ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/zorn-list/archive/zorn-list.200104

Internet Message Format | 2001-04-30 | 811KB

From: "Arthur Gadney" <[e-mail]>
Subject: new koenjihyakkei
Date: 01 Apr 2001 12:05:45 -0000

howdy

somebody mentioned that he bought the new KOENJIHYAKKEI cd at a recent ruins
show. could you perhaps post a review or comment? i loved their first one,
but wonder if i should pick this one up as well... thanks!
_________________________________________________________________
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From: [e-mail]
Subject: Joe McPhee concerts in St Louis and Columbia MO
Date: 01 Apr 2001 09:06:53 -0500

An upcoming event in St. Louis, MO features the playing of
Joe McPhee, Davey Williams, and Phillip Gelb.  This is improvised
music for saxophones, shakuhachi and electric guitar. The concert is
this Tuesday, April 3, 8 PM at the Forum for Contemporary Art.

Shows like this don=B9t come though St. Louis every day.  I know there are
a few Midwest readers on this list and hope you can hear the show.
The trio also plays the following day at The Ragtag Cinema Caf=E9
in Columbia, MO.

More information can be found at the New Music Circle web site
http://members.nbci.com/nmcstl/index.html


Josh Riggs

NP Elizabeth McNutt, Pipe Wrench


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From: [e-mail]
Subject: new sugimoto and nakamura solo CDs
Date: 01 Apr 2001 14:07:48 EDT

I wanted to let people know about a new French label, a bruit secret, who ar=
e=20
releasing some interesting solo CDs. the first two are just out, new release=
s=20
from Taku Sugimoto and Toshi Nakamura, and an Axel D=F6rner release is promi=
sed=20
soon. Metamkine is handling all of the distribution, which I'd guess means=20
that Anomalous will get copies in the next few weeks. anyway, below is the=20
press release, complete with more contact information.

Jon
www.erstwhilerecords.com

--

---

CD01 - TAKU SUGIMOTO-ITALIA


1 : Bologna =20

2 : Milano   =20

3 : Milano   =20


taku sugimoto : guitar


all tracks recorded live by taku sugimoto.=20

track 1 recorded in Bologna on November 21, 2000

track 2 and 3 recorded in Milano on November 22, 2000

concerts organized by Giuseppe Ielasi (fringes)

CD mastered by toshimaru nakamura at setreset

no editing

thanks to Giuseppe Ielasi

=20

artist contact : [e-mail]

                       www.japanimprov.com/sugimoto/


label producer : a bruit secret - 2001

label contact : [e-mail]

distribution : [e-mail]



Taku Sugimoto belongs to the new scene of improvised music in Tokyo, whose

particularity is to put forth the recent transformations of the sonic

phenomenon induced by electronics with its transversal instrumental

approach. He has built his technique on two kinds of traditions, Delta blues

and European free improvisation, without confining himself to either of

those traditions, looking for his own oblique ways, influenced by the music

of Morton Feldman and Giancinco Scelsi, moving within a very specific

approach of sound. The main peculiarity of his sound could be his very

strong relationship with silence and a fondness for weak sounds, the "almost

nothings". This third solo recording, which folows "Myshkin for Electric

Guitar" released on the Slub label and "Oppposite" on Hat Noir, reveals a

new development in his playing, closer to Derek Bailey's percussive style

and with a very radical work on the sustain. He has played in the last few

years with the most innovative improvisers of this scene : Keith Rowe, Kevin

Drumm, Annette Krebs, Toshimaru Nakamura, G=FCnter M=FCller, Otomo Yoshihide=
,

Brett Larner.


CD02 - TOSHIMARU NAKAMURA-no-input mixing board # 2


track 1 : nimb #13 ... 08:52

track 2 : nimb #14 ... 10:35

track 3 : nimb #15 ... 12:01

track 4 : nimb #16 ... 11:14

track 5 : nimb #17 ... 05:21

track 6 : nimb #18 ... 09:03


all sonic occurences were found around no-input mixing board and Toshimaru=20
Nakamura (GEMA)

all happened in between Dec.2000 and Jan.2001 in Tokyo, Japan

Thanks to Michel


artist contact : [e-mail]

                       www.japanimprov.com/tnakamura/


label producer : a bruit secret - 2001

label contact : [e-mail]

distribution : [e-mail]


Toshimaru Nakamura lives and works in Tokyo. He belongs to the new

improvisation scene in Tokyo, "Onkyo", with other musicians like Sachiko M.,

Otomo Yoshihide, Tetuzi Akiyama, Utah Kawasaki. He is also a member of a duo

named Repeat with American percussionist Jason Kahn, and elaborates several

other projects in the field of improvisation, collaborating with people like

Keith Rowe, Andrea Neumann or Bruno Meillier. The precept of the mix could

just about define the aesthetic of our era, the era of the technoculture.

Toshimaru Nakamura has chosen this era's very technology as the basis of his

work, using a mixing desk in a loop in order to produce a kind of minimalist

electronic music, by radicalising this immovable system. His work could be

heard as the work of a sonic designer, if not for the fact that the process

of improvisation is the chore of his relationship with the sonic event. A

"Discreet music" that let the secret sounds of technologies and their bugs

be heard.

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From: "Arthur Gadney" <[e-mail]>
Subject: moers festival: doctor nerve & fred frith
Date: 01 Apr 2001 21:28:21 -0000

hey!

i just saw the program for the moers festival, and it was a bit
dissapointing i must say. But still, a few concert make me seriously
concidering going! could anybody enlighten me about DOCTOR NERVE? i
understand they are kind of choppy aggresive and comlex punky, or at least
used to be!? anybody heard the project with the strings (which will play in
moers) any recommendations for their cds? there is quite alot. of course i
love nicks playing with fred frith, so i'm hoping his band will also be
good.

as you probaly know, FRED FRITH will also play solo. the program say "FRED
FRITH: GUITAR & ELECTRONICS" i'm quite curious about that. is this a new
project and have anybody heard it? or is the "electronics" just the effect
pedals which fred use in his "normal" solo shows?

http://www.moers-festival.com/

thanks!!
_________________________________________________________________
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From: "Ryan W. Blum" <[e-mail]>
Subject: Skuli Sverrisson _Ceremonie_
Date: 01 Apr 2001 17:48:27 -0700

Hi Everyone,

I desperately would like a copy of Skuli Sverrisson's solo CD _Ceremonie_ on
Extreme. It's not available at any of the places I've checked (GEMM, Other
Music, Forced Exposure). Anyone have another lead, or--if worst comes to
worst--could burn me a copy or rip it to mp3? Should I not say that out
loud?

Thanks,
Ryan

[NP: Bloodcount _Unwound_ disc 1]


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From: "Steve Smith" <[e-mail]>
Subject: Knit unravelling?
Date: 01 Apr 2001 21:01:41 -0400

Dan and Skip and all y'all:

True, there are rumors far and wide that the Knit is on the rocks.  And the
rumors are based on substance, in that there is severe financial woe down
there on Leonard Street.

Adding to the situation, no one really knows for certain what's going on,
not the former employees, not the musicians, not the current employees -
only Dorf.  And Dorf is in denial.  But I'll get back to that in a little
while...

Skip has heard that Dorf is in the hole to the tune of $11 million.  That
doesn't surprise me, although the highest figure I've seen in print is $2
million.  One fact is that the Knit lost a ton of money in the contuined
hassles over opening the new club in L.A.  The delays meant that the club
had to pay hefty guarantees to artists whose shows were cancelled.  No way
to make that money back, although the LA club is indeed profitable through
the big pop bills that Skip mentions, as well as countless private parties
and industry functions.

Another fact is that the Knit spent way too much money on last year's Bell
Atlantic Festival, some of the bills for which are reportedly still unpaid.
A third fact is that sometime within the last two years, Dorf invited
outside investors to sink money into the venture.  Those investors now want
to see a return on their investments, but the money is not there.

Beyond that, all is conjecture - although there are currently writers at the
Times and at New York Magazine working on investigative pieces.  (I was
interviewed for the latter.)  One artist says that everyone who has a record
on the label is worried that those master tapes are going to be lost to them
forever.  The label has been on hiatus since last fall, but suddenly someone
at Koch tells me that there are new releases coming out in May.  (One of
this list's moles at retail or a one-stop might be able to confirm this.)

Several longtime journalists are declaring the place dead already.  One has
basically said to me that it's about time - that the only people who play
down there now are those who "suck and can't get a gig elsewhere."  This
tells me more than anything else that it's time this writer retired, 'cause
he's tired, old and bitter if that's really his attitude.  Another writer
says that this proves what goes around, comes around.  No writers who were
actually part of the scene in the '80s are shedding any tears at all.

To me, that's sad.  Yes, the Knitting Factory has been a fucked up place.
Yes, I myself was fucked as hard as any and harder than most.  And yes, the
artists and employees have been taken advantage of by Dorf for years.

But what some folks, including many of the musicians involved, are missing
is that the place is more than just a nightclub.  It's got an iconic status
now, like it or not.  To people of our generation(s), the Knitting Factory
has as much cultural weight as the Village Vanguard has to the generations
that came before us.  It's a place that artists from elsewhere aspire to
play simply because of its reputation, because so much fantastic music has
come from there.  At its best, it's still a place where a lot of fantastic
music from a myriad of genres can still be heard nightly.  It's a democratic
place where the newcomer may have to play at 11 p.m. on a weeknight, but at
least he or she gets a gig in the first place.  It's called "paying dues"
and "building an audience."  And there are few other places in town where
that newcomer is going to find a stage available, period.  Finally, for
years it's put on the only reasonably progressive jazz festival in town, and
more recently the only one where avant-garde musicians could work alongside
mainstream musicians and commercial acts.  That being the case, the absence
of the Knit, if it comes to pass, will leave a big, stinky hole in this
city's musical soul.

To many musicians, what's happening at the Knit is justice.  I can't say
that I don't see their perspective, if their point is that what Dorf did was
to take their music, their art, their lives, and turn it into a marketable
commodity recognized around the world.  Of course that's what he did.  That,
in a nutshell, is Dorf's genius, but for many of the artists, it reeks of
someone capitalizing on their efforts, while they see little benefit
themselves.  Never mind that one partial benefit might just possible be the
fact that without the reach of the Knit, many of these artists might still
be unknow outside of New York City.  (Obviously I'm not talking about the
likes of Zorn, Frisell, Byron or Douglas...)

I said as much in the New York Magazine interview, and I expect that a lot
of friends are going to call me naive and unenlightened.  So be it.  The
musicians have Tonic, and the writers... well, the writers will complain
regardless.

When I was doing the interview for New York, I told the writer that I wanted
to go "off the record," and then I told him, in minute detail, the exact
story of my tenure at the Knit, including its almost unbelievable
denouement.  As I got to the end, the writer was squirming.  "Why is this
off the record?"  he asked.  "This stuff is great!  Why can't I use it?"

"Because," I told him, "what's past is past and doesn't make any difference
to anyone who will read this, but mainly because I felt that only through
demonstrating to you exactly how fucked I got could you accurately put it
into context when I tell you that I don't want to see the place fail, and
what a loss I think it would be."

The Knit may very well fail ultimately - this is supposedly a very big
problem he's facing now.  The vultures are circling, some of them drooling
outright.  Dorf keeps telling interviewers that things are "on hold," that
this is a "slow down," that it's a temporary setback.  And then he'll go on
to talk about future plans as outlandish as anything he's ever attempted.
To me, this is the surest bet that the Knit will survive.  Dorf, I'm
convinced, can make himself believe anything, and once he's convinced, he
has an eerie capacity for convincing others to see things his way.  And as
long as he's convinced, the club has a chance.

Interestingly, some musicians are indeed taking an interest in helping to
save the Knit.  Of course, it's the height of cynical self-interest for
Wynton Marsalis to headline the club for the first time just days after the
final episode of Burns aired.  But look instead to the Vision Festival,
where the artists involved - who've proven that they can succeed on their
own - have chosen to hold their festival at the Knit to make a statement.
Their PR materials are clear about this - they are saying that the Knit is
worth supporting.

Personally, as long as Ellery Eskelin can draw the sizeable and vociferous
crowd I saw last night, and the Knit can sell out three nights of Shellac
and book AMM and the Anti-Pop Consortium and even things that sell out even
though I've never heard of them ;-) then there must be a plausible reason to
wish for their continued survival.  And maybe, just maybe, Dorf will emerge
from this a humbler, wiser man, more grateful to those upon whom his success
is built (and in this I count the employees as much as the artists).

But I won't hold my breath on that last bit.

Steve Smith
[e-mail]


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From: Matt Plummer <[e-mail]>
Subject: interdisc. pieces
Date: 01 Apr 2001 19:18:11 -0600 (MDT)

Hello,

I'm curious if anyone on the list can recommend some interesting
interdisciplinary performances/compositions/colloborations (i.e. involving
more than just music).  I'm already aware of a few of the obvious ones, such as
Glass/Wilson, etc. but i'm trying to dig up some more obscure stuff,
possibly stuff involving improvisation.

thanks,
Matt

Matt Plummer
Coalition for Creative Music



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From: [e-mail]
Subject: Re: ruins recommendation question/tim berne personal ad
Date: 02 Apr 2001 02:06:36 EDT


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In a message dated 3/28/01 11:48:45 AM Pacific Daylight Time,
[e-mail] writes:

   > actually, while i'm on the subject of personals, if anyone is making the
> trip to san jose from sf to see TIM BERNE/paraphrase on apr. 9, let me
> know.
> i'll pay for your gas and ride in the trunk or something (he cancelled his
> sf show for apr. 10).
>
> apologies for the waste of space, and thanks in advance,
>
> wy


         The show is in Santa Cruz not San Jose.  I'll be going there Monday
morning to make a day of it.  I'm coming from Santa Rosa so will be taking
the 19th Ave/280 way to get there.  You're welcome to come along.  I can't
believe how many good shows are coming in such a short time. I was amazed by
Erik Friedlander's Topaz a couple weeks ago.  Everyone in the band is a
phenomenal musician.
         The same weekend as Berne is Rova's Rovate with a ton of musicians
(Frith, Leo Smith, John Schott,many others), AMM on Sunday, and Harriet
Tubman for several nights the following weekend.  Brunos is also bringing in
Ronnie McCoslin, Tony Malaby, and Vandermark's School Days all in April.  How
to keep up with it all will be the problem.  And of course I already missed
the Ruins as well as Sam Rivers.  You can't see everything.  Cheers,
       John Threadgould
       np  Transatlantic Bridge-Territory Band 1


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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=2>In a message dated 3/28/01 11:48:45 AM Pacific Daylight Time,
<BR>[e-mail] writes:
<BR>
<BR>   <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">actually, while i'm on the subject of personals, if anyone is making the
<BR>trip to san jose from sf to see TIM BERNE/paraphrase on apr. 9, let me
<BR>know.
<BR>i'll pay for your gas and ride in the trunk or something (he cancelled his
<BR>sf show for apr. 10).
<BR>
<BR>apologies for the waste of space, and thanks in advance,
<BR>
<BR>wy</FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">         The show is in Santa Cruz not San Jose.  I'll be going there Monday
<BR>morning to make a day of it.  I'm coming from Santa Rosa so will be taking
<BR>the 19th Ave/280 way to get there.  You're welcome to come along.  I can't
<BR>believe how many good shows are coming in such a short time. I was amazed by
<BR>Erik Friedlander's Topaz a couple weeks ago.  Everyone in the band is a
<BR>phenomenal musician.
<BR>         The same weekend as Berne is Rova's Rovate with a ton of musicians
<BR>(Frith, Leo Smith, John Schott,many others), AMM on Sunday, and Harriet
<BR>Tubman for several nights the following weekend.  Brunos is also bringing in
<BR>Ronnie McCoslin, Tony Malaby, and Vandermark's School Days all in April.  How
<BR>to keep up with it all will be the problem.  And of course I already missed
<BR>the Ruins as well as Sam Rivers.  You can't see everything.  Cheers,
<BR>       John Threadgould
<BR>       np  Transatlantic Bridge-Territory Band 1
<BR></FONT></HTML>

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From: Andy Marks <[e-mail]>
Subject: Yoshide New Jazz Quintet
Date: 02 Apr 2001 04:26:32 -0700 (PDT)

Why haven't I heard about this before now?
Someone here has to know something.
Give us the scoop!

