Hi, I'm starting a new web zine called Adventures In Sound and need material. Reviews, interviews, short essays, etc will all work; even previously published material with the permission of the copyright holder. In addition to the usual Zorn List subjects, I'd like to cover pre-60s pop, psych & prog rock, world music, unusual classical, worthy punk/indie, lounge, soundtracks, Incorrect Music/weirdness, etc. There's no payment but contributors keep the copyright to their own material.
If you have any interest please e-mail me directly.
I've got to agree here too- this is not copyright violation in effect here- a grey area of bootlegging maybe, but since there was no profit being made here, even that description may miss the target.
I'd guess that copyright infringement would come into effect if one of these concerts were to become pressed to CD in the future- then it would be your responsibility to remove it.
I'm all for the artist making as much money as he/she deserves. On the other side of the coin, I would also ask musicians to look at other musicians and groups that *allow* recording and distribution of their concert material and take notice the benefits in added sales that this activity produces also.
=dg=
=========================
In a message dated Mon, 8 May 2000 8:25:07 PM Eastern Daylight Time, 2L <laurent.levy@fnac.net> writes:
<< Hey Doug,
I totally agree with you.
But you have to take into account that the mp3s which were taken down from
the server were not regular versions of the songs, some of them were not even
You read my thoughts, I was pretty dissapointed about the mp3s being removed before i could download them. I don't think they were up there in detriment of the artist's interests, cause mostly it was live, unreleased stuff. In fact, some of those mp3s have encouraged me to spend my money on original cds. I
don't know, but if Zorn isn't very much aware of the internet music deal (he probably isn't since i 've heard he dislikes computers, internet, etc.), then probably he's unable to recognize the difference between good and evil.
D
Dgasque@aol.com wrote:
> I've got to agree here too- this is not copyright violation in effect here- a grey area of bootlegging maybe, but since there was no profit being made here, even that description may miss the target.
>But (as little as I know about, the period varies with each country >--any intellectual property lawyers here? --and is usually around 50 >or 100 years.
In the US, for works before 1978 (such as Parker's) it's a bit tricky but should be 95 years from creation if all the renewals were done though later statutes made some extensions apply regardless of whether the renewals were done. It's much more clear since 1978: work is protected by copyright as soon as it's created and protection lasts for the life of the author plus 70 years. This is covered in title 17 of the US Code.
Concert and CD reviews? Sounds like you're confusing this with an "announce" list. These show up on occasion, but not on a predesigned basis. From what I've gathered, this is a "discussion" list and that's precisely what we're doing...
--
np: Centipede- Septober Energy
=dg=
===============================
In a message dated Tue, 9 May 2000 5:34:01 PM Eastern Daylight Time, Filip Wilms <filipwilms@freegates.be> writes:
<< Today I received 39 messages from the zorn-list, an just a few of them
where concerning jazz.
In the rest of them they wrote some useless bull-shit, instead of some
interesting concert or CD reviews.
Is it that hard to understand that this is a mailing list and not a
chat-channel?
By the way, who gives a fuck about John Zorn beeing against MP3.
now that this issue has been beaten to a pulp (quite an eloquent conclusion with the "Go John -- Go Trey" number) consider the truth in the good and evil comment.
does it not seem to be the case that mr. zorn indeed can no longer tell the difference between good and evil?? what started out as a healthy robust cynicism toward corporate america seems to have manifested into an all-out paranoia toward virtually anything that does not exist within the comfy walled confines of his posse which was established about 15 years ago now. yes there are exceptions. but very very few.
in the back of my mind hoping i'm wrong about this,
On Tue, May 09, 2000 at 08:39:12PM -0400, XRedbirdxx@aol.com wrote:
> does it not seem to be the case that mr. zorn indeed can no longer tell the difference between good and evil?? what started out as a healthy robust cynicism toward corporate america seems to have manifested into an all-out paranoia toward virtually anything that does not exist within the comfy walled confines of his posse which was established about 15 years ago now. yes there are exceptions. but very very few.
I'd be interested in seeing a demonstration of any correlation
whatsoever between this goofy theory and anything in the real world.
Is this the "Buffy the Vampire Slayer" school of psychomusicology?
--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
Does anybody know who to contact about subscribing? All the e-mail addresses in the archive have only the first letter of the domain name so there's no way to contact anybody on it.
Subject: Re: ribot plays frantz (was: Re: ribot y los cubanos)
Date: 12 May 2000 11:40:54 EDT
Which brings us to another trader's question -- The stuff that went out of print: Is it kosher to copy and distribute that stuff amongst ourselves? It has already seen daylight in a form acceptable to the artist, but cannot be purchased, and is usually of interest to the people from whom that artist is generating income. Since guys like Ribot etc often record for labels that don't last, what do we do about the distribution of THAT material?
Subject: Re: ribot plays frantz (was: Re: ribot y los cubanos)
Date: 12 May 2000 11:06:13 -0400
On Fri, May 12, 2000 at 11:40:54AM -0400, Velaires@aol.com wrote:
> Which brings us to another trader's question -- The stuff that went out of print: Is it kosher to copy and distribute that stuff amongst ourselves? It has already seen daylight in a form acceptable to the artist, but cannot be purchased, and is usually of interest to the people from whom that artist is generating income. Since guys like Ribot etc often record for labels that don't last, what do we do about the distribution of THAT material?
Since there seems to be a reissue frenzy afoot, this becomes a less
simple issue. Would labels be as willing to reissue older
recordings (compensating the artists, one hopes) if the tracks were
widely available elsewhere?
