I recommend Intoxica! on Portobello Road. Really nice staff, and an always
interesting selection of rare rock, soundtracks, beats and jazz. I picked up
some really interesting avant garde LPs on my last trip. No bargains, but if
you have stuff to trade, they offer very fair prices.
Intoxica!
231 Portobello Road
London W11 1LT
011 44 171 229-8010
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<HTML><FONT FACE=arial,helvetica><FONT SIZE=2>I recommend Intoxica! on Portobello Road. Really nice staff, and an always <BR>interesting selection of rare rock, soundtracks, beats and jazz. I picked up <BR>some really interesting avant garde LPs on my last trip. No bargains, but if <BR>you have stuff to trade, they offer very fair prices.
<BR>Both which I think are excellent, but I've not heard any others beyond that. <BR>They also have one track on Aural Torture Mechanics CD-Anyone aware of that <BR>band?</FONT></HTML>
<DIV>"and Yamamoto on guitar he arrived from the Kansai bluegrass scene and shredded all opposition with straight and twisted technique) "</DIV>
<DIV> </DIV>
<DIV> this quote is from the Wish You Were Hideous interview... got it on internet. </DIV>
<DIV> is this true that Eye came from a japanese bluegrass scene? and why was i not informed that there is such a thing? where can i learn more about this?</DIV>
<DIV> </DIV>
<DIV> -samuel</DIV>
<DIV> </DIV>
<DIV> </DIV></DIV><br clear=all><hr>Get more from the Web. FREE MSN Explorer download : <a href="http://explorer.msn.com">http://explorer.msn.com</a><br></p></html>
did anyone noticed that the new Boredoms sound is way different nowadays?I liked it....but what I would like to ask is this:did Eye perfom live with Praxis???Cause he sang on Sacrifist...
<BR>This has probably been brought up on the list, but the book "Songs in the Key <BR>of Z" mentions Zorn twice, and includes a quote on the back from the man, <BR>"Iconoclast/upstart Irwin Chusid has written a meticulously researched and <BR>passionate cry shedding long-overdue light upon some of the guiltiest musical <BR>innocents of the twentieth century. An indispensable classic that defines the <BR>indefinable."
I thought Trey Spruance played on it....but I read somewhere it's Fred Firth.So,this means there are two guitar players on Xu Feng?I hadn't look at the cover of the cd yet,so I dunno who's playing what...anyone?
Dragons,
Shangkuan Lingfeng
http://e2893.37.com/Free-E-Card/ <--- You Have A Greeting :)
> I thought Trey Spruance played on it....but I read somewhere it's Fred Firth.So,this means there are two guitar players on Xu Feng?I hadn't look at the cover of the cd yet,so I dunno who's playing what...anyone?
> Dragons,
> Shangkuan Lingfeng
trey spruance played in the xu feng ensemble that can be heard on the
"(y)earbook 2" cd released by Rastascan Records (www.rastascan.com)
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: Eyvind Kang "Sweetness of Sickness"
Date: 11 Dec 2000 09:05:09 -0800
On Mon, 11 Dec 2000 19:40:51 +1030 "sinkas" wrote:
>
> Hi all,
> Ive been a fan of Eyvinds work for a while and I thought I had all his work, until I came across this title, at CDDB, alas It didnt give a recording lable or anythig, with the exception of a march 99
release date.
>
> Does anyone know where I can get this, as none of the big net retialers seem to stock it,
>
> is it a bootleg??
*** - SWEETNESS OF SICKNESS: Eyvind Kang
1996 (1997?) - Rabid God Inoculator (USA), RGI 004 (CD)
I saw the record in a store in January 1997 (hence the doubt about the release
year).
The label (from Seattle) does not exist anymore. They had in plans to put out
a live concert of AMM but they put the key under the door before.
a lot of good recommendations so far. it really does depend on what styles of music you're into, and sometimes the mood, too. i agree with some of his 'translations' comments. i found the celtic album ok, but not all that inspired. imaginary cuba, however, i enjoy quite a bit. same with the marley translations. more ambience to it than dub albums usually have, and that's part of it's appeal to me, i think. massacre's first, material's 'seven souls' and painkiller's 'execution ground' all are great imho too. if you want to try some beautiful ambient music, try 'rasa:serene, timeless joy' out last year on meta. some of the best ambient he's done in a while. there are some reviews posted on my discography (the index in regards to what is reviewed and what's not is a little out of date), if that's of any help...