OTOMO YOSHIHIDE'S NEW JAZZ QUINTET: Flutter CD
(TZADIK) "Japanese Free Jazz
has a history that goes back to the '60s, and Otomo
Yoshihide's latest
project brings together some of the best Free Jazz
players in Japan with
noise musicians Sachiko M and the legendary Akita
Masami of Merzbow.
Beautiful arrangements, exciting solos and a kickass
rhythm section make
Flutter one of Otomo's most powerful and unusual
musical statements.
Features three bizarre covers of tunes by Eric Dolphy
and Gerry Mulligan
and four dynamic originals. Sine waves, drones, jazz
and noise from one of
Japan's most ubiquitous experimental musicians."


__________________________________________________
Do You Yahoo!?
Get email at your own domain with Yahoo! Mail.
http://personal.mail.yahoo.com/?.refer=text

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From: Ricardo Reis <[e-mail]>
Subject: St. Germain - Porto, 31 March 2001 report
Date: 02 Apr 2001 16:53:27 +0100 (WET DST)


=09Warning: This message is cross-posted to the Zorn mailing list and
Mariscada mailing list.=20

Greets,

=09The place:=20
=09- Teatro da S=E1 da Bandeira, Porto. This is an old theater (if you
picture an old italian opera house, three box floors you ain't very far)
with an outer ring of access to the viewing places were was the bar. The
decorum is mainly in heavy gold wich gives a decadent style to the place
(much more if you know that the main use of the place right now is as an
X-rated cinema...). Well, the chairs were gone and it was quite crowded
with loots of different specimens from the urban jungle to see the show.
The concert was under the "It's Amazing" iniciative.=20
=09
=09The music:
=09- I've entered when they were going for the second theme ("le
batoun rouge" if i'm well remembered) and the floor was pounded by the
jumping crowd literally. Everyone was excited and the musician (Ludovic
Navarre at turntables, a tenor sax that also played flute, trumpet, guitar
(this I remember the name, Alex), drums and perc) were digging well the
all scene, amusing themselfs and giving great solo and cooperative
playing. The themes were from St. Germain last album tourist and the
performance was great (did I said this already?). the differences from the
album were the extended playing byt the musics and their ability to solo
on the theme, getting sometimes away from it and getting back, pushing you
allong the know "sound landscape" without loosing view of it. This was
indeed one the great concerts of this year on this part of the globe. They
encored with "le batoun rouge" getting the most of it in a longer version
and more colourfull one two.=20

=09After the concert:
=09- Loduvic Navarre went on has DJ and the scene hold pretty well.
It was amazing...=20

=09=09          =20
                              Ricardo Reis

=09=09=09      "NON SERVIAM"



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From: Ricardo Reis <[e-mail]>
Subject: Tributo a Miles concert report, 31/03/2001
Date: 02 Apr 2001 16:51:40 +0100 (WET DST)


    Warning: This message is cross-posted to the Zorn mailing list,
Miles Davis mailing list and Mariscada mailing list.

    Greets,

    Saturday was held at the Coliseu, Porto (Portugal) a concert of
homage to Miles Davis. It consisted in two parts, both supported by the
Finish orchestra "UMO Jazz Orquestra".

    The place: The Coliseu dos Recreios at Porto is a concert room
were several show's can be held. It shows it's age, with after some time
hard chairs ;). Has several "layers" of boxes from were the show can be
seen, I've got a place in the audiance (best sound conditions if my
sources didn't deceived me).

    The music:

    First part: "Sketches of Spain"

    This was directed by Maria Scheneider (she was assistant to Gil
Evans for several years) and the soloist (miles impersonificator so to
speak) was Jon Fadis (has played with Dizzy and Mingus, being director of
the Dizzy's United Nation Orchestra and, later, the Centennial Jazz Band).
They played:

    "Concierto de Aranjuez", "Will O'the Wisp", "The pan piper",
"Saeta" and "Solea".

    This was the part i liked best, with Fadis cruzing the trompet
slowly, in the low register, climbing up to higher scales sometimes. I
must say I've never heard the original "Sketches of Spain" but intend to
fix that up shortly. It was pleasant to see Maria Scheneider conducting
and on one of the tunes they resorted to a funny and well done "trick": a
drum section was placed in the inside of a side-box. This resulted in a
kind of feeling of hearing it from afar, kind of military on the street
while one is inside the house. Anyway they knew what they were doing, that
stuff goes right into your soul.

    part second:

    "Electrifying Miles"

    Dedicated to the Miles electric period had the trompet of Tim
Hagans (record to Blue Note in 1997 "No words" (w/ Jonh Lovano, Jonh
Abercombie and Hubsongs and more recently "Animation Imagination" and
"Re-animation", and excursion to hip-hop) and conductor Kirmo Lintinen.

    Not being so that familiar with this Miles Period (my description
of Bitchews Brew being of a dark sea storm were Miles trumpet is a
lighthouse saving me from altering waves) had the pleasent effect of
making me get more confortable with this period. i'm liking it more has
time pass (maybe is like a Porto wine ahn?). the only real problem i've
experienced during the concert was some un-easyness of being seated and
thinking that this kind of music need another posture to be "digged"
full-throttle. They played: a theme from "Du boop", Spanish Key from
Bitches Brew,a composition from Wayne Shorter "sanctuary", a them called
"fast track", and "Tutu".

    This was a great display of music and some at least the guitar
player was getting way behond inside the music. speeding up and down,
really showing pleasure on it (maybe there's something with guitar
players, who knows?).

    encore!:

    well some folks couldn't wait to get out of the room (maybe
electric miles is still to much for some?) but through diligent applauding
(and well deserved) we got right to an encore. this last piece saw Maria
Scheneider again conducting and Jon Faddis and Tim Hagans playing
together. It was "My ship" from Miles Ahead and it was a lovely way to end
the concert, by the alternate takes of the two Miles "impersonificators"
of the night, they fusing at times the sound of their trumpets.
    The only hatefull thing about it was a jerk who keep it's mobile
phone ringing some time at the beggining (those guys who do not turn off
those crappy things of plastic should be thoughrougly hanged at the
entrance of movie theaters and concert halls) and another in the end...
anyway, i wished miles would be there to listen...

    The concert is roughly almost 2h and I've got it on MD (I will try
to pass it to CDR). Anyone interested needs only emailing. On the Dave
Douglas concert please wait, i'm working on it :).

                              Ricardo Reis

                  "NON SERVIAM"




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From: Ricardo Reis <[e-mail]>
Subject: Hextatic - V.N. Gaia, 30 March 2001 report
Date: 02 Apr 2001 16:53:00 +0100 (WET DST)

Greets,

    The place:
    - The Hardclub is an old factory near the river that was recovered
to become a show place. It's a big building built in granit with two
flors, the second being on wood, taking half of the first (plant area)
like a big U shaped varanda over the 1st. Also has a view to the Douro
river and Porto city and it is located in the Porto's wine store houses
(here called Caves do Vinho do Porto).

    The concert:

    - Hextatic used to work with Coldcut (never heard of them but if
it says something to any of you good). They work mainly with image having
three projection screens over their heads. They mix image with music,
being music sounds in repetive loops, voice fragments, drums, game blips
and so on. The image compositions were very well blended with the sound
support and sometimes they become so associated that you could fuse both
senses. They used fragments from old BBC (60's and 70's) television shows,
Amazonia documentary, computer games images (remember spectrum games?),
sci-fi movies and they even mounted one theme around a Monty Python
sketch.

    It was an enjoyable evening but I had to leave before it ended.
They made an extended encore with all their stuff, improvising a little
(know this because I was able to speak with a friend that stayed to the
end).

                              Ricardo Reis

                  "NON SERVIAM"



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From: Perfect Sound Forever <[e-mail]>
Subject: Re:  Knit unravelling?
Date: 02 Apr 2001 12:20:25 -0400

Steve Smith doth proclaim:

> the absence of the Knit, if it comes to pass, will leave a big, stinky hole in this city's musical soul.

Agree 100%.  Unless they have massive plans to boost their operations (which has been kept secret), venues like Tonic and Roulette are not going to be able to take up the slack.  I've had my share of screw jobs
from the Knit but it's still an institution that's worth preserving.  I've seen dozens (hundreds?) of great shows and festivals there, from all types of artists.  No other venue that scale, with four stages and
projects like the labels and such, offers these things in the city today.

Any investors out there wanna call Dorf?

Best,
Jason
--
Perfect Sound Forever
online music magazine
[e-mail]
http://www.furious.com/perfect



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From: alberta <[e-mail]>
Subject: i put his head where his wallet used to be
Date: 02 Apr 2001 13:34:14 -0400 (EDT)

marcin:
I can't believe that it was
possible to reproduce 'spillane' live.

kurt:
believe it. i was there, too.

FREE! The World's Best Email Address @email.com
Reserve your name now at http://www.email.com



-



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

From: [e-mail]
Subject: Re: Yoshide New Jazz Quintet
Date: 02 Apr 2001 13:49:09 EDT


In a message dated 4/2/01 7:27:46 AM, [e-mail] writes:

<< Why haven't I heard about this before now?
Someone here has to know something.
Give us the scoop!
OTOMO YOSHIHIDE'S NEW JAZZ QUINTET: Flutter CD
(TZADIK)>>

this is the first I've heard of this coming out on Tzadik. looking at Otomo's
web site, though, it looks as if he's got three Tzadik releases planned for
release in the works for 2001, this one, the Cathode sequel (Anode), and a
New Jazz Quintet with singers that I know nothing about.

I have heard an advance copy of Flutter, though, that Otomo sent me a while
back. the version I have, which may have changed a bit, has five tracks as
follows:

2 Otomo originals, Flutter and Spin
Serene, by Eric Dolphy
two tracks which are double-credited, Drift (Otomo)-Les (Dolphy), and Night
Lights (Gerry Mulligan)-Density (Otomo)

the Quintet is two saxophonists, bass, drums, and Otomo switching between
guitar and electronics. Sachiko is also on two tracks and Masami Akita plays
synth on one.

I like this record a lot, it's a pretty successful attempt to fuse sine-wave
electronics into jazz structures. my only quibble is that some of the more
jazz-oriented parts don't quite have the chops that jazz fans are used to
hearing. well worth picking up, though, and the final version will probably
sound better than the one I've got.

where did you get that blurb from, and when is this being released?

Jon
www.erstwhilerecords.com

-



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

From: alberta <[e-mail]>
Subject: koenjuhyakkei
Date: 02 Apr 2001 13:55:33 -0400 (EDT)

so, like, Arthur Gadney, goes, "howdy, somebody mentioned that he bought the new KOENJIHYAKKEI cd at a recent ruins show. could you perhaps post a review or comment? i loved their first one,
but wonder if i should pick this one up as well."


so, the new one, on tatsuya's magabiatsu label, is the third i have, and as i understand it their fifth release all told. the first two i have are both on hoppy kamiyama's god mountain label, and are pretty similar. good, but a little proggy for my liking.

the new one is great -- edgier, smaller groups (with different line-ups on different tunes), less orchestrated and less vocals. it's still recognizable as koenjihyakkei (tatsuya put it on the p.a. before the show, so i had a sorta blindfold test), but much stronger, methinks.

kurt

FREE! The World's Best Email Address @email.com
Reserve your name now at http://www.email.com



-



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

From: "William York" <[e-mail]>
Subject: Re: lightning bolt
Date: 02 Apr 2001 18:20:20

>I heard some Lightning Bolt on late night CBC radio a few weeks ago -- >a
>live recording from late last year. I liked it quite a bit, but I >have
>bizarre tastes when I'm driving at 3 a.m.  I will admit I've never >heard
>the Ruins, so don't know how they compare, but the closest >reference I
>could think of would be Lemmy Kilmeister and some >speedmetal drummer doing
>a really long jam.  The host referred to them >as part of a new wave of
>heavy metal, which I didn't think was
>really appropriate (though the thought of a metal resurgence minus the
> >wanky guitars does sound appealing.

Actually, there is one (Today is the Day, Soilent Green, Dillinger Escape
Plan, Nasum, etc) but it would not include Lightning Bolt or those sorts of
bands ... Like Jon Abbey said, LB strike me as coming more out of a no-wave
tradition, although I am sure they are certainly influenced by some metal.
BUT, as long as that music is being embraced by "hipsters" or played on
college radio stations, you can be almost fully assured that it isn't really
"metal" because that is still too big of a culture gap ... They might like
to call it metal, but the whole aesthetics are different.

I think some of these no-wave bands are interesting, but the way they (or
their audiences/record labels) sometimes patronize themselves by referring
to it as metal when they wouldn't actually go to a dingy metal club and
watch musically more advanced/interesting (and yet societally more
"low-class"/less arty) bands such as Gorguts or Soilent Green or Nile is
kind of lame.

Besides, sometimes I like the wanky guitar solos - the more ridiculous, the
better!

WY
_________________________________________________________________
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-



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

From: Andy Marks <[e-mail]>
Subject: Re: Yoshihide New Jazz Quintet
Date: 02 Apr 2001 12:12:18 -0700 (PDT)

This blurb came from the weekly new/forthcoming
release sent out by www.bentcrayon.com. Their
mailing usually overlaps with the one from
Force Exposure, but contains a WHOLE BUNCH of
other stuff too. I also saw it in the new/forthcoming
list from www.ear-rational.com. But I didn't see it
mentioned in the Forced Exposure one, which I
thought was odd.
Neither one gives a release date, just April.
The price was standard Tzadik, $13-14.

And while I'm on the subject, Ear/Rational is a
great on-line store with good selection, service,
and prices. They even take PayPal too.

<< Why haven't I heard about this before now?
Someone here has to know something.
Give us the scoop!
OTOMO YOSHIHIDE'S NEW JAZZ QUINTET: Flutter CD
(TZADIK)>>

<snip>

where did you get that blurb from, and when is this
being released?

Jon
www.erstwhilerecords.com



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

From: "Matthew W Wirzbicki  (S)" <[e-mail]>
Subject: AMM tour update
Date: 02 Apr 2001 13:44:44 -0600


the following was taken from:
http://www.matchlessrecordings.com/news_set.html

Thursday April 5th - Colorado College, Colorado Springs, CO
(note: this concert is FREE and open to the public)

Sunday April 8th - Mills College, Oakland, CA.

Monday April 9th - Parlor Concert, San Francisco (invitation only)

Wednesday April 11th - The Old Church, 1422 SW 11th Avenue, Portland, =
OR.

Thursday April 12th - Keith Rowe - solo Conduit Studio 918 SW Yamhill =
St.
4th Floor, Portland, OR info: [e-mail]

Friday April 13th - Eddie Pr=E9vost duos and trio with Ken Vandermark =
and
Michael Zerang
Saturday April 14th - (Keith Rowe solo)=20
(April 13th and 14th at 60DUM, 2116 W. Chicago Avenue, Chicago, Ill )

Sunday April 15th - AMM at International House, 1414 E. 59th, Chicago, =
Ill
             (all enquiries for Chicago concerts: =
[e-mail])

Tuesday 17th April - The Mattress Factory, 500 Sampsonia Way =
Pittsburgh, PA
             15212. Tel [phone]. e-mail [e-mail]

Thursday 19th April - doors 7pm Mt. Vernon Place United Methodist =
Church,=20
             10 E. Mt. Vernon Place Baltimore, MD.
             contact: Jason Urick e-mail [e-mail]

a lunch time concert at Dartmouth College, Hanover, NH date to be =
announced.

Thursday 26th April - John Tilbury - piano music of Cornelius Cardew. =
Keith
Rowe solo. Eddie Prevost with student workshop ensemble.

