark recommendations
Date: 19 Mar 2000 10:03:59 -0500

Neil H. Enet wrote:
>
> Hello List,
>
>         I still don't own The Sonny Clark Memorial Quartet Voodoo Album, but  there
> are some Sonny Clark albums in some record stores here and I was wondering
> which one do you recommend.  I understand there are some albums that only
> have the PIANO-BASS-DRUMS line up,  I'm looking for one with a SAX on it.
> Thanks again ..
>
> Neil H. Enet
> ------------
>
> -

I'd recommend any of these Sonny Clark releases

Dial S for Sonny (1957)
w/ Sonny Clark (p), Art Farmer(t), Curtis Fuller (tb), Hank Mobley (ts),
Wilbur Ware (b), Louis Hayes (d)


Sonny's Crib (1957)
w/ Sonny Clark (p), Donald Byrd (t), Curtis Fuller (tb), John Coltrane
(ts), Paul Chambers (b), Art Taylor (d)


Cool Struttin' (1958)
w/ Sonny Clark (p), Jackie Mclean (as), Paul Chambers (b), Philly Joe
Jones )d)


My Conception (1959)
w/ Sonny Clark (p), Hank Mobley (ts), Donald Byrd (t), Paul Chambers
(b), Art Blakey (d)


They should be fairly easy to find especially if you're in the US, I
think a couple are from the Blue Note Connoisseur series.

Dwayne

-



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

From: "Lev \"Ljova\" Zhurbin" <[e-mail]>
Subject: Feldman&Courvoisier @Tonic, march 22
Date: 19 Mar 2000 22:42:16 -0500

Kill not the messenger!

> <<Sylvie Courvoisier---------Piano
>  Mark   Feldman--------------Violin
>
>  Will play there own music at:
>  TONIC    Wed. March 22 at 8pm (one set only)
>  107 Norfolk   (between Rivington and Delancy)
>  New York
>  Tel: [phone]


--------
Lev "Ljova" Zhurbin
[e-mail]
http://www.Ljova.com/
Listen to my music:
http://www.mp3.com/LevZhurbin (compositions)
http://www.mp3.com/Ljova (improvisations)

"Do not fear mistakes - there are none."
        -Miles Davis





-



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

From: Julien Quint <[e-mail]>
Subject: Re: promo Ersthwile records
Date: 20 Mar 2000 09:02:43 +0100


[e-mail] said:
> Haven't heard Drumm/Tetreault yet or (drool) Rowe/Muller/Sugimoto.

I saw Kevin Drumm on friday, when he played in my town a duet with Axel D=
=F6rmer =

on trumpet (whom I didn't know but impressed me). Too bad I failed to pic=
k up =

the CD with Matrin Tetreault, hope I will before it gets out of print :)

> Given the enormous potential of the releases in preparation, one is
> probably well-advised to have the complete collection, otherwise 20
> years from now you'll feel like me for not having picked up the entire
> BYG/Actuel catalog when I had the chance!

Well, now might be your chance: on friday, I also picked up a CD reissue =
of =

two Art Ensemble of Chicago BYG/Actuel LPs. Charly is doing cheap reissue=
s of =

the BYG/Actuel catalog it seems, starting with Don Cherry, Sun Ra, and a =

Pharoah Sanders (?). The sleeves are terribly ugly though.

Julien



-



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

From: Taylor McLaren <[e-mail]>
Subject: re: Charly/BYG/Actuel/poverty/theft/end of the world as we
Date: 20 Mar 2000 08:12:24 -0500


MEEP! [e-mail] wrote:
>Well, now might be your chance: on friday, I also picked up a CD reissue of
>two Art Ensemble of Chicago BYG/Actuel LPs. Charly is doing cheap reissues
of
>the BYG/Actuel catalog it seems, starting with Don Cherry, Sun Ra, and a
>Pharoah Sanders (?). The sleeves are terribly ugly though.
It's probably also worth mentioning that Charly doesn't exactly have the
best track record when it comes to arranging for re-issues for which the
original artists actually get paid; the first example that comes to mind
would be their string of cheap Golden Palominos discs from a couple of
years ago (I think there are still a couple of different best-of discs
clogging the shelves in most of the chain stores around here), which
prompted complaints from Anton Fier about both the lack of money and what
he considered to be a lousy mastering job. (And then there are those cursed
Coil re-issues on Some Bizzare...)

-me



-



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

From: [e-mail]
Subject: Re: promo Ersthwile records
Date: 20 Mar 2000 14:28:47 EST


In a message dated 3/20/00 3:05:53 AM, [e-mail] writes:

<< I saw Kevin Drumm on friday, when he played in my town a duet with Axel=20
D=F6rmer=20

on trumpet (whom I didn't know but impressed me). >>

this duo also has a CD in the pipeline for Erstwhile, hopefully out in late=20
summer or early fall, compiled both from material from the European tour=20
which they're on now, and some studio material which Jim O'Rourke recorded i=
n=20
Chicago a few weeks ago.

<<Charly is doing cheap reissues of=20

the BYG/Actuel catalog it seems, starting with Don Cherry, Sun Ra, and a=20

Pharoah Sanders (?).>>

Archie Shepp is the fourth one, not Pharoah, just for the record.

Jon
www.erstwhilerecords.com

-



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

From: [e-mail]
Subject: bailey/ bennink on incus
Date: 20 Mar 2000 15:12:13 -0800

Any reviews/recommendations on the derek bailey/han bennink release on
incus? sorry if this has come up before and i missed it.

Martin

-



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

From: "Matt Krefting" <[e-mail]>
Subject: vision fest prices
Date: 20 Mar 2000 22:08:36 PST

hi zorners
i was wondering if anyone could tell me about how much tix for the vision
festival in nyc cost? the schedule is so bitchin' that i want to go to
almost the entire thing, but it's gotta be heavy bank. thanks much...
matt
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: Odp: Inside Out, S. Rivers, D.Cherry, I. Stravinsky
Date: 18 Mar 2000 12:14:54 +0100

> The composition date is given, if I remember well, as [1914-1923]. This
> is the reason of a lot of problems since the spirit of the composition
> is close to THE RITE, but it was created in France in 1923, when
> Stravinsky had already switched to his "relecture" of classical style
> (PULCINELLA, MAVRA, etc).
> I never heard that Stravinsky intended it as "large orchestra (+voices)
> piece." But I might just disagree on what "large orchestra" means :-).
Well, i'm not sure because  i do not have my books on IS at home now (and i
caaanot find and the only one which should be here), but i'm quite sure that
when he wrote it in 1914 he thought of it as of a large (full symphony)
orchestra piece. But the ...
OK, I've just found the book ;-). So Marcel Marnat (in his french book
'stravinsky', edition seuil - solfeges; not a very good book IMHO, he omits
important facts, some opinions are strange, but has a a few nice photos -
one from Hockney's scenography for the Rake - i've got the entire thing on
VHS now. What a show!) writes (p. 60) that the first version requiered a
large (ie 150 musicians - includiding hapriscord and cymablum). What's more
it seems to be finished ('complete, en dehors des quelques raccords').

> What I remember was that he wanted to use mechanical pianos but gave up on
> the idea because they were impossible to synchronize. With the recent talk
> about resurrecting old-impossible-to-play compositions with mechanical/
> electric instruments, maybe we will see one day Stravinsky's dream
> concretized.
>
> Also, to my knowledge, there are only two versions of LES NOCES available
> on CD. The most common one was finished in 1923 (piano + large choir +
> percussion), and there is also a second and older version (with chamber
> ensemble). It is usually sung in French or Russian, although Stravinsky
> was not affraid to record it in... English!!! I doubt that nobody else
> would have dare to do such blasphemous choice.
I' ve never seen the other version - could you indicate me were can i find
the orchestral one?

> Thanks for the tip with the balalaikas (where did you read about it, BTW)!
> I would love somebody to try it.
Marnat writes that two first parts were arranged for (sorry i do not use
correct english intrument names): two cymbalums, harmonium, pianola, 3
'tambours', a 'tambourin', a 'grosse caisse' (what is it, BTW?- some french
readres might help...), triangle and 'petits cymbales sur pied' (any
ideas?). No balaikas as i thought before, but strange enough.
It would be nice to hear it now... some Uri Caine Ensemble might try to make
a mix of the versions - what do you think about it?...

I do think the
"Oh Nick, I had the strangest dream!
I thought -  how could I know what I was never taught?"
Stravinsky/Auden "The Rake's Progress"



-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: Odp: Inside Out, S. Rivers, D.Cherry, I. Stravinsky
Date: 18 Mar 2000 12:14:54 +0100

> The composition date is given, if I remember well, as [1914-1923]. This
> is the reason of a lot of problems since the spirit of the composition
> is close to THE RITE, but it was created in France in 1923, when
> Stravinsky had already switched to his "relecture" of classical style
> (PULCINELLA, MAVRA, etc).
> I never heard that Stravinsky intended it as "large orchestra (+voices)
> piece." But I might just disagree on what "large orchestra" means :-).
Well, i'm not sure because  i do not have my books on IS at home now (and i
caaanot find and the only one which should be here), but i'm quite sure that
when he wrote it in 1914 he thought of it as of a large (full symphony)
orchestra piece. But the ...
OK, I've just found the book ;-). So Marcel Marnat (in his french book
'stravinsky', edition seuil - solfeges; not a very good book IMHO, he omits
important facts, some opinions are strange, but has a a few nice photos -
one from Hockney's scenography for the Rake - i've got the entire thing on
VHS now. What a show!) writes (p. 60) that the first version requiered a
large (ie 150 musicians - includiding hapriscord and cymablum). What's more
it seems to be finished ('complete, en dehors des quelques raccords').

> What I remember was that he wanted to use mechanical pianos but gave up on
> the idea because they were impossible to synchronize. With the recent talk
> about resurrecting old-impossible-to-play compositions with mechanical/
> electric instruments, maybe we will see one day Stravinsky's dream
> concretized.
>
> Also, to my knowledge, there are only two versions of LES NOCES available
> on CD. The most common one was finished in 1923 (piano + large choir +
> percussion), and there is also a second and older version (with chamber
> ensemble). It is usually sung in French or Russian, although Stravinsky
> was not affraid to record it in... English!!! I doubt that nobody else
> would have dare to do such blasphemous choice.
I' ve never seen the other version - could you indicate me were can i find
the orchestral one?

> Thanks for the tip with the balalaikas (where did you read about it, BTW)!
> I would love somebody to try it.
Marnat writes that two first parts were arranged for (sorry i do not use
correct english intrument names): two cymbalums, harmonium, pianola, 3
'tambours', a 'tambourin', a 'grosse caisse' (what is it, BTW?- some french
readres might help...), triangle and 'petits cymbales sur pied' (any
ideas?). No balaikas as i thought before, but strange enough.
It would be nice to hear it now... some Uri Caine Ensemble might try to make
a mix of the versions - what do you think about it?...

I do think the
"Oh Nick, I had the strangest dream!
I thought -  how could I know what I was never taught?"
Stravinsky/Auden "The Rake's Progress"



-



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

From: Steve Berman <[e-mail]>
Subject: Re: promo Ersthwile records
Date: 21 Mar 2000 11:10:42 +0100 (MET)

[e-mail] writes:

 > I saw Kevin Drumm on friday, when he played in my town a duet with
 > Axel D÷rmer on trumpet (whom I didn't know but impressed me).

That's Axel D÷rner. He's played with the Berlin Contemporary Jazz
Orchestra, Chris Burn's Ensemble, and Lines, among others. For more
information see his entry at Peter Stubley's European Free
Improvisation website <www.shef.ac.uk/misc/rec/ps/efi/ehome.html>.
--Steve Berman

-



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

From: [e-mail]
Subject: HIPS ROAD
Date: 21 Mar 2000 06:24:02 EST

So what exactly does it mean, "A PROJECT OF HIPS ROAD"?


-



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

From: "in.out" <[e-mail]>
Subject: painkiller
Date: 21 Mar 2000 19:13:50 +0100

Viergehi zorner,
Is anybody knows where the Marianne track included in the Painkiller 4 CD
"Execution Ground" Tzadik re-issue come from ?(original CD or session)
Same question about the Fourth CD tracks : Are they live and who and where
were they originaly released=2E
Thank for the big brains who will work on that=2E
Mikl

In-Out Cd Store
15 avenue N=F4tre Dame
06000 Nice
Tel/Fax : [phone]
e-mail : in=2Eout@wanadoo=2Efr


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: painkiller
Date: 21 Mar 2000 10:28:26 -0800


On Tue, 21 Mar 2000 19:13:50 +0100  "in.out" wrote:
>
> Is anybody knows where the Marianne track included in the Painkiller 4 CD
> "Execution Ground" Tzadik re-issue come from ?(original CD or session)
> Same question about the Fourth CD tracks : Are they live and who and where
> were they originaly released.

Marianne comes from:


*** - KOROSHI NO BLUES: Makigami Koichi

    1993 - Toshiba-EMI Japan, TOCT-6496 (CD)


    Patrice.

-



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

From: [e-mail]
Subject: Marsalis in Jazz Times
Date: 21 Mar 2000 10:24:28 -0800

I'm no big fan of Wynton, but I found his interview in Jazz Times at
least as provocative as what Zorn has to say. I'm fascinated by his
analysis that the solo was but an element of the music until bebop,
when it became the end all, and that since bebop everybody is an
improvising soloist ad nauseum. I agree that there are a lot of
recorded jazz solos that I could do without.... Regarding his
criticisms of the avant, I wonder what he would have to say about Henry
Threadgill.... I find him hypocritical when he complains that jazz has
wrongly modeled itself after the European musical tradition -- he's the
one that wants to make jazz a repertoire music, playing the music of
dead composers in symphony halls.

Martin
NP Buckethead -- Monsters and Robots (I'm getting bored with B-head's
limited harmonic range)

-



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

From: Douglas Tapia <[e-mail]>
Subject: Re: Marsalis in Jazz Times
Date: 21 Mar 2000 13:33:52 -0700


>NP Buckethead -- Monsters and Robots
>(I'm getting bored with B-head's limited harmonic range)
             ^^^^^^^^^^^^^^^^^^^^^^
You're not alone.

-doug

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Marsalis in Jazz Times
Date: 21 Mar 2000 12:50:51 -0800


On Tue, 21 Mar 2000 10:24:28 -0800  [e-mail] wrote:
>
> I'm no big fan of Wynton, but I found his interview in Jazz Times at
> least as provocative as what Zorn has to say. I'm fascinated by his
> analysis that the solo was but an element of the music until bebop,
> when it became the end all, and that since bebop everybody is an
> improvising soloist ad nauseum. I agree that there are a lot of
    ^^^^^^^^^^^^^^^
And we can go one step beyond: everybody is now a composer. Being a great
player is not considered good enough...

    Patrice.

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Marsalis in Jazz Times
Date: 21 Mar 2000 13:45:55 -0800


On Tue, 21 Mar 2000 10:24:28 -0800  [e-mail] wrote:
>
> NP Buckethead -- Monsters and Robots (I'm getting bored with B-head's
> limited harmonic range)

I read many positive reviews on that one. Is it still the same usual
Buckethead? If it is the case, I know right away how to save $14.

    Patrice.

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Marsalis in Jazz Times
Date: 21 Mar 2000 12:50:51 -0800


On Tue, 21 Mar 2000 10:24:28 -0800  [e-mail] wrote:
>
> I'm no big fan of Wynton, but I found his interview in Jazz Times at
> least as provocative as what Zorn has to say. I'm fascinated by his
> analysis that the solo was but an element of the music until bebop,
> when it became the end all, and that since bebop everybody is an
> improvising soloist ad nauseum. I agree that there are a lot of
    ^^^^^^^^^^^^^^^
And we can go one step beyond: everybody is now a composer. Being a great
player is not considered good enough...

    Patrice.

-



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

From: [e-mail]
Subject: Re: Marsalis in Jazz Times
Date: 21 Mar 2000 13:49:37 -0800

If you mean heavy metal pyrotechniques, yes there are plenty. I've only
listened once through, with distractions at that, but my first
impression is that Praxis' Transmutation offers more variety and
shading. Here, Bootsy's occasional vocal commentary offers a bit of
levity, but generally B'head is racing all over the place -- again,
with a limited harmonic vocabulary. The riffs are all starting to sound
familiar to me. Brain on drums, that Primus bassist trading off with
Bootsy....


[e-mail] writes:

>On Tue, 21 Mar 2000 10:24:28 -0800  [e-mail]
>wrote:
>>
>> NP Buckethead -- Monsters and Robots (I'm getting bored with B-head's
>> limited harmonic range)

>I read many positive reviews on that one. Is it still the same usual
>Buckethead? If it is the case, I know right away how to save $14.
>
>    Patrice.


-



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

From: [e-mail]
Subject: Cadence Hat Art sale
Date: 21 Mar 2000 23:57:04 EST

well, it's not as good a deal as the $5 per disc sale from a few months ago,
but the selection's better. prices are $11/single discs, $18/doubles.

http://www.cadencebuilding.com/Cadence/SpecialSales.html

Jon
www.erstwhilerecords.com

-



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

From: patRice <[e-mail]>
Subject: country & western / bluegrass / thank you!
Date: 22 Mar 2000 10:29:09 +0100

hi boys and girls...

doesn't the internet have a negative influence on our behaviour?! i
haven't even thanked all of you yet for helping me out on finding the
right mingus & parker stuff to buy (and books also!)... and already
would like some more recommendations!=20

so first of all: thanks a lot to all of you who took their time to
answer to my last recommendations request! (made me spend a lot of money
again...)

anyways; i hope i'm not sticking my neck out too far this time. (as far
as zorn content goes.)

i've been looking for good country & western / bluegrass stuff. but it
is rather difficult to find over here in switzerland (europe); unless
you're into garth brooks... two cds i have and love that are in a sort
of c&w style are k.d. lang's ing=E9nue and patsy cline's the very best of=
.=20

looking forward to your answers!

patRice

np: k.d. lang ing=E9nue
reading: yukio mishima's sun and steel, john steinbeck's grapes of wrath

-



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

From: patRice <[e-mail]>
Subject: makigami koichi (was: Re: painkiller)
Date: 22 Mar 2000 10:23:10 +0100

Patrice L. Roussel wrote:
>
> On Tue, 21 Mar 2000 19:13:50 +0100  "in.out" wrote:
 who and where
> > were they originaly released.
>
> Marianne comes from:
>
> ------------------------------------------------------------------------------
>
> *** - KOROSHI NO BLUES: Makigami Koichi
>
>     1993 - Toshiba-EMI Japan, TOCT-6496 (CD)
>
> ----------------------------------------------------------------------

a good-fun cd! a lot of downtowners on it; different line-up on every
track. lots of musical genres covered.

maybe some of you remember i'm a big, big, big-time marc ribot fan -
again his work on this cd is excellent.

yours,
patRice

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: country & western / bluegrass / thank you!
Date: 22 Mar 2000 07:55:14 -0500

At 10:29 AM 3/22/00 +0100, patRice wrote:
>
>i've been looking for good country & western / bluegrass stuff. but it
>is rather difficult to find over here in switzerland (europe); unless
>you're into garth brooks... two cds i have and love that are in a sort
>of c&w style are k.d. lang's ing=E9nue and patsy cline's the very best of.=
=20

For bluegrass, you can't go wrong with an album called Strength in Numbers,
all instrumental by a bunch of big names (Bela Fleck, Sam Bush, Jerry
Douglas, Mark O'Connor, Edgar Meyer).  Absolutely superb, best bluegrass
I've ever heard.  I'd also recommend Bela Fleck's work with the Flecktones,
but that's a little more outside (for bluegrass), starting to cross over to
lite jazz.