>On the subject of Kang - does the man have any plans to continue his NADEs
>series?
>
>Frankco.
>
>
I heard from a very reliable source the other day that there is another Nade's coming out. With a title using the Theatre of Nade's again. It is going to include some wacky shit from an opera he performed with some others in the Seattle area.
there is also apparantly an album he is doing for Ipecac (Fantomas, Melvins, Kid606) that is a book on tape. Yes, with Eyvind reading.
And wait until you hear Los Parasitos!!!! With Timothy Young (Zony Mash, Very Special Forces) and Paul Moore (Very Special Forces) and Eyvind Kang!!!!! IT fucking rules!!!!!! You have to see them in Seattle...they have no recordings available.......
==
>>JS
thisweek-->Hanatrash-5>Melt-Banana-TeenyShiny>Melvins-GlueyPorchTreatments>Various-AbstractDepressionism>EyvindKang-TheStoryOfIceland>FranciscoLopez-Untitles#104>KeijiHaino/Coa-You Should Draw Out The Billion And First Prayer
Does anyone know where recordings of Audio Sports can be found? Perhaps what
label released their stuff? etc..
from,
matt
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<HTML><FONT FACE=arial,helvetica><FONT SIZE=2>Does anyone know where recordings of Audio Sports can be found? Perhaps what <BR>label released their stuff? etc..
Subject: Re: the wire article (was: Re: now some pearls ... (zappa))
Date: 15 Dec 2000 10:09:07 -0500
>why does one become a music critic? the saying goes that those are >the people who failed at being musicians...
Not true. It's the musicians who are failed critics, unable to control their own language, shape coherent arguments or get the proper tone of reverence when pronouncing "lester bangs."
Still waiting for the critic groupies (don't laugh - Edmund Wilson had them), Lang
Subject: Re: the wire article (was: Re: now some pearls ... (zappa))
Date: 15 Dec 2000 16:45:03 +0100
wlt4@mindspring.com wrote:
> >why does one become a music critic? the saying goes that those are >the people who failed at being musicians...
>
> Not true. It's the musicians who are failed critics, unable to control their own language, shape coherent arguments or get the proper tone of reverence when pronouncing "lester bangs."
>
> Still waiting for the critic groupies (don't laugh - Edmund Wilson had them), Lang
as far as I know,Helmet's not jazz (or even avant-garde),but I heard Page Hamilton's a formed jazz musician,so,my point is:is there any album/contribution/song where he shows his jazz skills?So far,all I could come up with was some of the stuff on the album ''Betty'' (by the way,they cover Dizzy Gillespie's ''Beautiful love'' on this album,in a chaotic version),and besides that,nothing else.Anyone knows anything?I heard Page was doing some jams with a country-folk dude,but dunno much about it.On another side note,does anyone here knows Fredrik Thordendal's Special Defects solo album?It's very heavy,but in the middle of the album,they mix some jazz stuff on it...I know the drummer is from a fusion band called Mats/Morgan(don't remember which one he is though),and the album has a really cool experimental feel....so,check that out if you can.
Rainbows,
Meshuggener
http://e2893.37.com/Free-E-Card/ <--- You Have A Greeting :)
or only in this one?I've got it from napster and it's cool...except maybe for the second movement you mentioned(I dunno....I though it was too silent...but that 's just me,I guess =) no hard feelings,dude),and I've seen he's got a lot of other albums,so,I wanted to know in which ones Page played,if he played.Oh,and by the way:there's a song Page did for the movie Taxi cab,which is called the score,it's cool,but you get to hear the bass more than the guitar in this one...anyway,still worth a download.
Taxis,
Andy Kaufman
>Date: Fri, 15 Dec 2000 22:27:05 -0500
>To: <zorn-list@lists.xmission.com>
>From: Maurice Rickard <maurice@mac.com>
>Subject: Re: Page Hamilton & Fredrik Thordendal
>
>At 11:55 AM +1100 12/16/00, Julian wrote:
>>A friend played me a cd of some sort of 'guitar
>>orchestra' with Hamilton on it, it was pretty avant-garde, kind of
>>Ligeti-ish in approach from memory.