Friday 27th April - AMM (Bard College, Annandale, NY. Both concerts =
8.15pm
at MPR Bard College Campus Center) for information:
www.bard.edu/aboutbard/visiting/

Saturday 28th - April Knitting Factory New York (two shows)
Sunday 29th - April Knitting Factory, New York (two shows)

-



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

From: "Bill Ashline" <[e-mail]>
Subject: Knit unravelling?
Date: 02 Apr 2001 21:40:11 -0000

Well, I must admit I'd like to read more of Steve's travails at the Knitting
Factory.  But that would be voyeurism and perhaps embarassing for him as
well.  The best result would be for Dorf to sell the place to someone far
less crass.  It would be rather sad to see it go.  To think that the
financial problems were in large part created through artist guarantees at
the new Knit shows just how ignorant the man is about construction work and
delays.  Why didn't they wait to book artists until after the building was
finished?
_________________________________________________________________________
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-



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

From: Scott Handley <[e-mail]>
Subject: Re:  Knit unravelling?
Date: 02 Apr 2001 14:41:51 -0700 (PDT)

--- Perfect Sound Forever <[e-mail]>
wrote:
> Any investors out there wanna call Dorf?

Geez, I'd like to, but I just gave most of my millions
to subsidize Hat Hut, and then I used the rest to
catch up with everybody's top-5,10,20 lists.  ;>

----s, zorn list is sickness

=====
"Electric guitar gets run over by a car on the highway/This is a crime against the state/This is the meaning of life...
Electric guitar is copied, the copy sounds better/Call this law and justice, call this freedom and liberty/I thought I perjure myself, right in front of the jury!"
                        ---Talking Heads, "Electric Guitar"

__________________________________________________
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-------------------------------------------------------------------------------

From: "Neil H. Enet" <[e-mail]>
Subject: Xu Feng
Date: 02 Apr 2001 21:11:33 -0400

Has anyone seen any Xu Feng films?  Where can I find a list of these, and
are they easy to purchase?

Thanks

Neil H. Enet
------------

NP. JAMES - millonaires


-



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

From: [e-mail]
Subject: interdisc work/poetry music painting
Date: 02 Apr 2001 21:57:50 EDT


In a message dated 4/2/01 11:55:36 AM, you wrote:

<<From: Matt Plummer <[e-mail]>

Hello,

I'm curious if anyone on the list can recommend some interesting
interdisciplinary performances/compositions/colloborations (i.e. involving
more than just music).  I'm already aware of a few of the obvious ones, such
as
Glass/Wilson, etc. but i'm trying to dig up some more obscure stuff,
possibly stuff involving improvisation.
...
Matt Plummer
Coalition for Creative Music
>>

hi matt,
im a poet who is collaborating with painters,
sculptors, dancers and improvising musicians.
i'd like to know more about your your Coalition for Creative Music
.
i have a cd-r with great performances in great-to-awful-sound,
working with folks like hans tammen (el g), robert reigle (ts),
christopher meeder (tuba), roy campbell (tpt), with some dancers,
and with poems based on paintings and also poems ive written
to computer works, the musicians also improvising to the piece.

we have a video of the dance/poetry/music birthday trib to albert ayler
we did in 1999 at st peter's church, with reigle, campbell, 2 gtrs, 2 percs,
2 dancers, plus steve dalachinsky (poet) with sabir mateen (fl)
performing between sets, but the vid and sound
quality are not commercial.

plus in the can, a studio recording i'm trying to place,
with cooper-moore (b, fl), hans tammen, the amazing gunter hampel
(vob, b cl),  and robert reigle,
as well as all of us with computer pieces by two mexican musicians.

 ive been listening to a lot of poetry discs with musicians,
but havent found anyone else yet who's actually interacting
with the musicians as they play free,
they responding to the texts, and me to their music,
the texts are written, but adaptable (I have no talent in
improvising texts, but i sure can manipulate em)
rather than having them lay a rhythm/funk
track below, or a beatnik-cool proto-50s sound.

looking for more collaborators, always.
regards
steve koenig

-



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

From: Lang Thompson <[e-mail]>
Subject: Re: Xu Feng
Date: 02 Apr 2001 22:05:06 -0400

>Has anyone seen any Xu Feng films?  Where can I find a list of these, and
>are they easy to purchase?

Unfortunately the only one that's easy to find (tape & DVD) is the routine
early Jackie Chan vehicle "To Kill With Intrigue."  She's best known for
her work with King Hu, esp "A Touch of Zen" which is perhaps the longest
(at three hours) martial arts film ever made but still generally considered
one of the best.  These are unfortunately pretty hard to come by (unless
you're in Hong Kong or Taiwan perhaps).  The original "Dragon Inn" (not to
be confused with the recent remake starring Maggie Cheung and Brigitte Lin)
can be found sometimes in Chinese video stores but it's pretty poor quality
with the subtitles lopped off on both sides.  "A Touch of Zen" has shown on
the BBC and Australia's wonderful SBS so there are tapes floating around
from various collectors and grey market dealers.  Same for "Fate of Lee
Khan" except that got an official UK video release.  I've been told that
"Raining in the Mountains" got some kind of French release or TV showing
but don't know for sure.  Anyway, with all the "Crouching Tiger" acclaim &
money a lot of us have been hoping that Hu's films will get some kind of
decent video release.

Xu (or Hsu) retired from acting when she got married but later became a
producer of such films as "Farewell My Concubine" and "Red Dust."

Probably the best filmography (but still incomplete) is at
http://www.hkmdb.com/db/people/view.mhtml?id=3829&display_set=eng

Lang







Adventures In Sound
http://wlt4.home.mindspring.com/adventures.htm

Outsider Music Mailing List
http://wlt4.home.mindspring.com/outsider.htm

Documentary Sound
http://wlt4.home.mindspring.com/adventures/documentary.htm

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




-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Knit unravelling?
Date: 02 Apr 2001 22:11:11 -0400

I can't view Wynton playing the savior of the Knit with anything other than
skepticism, especially given the timing.  The altruism may be genuine to a
point, but let's face it - he's positioning himself as a benefactor to the
leading Downtown venue associated with aggressively experimental and
adventurous music, and when he gets there, he plays the same old thing he
always plays.  Come on, if it were just a matter of a new place to play,
Wynton could have chosen any of a hundred rooms.  He chose this one, he let
it be known that it was a favor to Dorf's ailing bottom line, and he did it
at the height of the shitstorm over the final Burns episode.  But it's
possible that you actually had to be in New York to catch all those little
nuances making the rounds... from elsewhere, I could easily see your point.

The suggestion that those who whine about ill-treatment at the Knit seek
alternative employment has some merit: at the very least, most of the bike
messengers and legal assistants I've known in the past were paid when they
were supposed to be paid.  They generally don't have to ask repeatedly for
their check on payday.  They don't usually have their checks held until
after banking hours deliberately.  And I'd guess that most of them don't
have their paychecks bounce.  If listening to Matt Shipp in the office is
acceptable compensation, so be it.  Of course, I remember a preponderance of
Dusty Springfield and TAFKAP, but that's really mainly due to the employee
who sat closest to the stereo, and certainly that's a damn site better than
Michael Bolton.

This should begin to indicate that there is a massive disjunct between
public perception of the KnitMedia organization from the outside, as opposed
to the reality of said organization from within.  And that's all I plan to
reveal, directly or otherwise, about my own experience and that of my
friends.  But I can't complain too much - at least the beer was free...
Perhaps others in that coming New York story will have looser lips.  We'll
see.

And yes, I agree, I'm expecting too much if I think that Dorf might learn
humility and generosity from this situtation.  It's a hope, but not an
expectation, and besides, I no longer have any vested interest.

Steve Smith
[e-mail]


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Knit unravelling?
Date: 02 Apr 2001 21:45:14 -0400

Rehashing my Knit story wouldn't be embarassing - not to me, anyway.  But
it's beside the point.  And anyway, lots of other people got screwed worse.

Dorf selling the place to someone less crass is an interesting idea - but I
don't think that anyone less crass would necessarily have the cojones to
take all the chances he's taken.  And ultimately he's in it because he loves
music and it excited him to be in this business.  I could envision the Knit
being sold to some corporation that saw it as a name-brand investment but
didn't really understand or care about the marginal musics that the club has
united into a front to be reckoned with.  Dorf's had plenty of chances to
sell over the years (and is supposedly under intense pressure to do so now),
but he's in this because it's what he wants to be in.  I can respect that.

As for why Dorf booked and promoted artists prior to the club's opening, I'd
think that that's most likely standard operating procedure: partially for
the PR value that the names of the artists provide in the buildup to the
intended grand opening, partially to build momentum in the market in order
to be taken seriously by the business, partially because Dorf believed what
the contractors told him, but mostly just the same dumb, pie-eyed optimism
that's informed everything he's ever ventured to try.

Steve Smith
[e-mail]


-



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

From: [e-mail]
Subject: Re: Knit unravelling?
Date: 02 Apr 2001 22:25:42 EDT


--part1_105.1321e3a.27fa8ea6_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

In a message dated 4/2/01 2:41:21 PM Pacific Daylight Time,
[e-mail] writes:


> >>Well, I must admit I'd like to read more of Steve's travails at the
> Knitting
> Factory.  But that would be voyeurism and perhaps embarassing for him as
> well.  The best result would be for Dorf to sell the place to someone far
> less crass.  It would be rather sad to see it go.  To think that the
> financial problems were in large part created through artist guarantees at
> the new Knit shows just how ignorant the man is about construction work and
> delays.  Why didn't they wait to book artists until after the building was
> finished?<<
> _________________________________________________________________________
       I'm sure whatever Dorf paid in artists' guarantees is a small drop in
the bucket compared to what the LA Knit costs were.  Ca. real estate is not
cheap,plus construction and equipment costs.  That's the big money there.
Not to mention a super bloated web staff.  Have you seen the long list of
people(at the website) with fancy titles who don't do shit?  Can't even keep
the calendar current.  I'm sure they'll be the last to go.  To blame his
financial misfortune on artists' guarantees is a big joke.
       John Threadgould


--part1_105.1321e3a.27fa8ea6_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=2>In a message dated 4/2/01 2:41:21 PM Pacific Daylight Time,
<BR>[e-mail] writes:
<BR>
<BR>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">>>Well, I must admit I'd like to read more of Steve's travails at the
<BR>Knitting
<BR>Factory.  But that would be voyeurism and perhaps embarassing for him as
<BR>well.  The best result would be for Dorf to sell the place to someone far
<BR>less crass.  It would be rather sad to see it go.  To think that the
<BR>financial problems were in large part created through artist guarantees at
<BR>the new Knit shows just how ignorant the man is about construction work and
<BR>delays.  Why didn't they wait to book artists until after the building was
<BR>finished?<<
<BR>_________________________________________________________________________</FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">       I'm sure whatever Dorf paid in artists' guarantees is a small drop in
<BR>the bucket compared to what the LA Knit costs were.  Ca. real estate is not
<BR>cheap,plus construction and equipment costs.  That's the big money there.
<BR>Not to mention a super bloated web staff.  Have you seen the long list of
<BR>people(at the website) with fancy titles who don't do shit?  Can't even keep
<BR>the calendar current.  I'm sure they'll be the last to go.  To blame his
<BR>financial misfortune on artists' guarantees is a big joke.
<BR>       John Threadgould
<BR></FONT></HTML>

--part1_105.1321e3a.27fa8ea6_boundary--

-



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

From: Skip Heller <[e-mail]>
Subject: Re: Knit unravelling?
Date: 03 Apr 2001 19:53:27 -0700


> The suggestion that those who whine about ill-treatment at the Knit seek
> alternative employment has some merit: at the very least, most of the bike
> messengers and legal assistants I've known in the past were paid when they
> were supposed to be paid.

or a percentage of it, with all kinds of deductions taken out.  Michael
Moore would have a field day at the average bike messnger company

  They generally don't have to ask repeatedly for
> their check on payday.  They don't usually have their checks held until
> after banking hours deliberately.

They did if they worked at Dianomd Courier in Philly


  And I'd guess that most of them don't
> have their paychecks bounce.

That happened more than once.


  If listening to Matt Shipp in the office is
> acceptable compensation, so be it.  Of course, I remember a preponderance of
> Dusty Springfield and TAFKAP, but that's really mainly due to the employee
> who sat closest to the stereo, and certainly that's a damn site better than
> Michael Bolton.

What's TAFKAP?

skip h


-



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

From: Skip Heller <[e-mail]>
Subject: Re:  More Knit unravelling?
Date: 03 Apr 2001 19:58:44 -0700

>
> As for why Dorf booked and promoted artists prior to the club's opening, I'd
> think that that's most likely standard operating procedure: partially for
> the PR value that the names of the artists provide in the buildup to the
> intended grand opening, partially to build momentum in the market in order
> to be taken seriously by the business, partially because Dorf believed what
> the contractors told him, but mostly just the same dumb, pie-eyed optimism
> that's informed everything he's ever ventured to try.
>
> Steve Smith
> [e-mail]
>
>
> -
>
If you understand the LA club scene, if you want anything to work out here,
you have to literally crash onto the scene with brand-names and hub-bub.  He
couldn't open the place with anything less than a ringer.  In the course of
all the hoopla, by the time he was actually ready to open, he went from
being regarded as a savior in these parts to having a questionable rep
among, of all things, the ad departments at the various big papers out here.

When the place finally opened, it was not exactly with a whimper, but by no
means with the bang for which they had hoped.

No doubt some hipster children's book writer is toiling away on THE BOY WHO
CRIED 'KNITTING FACTORY' (with a forward by John Lurie).

skip h


-



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

From: Grey ElkGel <[e-mail]>
Subject: ordinary fanfares #3 (of 4?)
Date: 02 Apr 2001 21:03:04 -0700 (PDT)

tuesday april 4, 2001

midnight to 2am EST

- ordinary fanfares #3 -

wmfo 91.5fm medford, MA

webcast: www.wmfo.org

music by: bernard parmegiani, bruce haack, odb, wolf
eyes, etc...

this will likely be the penultimate edition of this
show. the last show will air on tuesday april 17th.


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-



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

From: Lang Thompson <[e-mail]>
Subject: Re: Knit unravelling?
Date: 03 Apr 2001 00:02:55 -0400

>What's TAFKAP?

The Artist Formerly Known As Prince




-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Knit unravelling?
Date: 03 Apr 2001 00:08:33 -0400

Points taken in re: bike messengers.  Pity the bike messenger employed by
the Knit most of all, then.

TAFKAP is, of course, The Artist Formerly Known As Prince.  He's Prince
again, these days, but I still view that period's material (circa 1997,
particularly the album 'Emancipation') as being from the nameless
interregnum.

Steve Smith
[e-mail]


-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: More Knit unravelling?
Date: 03 Apr 2001 05:13:22 -0000

Thanks for the information.  It was interesting reading.  My only experience
in getting screwed out of money at the Knit was by a waitress who kept most
of my change one evening.  Probably trying to recoup a bounced paycheck.
Still, I agree with the notion that the place should be kept open with all
of its various subsidiary operations, but I think in the longterm, Dorf's
presence at the place will do more harm than good.  It needs new ownership:
perhaps a coalition of musicians with a bit of NEA financing or some such
network.  It's enough of an institution now to merit something less private
sector.
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.


-



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

From: Scott Handley <[e-mail]>
Subject: Re: lightning bolt
Date: 02 Apr 2001 22:39:53 -0700 (PDT)

--- William York <[e-mail]> wrote:
...but it would not include Lightning
> Bolt or those sorts of
> bands ... Like Jon Abbey said, LB strike me as
> coming more out of a no-wave
> tradition...I think some of these no-wave bands are
> interesting,

Not to fetishize some questionably-existant movement,
but who are these new no-wave bands?  I mean, maybe
now I'm toting the critical baggage, but Black Dice
and Lightning Bolt carry more than a trace of some
those early No Wave bands, at least the ones I've
heard (Teenage Jesus and Jerks, DNA).  'Spose I should
wait for the Troubleman comp.  Another No Wave
question: who were the other No Wave bands, other than
the ones on the NO NEW YORK comp?  There was a thread
somewhere recently about this, but I can't remember
any more obscure (!) bands being mentioned.  Was this
largely a NYC/Northeast thing?