--
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: "Bill Ashline" <[e-mail]>
Subject: Buckethead
Date: 22 Mar 2000 12:50:36 GMT

Buckethead's best for me was "Day of the Robot" and his most divergent (and
for many, the least interesting) was "Colma".  Generally, his solo stuff
gets a lot less play in my collection.  I think his best work overall was
the Praxis live and Metatron, as well as the second Arcana piece.  there was
no place to go, I suppose, on the new piece except back into the robot
fetish, that is, if one happens to have the misfortune of always being a
"buckethead" (it can only go on for so long, after all, whereupon the
inevitable death of the amusement must occur).  Accordingly, his playing (on
his own work at least) has become very predictable.  But I'm looking forward
to hearing El Stew to see if his work with the turntablists make him more
interestingly divergent again.  If I'm disappointed, I'll move on.

Frisell is a better guitarist certainly, but for me, he has become equally
boring for a different set of reasons, one of which being the ideological
bent of some of his recent work.  Leng Tch'e is probably for me his
masterwork.


>From: [e-mail]
>
>If you mean heavy metal pyrotechniques, yes there are plenty. The >riffs
>are all starting to sound
>familiar to me.

>
>[e-mail] writes:
>
> >On Tue, 21 Mar 2000 10:24:28 -0800  [e-mail]
> >wrote:
> >>
> >> NP Buckethead -- Monsters and Robots (I'm getting bored with B-head's
> >> limited harmonic range)
>
> >I read many positive reviews on that one. Is it still the same usual
> >Buckethead? If it is the case, I know right away how to save $14.
> >
> >    Patrice.
>
>
>-
>

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


-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: country & western / bluegrass / thank you!
Date: 22 Mar 2000 13:11:58 GMT

>From: patRice <[e-mail]>

>
>i've been looking for good country & western / bluegrass stuff.

Perhaps you might want to check out Tony Rice, Roy Acuff, and the like.  I
recall the comp "Will the Circle Be Unbroken" to be a good one as well.

Bill Ashline
Department of English
Yonsei University
Seoul, Korea
[e-mail]

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


-



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

From: "H." <[e-mail]>
Subject: Re: Buckethead
Date: 22 Mar 2000 08:30:35 -0500

I still think his first collab w/ Laswell is his best.
DeathCubeK - Dreamatorium  (Subharmonic 0001-2)

out
  H


-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: Buckethead
Date: 22 Mar 2000 13:36:56 GMT



>From: "H." <[e-mail]>

>
>I still think his first collab w/ Laswell is his best.
>DeathCubeK - Dreamatorium  (Subharmonic 0001-2)
>


Another one I liked.  A fine anagram as well.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: Matt Laferty <[e-mail]>
Subject: Re: country & western / bluegrass / thank you!
Date: 22 Mar 2000 10:08:07 -0500

I don't know if it's available in Switzerland, but Germany's Bear Family
records is the single best and (most expensive) record label for traditio=
nal
country.

If you are looking for things in the vein of Lang and Cline, you might tr=
y
Kitty Wells, early Tammy Wynette (and with George Jones), early Loretta
Lynn, or even the Carter Family (1927-40), although not much is in print
right now (I believe a Bear Family box set is coming soon).  You might al=
so
try some of Willie Nelson's great 70s albums: Red Headed Stranger, Shotgu=
n
Willie, etc.

Regarding bluegrass, if you are looking for traditional, there's an
excellent box set of Bill Monroe available called "The Essential" --2 cds=
 of
the groundwork of bluegrass with Flatt and Scruggs as sidemen...
anything by the Stanley Brothers is essential.

ok.  I'll stop.

On the Buckethead tangent, I rather enjoy Praxis' "Sacrifist" although I
don't know if it's in print.  It features Blind Idiot God as a rhythm
section, on top of Mick Harris and Laswell.
matt

patRice wrote:

> hi boys and girls...
>
> doesn't the internet have a negative influence on our behaviour?! i
> haven't even thanked all of you yet for helping me out on finding the
> right mingus & parker stuff to buy (and books also!)... and already
> would like some more recommendations!
>
> so first of all: thanks a lot to all of you who took their time to
> answer to my last recommendations request! (made me spend a lot of mone=
y
> again...)
>
> anyways; i hope i'm not sticking my neck out too far this time. (as far
> as zorn content goes.)
>
> i've been looking for good country & western / bluegrass stuff. but it
> is rather difficult to find over here in switzerland (europe); unless
> you're into garth brooks... two cds i have and love that are in a sort
> of c&w style are k.d. lang's ing=E9nue and patsy cline's the very best =
of.
>
> looking forward to your answers!
>
> patRice
>
> np: k.d. lang ing=E9nue
> reading: yukio mishima's sun and steel, john steinbeck's grapes of wrat=
h
>
> -

--
Matt Laferty
Ph.D. Candidate
Department of English, General Literature, & Rhetoric
Binghamton University
PO Box 6000
Binghamton, NY 13902
607.777.2754
[e-mail]



-



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

From: Daryl Loomis <[e-mail]>
Subject: Re: country & western / bluegrass / thank you!
Date: 22 Mar 2000 07:32:19 -0800

>>i=27ve been looking for good country & western / bluegrass stuff. but =
>>it
>>is rather difficult to find over here in switzerland (europe); unless
>>you=27re into garth brooks... two cds i have and love that are in a sort
>>of c&w style are k.d. lang=27s ing=E9nue and patsy cline=27s the very =
best >>of.


I don=27t know how much is available in Swizerland, but there is a lot of =
good country artists out there.  My favorites are Hank Williams, Sr. and =
Townes Van Zandt.  Kitty Wells, Patsy Cline, KD Lang, Loretta Lynn and =
Lyle Lovett are all very good.  Older Willie Nelson and Johnny Cash =
(though Nelson=27s latest =22Teatro=22 is very good) are much better than =
their newer work.  Roy Acuff is very good.  For BG, I=27d go with Bill =
Monroe...if you can find him out there.  He coined =22Bluegrass,=22 and =
perfected the sound.  Also Flat & Scruggs are a good duo (they got their =
start with Bill Monroe).  As Bill Ashline said, =22Let the Circle Be =
Unbroken=22 is a very good album.  However, it is not a compilation, it is =
a collaboration set-up by The Nitty Gritty Dirt Band, that features some =
thirty different artists, old and young (this will give you some places to =
look at...though I=27d steer clear of The Nitty Gritty Dirt Band).

It is obvious that I=27m pretty big into this stuff and I=27d be happy to =
give album rec=27s if you need, though I=27m really not sure how much of =
this is available in Europe.

Hope this helps

Daryl R. Loomis

drl=40valley-media.com
=20
                                                                           =
                                                                           =
                                                                           =
                                                                           =
                                                                           =
                                                                           =
                                                                           =
                                                                           =
                                                                           =
                                                                           =
                                                                           =
                                                                           =
                                                                           =
                                                                           =
                                                                           =
                                                                           =
                                                            =20

-



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

From: [e-mail]
Subject: Buckethead was Marsalis
Date: 22 Mar 2000 11:06:39 -0500


Monsters and Robots is I think the best of a string of too-like sounding discs
from Bucket. But it is far and away the best. (I of course exclude the atrocious
Colma and the different-ballpark Death Cube K releases.) If you only own one,
make it this one. If you've got the others, well, make a decision. It lists for
$10, though, not $14. Martin's right -- it's not nearly as good as the Praxis
stuff, but that's kinda like complaining that 'Back off Boogaloo' isn't as good
as "Revolver."


[e-mail] writes:

>On Tue, 21 Mar 2000 10:24:28 -0800  [e-mail]
>wrote:
>>
>> NP Buckethead -- Monsters and Robots (I'm getting bored with B-head's
>> limited harmonic range)

>I read many positive reviews on that one. Is it still the same usual
>Buckethead? If it is the case, I know right away how to save $14.
>
>        Patrice.




-



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

From: [e-mail]
Subject: Re: country & western / bluegrass / thank you!
Date: 22 Mar 2000 11:16:29 EST

For traditional bluegrass, there is a definitive 4 CD set on MCA that surveys
Bill Monroe's entire career, which I'd opt for over the 3 CDs of
Flatt/Scruggs era Monroe represented on the Columbia 2-CD set, "The
Essential" and the single Columbia CD "16 Gems" (which really should have
been issued as a 3-CD "complete" set). Though these are the bible of
bluegrass, where the classic bluegrass sound was born in the mid-late '40s, I
think that Monroe did possibly his best work in the '50s, and there is also
plenty of great stuff (especially instrumentals) from the '60s as well. Even
his '70s and '80s work provided some amazing high points, so that's why I'd
opt for the career overview. If you are really serious about Monroe, though,
there are 3 Bear Family sets, each 4 CDs, and each covering a decade (50s,
60s, 70s), and all are recommended, especially the '50s set.

For "modern" traditional bluegrass recordings, anything (and I mean anything)
that the Johnson Mountain Boys recorded for Rounder is hard to beat. Also,
any and all of Del McCoury's Rounder CDs are simply wonderful. His voice is,
for many, an acquired taste, due to his high, somewhat nasal tenor, but once
hooked, you never look back. Also, Del's son, Ronnie, is one of the best
mandolists ever, and their fiddler, Jason Carter, is also a monster (pick up
Carter's solo album, "On The Move," for some powerful fiddling).

For straight-ahead "contemporary" bluegrass, try Front Range or the Lonesome
River Band, both bands overflowing with talent and good songwriting.

As for the progressive, newgrass, new-acoustic, (etc.) camp, almost all of
Bela Fleck's 1980s (while he was with New Grass Revival, pre-Flecktones)
Rounder albums are masterpieces. Grab his Natural Bridge, Deviation,
Doubletime, or Drive albums. His recent Warner Brothers album, "Tales from
the Acoustic Planet Vol. 2: The Bluegrass Sessions" is also great. The CD,
"Uncommon Ritual," with Edgar Meyer, Fleck & Mike Marshall (Sony Classics) is
excellent. Bela is also on New Grass Revival Live (Sugar Hill), my favorite
album by that amazing band lead by Sam Bush.

Speaking of Sam Bush, his 3 solo albums for Rounder and Sugar Hill are
excellent. The Telluride Sessions (Bush, Fleck, Meyer, Jerry Douglas, Mark
O'Connor) is also very good.

And to somehow relate this all back to some Zorn content, I strongly
recommend banjoist Tony Trischka (banjoist, mentor to Fleck), who has
recorded with Chadbourne (who has recorded with Zorn, whew!). Trischka's
"Robot Plane Flies Over Arkansas" is one of the best progressive bluegrass
instrumental albums ever.

And to hear the future, try Chris Thile. His first Sugar Hill CD, "Leading
Off," was recorded when he was 12 or 13, and it is a remarkable album,
regardless of his youth.

And there's a free associative tip of the iceberg.

Dave Royko

-



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

From: [e-mail]
Subject: Re: makigami koichi (was: Re: painkiller)
Date: 22 Mar 2000 11:36:17 EST


In a message dated 3/22/00 5:03:26 AM, [e-mail] writes:

<< > *** - KOROSHI NO BLUES: Makigami Koichi
>
>     1993 - Toshiba-EMI Japan, TOCT-6496 (CD)
>
> ----------------------------------------------------------------------

a good-fun cd! a lot of downtowners on it; different line-up on every
track. lots of musical genres covered. >>

also, an impossible CD to actually find, at least for the last few years.
I've never seen a copy in the US, and I know the only way that Bruce at DMG
used to get them, was to have Koichi buy them in a chain store in Japan
before he visited NYC, and then Bruce would buy them from him. if anyone can
get me a copy of this CD, please e-mail me privately.

Jon
www.erstwhilerecords.com

-



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

From: [e-mail]
Subject: country & western/bluegrass/you're welcome
Date: 22 Mar 2000 11:49:56 -0500


i've been on a country buying spree of late, after a lifetime of appreciating it
from afar and being weened on freakin brits (elvis costello, rolling stones)
playing country stylings. something about moving east made me appreciate the
genuine article more, a little bit of back home and alla dat.

also inspiring my purchases has been eugene chadbourne's songbook, and if you
don't have any of his country stuff you should get that. 'there'll be no
teardrops tonight,' 'country and western protest' 'jesse helms busted with
pornography' may be all outta print. 'country music of southeastern australia'
and 'aquaduct' (vinyl, on rectangle) should be available and have some country
stuff on them.

but the real mccoy -- i tend to like particular songs or artists more than
albums. and best ofs and comps are readily available quite cheap, on labels that
no doubt are ripping off the writers and performers. i have three or four
collections that contain the fantastic kitty wells song 'it wasn't god who made
the honky tonk angels,' and there'll all good, so use that as a guiding
principle if you like. a great 2 cd complete hank williams (sr. of course) live
at the grand ole opry, that also has some great red foley and minnie pearl
tracks came out a few months ago. and the george jones 2 cd best of that came
out last year is also really good.

i don't know all of willie nelson's stuff at all, but 'spirit' and 'teatro'
(both from the 90s) are really beautiful, accoustic, well-produced and
drippingly sentimental discs.

look for best ofs or comps by george and willie, merle haggard, tammy wynette,
johnny paycheck, and maybe some western swing like spade cooley or bob willis.

i know my picks are corny, and i like em that way. i look forward to hearing
what else the list has to say.

kg



-



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

From: "Jim McLoughlin" <[e-mail]>
Subject: Buckethead > El Stew > Brain > Godflesh?
Date: 22 Mar 2000 13:32:57 -0500

Hi there

> Monsters and Robots is I think the best of a string of too-like
> sounding discs
> from Bucket. But it is far and away the best.

I agree that Monsters and Robots is probably his strongest solo album.  I
also dig the "Day of the Giant Robot" CD, which is (mostly) Buckethead
playing over drum n bass done by DJ Ninj.  (DJ Ninj did the tracks for Derek
Bailey's Guitar/Drum and Bass record on Avant).

Praxis' Metatron has Buckethead's best, most diverse, playing IMO.  Lots of
gritty effects, not all shred.

One I would definitely avoid would be "Bucketheadland" on Avant.  I got this
used, and still felt ripped off.  Mainly buckethead and a drum machine, with
some Bootsy Vocals.  It's priced as a 2 CD import, but the second CD is
about 16 minutes of non-event remixes from the first.  Overall, it sounds
like studio experimentation that was released.  The CD art work is what
attracted me - don't be fooled...

Re El Stew, this album keeps growing on me.  Buckethead is not too
noticeable on it, there are only a couple of tracks where he runs his shred
lines, the rest is mostly backgound stuff.  The group does a very good job
of mixing live/electronic sounds - samples, programming, turntables, drums,
bass, keys.  DJ Disk (of Invisible Scratch Piklz) is great, and Brain plays
killer jungle/hip-hop style drums.

On that note, has anyone heard Godflesh?  They have 2 albums which Brain
plays on - "Songs of Love and Hate", and "Love and Hate in Dub" (dub remixes
of the first).  What kind of stuff is this?  Thanks for any info...

J

(Though I've been lurking for a while, this is my first z-list post, so,
errr, hi!)


-



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

From: Daryl Loomis <[e-mail]>
Subject:  Godflesh?
Date: 22 Mar 2000 10:48:43 -0800

I like Godflesh very much.  They have a great mix of metal and experimentation that is right up my alley.  "Songs of Love & Hate" and their self-titled are the two I'd recommend.

Also, if you can find it (as far as I know, all the albums are unavailable), they did three albums with Tim Hodgkinson on a project called God.  The only one I've heard is "Anatomy of Addiction" and, IMO, is better than Godflesh.  Whether you can find God or not, I think most of Godflesh's work is solid.

Daryl Loomis

[e-mail]


-



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

From: "Bob Kowalski" <[e-mail]>
Subject: joe morris
Date: 22 Mar 2000 14:19:40 -0500

Wouldn't happen to be any Joe Morris fans out there?  I read a good review =
of one of his early 90's trio albums but not sure which to pick up. =20

Bob

Somerville ( home of Big Ray & the Futuras !!! ) MA


-



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

From: "robert ludington" <[e-mail]>
Subject: Re: Marsalis in Jazz Times
Date: 22 Mar 2000 11:26:51 PST

On Tue, 21 Mar 2000 10:24:28 -0800  [e-mail]:>
>>NP Buckethead -- Monsters and Robots (I'm getting bored with B->>head's
>>limited harmonic range)

>I read many positive reviews on that one. Is it still the same usual
>Buckethead? If it is the case, I know right away how to save $14.
    Patrice.

Pretty much. After the initial shock of his speed and harmonic content faded
from my days of playing guitar as a teen I got bored of him pretty quickly.
His best work, in my opinion, is when he stretches into less familier
territory, like Octave of the Holy Innocents with Hellborg, or the ambient
explorations of Death Cube K.  I got a copy that i'm more than willing to
trade, or for sale fer 10$ if anyone on the list is interested? I figure i'd
tell the list cuz i'm sick of getting burned at the local 'indie' store who
says the music doen't sell well enough, so he only gives me about $1 credit,
yet turns around & sells the album for $10 used(because he knows the few
people who will buy it are willing to pay that). I'd much rather someone one
the list have it that i know would enjoy it.  Speaking of Hellborg, i'm also
interested in getting rid of a copy of Adfa too.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: "Matt Krefting" <[e-mail]>
Subject: Re: country & western / bluegrass / thank you!
Date: 22 Mar 2000 11:29:00 PST

a record i've been BIG into lately is willie nelson's "to lefty from
willie"-also, if you ever get the chance to see him live, take it.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: [e-mail]
Subject: Re: country & western / bluegrass / thank you!
Date: 22 Mar 2000 15:01:52 EST

In a message dated 3/22/00 4:29:57 AM Eastern Standard Time, [e-mail]
writes:

<< looking forward to your answers! >>

A handful'a bluegrass bands you shouldn't miss-

Seldom Scene
Doyle Larson & Quicksilver
Hot Rize
Allison Krauss & Union Station
New Grass Revival

"Can't miss" Bluegrass label: Sugar Hill

There's a pretty decent bluegrass scene going on in your neck of the woods-
in Czechnya/Slovakia specifically, though I don't know of any labels or
addresses to seek out.