>
>I'm going to guess that you're talking about Glenn Branca's Symphony
>No. 6, which is a damned impressive piece--particularly the
>sustained-tone sliding second movement. Maybe, IMO, the best piece
>Branca's done (which I say not having heard all of them).
>
>--
>Maurice Rickard
>http://mauricerickard.com/
>
>-
http://e2893.37.com/Free-E-Card/ <--- You Have A Greeting :)
On Sat, Dec 16, 2000 at 06:14:22AM -0800, Fag music wrote:
> Did Page play in all Branca's symphonies,
> or only in this one?I've got it from napster and it's cool...except maybe for the second movement you mentioned(I dunno....I though it was too silent...but that 's just me,I guess =) no hard feelings,dude),and I've seen he's got a lot of other albums,so,I wanted to know in which ones Page played,if he played.Oh,and by the way:there's a song Page did for the movie Taxi cab,which is called the score,it's cool,but you get to hear the bass more than the guitar in this one...anyway,still worth a download.
While I haven't heard them this way myself, I suspect that Branca's
work would suffer more than most in mp3 conversion, since it involves
all those overtones clanging together.
--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
Why the hell would anyone be shocked by this reaction? Mixing seductive imagery of children in a package that includes an explicit photo of a girl who may or may not be a minor masturbating...whether or not one agrees with the reaction, this can't be a surprise.
Subject: RE: 100 anos de swing? / zappa postscript
Date: 18 Dec 2000 04:06:05 -0800
This compilation was released some time ago,
but here in Brazil,as far as I remember,they were all just tracks picked up randomly,just to sell it,along with it came a ''magazine'' (less than 10 pages,I guess)telling about the history of jazz from the start,who came up with what,this kinda stuff.I have only two of these,one with Wynton Marsalis and the other with Pat Metheney and other guys I can remember now.Anyway,if you want to know how one of these guys sound like,I wouldn't say this is a good place to start.Well,maybe if you're a die hard fan,I heard these compilations put out some hard to find stuff.At least,a friend of mine who's into Pat and Paco de Lucia said so.
Lucias,
The e minor murderer
>Date: Sat, 16 Dec 2000 22:51:05 -0600 (CST)
>From: Whit Schonbein <whit@twinearth.wustl.edu>
>To: zorn list <zorn-list@lists.xmission.com>
>Subject: 100 anos de swing? / zappa postscript
>
>
>hello everyone. i've been running across a number of low priced (US$9.99
>at a local store) cds released under the charming title "100 anos de
>swing". i think they also say "folio jazz masters" on them. anyway, the
>two that i have seen so far consist of a julius hemphill disc (julius
>apparently conducts, w/ tim berne, fred ho, and two others doing sax
>duty), and a roscoe mitchell (w/ sound and whatever ensemble, with vincent
>davis on drums, william parker, and other notables whose names i forget)
>disc. so, my question is, does anyone have any more info on these discs
>(or the series in general?). i can't seem to find out much info via a web
>search. they look quite 'bootleggy', and do not give any information (on
>the outside of the package, at least) on recording date, etc.
>
>thanks,
>whit
>np - coltrane, the avant garde
>
>p.s. i'm not going to directly address the interesting ongoing zappa
>thread. but, to cast my 'votes', my favorite zappas have been, in no
I'm sure this will stir up a nice little hornets' nest here but that's what we're about, eh?
Many fellow bleeding hearts have looked for a silver lining in the U.S. election debacle and its aftermath. Other than constant talk of emigration, the other thing they grasp straws at is the theory that bad politicians
(adversity) breeds good art. I wasn't too certain about this myself and was wondering about what you all thought about that.
Personally, I would prefer to have four years of shitty music as opposed to destabilizing tax cuts, Star Wars II and roll-backs in abortion-rights and environmental legislation (as G.W. has promised us).
<BR>So, why don't we move the "obscene art" topic to "best of 2000".. that way, <BR>we won't really have to break any new ground, but there will be some <BR>different words in the posts.