-----s

NP: George Harrison: ALL THINGS MUST PASS  (never
heard this on vinyl; does this new [2001] CD mix
tamper badly with the original Specter production?)


=====
"Electric guitar gets run over by a car on the highway/This is a crime against the state/This is the meaning of life...
Electric guitar is copied, the copy sounds better/Call this law and justice, call this freedom and liberty/I thought I perjure myself, right in front of the jury!"
                        ---Talking Heads, "Electric Guitar"

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

From: [e-mail] (Joseph Neff)
Subject: Re: Lightning Bolt
Date: 03 Apr 2001 03:51:30 -0400 (EDT)

Hullo,
         ....Scott Handley asked about other orig. No Wave bands beside
those included on the "No NY" comp. Don't know of many, but Glenn
Branca's early groups The Static and Theoretical Girls are often
mentioned in more in depth descriptions of No Wave. Another righteous
group was Rudolph Grey's Red Transistor, who have one posthumous single
on Forced Exposure. Unlike the Branca stuff, I've actually heard this,
and it's rather great. IIRC, Beaver Harris was the drummer in the group
at some point, though maybe not on the single (it's way back in the
closet, and it's late). A No Wave curio that I haven't heard is the Don
Gavanti LP that was released on Hyrax in 1980. Probably long, long gone.
It featured members of Mars, DNA, and Don King. Hey, there's another
group not on "No NY". Haven't heard D. Gavanti or Don King, though I
think the later (along w/ the above Branca stuff) has be reished on
Atavistic.

     ...I really need to plug these holes in my No Wave experience,
since that compilation is one of my all time favorites. Particularly the
Contortions. "I Can't Stand Myself" jacked way the hell up could clear
the house of many unwanted 3 AM guests.....

NP: "Prison Songs Vol. 1: Murderous Home" (Rounder)
NR: Penguin Moder Poets 13-  Bukowski Lamantia Norse

I remain....

Joseph

"You cannot deny the validity of all the beautiful things that have
happened in the past. And you cannot claim that the energies of the past
have no relationship to whatever you're engaged in now."  Cecil Taylor


-



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

From: [e-mail]
Subject: Re: Yoshide New Jazz Quintet
Date: 03 Apr 2001 03:56:01 EDT

In a message dated 4/2/01 7:27:46 AM Eastern Daylight Time,
[e-mail] writes:

<< Why haven't I heard about this before now?
 Someone here has to know something.
 Give us the scoop! >>

CDNow shows a 05/22/01 release date.  Darn, that's a long wait.

--
=dg=

-



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

From: [e-mail]
Subject: No wave
Date: 03 Apr 2001 03:56:03 EDT

In a message dated 4/3/01 1:42:22 AM Eastern Daylight Time,
[e-mail] writes:

<< Another No Wave
 question: who were the other No Wave bands, other than
 the ones on the NO NEW YORK comp?  There was a thread
 somewhere recently about this, but I can't remember
 any more obscure (!) bands being mentioned.  Was this
 largely a NYC/Northeast thing? >>

Don't think one of my favorites was mentioned- James White & The Blacks/The
Contortions.  15 years ago, I used to have people calling up the radio
station and begging me not to play any more of their music.  Did I listen?
;-)

Anybody mention The Stickman?  If not, get thee out to a good CD shoppe and
indulge in their 2 on 1 reissue on Cuneiform called _Insatiable_ .  It's a
pretty one.

--
=dg=

-



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

From: patRice <[e-mail]>
Subject: Re: Xu Feng
Date: 03 Apr 2001 10:19:25 +0200



Lang Thompson wrote:

> >Has anyone seen any Xu Feng films?  Where can I find a list of these, and
> >are they easy to purchase?
>
> Unfortunately the only one that's easy to find (tape & DVD) is the routine
> early Jackie Chan vehicle "To Kill With Intrigue."  She's best known for
> her work with King Hu, esp "A Touch of Zen" which is perhaps the longest
> (at three hours) martial arts film ever made but still generally considered
> one of the best.  These are unfortunately pretty hard to come by (unless
> you're in Hong Kong or Taiwan perhaps).

<snip>


How about maybe searching on Ebay for those videos or DVDs.
I've seen quite a few people from Hong Kong auctioning stuff that is
impossible to find over here in Europe.
Don't know about their reliability though...

patRice

np: JZ, Trembling Before G-D
nr: Phil Sparrow, Bad Boys & Tough Tattoos


-



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

From: aaron chua <[e-mail]>
Subject: St Germain/fennesz
Date: 03 Apr 2001 02:34:07 -0700 (PDT)

has anyone else noticed the similarity in the cover
design between _hotel paral.lel_ and the latest by
aforementioned band?

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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: Re: [jazz_sp] Garrison: ALS en directo
Date: 03 Apr 2001 12:16:36 +0200 (CEST)

Precisamente, saquΘ este tema recientemente en la
Zorn-list, haciendo referencia a la escena del
Downtonwn de Nueva York, y mayoritariamente, a algunos
de los colaboradores de John Zorn.

A menudo ocurre que grandes instrumentistas son
incapaces de imprimir su sello en discos bajo su
firma, e incluso se muestran escasamente capaces como
compositores.

Un ejemplo que me resulta bien claro es el de Chris
Speed. Mßs concretamente, el CD "Iffy" de su trio con
Jamie Saft y Kenny Wollesen me parece tremendamente
decepcionante. A pesar de haber demostrado sus dotes
como clarinetista de excepci≤n con Masada y Pachora
(donde incluso compone y muy bien) y al saxo con
Bloodcount, su aventura como lφder cojea por todas
partes (siempre en mi humilde opini≤n). No he
escuchado sus otros proyectos, Yeah No y Human Feel,
pero ya no me fφo.
Y con Jamie Saft o Brad Shepik, tres cuartos de lo
mismo.

Pocos m·sicos/compositores han sabido equilibrar sus
capacidades en ambos campos de modo que uno no
ensombrezca al otro. John Zorn, por ejemplo, suele ser
definido como compositor y a menudo se olvida lo buen
improvisador que puede llegar a ser. Es mßs, estoy
seguro de que de no centrarse tanto en la composici≤n,
serφa catalogado como uno de los saxofonistas mßs
importantes de los ·ltimos tiempos (┐un poco
exagerado?).

En el otro extremo, estßn gente como Zappa, que por
querer demostrar sus capacidades con su instrumento
(musical) caen a veces en el exhibicionismo (a ver
quiΘn se traga Guitar enterito).

Pues eso.

--- Antonio Martφn <[e-mail]> escribi≤: >
Para: <[e-mail]>
> De: "Antonio Martφn" <[e-mail]>
> Fecha: Mon, 2 Apr 2001 22:45:23 +0200
> Responder a: [e-mail]
> Asunto: Re: [jazz_sp] Garrison: ALS en directo
>
>  El asunto Garrison / Workman puede dar varios
> motivos de reflexi≤n. Aunque
> parezca lo contrario tal vez estemos todos de
> acuerdo y digamos (yo aun no
> he dicho nada al respecto) lo mismo. Nadie ha puesto
> en duda la calidad
> interpretativa de ambos, ahora, es posible que
> Garrison no tuviera el
> carisma de Coltrane-McCoy Tyner-Jones, y esto puede
> desviar al asunto del
> musico como sidemen o como lider (potencial). Si se
> trata de eficiencia no
> hay ningun problema, Garrison se portaba muy bien,
> sin embargo, hubiera sido
> probable que por sφ solo sus proyectos no hubieran
> sido referenciales.
> Workman sin embargo sφ se aproxima mßs a este lado.
> Vamos a utilizar el
> facil aunque practico recurso de los ejemplos. Paul
> Chambers era un bajista
> cojonudo, tremendo, influyente y admirado por
> muchos, sin embargo sus
> grabaciones como lider, estaban muy lejos de las que
> tenφa como sideman
> (joder, acompa±ante para los que no se enteren del
> inglΘs). Scott La Faro,
> nunca lo sabremos porque que yo sepa (lo sΘ, pero
> hay que admitir la duda)
> no grab≤ nada como lider, pero fuΘ un bajista que no
> veas. ┐Y Jimmy Blanton
> quΘ? Tanto Blanton y tanto Blanton, pero no grab≤
> nada a su nombre y es un
> idolo.
>  Bien, por otro lado tenemos bajistas como Mingus o
> Haden, cuyo carisma o
> liderazgo tal vez ensombrezca sus dotes como
> intrumentistas.
>  Otro ejemplo mßs evidente, a Walter Page nunca le
> he escuchado un solo en
> ninguna grabaci≤n (con Basie evidentemente) pero
> ┐hubiera sonado igual la
> orquesta de Count Basie igual sin Θl? Lo dudo. El
> protagonismo nada tiene
> que ver con efectividad. Ni la discrecci≤n tampoco.
> Ni la tΘcnica, esto tan
> de moda hoy. A fφn de cuentas todo es un producto de
> suposiciones y
> casualidades, es un error decir que tal y cual
> hubiera sido mejor con fulano
> y mengano.
>
>  ┐Hay algo coherente en lo que he dicho? El vino
> sube a la cabeza, y mi hija
> me pregunta (8 a±os el dφa 11 de abril) si existen
> los reyes magos. ┐QuΘ
> hago? ┐Asesino el sue±o? De momento le he dicho que
> me deje en paz.
>
> Escuchando a Mala Rodriguez, nada que ver con el
> jazz. Por cierto me ha
> alegrado leer una opinion del pianista ┐free?
> francΘs Franτois Tusques
> diciendo lo siguiente: "Bjork? No hay ninguna
> cantante de jazz viva que se
> le acerque a los tobillos, su forma de cantar da la
> impresi≤n que va a
> morirse en cada nota"
>
> Saludos
>
>
> --- Original Message -----
> From: "juanjana" <[e-mail]>
> To: "jazz" <[e-mail]>
> Sent: Monday, April 02, 2001 12:22 PM
> Subject: [jazz_sp] Garrison: ALS en directo
>
>
> > Coincido en valorar el trabajo de Garrison.
> > Escuchad su solo en la versi≤n de A Love Supreme
> en directo (26, julio,
> > 1965. Antibes)
> > y me decφs quΘ os parece...
> >
> > JJ
> >
> >
> >
> >
> >
> > Su utilizaci≤n de Yahoo! Grupos estß sujeta a las
> http://docs.yahoo.com/info/terms/
> >
> >
>
>
> ------------------------ Yahoo! Groups Sponsor
> ---------------------~-~>
> Make good on the promise you made at graduation to
> keep
> in touch. Classmates.com has over 14 million
> registered
> high school alumni--chances are you'll find your
> friends!
>
http://us.click.yahoo.com/03IJGA/DMUCAA/4ihDAA/IFFVlB/TM
>
>
>
>
> Su utilizaci≤n de Yahoo! Grupos estß sujeta a las
> http://docs.yahoo.com/info/terms/
>
>


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

From: "sinkas" <[e-mail]>
Subject: Catalogue Number for "The Gift"
Date: 03 Apr 2001 20:04:42 +0930

Hi all can someone tell me the cat number for this disc, as I want to =
"Indent order it", and its not on the books,


Case
"Alma Matters"


-



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

From: [e-mail]
Subject: Fennesz and St. Germwarfare
Date: 03 Apr 2001 13:05:17 +0200

> has anyone else noticed the similarity in the cover
> design between _hotel paral.lel_ and the latest by
> aforementioned band?

Affirmative -- I even mentioned it to the guys at Mego, and they kind of
shrugged and said, "Yeah, [graphic artist] Tina [Frank]'s work gets ripped
off all over the place, so what else is new."

-



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

From: Jeroen de Boer <[e-mail]>
Subject: Re: Catalogue Number for "The Gift"
Date: 03 Apr 2001 13:19:44 +0200

> Hi all can someone tell me the cat number for this disc, as I want to "Indent
> order it", and its not on the books,
>
>
> Case
> "Alma Matters"
>
>
> -
>
>
Hi,

Just bought it: catalognumber TZ 7332


Jeroen de Boer
content director Cyberslag Content Providing
Damsterdiep 15  9711SG Groningen    The Netherlands

t   [phone]
m   [phone]
f   [phone]
[e-mail]

www.cyberslag.com


-



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

From: "Richard Gardner" <[e-mail]>
Subject: V/VM
Date: 03 Apr 2001 12:06:43 +0100

I think I may regret this but following Andy Marks link to Bentcrayon I came
across a downloadable live mp3 of V/VM. I see that they have released lots
on singles but I have no idea what are they are like. They may have no
relevance on the ZornList at all but with links to the Aphex Twin among
others there must be something going on. If anyone can enlighten me, many
thanx.

Richard Gardner


-



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

From: "Andreas Dietz" <[e-mail]>
Subject: Re: No wave
Date: 03 Apr 2001 15:33:30 +0200

>From: [e-mail]
>
>Don't think one of my favorites was mentioned- James White & The Blacks/The
>Contortions.  15 years ago, I used to have people calling up the radio
>station and begging me not to play any more of their music.  Did I listen?
>;-)

I┤ve seen the Contortions with Luther Thomas 4 years ago at the Moers
festival and it was fantastic. I hadn┤t heard of Mr. White/Black for many
years before - same with Luther Thomas who had another interesting No Wave
band at the beginning of the eighties: DIZZAZZ.
At the time he was brought in a red coffin on stage...

Another Nowaver was/is? Rhys Chatham. He has done a performance with 100(!)
electric guitarists and 5 subconductors which he conducted in Berlin.

Andreas

np: J.A.DEANE - These Times (zerx)
_________________________________________________________________________
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-



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

From: [e-mail]
Subject: Re: More Knit unravelling?
Date: 03 Apr 2001 09:47:12 EDT

In a message dated 4/3/01 1:14:29 AM Eastern Daylight Time,
[e-mail] writes:

>  It needs new ownership:  perhaps a coalition of
>  musicians with a bit of NEA financing or some such
>  network.  It's enough of an institution now to merit
>  something less private sector.

Interesting idea, but maybe a little dicey, because of the accountability
issues it could raise.  Given the recent notorious episodes of conservative
outrage over the way public arts monies have been spent, the mind boggles at
how some Congessional committee or Mayoral commission might react to the
concept of Your Tax Dollars funding some of the skronkier acts at the Knit!

Then, too, even if the balance of control over public allocations is tipped
towards the artists, you've got other dangers to watch out for, like maybe a
downtown version of the Jazz at Lincoln Center situation emerging - a czar or
politboro imposing his/its own ideological definition of what is a "What Is
Jazz?" artist.  Actually, as documented in Kevin Whitehead's book (New Dutch
Swing), such matters did become controversial in the Netherlands when public
funds started flowing to avant garde venues and institutions in the '70s, and
the musicians themselves were deciding who was and wasn't avant garde.

None of this is to say that having some club owner (corporately sponsored or
not) decide is inherently better, or that there aren't plenty of examples of
institutions successfully showcasing "our" music with public support.  (I'm
guessing that the Canadian fests might fall into this category.)  But having
seen a bit from the government side how down and dirty the competition gets
when cultural institutions substantially depend on public support, I thought
a little beware-of-what-you-wish-for might be in order here.

Still, in a just world I'd love to see a chunk of the change going to JALC
diverted to the Knit!

David

np:  Philippe Micol, New York Interviews  -->
       Rene Lussier & NOW Orchestra, Le tour de bloc

-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: More Knit unravelling?
Date: 03 Apr 2001 14:18:29 -0000

>From: [e-mail]

>Then, too, even if the balance of control over public allocations is tipped
>towards the artists, you've got other dangers to watch out for, like maybe
>a
>downtown version of the Jazz at Lincoln Center situation emerging - a czar
>or
>politboro imposing his/its own ideological definition of what is a "What Is
>Jazz?" artist.