A great web spot to check out is Country Standard Time's pages.  They cover
the entire gamut of country and bluegrass with an emphasis on the "new"
non-Nashville scene.  Tons of CD reviews.  Great magazine too, but a bit
expensive for overseas subscribers.

http://www.countrystandardtime.com/

Bluegrass isn't exactly Zorn, but it is creative music.  Not as OT as some
stuff I've seen on the list, but I'd be the last to complain about that...
--
np: Move Groove- Groove Along With Dong (Uli Trepte and friends doing the old
Middle-Eastern funk meets Gong thing)

=dg=

-



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

From: a rancid amoeba <[e-mail]>
Subject: Re: Godflesh?
Date: 22 Mar 2000 12:17:46 -0800 (PST)

> I like Godflesh very much.  They have a great mix of metal and experimentation that is right up my alley.  "Songs of Love & Hate" and their self-titled are the two I'd recommend.
>
> Also, if you can find it (as far as I know, all the albums are unavailable), they did three albums with Tim Hodgkinson on a project called God.  The only one I've heard is "Anatomy of Addiction" and, IMO, is better than Godflesh.  Whether you can find God or not, I think most of Godflesh's work is solid.


The old Godflesh stuff is pretty austere (too austere for my tastes so
I don't own any of it). Songs of Love & Hate keeps the heaviness but
adds a more driving bounciness. The In Dub album adds more beats to
the music (still comes nowhere near dance music though). Although
I normally love remix albums, I think the original Love & Hate was
better. Us And Them is in the same musical vein as Love & Hate but
with a more aggressive edge to it (a good thing) but with the beats
sounding a little more obviously like a drum machine (a bad thing).

God is a project of Kevin Martin's with a gathered collective of people
including Tim Hodgkinson (Henry Cow) and Justin Broadrick (Godflesh).
They have 4 or so full lengths and a few EPs. They seem to like to alternate
studio albums with live albums...the live albums are generally noisier.
Possession is kind of meeting of Painkiller and Godflesh: Justin Broadrick's
trademark guitar sound with a chaotic mix of saxes and clarinets on some
tracks (Zorn guests on several tracks), and a more plodding Godflesh feel
(but with more urgency) on others. Anatomy of Addiction increases the
Godfleshian guitar/bass sound and decreases the chaos. Appeal to Human
Greed could practically be called Anatomy of Addiction in Dub...remixes
of Addiction tracks pushing further into the beat-oriented territory (but
if you blindfolded me there's a couple of tracks I'd swear were Godflesh
and not Broadrick-remixed God tracks).

If you like the guitar/chaos mix try some of Alboth's stuff (although
they have a pretty big range of styles through their discography).
If you want more of the guitar/beats mix, try Transmisia's Frigid Prose
(Yugoslavian "rock" band remixed by Mick Harris (Painkiller, Napalm
Death) and Eraldo Bernocchi (Sigillum S). For dark dubbier stuff, try
Terminal Cheesecake's King of All Spaceheads. For a more rock-like
Godflesh sound, try Grill (actually just buy anything that's on PDCD...it's
all good). And check out all the Kevin Martin and Broadrick offshoots...
Ice, Techno Animal, Final, Sweet Tooth, Fall of Because, etc.


brain dumped,
chanel

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
record  >                                                   <  rancid@
labels  >           http://www.arancidamoeba.com/           <  best.
on the  >                                                   <  com
web     >                                                   <

-



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

From: [e-mail]
Subject: seduction
Date: 22 Mar 2000 15:20:12 EST


<<  The CD art work is what
 attracted me - don't be fooled... >>

not to open up too ugly a can o' worms, but have you ever felt seduced by the
visual appeal of some tzadik cd's once you got it home and your ears took
over?

joseph

(and still wondering about the meaning of "A PROJECT OF HIPS ROAD"....)

-



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

From: [e-mail]
Subject: Re:  Re: Buckethead
Date: 22 Mar 2000 17:06:22 EST


>>I still think his first collab w/ Laswell is his best.
>>DeathCubeK - Dreamatorium  (Subharmonic 0001-2)
>>
maybe the guns 'n' roses collaboration will be better? hehe....couldn't
resist...

peace,
dave

-



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

From: [e-mail]
Subject: 1 Drink Minimum Contemporary Classical Series
Date: 22 Mar 2000 17:39:27 -0500


"ONE DRINK MINIMUM"-CONTEMPORARY CLASSICAL SERIES-CORNELIA ST. CAFE

APRIL 3RD---JOHN HOLLENBECK-compositions, percussion.

1. "The Drum Major Instinct" for 3 trombones, percussion and tape featu=
res=20
the sermon of the same name by Martin Luther King Jr.  The instrumental=
ists=20
surround the voice, alternately supporting, commenting on and interacti=
ng=20
with the voice-creating many different environments for the voice. This=
 piece=20
is the title track from John's 2000 CRI release featuring David Liebman=
,
Ellery Eskelin, David Taylor, Ray Anderson, Theo Bleckmann and Ben Mond=
er. 30=20
minutes.
2. Premier US Performance- Solo piece based on poem-8 minutes
3. Premier Us Performance- Duo piece for John Hollenbeck-perc. & Theo=20=
=0ABleckmann-voice. 10 minutes
4. Maya Angelou taped piece-"No Images" is based on a poem by Waring Cu=
ney=20
recited by Maya Angelou. The piece was realized at Harvestworks under a=
n=20
artist-in-residence grant and was originally written for the Rae Dance =

Company of the Harlem School of the Arts. The structure follows the ori=
ginal=20
structure of the poem(which is heard in its unadulterated form at the=20=
=0Aconclusion of the piece). Each stanza  has been electronically elabo=
rated and=20
elongated, as if it is being digitally discussed.  9 minutes.
APRIL 10TH---RUSS LOSSING---compositions, & piano.=20

1. Presents a new work for string quartet.  25 min
2. Song cycle for voice and piano-based on poems by 18th century Zen=20=
=0AMonk-Ryokan. Voice-Emily Howard-mezzo soprano.
3. "Change Of Time"-improvisational chamber trio.  Russ Lossing-piano, =
Adam=20
Kolker-reeds, John Hebert- contra bass.

April 17:  Manhattan Percussion Ensemble.  Director- Claire Heldrich
Curated by Julie Harting.

Program:

1.  Lou Harrison - Song of Queztecoatle
performers:  Ian Antonio, Wilson Torres, Adam Gold,
Ben Fox

2.  Jahn Benkas - MBiras
performers:  Amy Salsgiven, Ben Fox, Wilson Torres,
Ian Antonio, Neil Eckengren

3.  David McDonald -untitled
performers:  Ian Antonio, Neil Eckengren, Chris Martin,=20
Mayumi Sekezawa

4.  Carlos Stassi - 33 Sambra Zobokra
performers:  Chris Martin, Neil Eckengren, Wilson Torres,=20
Mayumi Sekezawa, Amy Salsgiver

Doors Open at 8:00 p.m.-performances begin at 9:00 p.m.  Doors close du=
ring=20
performance. =20

Cornelia Street Caf=E9--"one drink minimum" Contemporary Classical Seri=
es.
29 Cornelia Street-West Village Btwn. Bleecker & West 4th NYC  1-(212)-=
989-9319=20

 www.corneliastcafe.com

=



-



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

From: Ken Waxman <[e-mail]>
Subject: Re: joe morris
Date: 22 Mar 2000 17:45:01 -0500 (EST)

I'm prejuidiced. Having seen and heard Joe in various contexts, I
actually prefer him in quartet with a horn balancing his work.

Thus:

deep telling (Okka Disk) with DKV
Illuminate (Leo Lab) w. Parker, R. Brown, Krall
Registered Firm (Incus) with Hession, Wilkinson and Fell

also

Elsewhere (Homestead) with Parker, Shipp (piano) and Dickey

Ken Waxman



On Wed, 22 Mar 2000, Bob Kowalski wrote:

> Wouldn't happen to be any Joe Morris fans out there?  I read a good review of one of his early 90's trio albums but not sure which to pick up.
>
> Bob
>

-



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

From: "H." <[e-mail]>
Subject: Re: Buckethead > El Stew > Brain > Godflesh?
Date: 22 Mar 2000 18:19:13 -0500

>On that note, has anyone heard Godflesh?  They have 2 albums which Brain
>plays on - "Songs of Love and Hate", and "Love and Hate in Dub" (dub
remixes
>of the first).  What kind of stuff is this?  Thanks for any info...


don't know the recent stuff but their but  "StreetCleaner" & "Pure" are
kinda grindcore. Very low tuned heavy guitars, lots of drum & bass. Not
metal or industrial. Pretty cool if you like heavy & slow.

out
  H


-



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

From: "Alastair Wilson" <[e-mail]>
Subject: Re: country & western/bluegrass/you're welcome
Date: 23 Mar 2000 00:32:10 -0000


> also inspiring my purchases has been eugene chadbourne's songbook, and if
you
> don't have any of his country stuff you should get that. 'there'll be no
> teardrops tonight,

It's "There'll be no tears tonight", and it features Zorn on sax on a few
tracks, plus Tom Cora turns up here and there. Search it out - it's
Country'n'improv.

-



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

From: Tom Gatzen <[e-mail]>
Subject: Re: Buckethead
Date: 22 Mar 2000 18:26:41 -0800 (PST)

what about the album with Michael Shrieve and Jonas
Hellborg...smokin stuff.....anyways whats the deal
with bucket touring with primus, I saw primus 5 times
in the past year and bucket was in each show. Later in
the tour some fans wore buckets on thier head. I had
to explain to some folks that Buckethead was not Joe
Satriani or Tom Morello was not Buckethead.
oh well I'm just ranting since I'm usually quiet on
the zorn list.

__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com

-



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

From: "Steve Smith" <[e-mail]>
Subject: Re: seduction
Date: 22 Mar 2000 21:46:30 -0500

Hips Road is the name of John Zorn's non-profit organization, through which
his record labels (at least Tzadik) are funded.  The summer school sessions
at Tonic last year were also productions of Hips Road.  What Hips Road
means, exactly, well, your guess is as good as mine...

Steve Smith
[e-mail]
NP - nada

----- Original Message -----
Sent: Wednesday, March 22, 2000 3:20 PM


>
> (and still wondering about the meaning of "A PROJECT OF HIPS ROAD"....)
>
> -
>


-



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

From: "Steve Smith" <[e-mail]>
Subject: Re: Buckethead
Date: 22 Mar 2000 21:49:25 -0500

Am I the only one who's read through various news sources (mainly CDNow's
Allstar News) that Buckethead's currently in the studio contributing to the
new Guns'n'Roses record, though he's supposedly not actually "joined" the
band?

Steve Smith
[e-mail]
NP - nada



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: seduction
Date: 22 Mar 2000 18:52:57 -0800


On Wed, 22 Mar 2000 21:46:30 -0500  "Steve Smith" wrote:
>
> Hips Road is the name of John Zorn's non-profit organization, through which
> his record labels (at least Tzadik) are funded.  The summer school sessions
> at Tonic last year were also productions of Hips Road.  What Hips Road
> means, exactly, well, your guess is as good as mine...

And according to Fred Frith, the name envisionned for Naked City was...

    Hips Row

    Patrice.

-



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

From: "Steve Smith" <[e-mail]>
Subject: Re: joe morris
Date: 22 Mar 2000 21:52:54 -0500

And I am more partial to the quartet with Mat Maneri, particularly "A Flock
of Black Birds" on AUM Fidelity.  Haven't heard the new one on Omnitone
which I think may be called "Underthrough" and features new drummer Gerald
Cleaver.

Steve Smith
[e-mail]
NP - nada

----- Original Message -----
Cc: <[e-mail]>
Sent: Wednesday, March 22, 2000 5:45 PM


> I'm prejuidiced. Having seen and heard Joe in various contexts, I
> actually prefer him in quartet with a horn balancing his work.
>
> Thus:
>
> deep telling (Okka Disk) with DKV
> Illuminate (Leo Lab) w. Parker, R. Brown, Krall
> Registered Firm (Incus) with Hession, Wilkinson and Fell
>
> also
>
> Elsewhere (Homestead) with Parker, Shipp (piano) and Dickey
>
> Ken Waxman
>
>
>
> On Wed, 22 Mar 2000, Bob Kowalski wrote:
>
> > Wouldn't happen to be any Joe Morris fans out there?  I read a good
review of one of his early 90's trio albums but not sure which to pick up.
> >
> > Bob
> >
>
> -
>


-



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

From: Rick Lopez <[e-mail]>
Subject: Re: joe morris
Date: 22 Mar 2000 21:50:38 +0000

on 3/23/00 2:52 AM, Steve Smith at [e-mail] wrote:

> And I am more partial to the quartet with Mat Maneri, particularly "A Flock
> of Black Birds" on AUM Fidelity.  Haven't heard the new one on Omnitone
> which I think may be called "Underthrough" and features new drummer Gerald
> Cleaver.

C'mon Steve. It's CLOUD of blackbirds-- and it's UNDERTHRU. Get it
together... This isn't like you. ;-)

Underthru is a ten-star job as far as I'm concerned. I've been living in
this one for a few weeks now. I love this man's voice; and Maneri's too; and
the two of them together.

Damn,
RL
--
Marilyn Crispell, Susie Ibarra, William Parker, Sam Rivers, Matthew Shipp,
David S. Ware, and Reggie Workman Discographies--Samuel Beckett
Eulogy--Baseball & the 10,000 Things--Time Stops--LOVETORN--HARD BOIL--etc.,
at: http://www.velocity.net/~bb10k

UPDATE January 10, 2000:
vids, a few CDs, baseball books, a few Cadence back issues, a few more
CDs...
***Very Various For Sale:
***http://www.velocity.net/~bb10k/4SALE.html


-



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

From: "H." <[e-mail]>
Subject: Re: Buckethead
Date: 22 Mar 2000 22:06:51 -0500

>to explain to some folks that Buckethead was not Joe
>Satriani or Tom Morello was not Buckethead.
>oh well I'm just ranting since I'm usually quiet on
>the zorn list.


The only rumour I've heard is that Buckethead was in a "fairly well known"
speed metal band in the 80's. There were alot of them, but I never really
heard his style on any of them.

The guitarist for Primus played w/ Possessed back then. :)

out
  H


-



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

From: "Julian" <[e-mail]>
Subject: Re: Buckethead
Date: 23 Mar 2000 14:08:18 +1100

> The only rumour I've heard is that Buckethead was in a "fairly well
known"
> speed metal band in the 80's. There were alot of them, but I never really
> heard his style on any of them.

His actual name has been revealed, I believe it was mentioned even on this
list a few times. It wasn't any name I'd heard of, so it wasn't exciting
enough to remember.


-



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

From: Matt Laferty <[e-mail]>
Subject: Re: Buckethead
Date: 22 Mar 2000 22:13:42 -0500

I think Buckethead's "real" name is Paul Gilbert, and was in a band called Mr.
Big (not far from GnR, I guess) and writes a column for one of those guitar
player mags that have shiny covers, lots of ads and Limp Biscuit tabs.

A question: I paid a bunch (an embarrasing amount that I'll not say) for Hoppy
Kamiyama's "Welcome to Forbidden Paradise" on Ebay recently. A record I heard
years ago and have never seen before--great Zorn and Ribot presence, I think.
The seller claimed the "woman" on the cover was Kamiyama himself.  Anybody
know the truth/untruth to this rumor?  It seems unlikely.

and I'll try the "NP" thing: Roland Kirk - "Natural Black Inventions: Root
Strata"

"H." wrote:

> >to explain to some folks that Buckethead was not Joe
> >Satriani or Tom Morello was not Buckethead.
> >oh well I'm just ranting since I'm usually quiet on
> >the zorn list.
>
> The only rumour I've heard is that Buckethead was in a "fairly well known"
> speed metal band in the 80's. There were alot of them, but I never really
> heard his style on any of them.
>
> The guitarist for Primus played w/ Possessed back then. :)
>
> out
>   H
>
> -

--
Matt Laferty
Ph.D. Candidate
Department of English, General Literature, & Rhetoric
Binghamton University
PO Box 6000
Binghamton, NY 13902
607.777.2754
[e-mail]



-



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

From: "Dann-Brown" <[e-mail]>
Subject: Hips' Road?
Date: 22 Mar 2000 22:17:42 -0500

>What Hips Road
>means, exactly, well, your guess is as good as mine...


Didn't Zorn say something in the Spillane liner notes about Hips' Road being
a boutique or some sort of store in Japan?




-



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

From: [e-mail]
Subject: Re: Buckethead
Date: 22 Mar 2000 22:42:24 EST

In a message dated Wed, 22 Mar 2000 10:06:15 PM Eastern Standard Time, "H." <[e-mail]> writes:

> >to explain to some folks that Buckethead was not Joe
> >Satriani or Tom Morello was not Buckethead.
> >oh well I'm just ranting since I'm usually quiet on
> >the zorn list.
>
>
> The only rumour I've heard is that Buckethead was in a "fairly well known"
> speed metal band in the 80's

I remember somebody mentioning either here or on the RMP NG that Buckethead was guitarist Shawn Lane...

=dg=

-



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

From: Karen Molloy <[e-mail]>
Subject: re: joe morris
Date: 22 Mar 2000 22:49:05 -0500


Bob Kowalski <[e-mail]> asked:

>Wouldn't happen to be any Joe Morris fans out there?

Yup --one right here.

>I read a good review =
>of one of his early 90's trio albums but not sure which to pick up. =20

This isn't much help -- but I have about 5 CDs of his (including 2 from
early 90s) and they are all great. In the last couple of years it seems
like he's put out a lost of discs  and I've lost track. His work is
great. I notice you are in Somerville MA --  Morris plays in Cambridge
now and then.

Karen Molloy

-



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

From: "Joeseph Simon" <[e-mail]>
Subject: Re: Buckethead
Date: 22 Mar 2000 23:21:11 -0800

Any offical word on who Buckethead really is...Paul Gilbert, Shawn Lane, or
someone else???