I'm sure this list will change as soon as I send it, or when I look on my CD shelves, but here's a shot at one (in no particular order, just how I remember them):
Gunter Muller/Taku Sugimoto -- I Am Happy If You Are Happy (For4Ears)
Parker/Edwards/Sanders -- The Two Seasons (Emanem)
Dominic Duval/Hans Tammen -- The Road Bends Here (Leo)
> > Alexander von Schlippenbach -- Light Blue (Enja)
> > Joelle Leandre/Tetsu Saitoh -- Joelle et Tetsu
> > (Omba)
>
> What's this Schlippenbach like? For whatever reason,
> it seem like an unusual prospect for Enja to release
> Schlip. And how's that Leandre/Saitoh?
Light Blue is subtitled Schlippenbach plays Monk. It is a really good straight ahead jazz album, with Ino Nubiyoshi on bass and Sunny Murray on drums. If you are familiar with Smoke (the Schlippenbach/Murray duo on FMP) then imagine that with a bassist. Though on the surface AvS seems an odd person to record for Enja, it fits right in to their catalogue.
Schlippenbach is, in my opinion, one of the "avant garde" players who most has the ability to work closely in the jazz tradition; his playing and composing can both be seen as extensions of Monk, in the same way that Misha Mengelberg can be rooted in Herbie Nichols. I think the stuff that most blows me away are the compositions on the Backgrounds for Improvisers, which are very Monk-ish.
I'm curious about the Schlippenbach 3 (or is it 4?) disc on Atavistic. Anyone here heard it and want to recommend it? How's the performance, sound, etc. I haven't gotten around to picking it up yet.
And, to answer Scott's question, the Leandre/Siatoh disc is sheer beauty. Two virtuoso players in complete harmony. One of my favorite Leandre discs.
Dan
Find the best deals on the web at AltaVista Shopping!
<BR>i just finished watching ingmar bergman's "through a glass darkly", and i was <BR>wondering if any list members had any thoughts on symbolic significance of <BR>certain aspects of this movie. if anyone is interested in discussing it, <BR>email me privately.
<BR>
<BR>by the way, Hello Pak, welcome to the list, and I second the motion of <BR>Magnetic Fields' "69 love Songs" greatness.
Does the CD for "Xu Feng" omit the recording date or am I just spacing out? There's an "August 4, 1985" tucked under the jewel case inside but that's apparently a composition date.
In a message dated 12/28/00 1:57:00 PM Eastern Standard Time, nilugo@usa.net
writes:
> I just purchased ROXY MUSIC's self-titled debut and I was pretty surprised
> when I heard the first track RE-MAKE/RE-MODEL which has a very "avant-pop"
> dwelling between the guitar and the sax, it's pretty good. Anybody know if
> other ROXY MUSIC album are like this? Or any other "pop" album with this
> type of playing?
>
While the first, self-titled Roxy Music album is probably the most eccentric
of the batch, I've always thought the first five - Roxy Music, For Your
Pleasure, Stranded, Country Life, and Siren - were really indispensable. For
my tastes, and this may get a bit long-winded, but here goes - The
self-titled album has always sounded to me like the band trying to find
themselves and what they do best. This all came together on For Your
Pleasure; dark, mysterious, weird, and haunting, and pushing "pop songs"
probably as far as they could go. On Stranded, former Frank Zappa band member
Eddie Jobson replaced Eno, and while a lot of the eccentricities left with
Eno, Jobson's frequent violin parts add a different dark texture to a lot of
the material. Country Life refined all of this again - there's still a
definite, distinct style that to me no one else has ever approached, but the
songs are shorter and in a somewhat more "traditional" style of writing. Its
still very dark and haunting though, Lots of minor keys, drones, and a sense
of longing in both the music and lyrics, even in the most upbeat, last track,
Prairie Rose - which to me is still a real gem. By the time of Siren in 1975,
the band reached their popular success and was having a lot of internal
stress at the same time. Siren was yet more polished and streamlined, which
most likely is part of the reason it yielded two hit singles - Love Is the
Drug and Both Ends Burning. After that, I really lost interest - there was a
3-year silence until the release of Manifesto, and at this point, it became
more obvious that Roxy was reduced to the core of Ferry, Manzanera and
MacKay, plus hired guns; and the albums became increasingly interchangeable
with Bryan Ferry's solo records. But boy, especially For Your Pleasure
through Siren...I go back to those regularly and still find them well-worth
the time invested.
If you want to get into the Eno catalog, I can go into that even MORE! <G>
Dale.