Absolutely.  This will always be a risk with any non-corporate
alternative--it's the same thing that's been happening at Pacifica of late.
A committee of overseers unbeholden to the contributors to the network or
the employees.  Not good.  At least Dorf has to make some concessions
because of his pocketbook, empty though it may be.  For myself (and of
course this is all useless speculation since the Knit is not for sale), I'd
vote for a coalition of musicians to buy the place, with some additional
sponsorship from the Zorn list if possible.  Then, I'd hire Steve Smith to
manage the place.

>Given the recent notorious episodes of conservative
>outrage over the way public arts monies have been spent, the mind boggles
>at
>how some Congessional committee or Mayoral commission might react to the
>concept of Your Tax Dollars funding some of the skronkier acts at the Knit!

Yep.  In times of fair weather, find a good scapegoat in the arts to send
off into the woods with the sins of the polis inscribed in its hide.
Meanwhile, what happens with the appropriation of most tax money is far more
obscene.

>But having
>seen a bit from the government side how down and dirty the competition gets
>when cultural institutions substantially depend on public support, I
>thought
>a little beware-of-what-you-wish-for might be in order here.

Or like a bunch of academics fighting like a pack of hyenas over a regents'
appropriation.  Which brings us to the old saw about why academic politics
is so vicious.  Because there's nothing at stake.

You're completely right in your caution.  I'm simply worried that NY's
favorite megalomaniac is going run his (and everyone else's) club into the
ground.  At some point community interest has to trump bad management.
_________________________________________________________________________
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-



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

From: [e-mail]
Subject: Re: More Knit unravelling?
Date: 03 Apr 2001 10:25:16 EDT


In a message dated 4/3/01 10:19:24 AM, [e-mail] writes:

<< NY's favorite megalomaniac >>

actually, I think this would be Giuliani.

Jon
www.erstwhilerecords.com

-



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

From: Grey ElkGel <[e-mail]>
Subject: Re: lightning bolt
Date: 03 Apr 2001 07:44:59 -0700 (PDT)

- lighning bolt as metal or no-wave or ruins

have they themselves ever claimed to be a metal band?
seems unlikely that they would have, at least without
being a little bit tongue-in-cheek.
as per no-wave, i'm sure they've heard it, and there
are some surface similarities (they're noisy), but in
general they're pretty much just a rock band; the
drums play in time (the beat isn't being deconstructed
at all), the bass plays riffs, etc.
as far as the ruins, the instrumentation is the same
and there are the technical fireworks, but lightning
bolt doesn't have many of the prog-rockisms that make
the ruins what they are.
but sure... there are similarities w/ all of these
things.

> BUT, as long as that music is being embraced
> by "hipsters" or played on college radio stations,
> you can be almost fully assured that it isn't
> really "metal" because that is still too big of a
> culture gap ... They might like to call it metal,
> but the whole aesthetics are different.

i try to avoid blaming bands for the people who listen
to them. i agree that there is a current wave of
"metal for people who don't like metal", but i don't
believe that the music is defined by the listener, so
if it's "real" metal, it's "real" metal whether or not
the listener is a sarcastic wanker or an actual
"headbanger".

> the way they (or their audiences/record labels)
> sometimes patronize themselves by referring
> to it as metal

again, i wouldn't count lightning bolt among them.

> when they wouldn't actually go to a dingy metal club
> and watch musically more advanced/interesting (and
> yet societally more "low-class"/less arty) bands
> such as Gorguts or Soilent Green or Nile is
> kind of lame.

well, i'm going to see lightning bolt on thursday,
electric wizard and warhorse on sunday, then the metal
fest w/ gorguts, meshuggah, etc. the following week,
and i *certainly* won't feel more authentic by going
to one or the other of these shows.

> Besides, sometimes I like the wanky guitar solos -
> the more ridiculous, the better!

i agree there.

.greg.

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-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: More Knit unravelling?
Date: 03 Apr 2001 10:56:33 -0400

Wooo!  You think *Dorf* has trouble with managing money... ;-)  I'd most
likely sink the ship with the best of intentions.  I can't even balance my
checkbook.

Now, booking such a club would be a different story.  But there, too, the
model in place at the Knit has always worked.  It's responsible for the
diversity of bookings, to be sure.  One thing that most people don't know is
that Dorf these days is responsible for little of the actual booking of the
club.  Sure, he has a supervisory role (and ultimately signs the checks, for
what that's worth), but he's not really all that engaged in day-to-day
activities of that nature - he's out chasing investors and following
pipedreams and formulating strategic partnerships.  His biggest dream is to
find a way to make online presentation a marketable and remunerable
commodity.

I can't speak for the old Knit, but in my own experience the actual booking
has generally been done by low-lying scrubs.  When I was there, the guy
booking the club was a younger rock-oriented guy who was willing and eager
to learn jazz and other musics.  (He's also the drummer for the bands Oneida
and Mishagas.)  In effect, what evolved was a loose process of booking by
committee; it was 80% his doing, but he had lots of input from the rest of
the team.  This is how I was able to get him to book the duo of Han Bennink
and Ellery Eskelin for the first time ever.  If there's one thing of which
I'm proudest in my entire tenure, it was that.  (Still, I can't take sole
credit - it was based on a passing suggestion from John Corbett.)

Dorf's input to booking was usually the bigger acts, and often the ones that
might seem least involved in the aesthetic we generally assocaite with the
Knit.  His favorite act in the '97 festival, for instance, was the Zawinul
Syndicate, and he was single-handedly responsible for bringing in the likes
of Lou Reed and Richie Havens.  (Spiritually, for those who don't know, Dorf
fancies himself a hippie entrepreneur, along the lines of Steve Jobs or Ben
and Jerry.)  Certain savvy indie promoters brought still other acts to the
table, including the much-vaunted Silver Apples reunion, while record labels
would often try to cash in on the club's grungy chic by pushing in such
unlikely souls as the Emmanuel Ax/Pablo Ziegler 'Los Tangueros' duo project.
(That show would have done better elsewhere, but boy did Manny get off on
"slumming"...)

The reason it all worked, and continues to work, is that Dorf may have final
say in theory, but in practice he's been willing to hire bookers and let
them work largely unhindered.  These bookers, as well as the rest of the
staff's contributions, have kept the club's ear closer to street level,
assuring that there's a constant flow of music that Dorf himself had no
knowledge of.  Hell, none of us working there could even claim familiarity
with ALL of the music we presented.

I still think the Knit is better off uner single ownership, and preferably a
sort of daring hands-off owner, for the reasons that have been mentioned.  A
coalition of artists will most likely end up engaged in the kind of
internecine squabbling that David refers to in the Dutch example.  And a
small cabal of experts will indeed result in the kind of three-faced but
single-voiced oligarchy in place at J@LC (the trilateral commission of
Wynton, Crouch and Albert Murray, who all think with Murray's brain alone).

Besides, ideally artists should be left free to pursue their art, without
being beholden to the ownership of a business and the perils attached to
that.  The Tonic booking policy with its guest curators is a fine model that
has resulted in some inspired bookings, but in general I'd prefer to keep
the process in the hands of others with a broader overview of the entire
scene, not just a niche.  Hopefully that doesn't sound too rash...

Steve Smith
[e-mail]


-



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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Sorry, wrong message
Date: 03 Apr 2001 17:27:05 +0200 (CEST)

Sorry everyone.
I sent an e-mail entitled "Garrison: ALS en directo".
It was for a Spanish-speaking jazz-list and sent it
here by mistake.

Regards,
efrΘn

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

From: "Steve Smith" <[e-mail]>
Subject: RE: lightning bolt
Date: 03 Apr 2001 11:35:05 -0400

HOLY SHIT!!!  Where's this happening?  It's not the metal fest in Asbury
Park, is it?

Steve Smith
[e-mail]
(who's been waiting years to hear Meshuggah, and has now added Gorguts to
the wish list thanks to William York...)

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Grey ElkGel
Sent: Tuesday, April 03, 2001 10:45 AM

then the metal
fest w/ gorguts, meshuggah, etc. the following week


-



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

From: Grey ElkGel <[e-mail]>
Subject: RE: lightning bolt
Date: 03 Apr 2001 08:57:49 -0700 (PDT)

> HOLY SHIT!!!  Where's this happening?  It's not the
> metal fest in Asbury Park, is it?

it's at the mass metal and hardcore fest, april 13th
and 14th at the palladium in worcester, ma. both
meshuggah [apparently their only u.s. appearance for
this trip] and gorguts are playing on the 14th.

> Steve Smith
> [e-mail]
> (who's been waiting years to hear Meshuggah, and has
> now added Gorguts to
> the wish list thanks to William York...)
>
> -----Original Message-----
> From: [e-mail]
> [mailto:[e-mail]]On Behalf
> Of Grey ElkGel
> Sent: Tuesday, April 03, 2001 10:45 AM
>
> then the metal
> fest w/ gorguts, meshuggah, etc. the following week
>


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

From: big ums <[e-mail]>
Subject: Re: lightning bolt
Date: 03 Apr 2001 08:39:27 -0700

Scott Handley <[e-mail]> writes:
> Not to fetishize some questionably-existant movement,
> but who are these new no-wave bands?

I would venture that a lot of the Skin-Graft, Bulb, & Load titles would
be considered "No Wave" or "Now Wave."

Artists like US Maple, Temple Of Bon Matin (even though they say they are
"metal"), Thee Hydrogen Terrors, Mr Quintron, Arab On Radar, Melt Banana,
Lightning Bolt, !!!, John Van Ryan, Gerty Farish, Men's Recovery Project,
Medicine Ball, or Mother Jefferson... I could go on and on.
Stylistically, they are very different, some taking on a funky groove,
and others mining whatever's left from the "rock" vein, but all have a
common thread linking them together.  Could be the unrehearsed, loose
feel.  I try not to over analyze.  The magic would be lost.

There are possibly hundreds of other bands that could, and would, be
lumped into this category, but I'm not going to be the lumper today.

ChuckP.






________________________________________________________________
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-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: More Knit unravelling?
Date: 03 Apr 2001 09:56:32 -0700


On Tue, 3 Apr 2001 10:56:33 -0400  "Steve Smith" wrote:
>
> Besides, ideally artists should be left free to pursue their art, without
            ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
And they are.

The problem starts when you want your art to touch more than your mother,
girl/boyfriend, and close friends. We live in a free country where anybody
can do what they want in their bedroom or basement. It was never written
that claiming to be an artist would automatically create instant fame
or wealth.

Internet might be close to perfection from this point of view since in the
near future we can imagine every artist with his own web site with MP3 and
other material available there.

The downside of that might also be total irrelevance since the pure
volume of information will almost defeat the purpose. Not very different
to the current situation where there are zillions of labels each covering
a micro-niche (look at the trend of CD-R only labels, where it is a
challenge to find 100 customers worldwide).

> being beholden to the ownership of a business and the perils attached to
> that.  The Tonic booking policy with its guest curators is a fine model that
> has resulted in some inspired bookings, but in general I'd prefer to keep
> the process in the hands of others with a broader overview of the entire
> scene, not just a niche.  Hopefully that doesn't sound too rash...

This last point is interesting since looking at Zorn for the past years I
can't stop thinking about the following trend:

    1/ label owners are mainly crooks or clueless, then I will take care
       of my own label business (Tzadik)
    2/ club owners are mainly crooks or clueless, then I will take care
       of my own club booking (Tonic)
    3/ writers/critics are clueless, then... no interviews or comments

what's next?

    4/ fans are stupid or clueless, then I will create a Zorn membership
       card to select who can listen to my music or buy my records?

I am of course exagerating, but am I the only person puzzled with that?
This is specially funny because this trend really started when Zorn's
music became less and less controversial, and the man more and more
covered with what are clear signs of honor and respect.

    Patrice.

-



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

From: Skip Heller <[e-mail]>
Subject: Re: No wave
Date: 04 Apr 2001 09:59:16 -0700



> In a message dated 4/3/01 1:42:22 AM Eastern Daylight Time,
> [e-mail] writes:
>
> << Another No Wave
> question: who were the other No Wave bands, other than
> the ones on the NO NEW YORK comp?  There was a thread
> somewhere recently about this, but I can't remember
> any more obscure (!) bands being mentioned.  Was this
> largely a NYC/Northeast thing? >>
>
> Don't think one of my favorites was mentioned- James White & The Blacks/The
> Contortions.  15 years ago, I used to have people calling up the radio
> station and begging me not to play any more of their music.  Did I listen?
> ;-)
>
> Anybody mention The Stickman?  If not, get thee out to a good CD shoppe and
> indulge in their 2 on 1 reissue on Cuneiform called _Insatiable_ .  It's a
> pretty one.

The Stickmen were IT.

skip h


-



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

From: "William York" <[e-mail]>
Subject: Re: Lightning bolt/No Wave
Date: 03 Apr 2001 17:15:30

>Another No Wave
>question: who were the other No Wave bands, other than
>the ones on the NO NEW YORK comp?  There was a thread
>somewhere recently about this, but I can't remember
>any more obscure (!) bands being mentioned.  Was this
>largely a NYC/Northeast thing?

Weasel Walter of the Flying Luttenbachers (one of the more established bands
who will be on this compilation) has a web site devoted to the early No Wave
scene here:

http://pages.ripco.net/~nailhead/nycnowave.html

It is mostly just photos but lists a lot of bands beyond the No New York
album groups. Note that he includes Laswell's Material (early) and the
Lounge Lizards among these bands.

Here is one he also put together on the more recent Chicago-based no-wave
bands, which has some dead links:

http://pages.ripco.net/~nailhead/nowave.html

>Not to fetishize some questionably-existant movement,
>but who are these new no-wave bands?  I mean, maybe
>now I'm toting the critical baggage, but Black Dice
>and Lightning Bolt carry more than a trace of some
>those early No Wave bands, at least the ones I've
>heard (Teenage Jesus and Jerks, DNA).  'Spose I should
>wait for the Troubleman comp.

About that Troubleman thing, he says:

"A track by the Colligan/Johnson/Lonberg-Holm/Walter FLs will appear on a
double CD compilation to be released by Troubleman Unlimited in the near
future. This collection is really a who's who in the _real_ rock underground
these days: Le Shok, Cranium, Lightning Bolt, The Locust, Men's Recovery
Project, Black Dice, Bride of No No, The Fucking Champs, Cromtech, Burmese,
Erase Errata and many more."

So a few of these groups are actually from California. Hmmm, the Locust is
actually as far as I'm concerned a (above average) grindcore band with some
keyboards, Burmese is a heavy two bass/drums band that likes to wreck the
stage when they play, Black Dice did one 7" that to me sounded like tame,
warmed-over, repackaged (for non metal/grind audiences) grindcore but has
another more recent thing that's much more interesting. I don't see how
anyone could call the Champs "real rock" considering their appropriation of
Carcass/Iron Maiden/Thin Lizzy stylings in an ironic, clinical, indie
rock-friendly context (however skilled they are at it), but some things I
will never understand.

There is a lot of posturing in this scene, but some good stuff too. I do
like the Luttenbachers, most of the time, and Weasel Walter is always an
interesting character  -- see some of the interviews on the Luttenbachers
site, http://pages.ripco.net/~nailhead/new_contents.html for example. Nice
comments about free jazz as it relates to no wave and extreme metal, and
some very refreshing criticism of Chicago post-rock.

Longwinded as usual ...

WY

Oh, one other thing -- Re: the John Gavanti CD on Atavistic: I would really
save my money and pass on this!!! (Has ANYONE endured the entire album in
one sitting???)
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-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Lightning bolt/No Wave
Date: 03 Apr 2001 12:21:05 -0500

On Tue, Apr 03, 2001 at 05:15:30PM +0000, William York wrote:

> Oh, one other thing -- Re: the John Gavanti CD on Atavistic: I would really
> save my money and pass on this!!! (Has ANYONE endured the entire album in
> one sitting???)