Joeseph

 > > >to explain to some folks that Buckethead was not Joe
> > >Satriani or Tom Morello was not Buckethead.
> > >oh well I'm just ranting since I'm usually quiet on
> > >the zorn list.
> >
> >
> > The only rumour I've heard is that Buckethead was in a "fairly well
known"
> > speed metal band in the 80's
>
> I remember somebody mentioning either here or on the RMP NG that
Buckethead was guitarist Shawn Lane...
>
> =dg=
>
> -
>
>


-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Buckethead
Date: 22 Mar 2000 23:31:28 -0500

On Wed, Mar 22, 2000 at 10:13:42PM -0500, Matt Laferty wrote:
> I think Buckethead's "real" name is Paul Gilbert, and was in a band called Mr.
> Big (not far from GnR, I guess) and writes a column for one of those guitar
> player mags that have shiny covers, lots of ads and Limp Biscuit tabs.

I'm pretty sure it's been confirmed that Buckethead is neither Gilbert
nor whoever it was that was mentioned in a followup message, and that
he'd never been in a high visibiliy hair band. But I forget the rest of
what was known.

--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |


-



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

From: "H." <[e-mail]>
Subject: Re: Buckethead
Date: 22 Mar 2000 23:25:38 -0500

>Any offical word on who Buckethead really is...Paul Gilbert, Shawn Lane, or
>someone else???

I think...we'll never _really_ know...kinda like The Residents. ;)

out
  H


-



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

From: "Tom Johnson" <[e-mail]>
Subject: Re: Buckethead
Date: 22 Mar 2000 22:14:04 -0700

> I think...we'll never _really_ know...kinda like The Residents. ;)

Well, it's really not such a secret anymore.  I read something about it in
one of the guitar rags a few years ago.  His name's Brian . . . something or
other.  He keeps up the Buckethead nom de plume (sp?) because it's just his
"thing."  Just recently on the Bucketboard there's been a ruckus over his
work on the new GnR album, and someone "in the know" posted that he'd spoken
with "Brian" about the reaction to the news.

So there ya go . . . Brian is Buckethead.

Tom

----------------------------
"Go for super-stud!  Go for super-stud!"
                                         --Bill, on Freaks & Geeks

"I don't want to sell anything, buy anything, or process anything as a
career.
I don't want to sell anything bought or processed, or buy anything sold or
processed, or process anything sold, bought, or processed, or repair
anything sold, bought, or processed. You know, as a career, I don't want to
do that."
                                        --Lloyd, from Say Anything

----- Original Message -----
Sent: Wednesday, March 22, 2000 9:25 PM


> >Any offical word on who Buckethead really is...Paul Gilbert, Shawn Lane,
or
> >someone else???
>
> I think...we'll never _really_ know...kinda like The Residents. ;)
>
> out
>   H
>
>
> -
>


-



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

From: "m. rizzi" <[e-mail]>
Subject: Hoppy in Drag (was Re: Buckethead)
Date: 22 Mar 2000 21:26:05 -0800 (PST)

Matt Laferty, demi-God and Icon sez:
>
>A question: I paid a bunch (an embarrasing amount that I'll not say) for Hoppy
>Kamiyama's "Welcome to Forbidden Paradise" on Ebay recently. A record I heard
>years ago and have never seen before--great Zorn and Ribot presence, I think.
>The seller claimed the "woman" on the cover was Kamiyama himself.  Anybody
>know the truth/untruth to this rumor?  It seems unlikely.

    It is true, according to a conversation
    I had with Hoppy several years back
    in Tokyo. He was well known for dressing
    in drag.

    mike

-



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

From: "Francesco Martinelli" <[e-mail]>
Subject: Susie Ibarra Trio
Date: 23 Mar 2000 07:19:17 +0100

I know I'm off topic but there's a chance for a gig in Rome and my hard disk
crash left me without email or fax numbers for Cooper-Moore. Can anybody
help - quickly?
thanks and please forgive the intrusion

_________________
Francesco Martinelli
Lungarno Mediceo 10
56127 PISA ITALY
[e-mail]


-



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

From: [e-mail]
Subject: Buckethead & Rudolph Grey
Date: 23 Mar 2000 01:28:55 EST

From everything I've read, Buckethead is NOT Paul Gilbert but someone named
Brian Carrol.  I tend to believe it as I cannot imagine any of flash
guitarist from the 80's capable of metamorphosising into Buckethead.

Speaking of guitarist, does anyone know what Rudolph Grey is up to?  A few
years ago there was a small flood of releases around the same time (ok 3, the
Blue Humans live discs on Shock & Blast First plus an Arthur Doyle disc with
Grey) but I've not heard anything since.  "Mask of Light"  remains a favorite
even today, I don't think anything comes close to touching it as far as
agressive-out guitar playing goes.

Jeff

-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: Buckethead
Date: 23 Mar 2000 06:36:28 GMT



>From: "Steve Smith" <[e-mail]>
>
>Am I the only one who's read through various news sources (mainly CDNow's
>Allstar News) that Buckethead's currently in the studio contributing to the
>new Guns'n'Roses record, though he's supposedly not actually "joined" the
>band?

I've read this here and on another list, as well as Dave's joke earlier in
the day.  I'm still stupified.  But he's also been hanging with Primus a lot
apparently.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: [e-mail]
Subject: Re: Buckethead & Rudolph Grey
Date: 23 Mar 2000 01:44:53 EST


In a message dated 3/23/00 1:30:34 AM, [e-mail] writes:

<< Speaking of guitarist, does anyone know what Rudolph Grey is up to?  A few
years ago there was a small flood of releases around the same time (ok 3, the
Blue Humans live discs on Shock & Blast First plus an Arthur Doyle disc with
Grey) but I've not heard anything since.  "Mask of Light"  remains a favorite
 >>

yeah, he was doing a fair amount of playing with Doyle live a few years ago
in NYC, but I haven't seen his name for a while either. an interesting fact
is that he's also a film historian, and he wrote the book that the movie Ed
Wood was based on.

<<I don't think anything comes close to touching it as far as
agressive-out guitar playing goes.>>

well, different strokes for different fans, but the best Grey doesn't compare
to the best Keiji Haino, Stefan Jaworzyn, or Michael Morley in my book.

Jon
www.erstwhilerecords.com

-



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

From: Stephen Rigg <[e-mail]>
Subject: The Book of Heads
Date: 23 Mar 2000 10:56:57 -0000

As I understand it, The Book of Heads was written for, and dedicated to,
Eugene Chadbourne.
Ribot makes a very fine job of it, but I'd be fascinated to hear Eugene
interpret it. Does anyone on the list no if any commercial recording exists,
and how it could be obtained?
Cheers!

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: guitarists (was Buckethead)
Date: 23 Mar 2000 07:06:33 -0500

At 01:44 AM 3/23/00 EST, [e-mail] wrote:
>
>well, different strokes for different fans, but the best Grey doesn't
compare
>to the best Keiji Haino, Stefan Jaworzyn, or Michael Morley in my book.

OK, I'll bite.  Haino I know, but who are Jaworzyn and Morley?

--
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: Stephen Fruitman <[e-mail]>
Subject: Transmisia
Date: 23 Mar 2000 13:37:35 +0100

>Transmisia's Frigid Prose
>(Yugoslavian "rock" band remixed by Mick Harris (Painkiller, Napalm
>Death) and Eraldo Bernocchi (Sigillum S).

This is actually a misapprehension, caused by shoddy or false liner notes:
Mick and Eraldo actually only remixed a single track (I believe) on that
release. This has been confirmed by Eraldo himself.

Stephen






---


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



-



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

From: Stephen Fruitman <[e-mail]>
Subject: Re: Buckethead
Date: 23 Mar 2000 13:46:44 +0100

>what about the album with Michael Shrieve and Jonas
>Hellborg...smokin stuff.....

Agreed. A wonderful, neglected acoustic romp. _Octave of the Holy
Innocents_ (Day Eight).

Stephen






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



-



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

From: Stephen Fruitman <[e-mail]>
Subject: Re: Godflesh?
Date: 23 Mar 2000 13:47:03 +0100

>Godflesh <snip> "Songs of Love & Hate"

Anyone remember that that was the title of Leonard Cohen=B4s third (?) solo
album? Any Lenny covered by Godflesh? :-)

Stephen





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

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



-



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

From: [e-mail]
Subject: Rumor
Date: 23 Mar 2000 08:41:15 EST

>A question: I paid a bunch (an embarrasing amount that I'll not say) for
>Hoppy
>Kamiyama's "Welcome to Forbidden Paradise" on Ebay recently.
>The seller claimed the "woman" on the cover was Kamiyama himself.  Anybody
>know the truth/untruth to this rumor?  It seems unlikely.

Hoppy's own press material refers to him as a crossdresser, so I think that
the "woman" on the cover is indeed him.

Steve F.

-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: Buckethead & Rudolph Grey
Date: 23 Mar 2000 08:41:18 -0500

[e-mail] wrote:
>
> >From everything I've read, Buckethead is NOT Paul Gilbert but someone named
> Brian Carrol.  I tend to believe it as I cannot imagine any of flash
> guitarist from the 80's capable of metamorphosising into Buckethead.

OK, to put this matter to bed, hopefully for eternity, here's an excerpt
from the liner notes to the piece "High School Hellcats" from Henry
Kaiser's "Hope You Like Our New Direction" (Reckless, 1991):

    I was fortunate enough to meet Brian through Joe Gore at Guitar Player
    magazine. I'm sure that he'll be mega-famous in a few years...

    Brian "Buckethead" Carroll [two l's], electric guitar...

Personally, I've never heard anything from the guy that I've found
remotely interesting, but that's just cranky old me.

Brian Olewnick

NP: Dave Douglas, Charms of the Night Sky
NR: M, the Man Who Became Caravaggio

-



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

From: "Sean Terwilliger" <[e-mail]>
Subject: RE: Buckethead
Date: 23 Mar 2000 09:00:50 -0500

Buck's name is Brian Carroll. That's how he was credited on Henry Kaisers
album.

>
> I remember somebody mentioning either here or on the RMP NG
> that Buckethead was guitarist Shawn Lane...
>
> =dg=
>
> -
>


-



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

From: Mark Saleski <[e-mail]>
Subject: re: joe morris
Date: 23 Mar 2000 09:34:09 -0500


i love joe morris. he's got that ornette harmolodic-style tangled nature
to his lines. when i play his stuff at work there are sure to be many of
those 'what the hell is this crap?!' comments....

reminds me a little of bern nix (who i really wish recorded more)

>Subject: joe morris
>
>Wouldn't happen to be any Joe Morris fans out there?  I read a good
review =
>of one of his early 90's trio albums but not sure which to pick up. =20

>
>Bob
>
>Somerville ( home of Big Ray & the Futuras !!! ) MA


--
Mark Saleski - [e-mail]
The definition of insanity is doing the same thing over and over and
expecting different results.
  - Benjamin Franklin



-



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

From: Dante Sawyer <[e-mail]>
Subject: indian music
Date: 23 Mar 2000 09:51:16 +0000

i'm looking for some classical indian music. does anyone know a good
store in manhattan for this? while i'm at it, any one want to give some
opinions about indian/jazz mixes, i.e. alice coltrane, joe harriot,
shakti, etc...

dante

-



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

From: Daryl Loomis <[e-mail]>
Subject: Re: Hips' Road?
Date: 23 Mar 2000 07:23:03 -0800

>>Didn't Zorn say something in the Spillane liner notes about Hips' >>Road being a boutique or some sort of store in Japan?



Yes, in the liner notes, he explains that it is a boutique for young Japanese girls in the Harajuku section of Tokyo.  It turns out that instead of "Spillane," he originally wanted to call it "Hips Road."

Daryl Loomis


-



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

From: [e-mail]
Subject: Forbidden Hoppy
Date: 23 Mar 2000 10:29:26 -0500


The woman on the cover, at least from the neck up, is indeed Hoppy. I showed the
cover to Ribot last year after picking it up. He cracked up and said 'yeah,
that's what he looks like ... really.' I've never seen Hoppy shirtless, fwiw,
but I've seen him in a t-shirt, and if he has breasts I don't think they're that
big. (The cover of Welcome to Forbidden Paradise features a woman in a sort of
50s cheesecake scene with her robe fully open exposing both her breasts. My
guess is Hoppy's face is superimposed.)

Hoppy has a real think for cross-dressing. The cover of his more recent "Juice
and Tremelo -- Chamber Works" cd features him in a hilarious victorian get-up
and a huge wig. Apparently he usually performs in drag in Japan, but doesn't
like to here (in the US) because people get all hung up on asking him if he's
gay. Cross dressing is more about outlandish theater than sexuality in Japan,
apparently.

Nevertheless, I saw him in a great piano duo with Emi Eleonola of Demi Semi
Quaver called "Stravinsky's Dick" at the Knitting Factory, and he was in drag
for that show.

But enough about fashion. Since its come up, Hoppy's "New York" discs (like
Forbidden Paradise, Grooveallegiance and the first two Optical*8 discs) are not
his best, even if they contain an all-star cast of players frequently discussed
here. Of those, the Optical*8 ones are better (the first is self-titled, the
second has a very long title and a goldfish on the cover). His Japanese bands
are far better, I think. The second Optical*8 line-up featured Otomo and Reck
and did three records (including the double-live "All Over" which, back to the
nudity, has a full moon on the cover which I'd be dollars to donuts is Hoppy's
derriere). The Pugs and O?N?T?J (or, Olivia New-Ton John) are fun, slightly
noisy pop. The aforementioned Juice and Tremelo is probably my fave, ranging
from string arrangements to serious noise. It's on a French label, Sonora I
think. Bruce at DMG sometimes has it.

And, speaking of Emi (who also appears on the Ruins Symphonica on Tzadik) and
DSQ, does anyone know if they've disbanded? This looks to have been the first
year in 4 or so they didn't go to SXSW, and they're web site seems to have
disappeared. It looks like they did a hard push last year with their first US
release (a collection from the first two records, both on Hoppy's God Mountain
label). I think that was the wrong stuff to release. At the same time, they put
out their fourth record in Japan (H is the Same Heaven and Hell's Initial, on
Sony Japan), and it was their first really interesting record. Great live band,
though. I missed their usual NYC by way of Austin trip this year.

np: Black 47 "Green Suede Shoes"



-



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

From: [e-mail]
Subject: Re: guitarists (was Buckethead)
Date: 23 Mar 2000 10:29:35 EST


In a message dated 3/23/00 7:02:04 AM, [e-mail] writes:

<< Haino I know, but who are Jaworzyn and Morley? >>

Jaworzyn was in early incarnations of Skullflower, and is in Ascension and
Descension, both on Shock (Shock is (was?) run by Jaworzyn.) he also has a
superb duo CD on Incus with Alan Wilkinson, my favorite of the guitar/wind
instrument duo series on that label.

Morley is 1/3 of the Dead C., and has also recorded numerous records as Gate,
which is his solo project, including a new one on Table of the Elements,
which is due soon.

Jon
www.erstwhilerecords.com

-



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

From: "Peter Marsh" <[e-mail]>
Subject: Stefan Jaworzyn
Date: 23 Mar 2000 16:16:05 +0000


Caleb wrote:

>OK, I'll bite.  Haino I know, but who are Jaworzyn and Morley?

Morley I have no knowledge of (is he in the Dead C maybe  ...or Gate ?) but
Stefan Jaworzyn is a British (pause for God Save the Queen) plank spanker,
currently in a  free improv duo with drummer Tony Irving called Ascension.
He also was involved in a quartet called Descension with double bassist
Simon H. Fell and tenor player Charles Wharf, who upset a lot of people when
they supported Sonic Youth a couple of years ago. I did a gig supporting
them just before that and they upset me too. I'm not sure I understand what
Jaworzyn's trying to do really, though he has apparently stated that one of
his aims with Ascension is to make as much noise as possible in order to
piss off the audience.  He's done a solo guitar record as well, but IMHO
it's all fairly lame stuff. Maybe I'm just too old, but gimme Sonny Sharrock
anyday.

Cheers
Peter

-



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

From: Greg Mills <[e-mail]>
Subject: Henry Kaiser (Was Buckethead)
Date: 23 Mar 2000 08:58:06 -0800

>>OK, to put this matter to bed, hopefully for eternity, here's an excerpt
>>from the liner notes to the piece "High School Hellcats" from Henry
>>Kaiser's "Hope You Like Our New Direction" (Reckless, 1991):

Is this out of pri nt? I had it, then a creepy roommate absconded with it. I
love this album. Love it, love it, love it.

-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: Henry Kaiser (Was Buckethead)
Date: 23 Mar 2000 12:17:26 -0500

Greg Mills wrote:

> Is this out of pri nt? I had it, then a creepy roommate absconded with it. I
> love this album. Love it, love it, love it.

Can't say I've seen it around in quite a while, but I'm not sure if it's
OOP or not. You might check Kaiser's website (don't have the URL handy,
but a search should find it--or if Michael Piper's still on this list,
he might help out).

While I find HK's work wildly inconsistent, I'd agree that this is one
of his best works, with a wonderfully wide variety of sounds.

Brian Olewnick

NP: Rowe/Muller/Sugimoto--The World Turned Upside Down. Great disc!!!

-



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

From: [e-mail]
Subject: Indian tunes
Date: 23 Mar 2000 11:16:54 -0800

DANTE QUERIED
> any one want to give some
>opinions about indian/jazz mixes, i.e. alice coltrane, joe harriot,
>shakti, etc...

Possibly my very favorite in this genre is an LP of John Handy with Ali
Akbar Khan (sarod), possibly Zakir Hussain on tabla. I operating from
memory here, but can provide more details later if Dante or others are
interested. don't recall the title -- label was something like MMP. I
have no idea if this has ever been released on Cd, but Handy sounds
like he was born and raised in india with a sax in his mouth. Ali Akbar
Khan is highly recommended in any context you can find him, the most
impressive improvisor to be mentioned in this email and easily one of
the most impressive I've heard live.

I continue to enjoy all three Shakti's -- L Shankar is a tremendous
violin player. Zakir Hussain is a fine tabla player.

Shankar has several albums on ECM, most of which are straight up India.
Stay away from "The Epidemics,'' his punkish band. I didn't hear much
happening there aside from posing. "Song for Everyone'' is the closest
to a blend of of India and jazz, with Jan Garbarek fitting in nicely
with L., Hussain, and Gurtu. Light and tasty, pretty melodies.

I haven't spent a lot of time with "Remember Shakti,'' McLaughlin's
latest, but I look forward to spending more with it. First impression:
gentle and pastoral, with extended forms. An Indian flute player takes
up Shankar's seat -- neither McLaughlin nor Hussain could track down
Shankar when they started putting this project together (which has made
me very curious as to his whereabouts).