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<HTML><FONT FACE=arial,helvetica><FONT COLOR="#8080c0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0"><B>In a message dated 12/28/00 1:57:00 PM Eastern Standard Time, nilugo@usa.net <BR>writes:
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I just purchased ROXY MUSIC's self-titled debut and I was pretty surprised
<BR>when I heard the first track RE-MAKE/RE-MODEL which has a very "avant-pop"
<BR>dwelling between the guitar and the sax, it's pretty good. Anybody know if
<BR>other ROXY MUSIC album are like this? Or any other "pop" album with this
<BR>type of playing?
<BR></BLOCKQUOTE>
<BR></FONT><FONT COLOR="#8080c0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0"><B>While the first, self-titled Roxy Music album is probably the most eccentric <BR>of the batch, I've always thought the first five - Roxy Music, For Your <BR>Pleasure, Stranded, Country Life, and Siren - were really indispensable. For <BR>my tastes, and this may get a bit long-winded, but here goes - The <BR>self-titled album has always sounded to me like the band trying to find <BR>themselves and what they do best. This all came together on For Your <BR>Pleasure; dark, mysterious, weird, and haunting, and pushing "pop songs" <BR>probably as far as they could go. On Stranded, former Frank Zappa band member <BR>Eddie Jobson replaced Eno, and while a lot of the eccentricities left with <BR>Eno, Jobson's frequent violin parts add a different dark texture to a lot of <BR>the material. Country Life refined all of this again - there's still a <BR>definite, distinct style that to me no one else h!
as ever approached, but the <BR>songs are shorter and in a somewhat more "traditional" style of writing. Its <BR>still very dark and haunting though, Lots of minor keys, drones, and a sense <BR>of longing in both the music and lyrics, even in the most upbeat, last track, <BR>Prairie Rose - which to me is still a real gem. By the time of Siren in 1975, <BR>the band reached their popular success and was having a lot of internal <BR>stress at the same time. Siren was yet more polished and streamlined, which <BR>most likely is part of the reason it yielded two hit singles - Love Is the <BR>Drug and Both Ends Burning. After that, I really lost interest - there was a <BR>3-year silence until the release of Manifesto, and at this point, it became <BR>more obvious that Roxy was reduced to the core of Ferry, Manzanera and <BR>MacKay, plus hired guns; and the albums became increasingly interchangeable <BR>with Bryan Ferry's solo records. But boy, especially For Your Pleasure <BR>through!
Siren...I go back to those regularly and still find them well-worth <BR>the time invested.
<BR>
<BR>If you want to get into the Eno catalog, I can go into that even MORE! <G>
In a message dated 12/28/00 6:42:59 PM Eastern Standard Time,
ssmith36@sprynet.com writes:
> I think Jobson's stint with Zappa came after his Roxy days, although I've
> only got circumstantial evidence upon which to base this. Previously a
> member of Curved Air, Jobson was with Roxy Music from 1973 to 1975. He
> then appears on the cover of (but doesn't actually seem to play on) Zappa's
> 'Zoot Allures,' which dates from late 1976.
You're right Steve, I interviewed Jobson for Trouser Press (and I'll bet that
will jog your memory!) while he was doing the Zappa tour for Zoot Alures
(which was after Roxy). He did say that he's not actually on that album, but
was a member of the band at the time so he was included in the cover photos.
As for which Zappa albums he actually plays on....I'm not about to go digging
through the Zappa archive right now, but I'm sure it'll be bugging me enough
to soon.
Dale.
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<HTML><FONT FACE=arial,helvetica><FONT COLOR="#8080c0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0"><B>In a message dated 12/28/00 6:42:59 PM Eastern Standard Time, <BR>ssmith36@sprynet.com writes:
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I think Jobson's stint with Zappa came after his Roxy days, although I've <BR>only got circumstantial evidence upon which to base this. Previously a <BR>member of Curved Air, Jobson was with Roxy Music from 1973 to 1975. He <BR>then appears on the cover of (but doesn't actually seem to play on) Zappa's <BR>'Zoot Allures,' which dates from late 1976. </BLOCKQUOTE>
<BR></FONT><FONT COLOR="#8080c0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0"><B>
<BR>You're right Steve, I interviewed Jobson for Trouser Press (and I'll bet that <BR>will jog your memory!) while he was doing the Zappa tour for Zoot Alures <BR>(which was after Roxy). He did say that he's not actually on that album, but <BR>was a member of the band at the time so he was included in the cover photos. <BR>As for which Zappa albums he actually plays on....I'm not about to go digging <BR>through the Zappa archive right now, but I'm sure it'll be bugging me enough <BR>to soon.