I remember thinking when I first got it that it sounded like gastric
distress. I don't recall how long ago, but it must have been a while
since I recall that I ordered it from the New Music Distribution
Service catalog.
--
|> ~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: Mike Brooker <[e-mail]>
Subject: Sabbath in Paradise
Date: 03 Apr 2001 10:24:06 -0700 (PDT)

Anyone know how to obtain this film?  Or was it ever
available on video upon release?  I'm also curious
about Zorns involvement with the jewish culture.  Was
he prompted, so to speak, or is Judaism his original
culture?  Thanks

__________________________________________________
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-



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

From: "William York" <[e-mail]>
Subject: re: lightning bolt/metal
Date: 03 Apr 2001 17:36:05


- - lighning bolt as metal or no-wave or ruins

have they themselves ever claimed to be a metal band?
seems unlikely that they would have, at least without
being a little bit tongue-in-cheek.

err, not that i know of. wasn't referring to that. was referring to the dj
comment, plus some articles i've read on the band and some of these other
troubleman groups, plus a statement by a club promoter that hosts a lot of
these no-wave groups along the lines of "we are the only club in town that
schedules avant-garde, death metal blah-blah-blah noise." sorry about that.

>i try to avoid blaming bands for the people who listen
>to them. i agree that there is a current wave of
>"metal for people who don't like metal", but i don't
>believe that the music is defined by the listener, so
>if it's "real" metal, it's "real" metal whether or not
>the listener is a sarcastic wanker or an actual
>"headbanger".

this is a very good point and i totally agree, even if i'm still guilty of
it too sometimes. but it is too bad how what 'scene' a band is in and how
the music is packaged does end up defining the audience, when the music
itself actually has a lot more in common than it would seem.

>well, i'm going to see lightning bolt on thursday,
>electric wizard and warhorse on sunday, then the metal
>fest w/ gorguts, meshuggah, etc. the following week,
>and i *certainly* won't feel more authentic by going
>to one or the other of these shows.

ha! i saw all those bands, minus meshuggah, plus a bulb records band (the
king brothers) in the same week, just last week. i agree, i don't gain a
feeling of being more authentic either. i'm just as out of place at all
those shows! but it just frustrates me how the rest of the audiences remain
so segregated and style-centered. never mind how hard it is to talk someone
at one of those shows to go see tim berne or harriet tubman or rova with me.
but that is life.

enough of me,

wy
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-



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

From: David Beardsley <[e-mail]>
Subject: Re: Zorn List Digest V3 #365
Date: 03 Apr 2001 14:03:32 -0400

[e-mail] wrote:

> Besides, ideally artists should be left free to pursue their art, without
> being beholden to the ownership of a business and the perils attached to
> that.  The Tonic booking policy with its guest curators is a fine model that
> has resulted in some inspired bookings, but in general I'd prefer to keep
> the process in the hands of others with a broader overview of the entire
> scene, not just a niche.  Hopefully that doesn't sound too rash...


Not at all, you hit the nail on the head.


--
* D a v i d         B e a r d s l e y
* 49/32  R a d i o "all microtonal, all the time"
* http://www.virtulink.com/immp/lookhere.htm
* http://mp3.com/davidbeardsley

-



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

From: Grey ElkGel <[e-mail]>
Subject: Re: lightning bolt/no wave/metal
Date: 03 Apr 2001 11:32:11 -0700 (PDT)

> but it is too bad how what 'scene' a band is in and
> how the music is packaged does end up defining the
> audience, when the music itself actually has a lot
> more in common than it would seem.

yeah, it's a bit distressing how much music often has
very little to do w/ *sound*.

> i'm just as out of place at all those shows!

exactly!

> but it just frustrates me how the rest of the
> audiences remain so segregated and style-centered.
> never mind how hard it is to talk someone at one of
> those shows to go see tim berne or harriet tubman or
> rova with me.

or vice-versa.
granted people have their tastes and there's nothing
wrong w/ having a focused aesthetic, but the degree to
which an aesthetic is developed by extramusical
criteria is where things become a bit more complex.
yet, i can't say this without still recognizing the
value of the "total package". so, in the end, i guess
i have no idea what i'm talking about.

.greg.


__________________________________________________
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-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: lightning bolt/no wave/metal
Date: 03 Apr 2001 12:52:29 -0700


On Tue, 3 Apr 2001 11:32:11 -0700 (PDT)  Grey ElkGel wrote:
>
> or vice-versa.
> granted people have their tastes and there's nothing
> wrong w/ having a focused aesthetic, but the degree to
> which an aesthetic is developed by extramusical
> criteria is where things become a bit more complex.
> yet, i can't say this without still recognizing the
> value of the "total package". so, in the end, i guess
> i have no idea what i'm talking about.

But let's not forget also music that is neither focused on an aesthetic and
is neither original... Since there is always the indulgent implicit assumption
that music not based on "frivolous" values is interesting. There is very
little music that is really groundbreaking. If your music does not bring
anything special on top of what has already been done, better add to it
something to spice it up. By doing that, you are at least likely to be
remembered in 30 years for being kitsch or based on the washing machine effect
of nostalgia :-).

    Patrice.

-



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

From: Ken Waxman <[e-mail]>
Subject: RE: More Knit unravelling?
Date: 03 Apr 2001 16:09:52 -0400 (EDT)

Q: What is a camel?

A: A horse designed by a committee


That is the problem with having too many cooks in the
booking broth - hardly anything will get done. As
Steve says what's needed is two individuals -- a
patron, with $$$ and a booker with taste.

Very rarely (ever --maybe John Hammond Sr. in some
cases may be an example)are these two folks the same
person.

ken Waxman

--- Steve Smith <[e-mail]> wrote:

I still think the Knit is better off uner single
ownership, and preferably a sort of daring hands-off
owner, for the reasons that have been mentioned.  A
coalition of artists will most likely end up engaged
in the kind of internecine squabbling that David
refers to in the Dutch example.  And a small cabal of
experts will indeed result in the kind of three-faced
but single-voiced oligarchy in place at J@LC (the
trilateral commission of Wynton, Crouch and Albert
Murray, who all think with Murray's brain  alone).




>

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-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Sabbath in Paradise
Date: 03 Apr 2001 16:13:25 -0400

From a feature on Joey Baron written by Ted Panken, published in the
September 2000 issue of Jazziz:

Baron recalls urging Zorn to pay attention to his Jewish roots.  "On my
first gig with John, we were sidemen for Arto Lindsay.  We were in Italy -
he didn't know me and I didn't know him - and we were talking in his room.
I mentioned being from Richmond, and that I'd had to go in the back door at
gigs because I was Jewish.  John said 'What?'  I said, 'Well, you're Jewish,
aren't you?'  He said, 'No.'  At that time he did not identify at all with
Judaism.  I would talk to him and say, 'Whether or not you identify, you are
Jewish.'  I think I lit the fire for him to look at this culture and embrace
it."

The above would have taken place when Zorn and Baron were both playing with
Lindsay's Ambitious Lovers, circa 1987.

Steve Smith
[e-mail]

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Mike Brooker
Sent: Tuesday, April 03, 2001 1:24 PM

I'm also curious
about Zorns involvement with the jewish culture.  Was
he prompted, so to speak, or is Judaism his original
culture?


-



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

From: [e-mail]
Subject: New here...
Date: 03 Apr 2001 16:55:40 EDT


--part1_f7.8b92882.27fb92cc_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

Hello everyone, I am new to the list and just wanted to say hello. Look
forward to hearing from all of you.
Jan





--part1_f7.8b92882.27fb92cc_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

<HTML><FONT FACE=arial,helvetica><FONT  COLOR="#400080" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Hello everyone, I am new to the list and just wanted to say hello. Look
<BR>forward to hearing from all of you.
<BR>Jan </FONT><FONT  COLOR="#400080" SIZE=3 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0">
<BR></FONT><FONT  COLOR="#004080" SIZE=7 FAMILY="SCRIPT" FACE="Vladimir Script" LANG="0">
<BR><P ALIGN=CENTER></FONT><FONT  COLOR="#0080ff" SIZE=5 FAMILY="SCRIPT" FACE="Vivaldi" LANG="0">
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SCRIPT" FACE="Vivaldi" LANG="0">
<BR><P ALIGN=LEFT></P></P></FONT></HTML>

--part1_f7.8b92882.27fb92cc_boundary--

-



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

From: [e-mail]
Subject: Re: Zorn BBC radio documentary webcast
Date: 03 Apr 2001 16:57:26 EDT


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Content-Type: text/plain; charset="US-ASCII"
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In a message dated 4/3/01 3:17:12 PM Central Daylight Time,
[e-mail] writes:


> Part I of the four-part Steve Beresford BBC doc on John Zorn is
> >broadcast
> > >  today from 2-2:30 pm EST (1800-1830 UTC).  The BBC will be broadcasting
> > >  parts II-IV the following three weeks.
>
> Did anybody tape this?
>

I'd be interested in this recording as well, if anyone has it.
Jan




--part1_bf.cff4120.27fb9336_boundary
Content-Type: text/html; charset="US-ASCII"
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<HTML><FONT FACE=arial,helvetica><FONT  COLOR="#400080" SIZE=5 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0">In a message dated 4/3/01 3:17:12 PM Central Daylight Time,
<BR>[e-mail] writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Part I of the four-part Steve Beresford BBC doc on John Zorn is
<BR>>broadcast
<BR>> >  today from 2-2:30 pm EST (1800-1830 UTC).  The BBC will be broadcasting
<BR>> >  parts II-IV the following three weeks.
<BR>
<BR>Did anybody tape this?
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#400080" SIZE=5 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0">
<BR></FONT><FONT  COLOR="#000000" SIZE=5 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0">I'd be interested in this recording as well, if anyone has it.
<BR>Jan</FONT><FONT  COLOR="#400080" SIZE=5 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0">
<BR><P ALIGN=CENTER></FONT><FONT  COLOR="#0080ff" SIZE=5 FAMILY="SCRIPT" FACE="Vivaldi" LANG="0">
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SCRIPT" FACE="Vivaldi" LANG="0">
<BR><P ALIGN=LEFT></P></P></FONT></HTML>

--part1_bf.cff4120.27fb9336_boundary--

-



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

From: Taylor McLaren <[e-mail]>
Subject: re: V/VM
Date: 03 Apr 2001 18:08:34 -0400


MEEP! "Richard Gardner" <[e-mail]> wrote:
>I think I may regret this but following Andy Marks link to Bentcrayon I came
>across a downloadable live mp3 of V/VM. I see that they have released lots
>on singles but I have no idea what are they are like.
I can't claim to be much of fan (they really annoy me, actually), but
they're certainly among the more well-documented smartypants noisy DJ acts
that has come out of the UK in the last few years. Lots of information (and
a fair number of downloadable recordings) can be found at
http://brainwashed.com/vvm, although I think you can sum their work up
pretty well by saying "Look! We're cleverly gutting pop music!"
  To their credit, though, they included a pretty swell People Like Us
track on one of their Christmas 7"s a couple of years ago.

-me



-



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

From: [e-mail]
Subject: Re: New here...
Date: 03 Apr 2001 18:40:15 EDT

In a message dated Tue, 3 Apr 2001  4:56:59 PM Eastern Daylight Time, [e-mail] writes:

<< Hello everyone, I am new to the list and just wanted to say hello. Look
forward to hearing from all of you.
Jan >>

Hi Jan-

Welcome to the list.  Since the "no wave" scene seems to be a cool current topic, allow me to say-

"contort yourself one time!"

--
=dg=

-



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

From: "Jesse Kudler" <[e-mail]>
Subject: Black Dice
Date: 03 Apr 2001 19:34:56 -0400


----- Original Message -----
Sent: Tuesday, April 03, 2001 5:15 PM

> stage when they play, Black Dice did one 7" that to me sounded like tame,
> warmed-over, repackaged (for non metal/grind audiences) grindcore but has
> another more recent thing that's much more interesting. I don't see how

I saw Black Dice a few years ago and thought it was terribly contrived
(singer "spontaneously" and "recklessly" jumping off speakers, only you
could tell he was calculating the best way to do it without hurting
himself), but the two recent records on Troubleman are pretty great.  The
earlier, self-titled one has a bunch of noise "jamming": start-stop drums,
feedback, buzzes, screaming, etc., but it works.  There's also a few weird,
highly repetitive spazz-core type things that may be intended sardonically
(repeating for four minutes when two would've sufficed).  The newer one,
"Cold Hands," sounds like they've added some electronics or keyboards or
something, and it's much more experimental and focused.  There's a couple of
cool spazz tracks, but the first track marries heavy drones and high guitar
plinking, and the final, ten-minute track has these really heavy, harsh
drones with high-end damage and some glitchy-type guitar stuff.  I played it
on the radio right after something off the new Kevin Drumm split 12" on
Boxmedia, and you would never guess that they were coming from completely
different backgrounds/aesthetics.

-Jesse


-



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

From: "thomas chatterton" <[e-mail]>
Subject: Re: New here...
Date: 04 Apr 2001 00:29:53 -0000


>In a message dated Tue, 3 Apr 2001  4:56:59 PM Eastern Daylight Time,
>[e-mail] writes:
>
><< Hello everyone, I am new to the list and just wanted to say hello. Look
>forward to hearing from all of you.
>Jan >>

Hey, you're not, by any chance, related to...
Pete Zorn?

np: Suns Of Arqa Meet The Gayan Uttejak Orchestra
_________________________________________________________________________
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-



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

From: "s~Z" <[e-mail]>
Subject: "Marcel & Maria" by Francis M. Naumann
Date: 03 Apr 2001 17:32:36 -0700

The April 2001 issue of _Art In America_
has an excellent article on Duchamp and
his relationship with Brazilian sculptor
Maria Martins, which includes much focus
on 'Etant donnes.'

The article begins (next to a full page
reproduction of 'Etant donnes'):

"I will never forget my first viewing of the
'Etant donnes,' which took place in the fall
of 1969, a few months after it had been
placed in the Philadelphia Museum of Art."

Get a copy now.




-



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

From: Rick Lopez <[e-mail]>
Subject: Re: "Marcel & Maria" by Francis M. Naumann
Date: 03 Apr 2001 20:53:44 -0400

on 01.04.03 8:32 PM, s~Z at [e-mail] mewled endlessly:

> "I will never forget my first viewing of the
> 'Etant donnes,'

I wept as I moved toward the door.

I don't know-- I'd been reading about it, thinking about it, for years. It
just opened me up.

Thanks for reminding me.
R

"NP": Marcel Duchamp, ed. Hulten


 ----------
Sessionographies:
~~~   CRISPELL;  IBARRA; Wm. PARKER; RIVERS; SHIPP; D.S. WARE.
Discographies:
~~~  COURVOISIER; ENEIDI; MANERI,; MORRIS; SPEARMAN; THREADGILL; WORKMAN.

Also:
 --Samuel Beckett Eulogy--Baseball & the 10,000 Things
 --Time Stops--LOVETORN--HARD BOIL--The Interview--ETC.

all at: http://www.velocity.net/~bb10k

WHERE THE HELL HAVE I BEEN??? :
http://www.velocity.net/~bb10k/LUCILLE/splash.html



-



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

From: "Lee, Edgar" <[e-mail]>
Subject: John Gavanti
Date: 04 Apr 2001 12:13:36 +1000

WY

Oh, one other thing -- Re: the John Gavanti CD on Atavistic: I would really
save my money and pass on this!!! (Has ANYONE endured the entire album in
one sitting???)


I first read about Jon Gavanti in a Lester Bangs article where I think he
said he had never been able to listen to all the way through. This seemed
like a hearty recommendation so I was pleased to find that my record label
co owner had a copy of this no wave masterpiece of what is essentially a
post punk homage to Mozart's Don Giovanni by Mars and a few others. I found
it a brilliant and inspired record with comedic touches, you can even
singalong to it in the shower. So I think Lester was wrong on this one, but
then again I listened to an album he champions PIL's Metal Box on CD
recently and I found it incredibly dull and dated. I remember buying the
metal box when it originally came out and being amazed how wonderfully
revolutionary it was.