Viewed from this perspective, trading out-of-print recordings differs
much less from those still in print -- each has a similar possibility
of affecting artist income.
--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
>> Does anyone else wish they'd skip the studio box and put out a massive live box, maybe with some other configurations (a la Bar Kokhba, Circle Maker, etc etc.) along with the quartet? <<
I'd like to see them release some of the Electric Masada stuff. That is
without a doubt my favorite lineup of Masada. No matter how much I
enjoy the quartet with Dave Douglas, Joey Baron & Greg Cohen I cannot
get enough of the group with Marc Ribot, Kato Hideki, Ben Perowsky. I
think they were one of the very first Masada lineups and one of the
>> Does anyone else wish they'd skip the studio box and put out a massive live box, maybe with some other configurations (a la Bar Kokhba, Circle Maker, etc etc.) along with the quartet? <<
I'd like to see them release some of the Electric Masada stuff. That is
without a doubt my favorite lineup of Masada. No matter how much I
enjoy the quartet with Dave Douglas, Joey Baron & Greg Cohen I cannot
get enough of the group with Marc Ribot, Kato Hideki, Ben Perowsky. I
think they were one of the very first Masada lineups and one of the
Subject: URGENT: Raymond Scott Orchestrette GIG CHANGE
Date: 19 May 2000 12:03:15 EDT
PLEASE CIRCULATE A.S.A.P.
The Raymond Scott Orchestrette will honor the union picket line at MoMA by relocating the band's Friday evening May 19 concert to the Knitting Factory.
The concert will take place at 7:30 pm, and admission is $6.00.
The Knitting Factory is located at 74 Leonard Street
(bet. B'way & Church; via subway: 1 & 9 @ Franklin Street / A, C, 2, 3 @ Chambers / N, R @ Canal)
Knitting Factory info: 212-219-3006
http://www.knittingfactory.com
The RSO, which performs modernistic arrangements of Raymond Scott tunes, debuted at the Jewish Museum in February 1999, and has performed at Central Park SummerStage opening for They Might Be Giants, and at the Animated Music Festival in Brussels.
The group consists of WAYNE BARKER (piano, arrangements); BRIAN DEWAN (electric zither, piano, accordion, koto, electronics); MICHAEL HASHIM (saxes); WILL HOLSHOUSER (accordion, arrangements); GEORGE RUSH (bass); ROB THOMAS (violin); and CLEM WALDMANN (drums).
For the 5/19 show, TODD REYNOLDS will fill in on violin and MATTHEW WILLIS on sax.
In addition, the show will feature guest performances by DAVID GARLAND and violinist DAVE SOLDIER (of the Soldier String Quartet).
Further info:
http://RaymondScott.com/
inquiries: info@RaymondScott.com
RSO info page: http://RaymondScott.com/orchette.html
First I heard of him was on two cuts from "Taboo & Exile." (2 of my favorite tracks on the album, BTW). The Tzadik description sounds makes seem worth it to check out, and if the album carries any of the same elements that the T&E tracks had on them, count me in.
Of the discs that you mentioned, the two that stand out to me are the "Once upon a Time in the West" and the Thriller Collection. I've heard many say that the "Once upon a Time" is his best. While I don't agree, I understand. However, if you are looking for a single film score (over a collection), I would go with this. Another to look at is his score to Dario Argento's "Stendahl Syndrome," which I think is the best piece that he has done in years...extreme tension mixed in with soft Italian vocal noise. On my first listen, I had to turn it off in the middle because of the mind-state it was putting me in.
The Thriller Collection is my favorite of the collections (of which there are too many to count) that I've heard. It's two discs and has some 30 tracks on it...most of which are very good. The track "Cat o'Nine Tails" is from a Murder Mystery/Thriller of the same name by Dario Argento. Morricone did Argento's first three films: "Cat o'Nine Tails," "The Bird with the Crystal Plumage," and "Five Flies on Grey Velvet." I haven't seen the third one, but the first two are excellent films (I enjoy most of Argento's films immensely). The soundtracks for these three films are together on one CD called "The Morricone/Argento Trilogy." This is also highly recommended. Really my favorite films Morricone has scored are his horror or thrillers. The tension he is able to evoke is phenomenal to me (including the modern "Stendahl Syndrome"...after all these years and 300+ scores!)
But really, I don't think I've picked a Morricone CD up and thought "Jesus, this is freakin' terrible!!" so I think you'd be making a safe bet with any of the discs you mentioned, along with the numerous discs that you did not mention.
Hope that helps
Daryl Loomis
>>> patRice <gda@datacomm.ch> 05/25 7:13 AM >>>
hi there.
any comments on the following?
- once upon a time in the west soundtrack
- film music, volume 1
- morricone western quintet: over 150 minutes of pure m. (box set)
- morricone, volume 3: main titles
- the great music of ennio morricone (box set)
- morricone: the gangster collection
- morricone: the thriller collection (one track's called cat o'nine
Subject: Re: Re: l.-f. cΘline (no zorn content - sorry!)
Date: 30 May 2000 12:17:45 -0400
> what i'd like to know now: what english translations of cΘline's work
> would you recommend as a starting point?
>Is there any choice?
Depends on what you mean by choice: If you're going for in-print then I think only the Manheim translations are available, but if you're browsing libraries or out-of-print services then "Journey to the End of Night" and I think "Death on the Installment Plan" have earlier translations.