One more ECM of note: Hussain's "Making Music,'' a combination of duos,
trios, quartets with McLaughlin, Garbarek, Indian flute. A little more
earthy than Shankar's "Song,'' higher highpoints perhaps.

Alice Coltrane's "Journey to Sachitinanda (sp?)" is also very pleasant,
although I don't recall anything particular about the soloing on it.

Jai Utal incorporates not only jazz and Indian music, but also rock and
Western folk elements in his Pagan Love Orchestra. I have several of
his albums and find "Beggars and Saints'' clearly the superior effort.

My favorite Trilok Gurtu is "Usfret.'' I don't recall the personnel.

Finally, Collin Walcott's ECM "Grazing Fields'' with John Abercrombie
et al is gorgeous, and prepared the ground for the CODONA albums
(Walcott, Don Cherry, Nana Vasconcelos), all three of which have
received regular play in my environs since they first came out in the
70s and 80s. Original world fusion. Delightful.

Martin

-



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

From: [e-mail]
Subject: Re:  Transmisia
Date: 23 Mar 2000 16:25:25 EST

hello,

>This is actually a misapprehension, caused by shoddy or false liner notes:
>Mick and Eraldo actually only remixed a single track (I believe) on that
>release. This has been confirmed by Eraldo himself.

could be. originally mick told me  he only did maybe two remixes with eraldo,
and eraldo agreed (or he thought that sounded right). eraldo though he had
done 4 or 5 by himself, but didn't sound very positive on that account,
either. it sounded like it was strictly a payment thing for them. invisible
certainly plays it like they both remixed every track, though.

peace,
dave
_______________________________________________________________
bill laswell, mick harris, eraldo bernocchi and lori carson discographies at :
http://www.geocities.com/slntwtchr
_______________________________________________________________

-



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

From: "Mark Corroto" <[e-mail]>
Subject: RE: joe morris
Date: 23 Mar 2000 21:00:57 -0500

And Cleaver does a fine job on Matthew Shipps latest
for Thirsty ear
along with Parker and Campbell

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Steve Smith
Sent: Wednesday, March 22, 2000 9:53 PM
Cc: [e-mail]


And I am more partial to the quartet with Mat Maneri, particularly "A Flock
of Black Birds" on AUM Fidelity.  Haven't heard the new one on Omnitone
which I think may be called "Underthrough" and features new drummer Gerald
Cleaver.

Steve Smith
[e-mail]
NP - nada

----- Original Message -----
Cc: <[e-mail]>
Sent: Wednesday, March 22, 2000 5:45 PM


> I'm prejuidiced. Having seen and heard Joe in various contexts, I
> actually prefer him in quartet with a horn balancing his work.
>
> Thus:
>
> deep telling (Okka Disk) with DKV
> Illuminate (Leo Lab) w. Parker, R. Brown, Krall
> Registered Firm (Incus) with Hession, Wilkinson and Fell
>
> also
>
> Elsewhere (Homestead) with Parker, Shipp (piano) and Dickey
>
> Ken Waxman
>
>
>
> On Wed, 22 Mar 2000, Bob Kowalski wrote:
>
> > Wouldn't happen to be any Joe Morris fans out there?  I read a good
review of one of his early 90's trio albums but not sure which to pick up.
> >
> > Bob
> >
>
> -
>


-



-



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

From: Gerd Heinlein <[e-mail]>
Subject: Re: Indian tunes
Date: 24 Mar 2000 08:12:44 +0100 (MET)

>
> Possibly my very favorite in this genre is an LP of John Handy with Ali
> Akbar Khan (sarod), possibly Zakir Hussain on tabla. I operating from
> memory here, but can provide more details later if Dante or others are
> interested. don't recall the title -- label was something like MMP. I
> have no idea if this has ever been released on Cd, but Handy sounds

See: http://www.jazzecho.de/mmc/MMC_STD.p_JazzHome

> like he was born and raised in india with a sax in his mouth. Ali Akbar
> Khan is highly recommended in any context you can find him, the most
> impressive improvisor to be mentioned in this email and easily one of
> the most impressive I've heard live.

-



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

From: Steve Berman <[e-mail]>
Subject: Re: Indian tunes
Date: 24 Mar 2000 09:38:54 +0100 (MET)

>>>>> "Martin" == Martin Wisckol <[e-mail]> writes:

    Martin> DANTE QUERIED
    >> any one want to give some opinions about indian/jazz mixes,
    >> i.e. alice coltrane, joe harriot, shakti, etc...

    Martin> Possibly my very favorite in this genre is an LP of John
    Martin> Handy with Ali Akbar Khan (sarod), possibly Zakir Hussain
    Martin> on tabla. I operating from memory here, but can provide
    Martin> more details later if Dante or others are interested.
    Martin> don't recall the title -- label was something like MMP. I
    Martin> have no idea if this has ever been released on Cd, but
    Martin> Handy sounds like he was born and raised in india with a
    Martin> sax in his mouth. Ali Akbar Khan is highly recommended in
    Martin> any context you can find him, the most impressive
    Martin> improvisor to be mentioned in this email and easily one of
    Martin> the most impressive I've heard live.

There's an interesting recording with Steve Lacy and Subroto Roy
Chowdhury (sitar) plus a tabla player and a tanpura player
(_Explorations_, Jazz Point (Germany), JP 1020, 1987). It's sort of a
mix of classical Hindustani and free improv (probably more of the
latter).
--Steve Berman

-



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

From: [e-mail]
Subject: CIC Festival 3/31-4/1
Date: 24 Mar 2000 10:19:05 -0500


C I C  FESTIVAL  Two Evenings of New Music
                 CONTEXT STUDIOS  28 AVENUE A (Between 2nd and 3rd St.)=
 3rd FL
                 $7/Evening or $12/Festival (Students: $5/$8)
                 INFO: [phone]   http://www.newsonic.com/cic

CIC is a collective of new iconoclasts--composer/performers who are qui=
ckly
gaining recognition as some of the most distinct musical minds of their=

generation. The CIC Festival will present new projects that defy
categorization, a unique mixture of composition, improvisation,
electronics, and visual elements. Produced with Neues Kabarett. [Member=
s of
CIC will be guests on WKCR's Afternoon New Music (89.9FM), Tuesday 3/28=

3pm-6pm.]


FRIDAY   MARCH 31

8:00PM        SETH MISTERKA     SOLO: electric guitar, alto, boombox. "=
Grating,
                          intoxicatingly perverse braying that somehow
                          hooks the listener in trancelike
fashion."--All-Music                           Guide

9:00PM        JAMES FEI         INFRA-SLIM: an hour-long work on for fo=
ur alto
                          saxophones on the threshold of audibility. "I=
 am
                          beginning to think James Fei is really asking=
 for
                          trouble."--Steve Day [Avant Magazine]

10:00PM        PETER CAFARELLA   ADVENTURE THEATER (accordion, oboe, sa=
xophone,
bass
                          plus 3 slide projectors and video projector)

                          "Cafarella is a star."-Richard Cochrane


SATURDAY APRIL 1

8:00PM        JACKSON MOORE  SEXTET (saxophone, guitar, viola, violin, =
french
horn,
                       tuba): a vast notated piece which traces a parab=
olic
                       figure in the mind of the  listener.

9:00PM        CHRIS JONAS    SUN SPITS CHERRIES: (Jonas, soprano sax; J=
oe
Fiedler,
                       trombone; Chris Washburne, bass trb; Andrew Bark=
er,
perc)
                       On their recent release on Hopscotch Records: "H=
ighly
                       Recommended!"--Glenn Astarita

10:00PM        BRIAN GLICK    LARGE ENSEMBLE work dedicated to Giuseppe=
 Logan,
                       featuring Rafael Cohen, Matthew Heyner, Brandon =
Evans,
                       Sean G. Meehan, and others. "Inspiring"--Washing=
ton Post


SETH MISTERKA is a composer-instrumentalist/producer/ promoter from the=

Middletown creative music scene, now living in New York. Co-founder of =
a
number of collective groups including CCM4, The Middletown Creative
Orchestra, and The Middletown 3. Founder of newsonic records. Recently
completed third solo album (MOH newsonic 17).

Works by JAMES FEI have been performed by the Orchestra of the S.E.M.
Ensemble and Berlin clarinetist J=FCrg Frey. His for orchestra (3.98) w=
ill be
performed at the 2000 Gaudeamus Music Week. His Chinese Music was recor=
ded
for CRI ("...an uncomfortable listening experience."-Art Lange Fanfare)=
,
and a CD of his works for solo woodwinds, Solo Works, has been released=
 on
Leo Records.

Composer/accordionist/visual artist PETER CAFARELLA has performed and
recorded with Anthony Braxton, Fred Simmons, Hankus Netsky, and current=
ly
works in the projects CCM4 and Adventure Theatre.  "At the edge of pure=

noise but certainly not overstepping it... Cafarella, as on the previou=
s
recording, is a star."--Richard Cochrane on CCM4 Destroys New York

The JACKSON MOORE Sextet (saxophone, guitar, viola, violin, french horn=
,
tuba) was born with the new millenium and has been rehearsing weekly an=
d
performing regularly ever since. In addition to the sextet, Jackson Moo=
re
also cofounded the  Correspondence Quartet, and has performed with Anth=
ony
Braxton, Jonathan Zorn, William Hooker, Mike Szekely, Seth Dellinger, K=
evin
O'Neil, and Brandon Evans.

Since his move to New York in 1991, CHRIS JONAS has participated in Wil=
liam
Parker's "Little Huey" Creative Music Orchestra, Anthony Braxton's Ghos=
t
Trance Ensembles, the Cecil Taylor ensemble, the Brooklyn and Great Cir=
cle
sax quartets, and recordings on Soul Note, Black Saint, FMP, CIMP, Aum,=
 New
World, Braxton House and others.

Born in Washington, DC, BRIAN GLICK moved to New York to study English =
at
Columbia University. There, he studied electronic music under Xenakis p=
upil
Thanassis Rikakis, and became involved in preserving and continuing to
document jazz and new music under the patronage of WKCR-FM. He has
studied/performed with Sonny Simmons, William Parker, Sunny Murray, Arc=
hie
Shepp, and Kalaparusha Maurice McIntyre.




=



-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: CIC Festival 3/31-4/1
Date: 24 Mar 2000 11:47:02 -0500

On Fri, Mar 24, 2000 at 10:19:05AM -0500, [e-mail] wrote:
>
> C I C  FESTIVAL  Two Evenings of New Music
>                  CONTEXT STUDIOS  28 AVENUE A (Between 2nd and 3rd St.) 3rd FL

What city?

--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |









-



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

From: "John Schuller" <[e-mail]>
Subject: Model 563 in Seattle
Date: 24 Mar 2000 09:31:41 PST


Consider yourself warned-

03/26/00
model 563
@ Habitat CafΘ
Broadway at E John, SEATTLE, 8 pm, FREE

multi-instrumentalist, builder of instruments, and user of the unusual as
instruments, will have an evening of chance encounters with turntables,
reel-to-reel field recordings, shortwave, and live mics in and around the
cafe.

This should prove to be a very exciting and unique show. A rare treat
indeed!

http://members.xoom.com/transients/index.html

Thanks!


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


-



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

From: [e-mail]
Subject: Fwd: Hypnotic Effects Cause Serious Concern
Date: 24 Mar 2000 15:13:58 EST


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---------- Original Message ----------------------------------

BREAKING NEWS  . . . Euphoric Contagion
Unleashed
CD CAUSES SYNDROME: Hypnotic Effects Cause
Serious Concern

London, UK (March 23, 2000, 09:45 BMT
Announced early this morning,
Dr. Kunst from the Royal British Psychiatric
Society has clearly linked the
recent activities of listeners to the demo
material being called, "The Operazone"
to what the RBPS is calling the "Laswell
Syndrome."

Dr. Kunst explains: "Similar to what trained
Doctors can achieve
through hypnotics, the beautiful songs with
the trance like rhythm
subtly behind famous opera melodies, causes
the listener to go into
a deep "zone" or trance of thought.  This is
extraordinary for a musical
manifestation to be the catalyst of
hypnotics."

 . . ..master tapes have mysteriously
disappeared . . . public safety
announcements are being issued . . .

Check it out!!
http://www.operazone.com


PRESS RELEASE:

 CD CAUSES SYNDROME: Hypnotic Effects Cause
Serious Concern

 London, UK (February 17, 2000, 09:45 BMT)
Announced early this
morning, Dr. Kunst from the Royal British
Psychiatric Society has
clearly linked the recent activities of
listeners to the demo material
being called, "The Operazone" to what the
RBPS is calling the "Laswell
Syndrome."

 The demo CD that was circulated out of the
studio to a few insiders in
the music industry has now been linked to
the mysterious activities of a
number of musical celebrities.   According
to sources, last week, Elvis
Costello got a copy of the unreleased CD and
fell into the trance after
the 3rd song.  He was found the next morning
in the studio by Steve
Nieve his collaborator, in the same position
for more than 10 hours.  In
Los Angeles, at the same time, the demo CD
got into the hands of the
young star, BECK, who drove his car for more
than 18 hours straight
listening to the CD in his automobile.  He
was stopped by LAPD for
ignoring a stop sign and shaken out of his
trance.

 Dr. Kunst  explains: "Similar to what
trained Doctors can achieve
through hypnotics, the beautiful songs with
the trance like rhythm
subtly behind opera tunes, causes the
listener to go into a deep "zone"
or trance of thought.  This is extraordinary
for a musical manifestation
to be the catalyst of hypnotics."

Bill Laswell, the producer of the project,
states: " I had no idea it
would cause such an effect."  The CD was
planned to be released by the
independent record label in New York called
Knitting Factory Records.
Michael Dorf, CEO & President was called
early this morning to ask if
the CD will come out as planned.  "Given the
phenomenon of the
recording, I am torn what to do.  This could
be our biggest recording;
yet, my entire company is just sitting at
their desks not doing
anything-I can't shake them from their
trance.  I am afraid of what
might happen if it was released into public."

The RIAA is currently considering if this is
an attempt at false
marketing or will endanger the public if it
is true and is released.
Hillary Rosen, the President of the RIAA
said she would try and shut
down the Knitting Factory if any copies are
pressed commercially.
However, the parent company of the label,
has already started prerelease
promotion on a website www.operazone.com,
where copies of the CD are
being preordered.

visit . . . http://www.operazone.com




--part1_d8.2407976.260d2686_boundary--

-



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

From: [e-mail]
Subject: cicfest
Date: 24 Mar 2000 15:44:12 -0500


what city? i responded privately and should oughtta put it to the list.

C I C  FESTIVAL  Two Evenings of New Music
                 CONTEXT STUDIOS  28 AVENUE A (Between 2nd and 3rd St.) 3rd FL
                 $7/Evening or $12/Festival (Students: $5/$8)
                 INFO: [phone]   http://www.newsonic.com/cic
                 New York, New York

if you missed the original schedule, email me privately and i'll send it.

np: fela "no agreement"



-



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

From: "Franz Fuchs" <[e-mail]>
Subject: RE: Atlantic Monthly Article
Date: 25 Mar 2000 00:00:19 +0100

>Sent: Monday, January 31, 2000 10:14 PM
>
>
> Did y'all catch mention of the beloved, et al., in the
> Feb2000 issue of the
> Atlantic Monthly?
>
> 'Jazz--Religious and Circus' by Francis Davis
>
> s~Z

I'm more than a bit late in replying, but anyway :-)
There's another Davis/Atlantic Monthly article (1991) on Zorn at
http://www.theatlantic.com/unbound/jazz/dzorn.htm

Using the "Search" function at the site you can find a couple of
interesting Davis "Monthly" contributions (Ornette Coleman, W. Marsalis,
Eastwood's "Bird", etc.)

Regards
Franz Fuchs


-



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

From: Brian Olewnick <[e-mail]>
Subject: William Duckworth
Date: 24 Mar 2000 19:41:47 -0500

Any recommendations on Duckworth work (preferably in print) aside from
the beautiful 'Time-Curve Preludes' on Lovely?

Thanks,

Brian Olewnick

-



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

From: "Alan Kayser" <[e-mail]>
Subject: Joe Morris
Date: 24 Mar 2000 22:27:38 EST

As a long time Joe Morris fan, and one lucky enough to have produced two
shows for him, I must say that the best way to hear him is live.  His
recordings tell only a part of the story, one which I think is best told by
his quartet with Mat Maneri, especially with the addition of Gerald Cleaver
on drums.  His earliest recordings, still only available on LP, reveal his
style almost fully developed.  Way back when I used to think he was a bit of
Blood Ulmer, a shake of Derek Bailey, and throw in some Ornette for good
measure.  Now I just hear Joe, a unique sound indeed.

All of his recordings are rewarding, perhaps topped by Underthru and A Cloud
of Blackbirds.  Also not to be missed are his duo recordings with William
Parker and Matthew Shipp.  Oh, and Elsewhere with Shipp, Parker, and Whit
Dickey.  His new one on Knitting Factory is now available, as is the DKV
with JM on Okkadisk.  I am anxiously awaiting the new duo recording with Mat
Maneri.

Alan Kayser

If Joe comes to your town, GO!
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com


-



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

From: William York <[e-mail]>
Subject: Charly/BYG
Date: 25 Mar 2000 18:05:37 -0500 (EST)

I'm not sure if this is the sme wing of Charly responsible for the Don
Cherry/Ed Blackwell and Archie Shepp reissues, but in any case this looks
interesting.

VA: Jazz Actuel 3CD (CHARLY 1373). Deluxe 3CD box set, subtitled "A=20
collection of avant garde/free jazz/psychedelia from the BYG Actuel=20
catalog of 1969-1971." Selection edited by Thurston Moore & Byron=20
Coley. Features one track each from: Sunny Murray , Archie Shepp,=20
Steve Lacy , Daevid Allen, Sonny Sharrock, Grachan Moncur III,=20
Clifford Thornton, Jacques Coursil, Dave Burrell, Sun Ra, Arthur=20
Jones, Burton Greene Ensemble, Art Ensemble of Chicago, Andrew=20
Cyrille, Paul Bley, Frank Wright, Acting Trio, Dewey Redman, Don=20
Cherry, Anthony Braxton, Jimmy Lyons, Claude Delcloo/A. Jones, Musica=20
Elettronica Viva, Kenneth Terroade, Gong, Alan Silva & the Celestrial=20
Communication Orchestra. All tracks from the crucial series of=20
original BYG albums; with 36 page booklet of in-depth annotation of=20
photographs. Charly's reputation isn't the best for these kinds of=20
things, but this seems well done all around.  $34.00



-



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

From: [e-mail]
Subject: Re: Charly/BYG
Date: 25 Mar 2000 19:18:30 EST


In a message dated 3/25/00 6:08:12 PM, [e-mail] writes:

<< I'm not sure if this is the same wing of Charly responsible for the Don
Cherry/Ed Blackwell and Archie Shepp reissues, but in any case this looks
interesting.  >>

yup, same series.