Edgar
NP Daevid Allen's  Good Morning.

-



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

From: Jim Flannery <[e-mail]>
Subject: Re: Lightning bolt/No Wave
Date: 03 Apr 2001 22:49:36 -0700

William York wrote:
>
> Weasel Walter of the Flying Luttenbachers (one of the more established bands
> who will be on this compilation) has a web site devoted to the early No Wave
> scene here:

Nice to see Robin Crutchfield's Dark Day getting at least minimal representation
here ... but where's impLOG (massive 12" on Lust/Unlust, "Holland Tunnel Dive")?

> Oh, one other thing -- Re: the John Gavanti CD on Atavistic: I would really
> save my money and pass on this!!! (Has ANYONE endured the entire album in
> one sitting???)

Like Edgar, I gotta say I really like this album, tho I rarely listen to it
(mostly because it requires actual active listening -- it just won't stay in the
background -- but also because I can never remember where I've filed it :-( ...)

--
Jim Flannery                                             [e-mail]

         "It's no bed of roses, let me tell you, being a mutant."
                                                         -- Warren Dearden
np: Lasse Marhaug, _Developing Options for Migraine Relief_
nr: Robert W. Chambers, _The Yellow Sign_

-



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

From: Matt Plummer <[e-mail]>
Subject: PARAPHRASE visits Boulder
Date: 04 Apr 2001 00:05:27 -0600 (MDT)

The Coalition for Creative Music presents...

N.Y.-based jazz trio PARAPHRASE w/special guest Ron Miles
Tim Berne (sax), Drew Gress (bass), Tom Rainey (drums)

Wednesday, April 11th (not 12th!) 8:00 PM,
Old Main Chapel, CU-Boulder campus,
Admission is free.

The concert will be immediately followed by a post-concert discussion
with Tim Berne.

Directions to Old Main Chapel:
From 36 exit to Baseline Road.  Turn W, immediately turn N onto Broadway
(93).  From Broadway N, turn E onto University Ave.  Park.  Walk S up the
hill, Old Main Chapel is directly across from Macky Auditorium (large
brick building).  Old Main is red, made of brick, and has spiral
staircases.

For more info, call the Coalition Hotline at 303.735.3163

A Concurrent Event with the 53rd Annual Conference on World Affairs.



-



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

From: "Julian" <[e-mail]>
Subject: ruins medleys
Date: 04 Apr 2001 18:07:58 +1000

I know about the Ruins' prog rock medley from "Refusal Fossil", and just
found their classical medley on the internet. What is the name of the album
this is from, and where can you buy it? Also, I remember someone saying they
do other medleys on this album, what are they?

wondering why interesting music is often so unavailable,
Julian.



-



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

From: Tom Gatzen <[e-mail]>
Subject: Bible Launcher
Date: 04 Apr 2001 03:30:45 -0700 (PDT)

anyone know what the deal is with this CD? I can't
remember why it was recalled by Koch shortly after
it's release. As a smart record store employee at the
time, I purchased the copy (my 2nd) we had in stock
instead of sending it back.

Tom

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-



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

From: "Alastair Wilson" <[e-mail]>
Subject: Zorn/Satlah at Cargo April 2
Date: 04 Apr 2001 12:06:29 -0000

Since the list made me aware of this gig, the least I can do is briefly tell
you how it was...

The occasion was a semi-public party to celebrate BBC Radio 3's " Jazz on 3"
programme moving to Friday nights. It was held at Cargo, a bar in a couple
of railway arches in London's "trendy" Hoxton. Amongst the guests that I
recognised were Evan Parker, Iain Ballamy, Lol Coxhill, Billy Jenkins, the
Mondesir brothers, Pat Thomas and Paul Schutze. I think Alex Ward was there
also, but my memory for faces is failing me...anyway, the idea of all those
sharing a stage kept me amused until the music started.

Zorn did a twenty minute solo set, comprising two long pieces and one very
short, in the heavy improv style mentioned on the list a couple of weeks
back. All the tricks were used - overblowing, an attempt at circular
breathing, just using the mouthpiece, using the sax without the mouthpiece,
etc. Despite a request for hush the BBC bods here on a freebie kept on
yakking at the back, a situation which pissed Zorn off a bit, pausing once
to make talk-talk signals with his hand before picking up where he left off.
He was on his third reed of the night by the time he finished, tossing the
used ones into the audience. The second one fell at my feet, so I felt
honour bound to pick it up - note to all sax-spotters out there, JZ was
playing an Alexander D.C. Imperial 3 reed. He also told an annoying gimp
with a camera not to take any fuckin' photos, which pleased me. If only
Danny Zamir had told him the same thing later!

I was not familiar with Satlah before the gig so I don't have any recorded
work to compare against. However, they blasted for an hour and a quarter,
playing excellent klezmer influenced jazz. Danny Zatlah strikes me as a
phenomenal player, and he and the drummer went on swirling explorations
whilst the bass player tended to be the group's anchor to planet earth.
Excellent.

And here's the good bit: BBC Radio 3 will be broadcasting the gig on Friday
April 20 at 23:30 BST (22:30 GMT). Tune in at

www.bbc.co.uk/radio3/jazz/jon3.shtml#

Alastair


_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Bible Launcher
Date: 04 Apr 2001 11:08:40 -0400

At issue was use of samples of holy roller evangelists mixed with porn
sounds.  Rights for the samples had not been cleared, and Zorn, rightly
fearing a potential lawsuit, withdrew the disc.  A promised revised version
never appeared, the catalog number was reused for another release, and I
understand that Bible Launcher subsequently issued the CD in its original
form.  Therefore, I'd think that the value of the Tzadik original, if any,
rests only in its assumed rarity.  But I'm also certain that a lot of copies
got out, and they couldn't have all come back.  Yours didn't, and neither
did mine.

Steve Smith
[e-mail]
(whose original editions of Masada 4 and Cynical Hysterie Hour are no doubt
worth far less now as well...)

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Tom Gatzen
Sent: Wednesday, April 04, 2001 6:31 AM


anyone know what the deal is with this CD? I can't
remember why it was recalled by Koch shortly after
it's release. As a smart record store employee at the
time, I purchased the copy (my 2nd) we had in stock
instead of sending it back.

Tom

__________________________________________________
Do You Yahoo!?
Get email at your own domain with Yahoo! Mail.
http://personal.mail.yahoo.com/

-


-



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

From: Grey ElkGel <[e-mail]>
Subject: ordinary fanfares playlist #3
Date: 04 Apr 2001 09:04:13 -0700 (PDT)

ordinary fanfares playlist #2 - april 3, 2001
wmfo 91.5fm, medford massachussetts // www.wmfo.org

1. neil hamburger: the x-rated hot dog vendor
[america's funnyman CD - drag city]
2. dark noerd: smokin' husks [gummo soundtrack CD -
innerstate/london]
3. sun ra: the wind speaks [my brother the wind volume
2 CD - evidence]
4. stephen p. mcgreevy: 3, 4, 5 [auroral chorus ii:
music of the magnetosphere CD]
5. bruce haack: program me/chant of the unicorn [hush
little robot CD - q.d.k. media]
6. wolf eyes: black rows [wolf eyes CD - bulb]
7. burzum: burzum [filosofem CD - misanthropy records]
8. atsuhiro ito: voltage [atsuhiro ito CD-R - omega
point]
9. augst/carl/korn: polke [blank CD - fmp]
10. george perkins and the silver stars: crying in the
streets [down & out: the sad soul of the black south
CD - trikont]
11. iggy pop & james williamson: sell your love [kill
city CD - bomp!]
12. mats gustafsson: success in dromme ii [the
education of lars jerry CD - xeric]
13. fennesz: 010 [plus forty seven degrees 56'37"
minus sixteen degrees 51'08" CD - mego]
14. robert ashley: she was a visitor [automatic
writing CD - lovely]
15. jpt scare band: king rat [sleeping sickness CD -
monster records]
16. ol' dirty bastard: i can't wait (acappella) [got
your money CD-single - elektra]
17. willem breuker: continuous c sharp [lunch concert
for three barrel organs LP - icp]
18. bernard parmegiani: et apres.. [pop eclectic CD -
plate lunch]
19. muller/sugimoto: snow pocket [i am happy if you
are happy CD - for4ears]


__________________________________________________
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Get email at your own domain with Yahoo! Mail.
http://personal.mail.yahoo.com/

-



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

From: Tom Gatzen <[e-mail]>
Subject: Re: Zorn BBC radio documentary webcast
Date: 04 Apr 2001 09:34:04 -0700 (PDT)

I would be interested as well...let me know
--- [e-mail] wrote:
> In a message dated 4/3/01 3:17:12 PM Central
> Daylight Time,
> [e-mail] writes:
>
>
> > Part I of the four-part Steve Beresford BBC doc on
> John Zorn is
> > >broadcast
> > > >  today from 2-2:30 pm EST (1800-1830 UTC).
> The BBC will be broadcasting
> > > >  parts II-IV the following three weeks.
> >
> > Did anybody tape this?
> >
>
> I'd be interested in this recording as well, if
> anyone has it.
> Jan
>
>
>
>


__________________________________________________
Do You Yahoo!?
Get email at your own domain with Yahoo! Mail.
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-



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

From: Jan-wen Lu <[e-mail]>
Subject: Re: ruins medleys
Date: 05 Apr 2001 00:46:48 +0800



> I know about the Ruins' prog rock medley from "Refusal Fossil", and just
> found their classical medley on the internet. What is the name of the album
> this is from, and where can you buy it? Also, I remember someone saying they
> do other medleys on this album, what are they?

The other one is "Hard Rock Medley". All three tracks are available on the
Japanese edition of Ruins' "Pallaschtom" CD. You can order it from Yoshida
directly for $20(including postage). Also available are one Ruins
"Improvisations" CD-R and Yoshida's solo "an Etude" CD-R.


Jan-wen Lu



-



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

From: Scott Handley <[e-mail]>
Subject: brainwashed.com doomed
Date: 04 Apr 2001 11:22:33 -0700 (PDT)

I consider this a real misfortune; I will be very sad
to see this site go.  All those interested in
experimental musics could do worse than to check it
out in the last week of its life-span:

http://www.brainwashed.com/brain/brainv04i12.html
"After five years of not making any money, Brainwashed
dot com is closing down. We have unfortunately become
the latest fatality in the dot-com death of 2001. The
domain will be sold to Miramax Pictures, who are
filming a remake of the German film, "Brainwashed"
featuring Parker Posey, Philip Seymour Hoffman and
Nell Carter. The web site will cease operations on
April 16th, five years to the day of its opening. Band
websites will be farmed out to corporate sites which
will not feature any of our archives, pictures,
discographies and clips. Thanks to everybody who made
it work so long, so well, but in the end nobody we
liked wanted to advertise with us and we just couldn't
keep up with the expenses."

Of course, the good news is that Phillip Seymour
Hoffman will be in the movie.  And Nell Carter is
making a comeback!

-----s, enjoys P.S. Hoffman, but not quite as much as
Brainwashed.com


=====
"Electric guitar gets run over by a car on the highway/This is a crime against the state/This is the meaning of life...
Electric guitar is copied, the copy sounds better/Call this law and justice, call this freedom and liberty/I thought I perjure myself, right in front of the jury!"
                        ---Talking Heads, "Electric Guitar"

__________________________________________________
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Get email at your own domain with Yahoo! Mail.
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-



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

From: "Don Gunning" <[e-mail]>
Subject: Re: brainwashed.com doomed
Date: 04 Apr 2001 13:39:32 -0500


> I consider this a real misfortune; I will be very sad
> to see this site go.  All those interested in
> experimental musics could do worse than to check it
> out in the last week of its life-span:

I *think* this was just a grim April fools day joke.




-



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

From: "Martin Wisckol" <[e-mail]>
Subject: leo smith's golden quartet
Date: 04 Apr 2001 13:26:28 -0800

Leo Smith's Golden Quartet looks great on paper -- can anybody offer
comments on Smith's playing and the ensemble approach?



-



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

From: [e-mail]
Subject: Re: Zorn/Satlah at Cargo April 2
Date: 04 Apr 2001 17:19:33 EDT


--part1_a6.12450736.27fce9e5_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

In a message dated 4/4/01 7:07:59 AM Central Daylight Time,
[e-mail] writes:


> Despite a request for hush the BBC bods here on a freebie kept on
> yakking at the back, a situation which pissed Zorn off a bit, pausing once
> to make talk-talk signals with his hand before picking up where he left
> off.......
>  He also told an annoying gimp
> with a camera not to take any fuckin' photos

A man after my own heart...I love it.
Jan

--part1_a6.12450736.27fce9e5_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

<HTML><FONT FACE=arial,helvetica><FONT  SIZE=5 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0">In a message dated 4/4/01 7:07:59 AM Central Daylight Time,
<BR>[e-mail] writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Despite a request for hush the BBC bods here on a freebie kept on
<BR>yakking at the back, a situation which pissed Zorn off a bit, pausing once
<BR>to make talk-talk signals with his hand before picking up where he left
<BR>off.......
<BR> He also told an annoying gimp
<BR>with a camera not to take any fuckin' photos</FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#000000" SIZE=5 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0">
<BR>A man after my own heart...I love it.
<BR></FONT><FONT  COLOR="#000000" SIZE=7 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0"><B><I>Jan</B></I></FONT></HTML>

--part1_a6.12450736.27fce9e5_boundary--

-



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

From: Rob Allaert <[e-mail]>
Subject: Re: Zorn/Satlah at Cargo April 2
Date: 04 Apr 2001 23:58:20 +0200

only an attempt ?????

Alastair Wilson wrote:
> Zorn did an attempt at circular breathing,

Greetings,

[e-mail]

-



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

From: "toulab" <[e-mail]>
Subject: Chicago and various
Date: 04 Apr 2001 22:24:04 -0700

This is a multi-part message in MIME format.

------=_NextPart_000_0018_01C0BD55.F51A8680
Content-Type: text/plain;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

A few updates and questions from the city with wind, first the =
questions:

1) A friend of mine told me YBO2 will be touring the USA this year with =
Jim O'Rourke.  Any confirmation on this from=20
anybody.  I know O'Rourke joined this band for a while in Tokyo?
2) Has Susie Ibarra changed her trio ensemble?  I saw a posting with =
players other than Cooper Moore and Charles Burnham.
3) Whats the consensus on Vision Fest this year?  I like what I see.
4) Peter Brotzman, Fred Anderson, William Parker and Hamid Drake at the =
Empty Bottle Fest in June this year here in Chicago.  This is great =
news!!!
5) Phil Niblock will be collaborating with Kevin Drumm and others in =
June. Chicago dates Unconfirmed.

Lastly, Kurt, at what number can I reach you during the day.

All the best,

Paul Fox
  =20



------=_NextPart_000_0018_01C0BD55.F51A8680
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 http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 5.50.4522.1800" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>A few updates and questions from the city with wind, =
first the=20
questions:</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>1) A friend of mine told me YBO2 will be touring the =
USA this=20
year with Jim O'Rourke.  Any confirmation on this from =
</FONT></DIV>
<DIV><FONT size=3D2>anybody.  I know O'Rourke joined this band for =
a while in=20
Tokyo?</FONT></DIV>
<DIV><FONT size=3D2>2) Has Susie Ibarra changed her trio =
ensemble?  I=20
saw a posting with players other than Cooper Moore and Charles=20
Burnham.</FONT></DIV>
<DIV><FONT size=3D2>3) Whats the consensus on Vision Fest this =
year?  I=20
like what I see.</FONT></DIV>
<DIV><FONT size=3D2>4) Peter Brotzman, Fred Anderson, William =
Parker and=20
Hamid Drake at the Empty Bottle Fest in June this year here in=20
Chicago.  This is great news!!!</FONT></DIV>
<DIV><FONT size=3D2>5) Phil Niblock will be collaborating with =
Kevin Drumm=20
and others in June. Chicago dates Unconfirmed.</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Lastly, Kurt, at what number can I reach you during =
the=20
day.</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>All the best,</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Paul Fox</FONT></DIV>
<DIV><FONT size=3D2> </FONT>  </DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2></FONT> </DIV></BODY></HTML>

------=_NextPart_000_0018_01C0BD55.F51A8680--


-



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

From: Rick Lopez <[e-mail]>
Subject: Re: Chicago and various
Date: 04 Apr 2001 22:53:47 -0400

on 01.04.05 1:24 AM, toulab at [e-mail] mewled endlessly:

> 2) Has Susie Ibarra changed her trio ensemble?  I saw a posting with players
> other than Cooper Moore and Charles Burnham.