Subject: Sonny Clark Memorial Quartet(zorn content)/Ives
Date: 30 Dec 2000 21:03:03 EST
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I recently purchased this album, Voodoo, and have mixed feelings about it.
This album is a bunch of Sonny Clark tunes played by Ray Drummond (bass),
Horwitz, Zorn, and Previte. The album is very straight ahead both in terms
of playing and arranging. While there still are the occasional squeaks and
squeals most of the album is very normal (especially considering the
musicians). It at times almost feels like the musician are being restrained.
But there is definitely some amazing playing on this album. I do prefer the
Lulu albums or Masada, as far a Jazz albums go, to this but maybe I'm not
hearing it right. What did the rest of you think of this album?
Also I would like to know if anyone could help me find a specific recording
of Charles Ives's "General William Booth Enters Into Heaven" with a female
singer. I only have the version from the Complete Songs set and this older
recording (possibly only on vinyl) is far more hilarious. I'm sorry I
couldn't be more specific. Thanks for any help.
Happy New Year,
Aaron Solomon
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<HTML><FONT FACE=arial,helvetica><FONT SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I recently purchased this album, Voodoo, and have mixed feelings about it. <BR>This album is a bunch of Sonny Clark tunes played by </FONT><FONT COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Verdana" LANG="0">Ray Drummond (bass), <BR>Horwitz, Zorn, and Previte. The album is very straight ahead both in terms <BR>of playing and arranging. While there still are the occasional squeaks and <BR>squeals most of the album is very normal (especially considering the <BR>musicians). It at times almost feels like the musician are being restrained. <BR> But there is definitely some amazing playing on this album. I do prefer the <BR>Lulu albums or Masada, as far a Jazz albums go, to this but maybe I'm not <BR>hearing it right. What did the rest of you think of this album?
<BR>Also I would like to know if anyone could help me find a specific recording <BR>of Charles Ives's "</FONT><FONT COLOR="#333333" SIZE=2 FAMILY="SANSSERIF" FACE="Verdana" LANG="0">General William Booth Enters Into Heaven" with a female <BR>singer. I only have the version from the Complete Songs set and this older <BR>recording (possibly only on vinyl) is far more hilarious. I'm sorry I <BR>couldn't be more specific. Thanks for any help. </FONT><FONT COLOR="#333333" SIZE=1 FAMILY="SANSSERIF" FACE="Verdana" LANG="0">
I've just begun reading Arcana:musicians on music, and i find it to be very
interesting.
Scott johnson's essay is incredibly well thought out and researched...his
knowledge of evolution and social/biological sciences is immense.
it is great to see someone trying to link different forms of music through
research and actual understanding of various principles.
however, i am having some difficulty understanding certain aspects of
Frances-Marie Uitti's two bowed cello experiments. how exactly is the two
bow cello used, held, fingered, etc.? and what do the triangular/semicircle
diagrams represent?
one other comment: john zorn's "essay" seems to be a little weak to me. it
is just a rather pointless description of potential visual catalysts for a
musical idea...
ben
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<HTML><FONT FACE=arial,helvetica><FONT SIZE=2>I've just begun reading Arcana:musicians on music, and i find it to be very <BR>interesting.
<BR>Scott johnson's essay is incredibly well thought out and researched...his <BR>knowledge of evolution and social/biological sciences is immense.
<BR>it is great to see someone trying to link different forms of music through <BR>research and actual understanding of various principles.
<BR>
<BR>however, i am having some difficulty understanding certain aspects of <BR>Frances-Marie Uitti's two bowed cello experiments. how exactly is the two <BR>bow cello used, held, fingered, etc.? and what do the triangular/semicircle <BR>diagrams represent?
<BR>
<BR>one other comment: john zorn's "essay" seems to be a little weak to me. it <BR>is just a rather pointless description of potential visual catalysts for a <BR>musical idea...