<<VA: Jazz Actuel 3CD (CHARLY 1373). Deluxe 3CD box set, subtitled "A
collection of avant garde/free jazz/psychedelia from the BYG Actuel
catalog of 1969-1971." Selection edited by Thurston Moore & Byron
Coley. >>

I've been slowly absorbing this over the last few days, and there's some
pretty exciting material here. it's obvious that Thurston and Byron spent a
lot of time compiling it, and are superfamiliar with the catalog. and the
booklet, written by them, is also very informative. highly recommended if you
think you might be interested. this is one of the two behemoth boxes I've
been working my way through this week, along with the Tilbury Feldman set
(too early for an opinion on this one yet, sorry).

Jon
www.erstwhilerecords.com

-



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

From: "Bill Ashline" <[e-mail]>
Subject: Tzadik's New Japan Series
Date: 26 Mar 2000 03:42:49 GMT

This has probably been brought up before and if so the thread can end right
away.  But I was curious to know which of Tzadik's New Japan Series are
considered to be the best.  I'd also be curious as to which of the Avant
Japanese listings are good.  I've picked up some of these but would like to
pursue the line further.  thanks in advance.

Bill Ashline
Department of English
Yonsei University
Seoul, Korea
[e-mail]

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


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Tzadik's New Japan Series
Date: 26 Mar 2000 08:12:55 -0500

At 03:42 AM 3/26/00 GMT, Bill Ashline wrote:
>This has probably been brought up before and if so the thread can end right
>away.  But I was curious to know which of Tzadik's New Japan Series are
>considered to be the best.  I'd also be curious as to which of the Avant
>Japanese listings are good.  I've picked up some of these but would like to
>pursue the line further.  thanks in advance.

I've only got a couple, but here are thumbnails of the ones I've got.

Ground Zero, Null and Void.  GZ is probably a known quantity, but if not,
they are a very high energy, fast, complex, based-in-rock band led by
guitarist and turntablist Otomo Yoshihide.  All of their albums are
excellent, but this one is a great starting point.  I would consider this
essential.

Kato/Mori/Frith, Death Ambient.  Also excellent, sort of the dark underside
of the power trio, although you'd never know it was just guitar/bass/drum
machines.  Very atmospheric.

I also have the Ikue Mori solo album on Avant, Painted Desert, with Robert
Quine and Marc Ribot accompanying her on guitars.  I was a bit disappointed
with this one, it never seemed to go anywhere for me.  There's little or no
improv, so the guitarists don't generate much heat, and the lack of a
bottom end made it seem incomplete.



--
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: Christophe =?iso-8859-1?Q?S=FCndberg?= <[e-mail]>
Subject: Re: Charly/BYG
Date: 26 Mar 2000 16:27:02 -0700

I'm getting mine for approx $30 from the actual french retailer
http://www.fnac.fr  Although it was kind of hard to order, seeing as I don't
know a lot of french.  It costs 157 FF(maybe $24-25), plus shipping, I
believe.

<out>
me

William York wrote:

> I'm not sure if this is the sme wing of Charly responsible for the Don
> Cherry/Ed Blackwell and Archie Shepp reissues, but in any case this looks
> interesting.
>
> VA: Jazz Actuel 3CD (CHARLY 1373). Deluxe 3CD box set, subtitled "A=20
> collection of avant garde/free jazz/psychedelia from the BYG Actuel=20
> catalog of 1969-1971." Selection edited by Thurston Moore & Byron=20
> Coley. Features one track each from: Sunny Murray , Archie Shepp,=20
> Steve Lacy , Daevid Allen, Sonny Sharrock, Grachan Moncur III,=20
> Clifford Thornton, Jacques Coursil, Dave Burrell, Sun Ra, Arthur=20
> Jones, Burton Greene Ensemble, Art Ensemble of Chicago, Andrew=20
> Cyrille, Paul Bley, Frank Wright, Acting Trio, Dewey Redman, Don=20
> Cherry, Anthony Braxton, Jimmy Lyons, Claude Delcloo/A. Jones, Musica=20
> Elettronica Viva, Kenneth Terroade, Gong, Alan Silva & the Celestrial=20
> Communication Orchestra. All tracks from the crucial series of=20
> original BYG albums; with 36 page booklet of in-depth annotation of=20
> photographs. Charly's reputation isn't the best for these kinds of=20
> things, but this seems well done all around.  $34.00
>
> -


__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com

-



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

From: [e-mail]
Subject: April/May Tzadik releases
Date: 27 Mar 2000 00:19:33 EST

I'm looking forward to hearing the HOAHIO...
=A0=20

Tzadik April 2000 Releases  =20

COMPOSERS SERIES   Lois V. Vierk: River Beneath the River  =20
Vierk=92s music explores texture and microtonality in highly structured piec=
es=20
that build to swirling high energy intensity. Influenced by minimalism,=20
Japanese Gagaku and Appalachian folk music, Lois Vierk is one of America=92s=
=20
great originals. Her first CD for Tzadik is an exciting collection of=20
compositions for string quartet, brass sextet and a dynamic piece for=20
electric guitar, percussion, cello and synthesizer. Definitive performances=20
of some of Vierk=92s greatest works. =20

NEW JAPAN   Dousidz: Empties  =20
Powerful and hypnotic, dousidz has created a unique mix combining club music=
=20
with heavy rock riffs, dub studio techniques, noise and sexy vocals. Based i=
n=20
New York City these three young musicians take the classic format of guitar,=
=20
bass and drums to a whole new level with the aid of sampling triggers and=20
outboard effects. Influenced by a wide variety of music, Empties, their debu=
t=20
recording is a multifaceted peek into a trippy new world of sound. =20

KEY SERIES   Wadada Leo Smith: Golden Quartet  =20
A longtime dream project of Wadada Leo Smith, one of creative music=92s most=
=20
original voices, Tzadik is proud to present the first recording by a modern=20
jazz supergroup. The four instrumental giants that comprise the Golden=20
Quartet are veterans of some of the most influential bands in jazz history=20
and here they are at the height of their powers. Five new compositions bring=
=20
together lyricism, groove and fireworks in this exciting recording destined=20
to become a classic of new jazz.  =A0=20
Tzadik May 2000 Releases  =20
COMPOSERS SERIES   Susie Ibarra: Flower After Flower  =20
Born in California, raised in Texas and now based in NYC, Susie Ibarra is on=
e=20
of the most sought after drummers in the downtown scene having worked with=20
Derek Bailey, David S. Ware, Ikue Mori, Dave Douglas and Matthew Shipp among=
=20
others. Of Filipino descent, her music blends Asian traditions, free jazz,=20
improvisation and minimalism into evocative and dynamic soundscapes. This=20
exciting recording features her in a variety of contexts, both solo and with=
=20
an all-star group of her most illustrious musical compatriots. The sounds of=
=20
Kulintang (Filipino gamelan), fiery free-jazz drumming, Leo Smith=92s delica=
te=20
trumpet and the =93deep listening=94 accordion of Pauline Oliveros all come=20
together to make this one of the most unusual recordings of the year.=20

Bill Brovold: Childish Delusions  =20
The mastermind behind the powerful band Larval, and a veteran of the early=20
Rhys Chatam orchestras, Bill Brovold=92s complex compositions smash the bord=
ers=20
of rock and classical music. Highly structured and meticulously crafted,=20
these quirky sound sculptures jump from mood to mood=97from Zappa to Henry C=
ow,=20
the Zen Vikings to Glenn Branca, Brovold has created a powerful new=20
instrumental rock that tells a story. =20

NEW JAPAN   Tetsu Inoue: Fragment of Dots  =20
Kyushu native Tetsu Inoue=92s recent works connect the vivid environments-in=
-sou
nd of classical ambient with the stark, conspicuous timbral explorations of=20
academic computer music. Tetsu=92s second release for Tzadik delves deeper i=
nto=20
the methods of sonic microscopy that marked his debut, constructing minute,=20
peerless sound-surfaces that break apart and reconstitute in the shifting,=20
*n*th-dimensional space of the ear. While related, Tetsu=92s intentions diff=
er=20
sharply from those of post-digital composers mining the bitscape for evidenc=
e=20
of technology=92s failure. In the ecstatic bustle of sound particles careeni=
ng=20
through acoustical space can be heard the distinct inflection of a new means=
=20
of expression struggling to life. =20

Hoahio: Ohayo! Hoahio!  =20
A founding member of the legendary band After Dinner, Haco is one of the mos=
t=20
versatile vocalists in the Japanese indies scene. Her newest project, Hoahio=
,=20
finds her collaborating with two of the most exciting young musicians in=20
Tokyo: koto virtuoso Yagi Michiyo, whose debut solo recording Shizuku was=20
released in 1999 on Tzadik, and Sachiko M, whose work with Otomo Yoshihide=20
has earned her international acclaim. In the tradition of the great Japanese=
=20
girl groups Saboten, Shonen Knife, Fukuko and Papaya Paranoia, this new trio=
=20
recording is simultaneously charming, mysterious and delightful. =20


Jon
www.erstwhilerecords.com

-



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

From: Matt Teichman <[e-mail]>
Subject: some quick questions
Date: 27 Mar 2000 01:17:05 -0500

1) Which would be a good Masada album to start out with?  Should they be
listened to in order, or does it not particularly matter?
2) Is it true that Naked City's Radio is made almost entirely of cover
songs?  The liner notes seem to credit Zorn with all of the compositions.
3) What does "NP" mean?  Is it like an album recommendation?   :)

Thanks!


-



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

From: "Julian" <[e-mail]>
Subject: Re: some quick questions
Date: 27 Mar 2000 17:44:16 +1000

> 1) Which would be a good Masada album to start out with?  Should they be
> listened to in order, or does it not particularly matter?

It doesn't particularly matter, but many people say that 1 and 2 are some
of the best. I agree to some extent, and add in a recommendation for 7.
From memory, 9 and 5 are some other good ones.

> 2) Is it true that Naked City's Radio is made almost entirely of cover
> songs?  The liner notes seem to credit Zorn with all of the compositions.

No, they are Zorn's compositions. However, I have heard various people
claim that they are covers (Trey Spruance wrote this to me once as a
joke... well I think it was a joke anyway!).

> 3) What does "NP" mean?  Is it like an album recommendation?   :)

"Now Playing".


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: more on "the girl issue (late reply)
Date: 27 Mar 2000 00:16:33 -0800 (PST)

On Tue, 29 Feb 2000, margo red wrote:

> And honey, don't even get me started on the
> album art thing (which has already been covered quite a bit in recent
> months).  Call me "girly" and naive, but a picture of a woman with scissor
> handles sticking out of her neck is not funny or ironic.  Sometimes all of
> this gives me kind of a hard time because I want so badly to think some of
> these potentially sexist elements are pure parody.

for what it's worth, i don't believe this is
the intent behind the use of these "controversial" images.
most are (credited) art works or documentary photos.
examples: naked city (weegee, maruo), absinthe (hans bellmer) etc.
to my way of thinking, i see it as similar (in its
final result, at least) to Stapleton's list of 300 bands
found in chance meeting. in other words, it's just
tossing out kudos to things that have provoked and/or
influenced zorn over the years.

hasta.

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


-



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

From: [e-mail] (Stephen Fruitman)
Subject: Assistance Please!
Date: 27 Mar 2000 11:11:40 +0200

Can anyone help me identify the source of this narrative: On the Medeski
Martin & Wood remix CD _Combustication_ (Blue Note), the second track is
entitled "Whatever Happened to Gus (Word to the Drum Remix)". The remix is
credited to Guru. On it, a rapper does his stuff, nicely enough,
interspersed with another voice talking about "the old days". Names like
Lester Young, Billy Eckstine, "Max" (Roach?) and other turn up, references
to Pittsburgh and Kansas City and so forth, but he also mentions seeing
"Bird with his arm around Wynton Marselis"....?? Is this a poem? A
recounted dream? And who the heck is telling it?

Any assistance would be appreciated. (Great track on a great remix disc,
btw.) All the best, Stephen




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

------------------------
Mohammad Fazlhashemi
=46D, docent
Ume=E5 universitet
Institutionen f=F6r historiska studier
901 87  Ume=E5
Tel  [phone]
=46ax  090 7867667






-



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

From: patRice <[e-mail]>
Subject: Re: some quick questions
Date: 27 Mar 2000 11:49:23 +0200

Matt Teichman wrote:
>
> 1) Which would be a good Masada album to start out with?  Should they be
> listened to in order, or does it not particularly matter?

very difficult question. i started off with alef (one), but by now have
them all! and i like all of them.
i listened to zayin (seven?) this weekend, and it is fantastic! the
track "bacharach" is just pure bliss imho.
and the new live in middleheim 1999 is excellent. it starts off with a
guy giving a few details about the festival, in flamish (sp?) (the
language spoken in one part of belgium), then announcing the band,
naming each player. i must admit that that sends shivers down my spine
every time i listen to it! and then masada just go off like a bomb!

> 2) Is it true that Naked City's Radio is made almost entirely of cover
> songs?  The liner notes seem to credit Zorn with all of the compositions.
no, not true.
but there's a "listing" for each track stating what bands/composers jz
was influenced by when writing.

> 3) What does "NP" mean?  Is it like an album recommendation?
it stands for "now playing".

hope this helps!

yours,
patRice

np: jerry douglas, russ barenberg & edgar meyer "skip, hop & wobble"

-



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

From: "Neil H. Enet" <[e-mail]>
Subject: RE: Assistance Please!
Date: 27 Mar 2000 07:58:47 -0400


Can anyone help me identify the source of this narrative: On the Medeski
Martin & Wood remix CD _Combustication_ (Blue Note), the second track is
entitled "Whatever Happened to Gus (Word to the Drum Remix)". And who the
heck is telling it?

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

GURU is the rapper and main man from GANG STARR, a rap group.  He's in the
"jazz world" thanks to his album JAZZMATAZZ (which I purchased two days ago,
and it's excellent), featuring jazz men like Donald Byrd and Roy Ayers, and
Courtney Pine, etc.  There's also JAZZMATAZZ vol. 2 but I haven't heard it.
    I recommend JAZZMATAZZ volume 1 a lot ... it's just what it says on the
cover: "an experimental fusion of hip hop and jazz".  I heard the GURU mix
of the MMW track but I can't remember how it was, I'm looking forward to
listening to the remix ep.
    I don't know if it's based on a poem or anything.  I just know the original
song in the COMBUSTICATION album, also has somebody (can't rememeber who)
talking, it's also very good.

Neil H. Enet
------------


-



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

From: [e-mail]
Subject: What's Zorn up to?
Date: 27 Mar 2000 07:44:43 -0500

Anybody know what Zorn's been up to lately? He hasn't really
released to many CD as of late. Is he composing new stuff? Is he just
spending all his time running Tzadik?



-



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

From: thehodgsons <[e-mail]>
Subject: Re: some quick questions
Date: 27 Mar 2000 08:17:37 -0500

>
> > 1) Which would be a good Masada album to start out with?  Should they be
> > listened to in order, or does it not particularly matter?
>

I don't think it matters which one you start with.  I decided the easy
way, eenee meenee minee moe

I am also just a little bit curious how someone goes about deciding
which is best.  I have owned all of them for quite a while and I must
say that I think individually they are all great discs.  I have been
reading these posts and I have been trying to decide which I think is
best but I keep drawing a blank.

Dwayne

-



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

From: [e-mail]
Subject: catchup (morris, mori, ncity, tzadik april)
Date: 27 Mar 2000 11:30:47 -0500


joe morris - i agree w/alan, he needs to be seen to truly comprehend. he's a
fascinating guitarist, playing a solid body with no effects and no chords. it's
cliche to say he approaches guitar like a horn, but it's somewhat accurate. the
best example of his playing, i think, is invisible weave, the duet with william
parker on no more records (available through downtown music gallery or i can
connect anyone directly to the label if they email me private like).

painted desert - caleb doesn't care for this. i really like it, although his
description of it, that it doesn't seem to go anywhere, is accurate. but the
desert doesn't really go anywhere either, and i think that's the point. it kinda
reminds me of the live performance i saw of zorn's 'pueblo', also with ribot and
quine. i haven't heard the filmworks disc with this on it, but when i saw it it
went for about 40 minutes and didn't change in any substantial way. interesting
that they're somewhat similar (at least if memory serves). i think painted
desert came first. anyone know if there's a connection?

radio - these are original compositions, but the notes inside list bands or
composers that serve as source material for each track. many of them are also
things that ncity was covering live at the time.

tzadik april haohio, dousidz, leo, susie - wow! great batch of titles! i have a
japanese hoahio release that's really interesting, but yagi isn't on it (or if
she is, she's not playing koto).
anyone know who's in dousidz or the golden quartet? these both look really
interesting.
and i had no idea susie was doing something for tzadik. this should be great!

btw, let me recommend the satlah disc that will officially be released on
thursday. young trio, definitely masada-inspired, but don't think they don't
have their own voice. really nice playing, zorn guests on a few tracks. they
just played the brecht forum this weekend and the official cd release party is
at tonic on my birthday, so you can buy me a drink.

np: time berne's caos totale 'nice view.'



-



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

From: [e-mail]
Subject: billie holiday
Date: 27 Mar 2000 12:04:50 -0500


the hartford courant did an interesting article on the impact of the fantastic
song 'strange fruit'. email me and i'll send a copy.
kg



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: catchup (morris, mori, ncity, tzadik april)
Date: 27 Mar 2000 09:04:41 -0800


On Mon, 27 Mar 2000 11:30:47 -0500  [e-mail] wrote:
>
> painted desert - caleb doesn't care for this. i really like it, although his
> description of it, that it doesn't seem to go anywhere, is accurate. but the
> desert doesn't really go anywhere either, and i think that's the point. it kinda
> reminds me of the live performance i saw of zorn's 'pueblo', also with ribot and
> quine. i haven't heard the filmworks disc with this on it, but when i saw it it
> went for about 40 minutes and didn't change in any substantial way. interesting
> that they're somewhat similar (at least if memory serves). i think painted
> desert came first. anyone know if there's a connection?

Ikue Mori has mixed feeling about it. It seems like she lost the control of
the music on it and the project ended up being Robert and Marc's one. She
talked about that in an interview published in the French magazine REVUE &
CORRIGEE (many years ago).

    Patrice.

-



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

From: "ian r watson" <[e-mail]>
Subject: Re: Hypnotic Effects Cause Serious Concern
Date: 27 Mar 2000 18:05:59 +0100

Let me get this right , there's a new Bill Laswell album that puts people to
sleep ?......nothing new there then.


-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: some quick questions
Date: 27 Mar 2000 16:00:37 +0200


> 1) Which would be a good Masada album to start out with?  Should they be
> listened to in order, or does it not particularly matter?
Just before the topic starts to be to annoying to be true...
As for the studio, I opt for the third - gimmel. Hekhal and sheloshim are my
favourite masada tracks. The live albums are different - less perfect from
technical/ recording point of view (the taipei one sounds like it was
recorded in the '70s), but a way more vivid. Sometimes the studio stuff
sounds too perfect for me (hey, I love this stuff anyway..).
"Oh Nick, I've had the strangest dream!I thought -
How could I know what I was never taught?"
Stravinsky/Auden "The Rake's Progress"


-



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

From: "Matthew W Wirzbicki  (S) " <[e-mail]>
Subject: RE: What's Zorn up to?
Date: 27 Mar 2000 12:57:24 -0700

I think a little while ago someone posted saying that he's been writing a
bunch of "classical" music.  Works for chamber groups, orchestras,
etc...they'll probably post again

Matt



-



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

From: "Scott Handley" <[e-mail]>
Subject: butt rag
Date: 27 Mar 2000 22:35:57 GMT

Does the zine Butt Rag still exist?  Is it any good?  Do they have a
website?  Where can they be contacted/acquired, and are back issues still
available?  I'm under the impression they have a Rubberneck/Bananafish
quality to their publications, which bodes wel.....

Cheers, and thanks,

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


-



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

From: "Christina Carter" <[e-mail]>
Subject: Re: Any news on bassist Lisle Ellis?
Date: 28 Mar 2000 00:19:46 CST

Hi - I was wondering if anyone on the list has heard news or has heard an
update on Mr. Ellis's condition.

Thank you
Christina Carter

>From: [e-mail]
>To: [e-mail]
>Subject: Fwd: Help neccessary for bassist Lisle Ellis
>Date: Wed, 15 Mar 2000 11:33:53 EST
>
>a forwarded message I just received:
>
>------------------------------------------
>Paul Plimley wrote:
>
> > Urgent message for all people who know Lisle Ellis
> >
> > I am writing on Lisle Ellis' behalf to let people know that he is
> > currently receiving emergency medical attention in San Francisco for
> > liver and kidney malfunctions and is in need of any possible
> > financial contribution that you can donate. At this moment in time,
> > Lisle is living from a van in San Francisco (where he has lived
> > since 1992) and is at present homeless. He has no telephone number
> > where he can be reached. More to the point, he is in debt and is
> > without any income at this time. Here is an excerpt from a recent E
> > mail sent to me from him , dated March 7, 2000.
> >
> > .......My situation is CRITICAL. I need some $$$ to
> > pay immediate medical bills and further medical
> > expenses. that's excluding my day to day survival
> > needs. right now i've my van to live in. i guess that
> > is more than some have but knowing that dosen't help
> > my spirits much or dosen't keep me any warmer at
> > night. i'm accepting any donations that you or any
> > others may offer. PLEASE let people know what is
> > happening since i've no access to phone and only very
> > limited access to email. (please pass along my email
> > address). anyone who wants to help can do so so by
> > making a deposit at any       Toronto Dominion bank (based in
> > Canada):
> >
> > US$ account #7134505
> > branch#4720
> >
> > i really need your help in getting the word out there.
> > thanks,
> > l.e.
> >
> >
> > Lisle's E mail address (a free hotmail address where he can check
> > his mail from anyone's computer) is [e-mail].
> >
> > If you would like to verify the Toronto Dominion bank account of
> > Lisle, here is a 1 800 # for Toronto Dominion bank for anyone
> > interested:
> >
> > 1 800 983 2265.      I assume that this tel. # is good for anyone
> > dialing within North America.
> >
> > For those who do not know of Lisle Ellis on this E mail list, I
> > apologize and do not expect any response from you.
> > There are many on my E mail list who do know him and/or his music
> > and it is to them that this letter is addressed.
> >
> > I thank all of you who have been touched by Lisle's music over the
> > years and who care to offer any amount that you can afford.
> >
> >
> >
> > Yours sincerely,
> >
> > Paul Plimley
> > Tel [phone]
> > E mail address   [e-mail]
>
>----------------------------------
>
>Jon
>www.erstwhilerecords.com
>
><< message3.txt >>

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


-



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

From: "in.out" <[e-mail]>
Subject: vibration interview/masada live
Date: 28 Mar 2000 10:43:18 +0200

ViergeHi zorner

just a few words to tell to french readers that the swiss magazine VIBRATION
is translating Zorn Jazz Magazine interview in French in its new issues=2E
This interview seems to be very interesting and will be in two parts : this
month and inthe May issue=2E
Check out (also in french) some words about Masada at the bergamo jazz
festival @ http://www=2Ejazzbreak=2Ecom/actualite/fractu=2Ehtm
And Masada will be in france on the 30th of March for the Amiens jazz
festival=2E (splitting the bill with Arto Lindsay)
that's all folk
mikl

In-Out Cd Store
15 avenue N=F4tre Dame
06000 Nice
Tel/Fax : [phone]
e-mail : in=2Eout@wanadoo=2Efr


-



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

From: [e-mail]
Subject: soul on soul review
Date: 28 Mar 2000 10:46:03 -0500


Knight-Ridder review moved over the newswire this morning. Figurd itd be of
interest.

DAVE DOUGLAS "Soul on Soul" (BMG/RCA, 3 1/2 stars)
Trumpeter Dave Douglas honors the great composer-pianist Mary Lou Williams on
this multilayered CD, the title of which comes from Duke Ellington, who once
said, "She is like soul on soul."
Williams, a former prodigy from Pittsburgh who died in 1981 at age 71, wrote
music that remains surprisingly modern. Douglas, a denizen of the experimental
downtown scene in Manhattan, includes only four relatively brief Williams
originals, among them "Aries," a whirling piece written in 1946 that more than
holds up today, and "Play It Momma," a cool trio romp with bassist James Genus
and drummer Joey Baron.
Douglas' nine originals celebrate the Williams spirit, albeit with the
trumpeter's heady spin. "Blue Heaven" sounds like a funky Horace Silver ditty,
but Douglas makes it darker and more dense in patches. "Ageless" seems more
pedantic and intellectual, an occasional problem with Douglas' compositions.
Still, "Soul on Soul" exudes a sense of surprise overall. On the uptempo title
track, Uri Caine plays a splendid piano solo that spans the history of jazz in a
Williams vein. Trombonist Joshua Roseman and saxophonists Greg Tardy and Chris
Speed provide some solo heft for this CD, which, though a bit affected at times,
is consistently compelling.
-Karl Stark

kg
np: myra melford the same river, twice: above blue



-



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

From: "Steve Smith" <[e-mail]>
Subject: Re: soul on soul review
Date: 28 Mar 2000 23:02:52 -0500

This one comes from Amazon.com's customer reviews area.  Dave himself
pointed it out to me a little earlier today.  Enjoy.

Steve Smith
[e-mail]
NP - nada at the moment
=============================================================
Soul on Soul is Bad on Bad

Reviewer: Douglas from Scottsdale, Arizona      March 22, 2000

This is the first time the Amazon music reviews let me down! I read the two
reviews and took a chance, I should not have. User friendly,instinctive
improvisations, unexpected detours, music that meshes together, these
attributes are not on this Jazz CD for me. Music should relax you, motivate
you, inspire you, or just make you feel good. I can not envision a time when
playing this music would be appropriate. It fails as background music while
entertaining, as music to relax to late at night or Sunday morning while the
coffee is brewing, and while driving in the car. It could insite "road
rage"! Musical improvisations that replicate the sound of gunfire (by the
drums) and fingernails on chalkboard (the horns) are not easy to listen to.
It is obnoxious, misguided noise. If you are looking for pleasing Jazz, easy
to listen to Jazz, this disc is not for you. If your Doctor has advised you
not to sleep or relax for an hour or if you need a pathway to irratibility,
this disc is for you.


-



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

From: John Santamaria <[e-mail]>
Subject: Re: vibration interview/masada live
Date: 29 Mar 2000 00:08:59 -0500 (EST)

DS




                                           -JOHN



-



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

From: stephen drury <[e-mail]>
Subject: stockhausen and ferneyhough concert
Date: 29 Mar 2000 06:44:30 -0500

quadraphonic madness in concert -
Stockhausen:  Kontakte, Zyklus
Ferneyhough:  Lemma - Icon - Epigram
Tonight (Wednesday), 8pm, Jordan Hall, New England Conservatory, Boston, Mass
free

--steve

http://www.stephendrury.com


-



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

From: [e-mail]
Subject: JOE McPHEE:  RAISING SPIRITS!
Date: 29 Mar 2000 10:44:12 -0500


The great musician JOE McPHEE will be "RAISING SPIRITS" in a new series=
 of=20
concerts very soon, including:

Thurs., 3/30, Merkin Concert Hall, NYC
Fri., 3/31, Rhinebeck (NY) Performing Arts Ctr.
Sat., 4/1, the Red Room, Baltimore
Sun., 4/2, Kirili loft, NYC
Fri., 4/7, Rosendale (NY) Caf=E9
Fri., 4/14, Bard College, Annandale-on-Hudson (NY).

Then he'll be off to Atlanta & Athens, Georgia, & then France for a whi=
le. =20
For more details, please keep checking JOE McPHEE's Web page,=20
<www.users.interport.net/~eye/joe.html>.

In love, music, & haste (my usual states of being),
Margaret Davis
Editor & Publisher,
"Art Attack!"=AE, the newsletter for & about liberation musicians in NY=
C, now=20
on the Web at <www.jazznewyork.org>; & for the past five years it has a=
lso=20
been found at <www.users.interport.net/~eye/jazznyc.html>.
=



-



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

From: [e-mail]
Subject: Fwd:  Fw: The US Government Strikes Again -- Please read this and
Date: 29 Mar 2000 11:16:54 EST


--part1_9f.37506e8.26138676_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

This is a very relevant piece of information:


--part1_9f.37506e8.26138676_boundary
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Return-Path: <[e-mail]>
Received: from  rly-st03.mail.aol.com (rly-st03.mail.aol.com [172.31.34.2])
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    SMTPSVC;
     Wed, 29 Mar 2000 06:39:02 -0800
Message-ID: <00230228fd53$6e0f6e20$3fb9143f@mikewhre>
Cc: "Cottman, J.H., (Juanita)" <[e-mail]>,
        "GREGG SAMMONS" <[e-mail]>,
        "Skip Heller" <[e-mail]>, "Michael Lyman"
    <[e-mail]>,
        "Victor Scaracamazza" <[e-mail]>,
        "Bonnie" <[e-mail]>, "Dwayne Bolt" <[e-mail]>,
        "LORENZO ALEXANDER" <[e-mail]>, "Big John"
    <[e-mail]>
    immediately!!!
Organization: Microsoft Corporation
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----- Original Message -----
Sent: Tuesday, March 28, 2000 3:21 PM
immediately!!!


>
> ----- Original Message -----
> From: Ava Chapman <[e-mail]>
> To: tim <[e-mail]>; Sandra-Dave-Norina
<[e-mail]>;
> Justine <[e-mail]>; Glenda Smith <[e-mail]>;
Crickett
> Watt <[e-mail]>; Chris Dorion <[e-mail]>; Candy
Aragon
> <[e-mail]>; barb&dan <[e-mail]>
> Sent: Tuesday, March 28, 2000 12:30 PM
> Subject: The US Government Strikes Again -- Please read this and act
> immediately!!!
>
>
> >
> >
> > >
> > > >                               NO MORE FREE EMAIL.......
> > > >
> > > >        CNN has reported that within the next two weeks
> > > >        Congress is going to vote on allowing telephone
> > > >        companies to CHARGE A TOLL FEE for Internet access.
> > > >        Translation: Every time we send a long distance e-mail
> > > >         we will receive a long distance charge. This will get
> > > >        costly. Please visit the following web site and file a
> > > >        complaint. Complain to your Congressperson. We can't
> > > >        allow this to pass! The following address will allow you
> > > >        to send an e-mail on this subject DIRECTLY to your
> > > >        Congressperson. http://www.house.gov/writerep ,
> > > >
> > > >         Pass this on to your friends. It is urgent. I hope all of
you
> > > >         will pass this on to all your friends and family. We should
> > > >
> > > >        ALL have an interest in this one. WAIT, THERE'S MORE. IN
> > > >        ADDITION, 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 US 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 isworking without pay to prevent this legislation from
> > > >         becoming law. The U.S. Postal Service is claiming that lost
> > > >         revenue due to the proliferation of e-mail 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 bureaucratic inefficiency.
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 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 e-mail to EVERYONE on your list, and tell all your
> friends
> > and
> > > >         relatives to write to their Congressman and say "No!" to
Bill
> > 602P.
> > >
> > > >         It will only take a few moments of your time, and could very
> > well
> > > be
> > > >         instrumental in killing a bill we don't want.
> > > >
> > > >         PASS THIS ON TO EVERYONE YOU KNOW WHO USES EMAIL
> > > >         REMEMBER THESE ARE TWO SEPARATE ISSUES THAT EFFECT ALL >
> > >
> > >       OF US ONLINE.
> > >
> > > >         LET YOUR VOICE BE HEARD NOW, NOT AFTER!!!!!!
> > > >
> > >
> >
> >
> >
>
>




--part1_9f.37506e8.26138676_boundary--

-



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

From: Maurice Rickard <[e-mail]>
Subject: Re: Fwd:  Fw: The US Government Strikes Again -- Please read this
Date: 29 Mar 2000 12:02:01 -0500

It's a hoax.  House resolutions get HR numbers; in the Senate they
start with S.  There's no P designation for bills.

More info here: http://www.snopes.com/inboxer/pending/internet.htm


At 11:16 AM -0500 3/29/00, [e-mail] wrote:
>This is a very relevant piece of information:
>
>  > > > >        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

Maurice Rickard
http://mauricerickard.com/

-



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

From: "Tom Johnson" <[e-mail]>
Subject: Re: soul on soul review
Date: 29 Mar 2000 17:53:35 -0700

>Music should relax you, motivate
> you, inspire you, or just make you feel good.

Sounds like this guy needs to pick up another Kenny G album . . .

Tom
----------------------------
"Go for super-stud!  Go for super-stud!"
                                         --Bill, on Freaks & Geeks

"I don't want to sell anything, buy anything, or process anything as a
career.
I don't want to sell anything bought or processed, or buy anything sold or
processed, or process anything sold, bought, or processed, or repair
anything sold, bought, or processed. You know, as a career, I don't want to
do that."
                                        --Lloyd, from Say Anything



-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: recent goodies
Date: 29 Mar 2000 21:53:25 -0500

Brief notes on some of the more interesting recordings I've picked up lately.

Even Parker Electro-Acoustic Ensemble, Drawn Inward (ECM).  Lawrence
Casserly comes on as an additional member, bringing the total roster count
to seven.  I like this one even more than their first.  For a seven piece
group, their sound is surprisingly delicate at times.  There's not much
overt soloing, but much more sonic creation.  Sometimes Parker or Wachsmann
will start something, and the processors will spin out extensions of the
original.  Very well done, and with excellent liner notes by Simon Emmerson.

Fred Frith & Ensemble Modern, Traffic Continues (Winter & Winter).  This
disc contains two pieces (Traffic Continues I and II) Frith wrote for the
Ensemble Modern, both somewhat aleatoric, consisting of 'a number of cells
of composed music which can be juxtaposed with improvisation of various
kinds.'  The first piece is for the ensemble alone, and repeats melodic
fragments, sometimes stretching out the notes to form long chords,
sometimes breaking the melodies up in a klangfarben way among the various
instruments.  The second piece is a tribute to Tom Cora and not only
features samples of Skeleton Crew, but the addition of Zeena Parkins and
Ikue Mori as soloists.  The addition of so much electronics changes the
fabric of the piece dramatically.  Very complex music, very rewarding on
repeated listenings.

Horatiu Radulescu, Piano Concerto The Quest (CPO).  After the recent thread
on spectralists, I thought I'd try this piece.  Radulescu shows a great
debt to Messaien in the rhythmic and harmonic structures of the piece,
which has little of the overt virtuosity I usually associate with concerti.
 And I also understand better the term spectralists (which could apply to
the Parker album above as well), as he doubles the piano part with high
strings and glockenspiel playing the overtones.  One of the more
imaginative and effective orchestral pieces I've heard from the 1990s.

Chris Cutler and Thomas Dimuzio, Quake (ReR).  After the Lehn/Hemingway
improv album last year which I liked so much, here is another
percussion/electronics duo improv session, but very different from the
Lehn/Hemingway outings.  Cutler and Dimuzio get a lot messier, pretty much
along the lines you'd imagine from Dimuzio's solo electronics outing
Headlock and Cutler's other duo improvs with Fred Frith and Zeena Parkins
(all recommended as well).  I hope this combination of improv outings
becomes a more common format, there's lots of room to move around and lots
of opportunity for great imaginative sonic creation.

Derek and the Ruins, Saisoro (Tzadik).  Since Bill was asking about the
Japan series, I'll put in a quick word, even though probably most everyone
has this.  It's everything that Guitar Drum n Bass on Avant should have
been.  This is my first Ruins album, and the pace is very energetic
throughout, but a little more variety than GDnB.  Occasional vocalizing,
but all three players are great.

Jazzkammer (RuneGrammofon).  Although the performance information is slim,
this is probably a series of hard disk recordings rather than live improv
sessions between a guitarist/noisemaker/turntablist and electronics player.
 The final sounds come out somewhere between Oval and Merzbow -- Oval for
the skittering, almost recognizable sounds that self destruct fairly
quickly, and Merzbow for the occasional onslaught and roar.  RuneGrammofon
brought us Supersilent albums last year, which I thought were an
interesting extension of jazz, but this album has *nothing* to do with any
jazz tradition I know or imagine.

--
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: recent goodies
Date: 29 Mar 2000 22:15:38 EST


In a message dated 3/29/00 9:49:51 PM, [e-mail] writes:

<< Even Parker Electro-Acoustic Ensemble, Drawn Inward (ECM).  Lawrence
Casserly comes on as an additional member, bringing the total roster count
to seven.  I like this one even more than their first.  For a seven piece
group, their sound is surprisingly delicate at times.  There's not much
overt soloing, but much more sonic creation.  Sometimes Parker or Wachsmann
will start something, and the processors will spin out extensions of the
original.  Very well done, and with excellent liner notes by Simon Emmerson.
>>

I like this record also, but I think the ECM production gets in the way of
the record, as it does on their first. I just feel like too many of the edges
have been smoothed out, and not for any good reason. it's a shame this band
only has recorded for ECM so far, at least from a fan's perspective. I'd be
curious to hear a live recording of them.

what's strange is I don't mind the production on the Wachsmann/Lytton duo CD,
also on ECM.

by the way, any fans of electronic improv should go see Voice Crack next
Wednesday at Tonic. they're playing with their longtime occasional partners
Borbetomagus, three sets, one of each solo and one together. the only problem
is it's the same night as Tony Allen at the Knit, which isn't cool at all.

Jon
www.erstwhilerecords.com

-



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

From: [e-mail]
Subject: Re: recent goodies
Date: 29 Mar 2000 23:28:55 EST

In a message dated 3/29/00 9:49:51 PM Eastern Standard Time,
[e-mail] writes:

<< Jazzkammer (RuneGrammofon).  Although the performance information is slim,
 this is probably a series of hard disk recordings rather than live improv
 sessions between a guitarist/noisemaker/turntablist and electronics player.
  The final sounds come out somewhere between Oval and Merzbow -- Oval for
 the skittering, almost recognizable sounds that self destruct fairly
 quickly, and Merzbow for the occasional onslaught and roar.  RuneGrammofon
 brought us Supersilent albums last year, which I thought were an
 interesting extension of jazz, but this album has *nothing* to do with any
 jazz tradition I know or imagine. >>


Picked this up from Rioux's a couple of weeks or so ago, and you can bet your
bippy it ain't jazz!  Merzbow may be a bit harsh of a comparison, as the duo
of Hegre and Marhaug don't seem to be going for the "let's make this as
painful for the listener as possible" sound ol' Merz seems to favor.  I agree
it's probably closer to the Japanoize scene of late than some of those really
happy Nordic noise bands like Brighter Death Now and the lot.

--
np: Scott McGill's Hand Farm- Ripe

=dg=

-



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

From: "Julian" <[e-mail]>
Subject: previte/weather clear track fast
Date: 30 Mar 2000 15:25:08 +1000

How does "Weather Clear, Track Fast" compare to "Too Close To The Pole"? I
know they have similar instrumentations but is the quality of the music
comparable?


-



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

From: "BROGGI, GUSTAVO" <[e-mail]>
Subject: A Few questions
Date: 30 Mar 2000 07:51:11 -0300

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Hi Zornies;
 Does anybody knows where can I get information about Dave Slusser?. =20
I was listening Brubeck=B4s Tribute on Avant (Amazin record!!!), And I
wondering if the Slowpoke lineup of the cd. have another recording.
can somebody give a clue?

Thanks in advance

Gustavo

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<TITLE>A Few questions</TITLE>
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<P><FONT SIZE=3D2 FACE=3D"Arial">Hi Zornies;</FONT>
<BR><FONT SIZE=3D2 FACE=3D"Arial"> Does anybody knows where can I =
get information about Dave Slusser?.  </FONT>
<BR><FONT SIZE=3D2 FACE=3D"Arial">I was listening Brubeck=B4s Tribute =
on Avant (Amazin record!!!), And I wondering if the Slowpoke lineup of =
the cd. have another recording.</FONT></P>

<P><FONT SIZE=3D2 FACE=3D"Arial">can somebody give a clue?</FONT>
</P>

<P><FONT SIZE=3D2 FACE=3D"Arial">Thanks in advance</FONT>
</P>

<P><FONT SIZE=3D2 FACE=3D"Arial">Gustavo</FONT>
</P>

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From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: recent goodies
Date: 30 Mar 2000 08:04:50 -0500

At 10:15 PM 3/29/00 EST, [e-mail] wrote:
>
>In a message dated 3/29/00 9:49:51 PM, [e-mail] writes:
>
><< Even Parker Electro-Acoustic Ensemble, Drawn Inward (ECM).
>
>I like this record also, but I think the ECM production gets in the way of
>the record, as it does on their first. I just feel like too many of the
edges
>have been smoothed out, and not for any good reason. it's a shame this band
>only has recorded for ECM so far, at least from a fan's perspective. I'd be
>curious to hear a live recording of them.

I'm glad to hear you say this.  My first response to this music was, gee,
not a lot of noise for seven players and four electronicists.  On further
listening I heard a lot of the delicate detail, but I'd still like to hear
them cook.  I've also heard that ECM's production did the same for Joe
Morris and Matt Maneri.

--
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

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From: [e-mail]
Subject: Jump10 @ the Brecht
Date: 30 Mar 2000 11:09:04 -0500


Neues Kabarett and Jump Arts are happy to announce...

JUMP FESTIVAL 10

4 bands a night
4 nights in April

Plus
Lawrence D. "Butch" Morris Conduction Workshop
Gold Sparkle Band CD release party
Free Creative Sound Workshop for children
Free Art & Poetry Invocation

What more could you want?

read on...

Arts & Poetry Invocation
Thursday, 4/13, 9 p.m.
featuring painter Eli Neugeboren
at The Pink Pony
176 Ludlow Street
free

JUMP FESTIVAL 10
at the Brecht Forum
122 W. 27th St., 10th Fl.
$6/night

Fri., 4/14
8 p.m. - Dance Improv Workshop
9 p.m. - Steve Dalachinsky w/ Cooper-Moore
10 p.m. - Leroy Jenkins solo
11 p.m. - Fire Sign (John Blum, Sabir Mateen, Tom Bruno)

Sat., 4/15
8 p.m. - Ori Kaplan 4
9 p.m. Andrew Barker Trio w/Louie Belogenis & Shoko Nagai
10 p.m. Charles Gayle solo
11 p.m. Assif Tsahar's Zoanthropic Orchestra

Fri., 4/21
8 p.m. - Lawrence D. "Butch" Morris Conduction #110
9 p.m. - Music for Percussion & Strings (Ryan Sawyer, Matt Heyner, Mat Maneri,
John Blum)
10 p.m. - The Oscar Noriega Group
11 p.m. - Andrew Bemkey Trio (w/ Tom Abbs & Chad Taylor)

Sat., 4/22
7 p.m. - Gold Sparkle Band CD release party (free)
8 p.m. - Gold Sparkle Band performance
9 p.m. - The David Boykins Outet
10 p.m. Mark Whitecage solo
11 p.m. - Steve Swell's Unified Theory of Sound (Jemeel Moondoc, Jackson Krall,
Wilber Morris)

+plus+

The Creative Sound Workshop
A free music workshop for kids of all ages
Saturday, April 22 - 1 p.m. at the Brecht Forum

Lawrence D. "Butch" Morris Conduction Workshop
Saturday, April 22 - 4 p.m.
$10, also at the Brecht.

unbelievable.

for more info, call the Jump Hotline: [phone]
or log on to JumpArts.org



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From: Dan Hewins <[e-mail]>
Subject: Re: previte/weather clear track fast
Date: 30 Mar 2000 12:01:10 -0500

My preference is for the "Too Close to the Pole" album.  The other
one came first, I believe.  TCTTP has more driving beats and the
compositions seem better to me.  I checked out WCTF after TCTTP and I
thought there wasn't as much there.  It was less exciting.  This is
all coming from a distant memory, though.  I haven't listened to
either in months.  Maybe I have to listen to TCTTP again tomorrow.

Dan Hewins




At 3:25 PM +1000 3/30/00, Julian wrote:
>How does "Weather Clear, Track Fast" compare to "Too Close To The Pole"? I
>know they have similar instrumentations but is the quality of the music
>comparable?
>
>
>-


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From: Linares Hugo <[e-mail]>
Subject: RE: previte/weather clear track fast
Date: 30 Mar 2000 14:49:18 -0300




> My preference is for the "Too Close to the Pole" album.  The other
> one came first, I believe.  TCTTP has more driving beats and the
> compositions seem better to me.  I checked out WCTF after TCTTP and I
> thought there wasn't as much there.  It was less exciting.  This is
> all coming from a distant memory, though.  I haven't listened to
> either in months.  Maybe I have to listen to TCTTP again tomorrow.
>
> Dan Hewins
>
>
>
>
> At 3:25 PM +1000 3/30/00, Julian wrote:
> >How does "Weather Clear, Track Fast" compare to "Too Close To The Pole"?
> I
> >know they have similar instrumentations but is the quality of the music
> >comparable?
> >
> >
> >-
>
>
    Weather Clear, Track Fast (Enja) is an interesting and deep album
IMO; good musicians and fine playing all around.
    Can't speak on "Too close to the Pole", but I hope to in the next
future; by the way: Label?


    Hugo Linares




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From: [e-mail]
Subject: Prelapse in NY
Date: 30 Mar 2000 13:16:50 EST

Hey, Zorn-listers

This is Alex of Prelapse writing again.  I know the Zorn List isn't supposed
to be a billboard for gigs, but this is special: it's our first set of shows
in NYC since the release of our album last September.  Hope you can make it
out!

Tues Apr 4
CBGB
w/ Japanese bands Highteen Boogie and Masabilly
$7

Wed Apr 12
CBGB
w/ Blinder (Mason's other band), Saturnalia/Irrepressible Spirit (from
Boston), and Roger That Houston (from PA)

Sat May 20
KnitActive Soundstage
10pm
$7

(plus a gig at Ottobar on Thur Apr 20 for you Baltimore/D.C. folk!)

We'll be playing some tracks from the album, some Naked City, and we'll
premiere a couple of new tunes.  A good time will be had by all. . . .

Thanks for reading!

Alex
www.blindermusic.com/prelapse

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From: [e-mail]
Subject: My favorite Masada
Date: 30 Mar 2000 14:12:56 EST

<< > > 1) Which would be a good Masada album to start out with?  Should they
be
 > > listened to in order, or does it not particularly matter?
 >

 I don't think it matters which one you start with.  I decided the easy
 way, eenee meenee minee moe >>

The one I listen to most, so I guess it's my favorite, is a live album I
picked up in Germany back in 1995, after the first three Masada CDs had come
out. It was recorded in New York in 1994, with a different drummer--the name
escapes me right now, but I'm assuming it was the same one I saw play with
Masada in Berlin around the same time. The energy on this CD is really
fantastic, the "liveness" really comes through and adds a dimension to the
music.  I bought Live in Jerusalem last spring expecting more of the same,
but frankly I was a little disappointed.  How does Live in Mannheim compare
with Jerusalem??

jb

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From: "John Schuller" <[e-mail]>
Subject: derp
Date: 30 Mar 2000 12:27:29 PST

Cheap Promotional Ploy---

I am a fairly sick musician some of you might enjoy--
http://brokenmusick.tripod.com


Also I went and saw Wayne Horvit's Zony MAsh last night. Fuck Yeah!!! I
can't figure out why all the MMW hippies don't know about these guys? They
slay MMW!

Thanks,
John Schuller

"Every man... every man has to go through hell to reach paradise." -Max Cady

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


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From: "Lee, Edgar" <[e-mail]>
Subject: Conlon Nancarrow
Date: 31 Mar 2000 15:01:42 +1000

Does anyone have an opinion on the Conlon Nancarrow CD by Ensemble Modern?

Aaron Chua

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From: "Andreas Dietz" <[e-mail]>
Subject: Re: My favorite Masada
Date: 31 Mar 2000 11:51:50 CEST

><< > > 1) Which would be a good Masada album to start out with?  Should
>they
>be
>  > > listened to in order, or does it not particularly matter?
>  >
>
>  I don't think it matters which one you start with.  I decided the easy
>  way, eenee meenee minee moe >>
>
>The one I listen to most, so I guess it's my favorite, is a live album I
>picked up in Germany back in 1995, after the first three Masada CDs had
>come
>out. It was recorded in New York in 1994, with a different drummer--the
>name
>escapes me right now,
but I'm assuming it was the same one I saw play with
>Masada in Berlin around the same time. The energy on this CD is really
>fantastic, the "liveness" really comes through and adds a dimension to the
>music.  I bought Live in Jerusalem last spring expecting more of the same,
>but frankly I was a little disappointed.  How does Live in Mannheim compare
>with Jerusalem??
>
>jb

it┤s Kenny Wollesen, but I don┤t agree in your opinion about this bootleg-CD
(bad sound and the music on other live CDs like Middelheim - not Mannheim -
is better). Jerusalem I haven┤t heard right now...

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


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From: [e-mail] (Stephen Fruitman)
Subject: Husik/Bennett
Date: 31 Mar 2000 12:34:36 +0200 (MET DST)

Can anyone supply me with a brief description of either of these two albums:

Samm Bennett, _The History of the Last Five Minutes_ (KFW)
Lida Husik, _Bozo_ (Shimmy Disc)

Reply privately so as to not annoy the more better-informed members of the
list. Thanks a bunch, Stephen






========================================
Lena Berggren, PhD
Department of Historical Studies
University of Umea
SE-901 87 Umea
SWEDEN
[e-mail]
Phone [phone]
Mobile [phone]
Fax [phone]
=========================================



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From: [e-mail]
Subject: Re: Conlon Nancarrow
Date: 31 Mar 2000 07:31:15 -0500




   Date: Fri, 31 Mar 2000 15:01:42 +1000
   From: "Lee, Edgar" <[e-mail]>
   Subject: Conlon Nancarrow

   Does anyone have an opinion on the Conlon Nancarrow CD by Ensemble Modern?

   Aaron Chua


It's very good.   It's quite varied and gives you a broader view of his music
than if you only know his player piano compositions (plus, there are a couple of
player piano compositions performed by real people.



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From: Whit Schonbein <[e-mail]>
Subject: Re: Zorn List Digest V2 #902
Date: 31 Mar 2000 09:09:22 -0600 (CST)


On Fri, 31 Mar 2000, Zorn List Digest wrote:
> Date: Thu, 30 Mar 2000 14:12:56 EST
> From: [e-mail]
> Subject: My favorite Masada

> The one I listen to most, so I guess it's my favorite, is a live album I
> picked up in Germany back in 1995, after the first three Masada CDs had come
> out. It was recorded in New York in 1994, with a different drummer--the name
> escapes me right now, but I'm assuming it was the same one I saw play with
> Masada in Berlin around the same time. The energy on this CD is really
> fantastic, the "liveness" really comes through and adds a dimension to the
> music.  I bought Live in Jerusalem last spring expecting more of the same,
> but frankly I was a little disappointed.  How does Live in Mannheim compare
> with Jerusalem??

1. the live cd is actually from Fabrik, in Hamburg, Germany, 12 November
1994; the drummer is Kenny Wollesen.

2. Live in middleheim is great.  Live in taipai is also good, but it is
from an audience dat recording, and sounds like it.  dave douglas  has a
habit of quoting miles davis from 'in a silent
way' on 'nevuah' (i think), which is interesting for no particular reason.
I haven't heard the jerusalem disc in a while.

cheers,
whit

np - matthew shipp trio - 'the multiplication table'; soon to be changing
to masada, live in taipei ;)


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From: Perfect Sound Forever <[e-mail]>
Subject: Evan Parker/Charlie Mingus articles
Date: 31 Mar 2000 10:34:53 -0500

Greetings,

The latest issue of Perefect Sound Forever
<http://www.furious.com/perfect> has these features among other things:

CHARLIE MINGUS
The '50's: Underdog Rising - a look at a time of creative overflow
http://furious.com/perfect/mingus3.html

OHM: EARLY GURUS OF ELECTRONIC MUSIC
Historical articles on the development of this vital music, including
interviews with Steve Reich, Bill Laswell, Thurston Moore, David Toop
and many others
http://furious.com/perfect/ohm/index.html

EVAN PARKER
Packing Heat- a look at the saxophonist's 50th birthday and his recent
collaborations
 http://furious.com/perfect/evanparker.html

As always, we're on the hunt for good ideas and articles so please let
us know if you have anything you'd like to contribute.

See you online,
Jason


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From: David Beardsley <[e-mail]>
Subject: OHM: EARLY GURUS OF ELECTRONIC MUSIC
Date: 31 Mar 2000 13:08:14 -0500

Cool Laswell interview and others too.

OHM: EARLY GURUS OF ELECTRONIC MUSIC

Historical articles on the development of this vital music, including
interviews with Steve Reich, Bill Laswell, Thurston Moore, David Toop
and many others.  All to soon coincide with a 3-CD release on Ellipsis
Arts.
 http://furious.com/perfect/ohm/index.html


--
* D a v i d         B e a r d s l e y
*           [e-mail]
*
* 49/32  R a d i o "all microtonal, all the time"
* 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

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From: "Jesse Kudler" <[e-mail]>
Subject: Re: EARLY GURUS OF ELECTRONIC MUSIC
Date: 31 Mar 2000 14:17:00 -0500

This article is at the Perfect Sound Forever magazine, a fine 'zine which
also has some other articles of interest to Zorn-listers this month,
particularly the Evan Parker and Bernhard Guenter (yay!) ones.  The latter
was written by Phil Freeman, can anyone remind me where I know that name
from?

-Jesse

> OHM: EARLY GURUS OF ELECTRONIC MUSIC
>
> Historical articles on the development of this vital music, including
> interviews with Steve Reich, Bill Laswell, Thurston Moore, David Toop
> and many others.  All to soon coincide with a 3-CD release on Ellipsis
> Arts.
>  http://furious.com/perfect/ohm/index.html
>
>
> --
> * D a v i d         B e a r d s l e y
> *           [e-mail]
> *
> * 49/32  R a d i o "all microtonal, all the time"
> * 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
>
> -
>
>


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From: "Patrice L. Roussel" <[e-mail]>
Subject: help with the T. Chapin track on FUTURE JAZZ
Date: 22 Mar 2000 17:51:20 -0800


    Somebody claims that Zorn plays on "Then", the Thomas Chapin track
on FUTURE JAZZ (Knitting Factory). Is it true (I have serious doubts, since
there is a track with the same name on THIRD FORCE, a record without Zorn).

    Also, taking advantage of this opportunity, does anybody know if there
is any logic behind the use of "KFR" and "KFW" in the catalog numbers of the
KF records (since we keep seeing both used...)?

    Patrice.




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From: "Julian" <[e-mail]>
Subject: kronos "caravan"
Date: 01 Apr 2000 13:08:07 +1000

Does anyone have any info on the new Kronos Quartet CD "Caravan", for
example even just a track listing?


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