It's a separate animal. w/ Courvoisier and Leandre. (!!!)

That's my share,
RL
 ----------
Sessionographies:
~~~   CRISPELL;  IBARRA; Wm. PARKER; RIVERS; SHIPP; D.S. WARE.
Discographies:
~~~  COURVOISIER; ENEIDI; MANERI,; MORRIS; SPEARMAN; THREADGILL; WORKMAN.

Also:
 --Samuel Beckett Eulogy--Baseball & the 10,000 Things
 --Time Stops--LOVETORN--HARD BOIL--The Interview--ETC.

all at: http://www.velocity.net/~bb10k

WHERE THE HELL HAVE I BEEN??? :
http://www.velocity.net/~bb10k/LUCILLE/splash.html



-



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

From: "Francesco Martinelli" <[e-mail]>
Subject: Re: Chicago and various
Date: 05 Apr 2001 06:00:50 +0200

> It's a separate animal. w/ Courvoisier and Leandre. (!!!)
>

the latter will be the subject of my next book hopefully... collecting
material... what more do you know???
Francesco


-



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

From: [e-mail]
Subject: Re: Chicago and various
Date: 05 Apr 2001 00:24:05 EDT

In a message dated 4/4/01 10:57:21 PM Eastern Daylight Time,
[e-mail] writes:


>  on 01.04.05 1:24 AM, toulab at [e-mail] mewled endlessly:
>
>  > 2) Has Susie Ibarra changed her trio ensemble?
>
>  It's a separate animal. w/ Courvoisier and Leandre. (!!!)

Euro only, but it would be divine if they can reconstitute the trio stateside
next year, after Sylvie's allowed back in the country.

In a message dated 4/5/01 12:06:55 AM Eastern Daylight Time,
[e-mail] writes:

>  the latter will be the subject of my next book hopefully...

You mean Leandre?  Tell us more...

David

np: Sean Bergin & Ernst Reijseger, Mistakes

-



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

From: Ethan Clauset <[e-mail]>
Subject: Re: Chicago and various
Date: 05 Apr 2001 00:57:54 -0400 (EDT)


www.lampo.org has info on a phil niblock show in chicago:

with Thomas Buckner, Niki Mitchell, Fred Lonberg-Holm & Michael Colligan
May 19  8pm  The Renaissance Society

as well as the AMM dates coming up soon!

ethan



> 5) Phil Niblock will be collaborating with Kevin Drumm and others in =
> June. Chicago dates Unconfirmed.


-



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

From: "Brad Kendrick" <[e-mail]>
Subject: Keith Rowe/Presocratics
Date: 04 Apr 2001 21:54:32 +0100

> THIS MESSAGE IS IN MIME FORMAT. Since your mail reader does not understand
this format, some or all of this message may not be legible.

--MS_Mac_OE_3069266073_161337_MIME_Part
Content-type: text/plain; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable

Of note to Zorn Listers in the Pacific Northwest:
KEITH ROWE - solo
Special Guests PRESOCRATICS
Prepared/table-top guitar, electronics, and shortwave radio innovator Keith
Rowe makes a rare Northwest solo appearance along with special guests
Presocratics (from Seattle and New York) on Thursday, April 12 at 9pm at th=
e
Conduit Studio, 918 SW Yamhill St. in Portland, Oregon.  Tickets are $10 at
the door.  Call 503-231-1921 for more information.

=B3Rowe is scrambling around in the bushes, making his guitar strings
coruscade, opening a viewfinder on melting ice, briefly tinging the air wit=
h
rogue radio waves, before sinking into a sub aquatic engine room and
lumbering around in scrap metal =B3
-The Wire (UK)

The evening will open with a performance by Presocratics, just back last
week from a month-long, WIRE magazine sponsored European tour.  Having
created a stir in the cassette underground, Presocratics first surfaced wit=
h
their debut CD last year, Works and Days, on Table of the Elements.
Presocratics are Seattle resident Need Thomas Windham (analog creation) and
New York denizen Jon Philpot (digital production).  Their brand spanking ne=
w
CD EP, Presocratics Serve Imperialism, is out now, also on Table of the
Elements.

"If Gastr del Sol were Led Zeppelin, then Presocratics are Black Sabbath.
Or, in even more meaningless terms: If Gastr del Sol were Nathaniel
Hawthorne and the sophisticated moralism of his age, then Presocratics are
the autodidactic posturing of Edgar Allan Poe."
 - Village Voice




--MS_Mac_OE_3069266073_161337_MIME_Part
Content-type: text/html; charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable

<HTML>
<HEAD>
<TITLE>Keith Rowe/Presocratics</TITLE>
</HEAD>
<BODY BGCOLOR=3D"#FFFFFF">
<BLOCKQUOTE><BLOCKQUOTE><FONT FACE=3D"Arial"><B>Of note to Zorn Listers in th=
e Pacific Northwest:<BR>
</B><H2>KEITH ROWE - solo<BR>
Special Guests PRESOCRATICS<BR>
</H2>Prepared/table-top guitar, electronics, and shortwave radio innovator =
Keith Rowe makes a rare Northwest solo appearance along with special guests =
Presocratics (from Seattle and New York) on Thursday, April 12 at 9pm at the=
 Conduit Studio, 918 SW Yamhill St. in Portland, Oregon.  Tickets are $=
10 at the door.  Call 503-231-1921 for more information.<BR>
<BR>
=B3Rowe is scrambling around in the bushes, making his guitar strings corusca=
de, opening a viewfinder on melting ice, briefly tinging the air with rogue =
radio waves, before sinking into a sub aquatic engine room and lumbering aro=
und in scrap metal =B3<BR>
-<B><I>The Wire (UK)<BR>
<BR>
</I></B>The evening will open with a performance by Presocratics, just back=
 last week from a month-long, WIRE magazine sponsored European tour. <B><I>&=
nbsp;</I></B>Having created a stir in the cassette underground, Presocratics=
 first surfaced with their debut CD last year, Works and Days, on Table of t=
he Elements.  Presocratics are Seattle resident Need Thomas Windham (an=
alog creation) and New York denizen Jon Philpot (digital production).  =
Their brand spanking new CD EP, Presocratics Serve Imperialism, is out now, =
also on Table of the Elements.<BR>
<BR>
"If Gastr del Sol were Led Zeppelin, then Presocratics are Black Sabba=
th. Or, in even more meaningless terms: If Gastr del Sol were Nathaniel Hawt=
horne and the sophisticated moralism of his age, then Presocratics are the a=
utodidactic posturing of Edgar Allan Poe." <BR>
<B><I> - Village Voice<BR>
</I></B><BR>
<BR>
</FONT></BLOCKQUOTE><FONT FACE=3D"Arial"><BR>
</FONT></BLOCKQUOTE>
</BODY>
</HTML>

--MS_Mac_OE_3069266073_161337_MIME_Part--


-



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

From: "Julian" <[e-mail]>
Subject: 2 Fuse cds
Date: 05 Apr 2001 15:18:37 +1000

Just curious about two discs (ie. what they are like, whether they are any
good, etc.). I believe they are both on the Fuse label...
- Christian Marclay, I think it was called something like "More Encores",
where he creates collages using the work of Strauss, Zorn, Frith, Callas,
Gainsbourg...
- "Excuse Me Mr Satie", but I've forgotten the artists' names! But I
remember it was a duo, reeds and piano...

Thanks,
Julian.



-



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

From: "Francesco Martinelli" <[e-mail]>
Subject: Re: Chicago and various
Date: 05 Apr 2001 07:26:49 +0200

> You mean Leandre?  Tell us more...
>

collecting material in order to release a discography with comments and
visual material along the lines of my Braxton and Schiano books... awaiting
news from a possible founding body in France.

Francesco


-



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

From: [e-mail]
Subject: Re: leo smith's golden quartet
Date: 05 Apr 2001 03:27:38 EDT

[e-mail] writes:
> Leo Smith's Golden Quartet looks great on paper -- can anybody offer
>  comments on Smith's playing and the ensemble approach?

i'm terrible at describing music, so I will simply say that this is a great
album and the playing is excellent--one of my favorite releases from last
year.  IMO, it's also better than 'Tao-Njia' (1996) and 'Golden Hearts
Remembrance' ('97), although both of them are also worth picking up.  'Yo
Miles!' is an acquired taste--namely that you dig "electric" Miles--and a
very long album at almost 160 minutes (although in sum 8 hours was recorded,
according to Nels Cline).  I just ordered his solo album 'Kulture Jazz' which
i'm looking forward to, and still haven't heard 'Condor, Autumn Wind' ('98),
'Light Upon Light' ('99) or 'Reflectativity' (2000), the last two on Tzadik.
I'm glad Leo has been (relatively) well-recorded in the last few years, for
he's a major talent.

jeff caltabiano
n.p. the legendary marvin pontiac: greatest hits (1999, strange & beautiful
music)

-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Chicago and various
Date: 05 Apr 2001 06:29:10 -0400

At 10:24 PM 4/4/01 -0700, toulab wrote:
>>>>
A few updates and questions from the city with wind, first the questions:

4) Peter Brotzman, Fred Anderson, William Parker and Hamid Drake at the
Empty Bottle Fest in June this year here in Chicago.  This is great news!!!
<<<<

This lineup was announced for the Friday night Empty Bottle Festival in
*April*, but has been cancelled and replaced with Brotzmann and Drake duo.
In addition, the web site also lists a Guillermo Gregorio trio on the same
night, and this has been replaced with the Mars Williams Group featuring
Luther Thomas.  None of this is on the mt bottle web site, but I ordered
tickets in advance, and got a lineup change notice from Ticketweb this week.

--
Caleb Deupree
[e-mail]


-



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

From: Stephen Drury <[e-mail]>
Subject: Feldman (Morton) in Boston
Date: 05 Apr 2001 06:47:21 -0400

Morton Feldman's last work will be performed in Boston at New England
Conservatory, Brown Hall, Monday, April 9, 2001 8pm free

Morton Feldman: "Piano, Violin, Viola, Cello"

The Callithumpian All-Stars: Stephen Drury, piano; Monica Pegis, violin;
Elizabeth Freivogel, viola; Rafael Popper-Keizer, cello

With special guests:  undr quartet
James Coleman - theremin; Vic Rawlings - cello; Liz Tonne - voice; Greg
Kelley - trumpet



--steve

updated info on the Summer Institute for Contemporary Piano Performance at
http://www.stephendrury.com


-



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

From: "Michael Rosenstein" <[e-mail]>
Subject: Re: leo smith's golden quartet
Date: 05 Apr 2001 08:29:18 -0400

It's great that Leo Smith has had such a strong resurgance. He has had more
recordings come out in the last few years than he has had since the demise
of his Kabell label.

The Golden Quartet is one of those rare instances where the music actually
lives up to its potential. Davis plays with all the energy and passion of
his great India Navigation LPs and this is probably the best recorded
playing of DeJohnette in a long while. (None of the "world music" noodling
he has fallen into as of late.) Smith is pushed in intriguing ways in this
setting. His music is still shaped by his approach to compositional space,
but there is a  stronger feeling of propulsive drive that kicks things
along. (I haven't heard the new Matt Shipp with Smith yet, but I expect that
the general feeling is somewhat similar.)

I would, also recommend "Reflectativity". The trio with Davis and Favors has
a markedly different feel than the Quartet. Here, the improvisation is all
about space and the open interaction of the three voices. It is not quite as
good as the initial version of this piece on Kabell, but is certainly worth
checking out.

Speaking of Smith, has anyone heard about the status of Revanent's rumored
box set reissue of Smith's Kabell recordings?


Michael Rosenstein
[e-mail]
   or
[e-mail]


>------------------------------
>
>Date: Wed, 04 Apr 2001 13:26:28 -0800
>From: "Martin Wisckol" <[e-mail]>
>Subject: leo smith's golden quartet
>
>Leo Smith's Golden Quartet looks great on paper -- can anybody offer
>comments on Smith's playing and the ensemble approach?
>



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-



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

From: "Michael Rosenstein" <[e-mail]>
Subject: Re: leo smith's golden quartet
Date: 05 Apr 2001 08:29:13 -0400

It's great that Leo Smith has had such a strong resurgance. He has had more
recordings come out in the last few years than he has had since the demise
of his Kabell label.

The Golden Quartet is one of those rare instances where the music actually
lives up to its potential. Davis plays with all the energy and passion of
his great India Navigation LPs and this is probably the best recorded
playing of DeJohnette in a long while. (None of the "world music" noodling
he has fallen into as of late.) Smith is pushed in intriguing ways in this
setting. His music is still shaped by his approach to compositional space,
but there is a  stronger feeling of propulsive drive that kicks things
along. (I haven't heard the new Matt Shipp with Smith yet, but I expect that
the general feeling is somewhat similar.)

I would, also recommend "Reflectativity". The trio with Davis and Favors has
a markedly different feel than the Quartet. Here, the improvisation is all
about space and the open interaction of the three voices. It is not quite as
good as the initial version of this piece on Kabell, but is certainly worth
checking out.

Speaking of Smith, has anyone heard about the status of Revanent's rumored
box set reissue of Smith's Kabell recordings?


Michael Rosenstein
[e-mail]
   or
[e-mail]


>------------------------------
>
>Date: Wed, 04 Apr 2001 13:26:28 -0800
>From: "Martin Wisckol" <[e-mail]>
>Subject: leo smith's golden quartet
>
>Leo Smith's Golden Quartet looks great on paper -- can anybody offer
>comments on Smith's playing and the ensemble approach?
>



_________________________________________________________________
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-



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

From: Ricardo Reis <[e-mail]>
Subject: Heart of darkness - Orson Welles
Date: 05 Apr 2001 13:34:49 +0100 (WET DST)


    Does anyone know if there's a recording (the recording surely
exists but is it available?) of Orson Welles reading "Heart of darkness"
by Joseph Conrad?

             greets,
                              Ricardo Reis

                  "NON SERVIAM"


-



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

From: [e-mail]
Subject: susie ibarra's trio
Date: 05 Apr 2001 08:42:18 EDT

susie has changed her trio to include jenn choi and craig taborn. I don't know if they'll be doing the same tunes, but the approach will probably vbe similar. for more info re: susie and her projects, see

www.susieibarra.com

cheers,
Dave

np: Duke Ellington "Afro-Bossa" (Reprise)

-



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

From: "Bob Kowalski" <[e-mail]>
Subject: new bryars release
Date: 05 Apr 2001 08:53:41 -0400

Has anyone heard the new Gavin Bryars release "Biped" on his own freshly =
minted label (GB Records) ?  I'll most likely be picking it up but am =
always interested in what the zornsters have to say.

Bob



-



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

From: Ricardo Reis <[e-mail]>
Subject: RE: Heart of darkness - Orson Welles
Date: 05 Apr 2001 13:56:46 +0100 (WET DST)

On Thu, 5 Apr 2001, [iso-8859-1] "Vuilleumier, St=E9phane" wrote:

> Google search
>=20
> http://ord.posoe.com/mtr/welles.htm
>=20
> 39$95
>=20
> sounds interesting
>=20
> Stephane=09=09=09=09=09

=09thanx!
=09=09          =20
                              Ricardo Reis

=09=09=09      "NON SERVIAM"


-



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

From: patRice <[e-mail]>
Subject: Re: Heart of darkness - Orson Welles
Date: 05 Apr 2001 15:37:57 +0200

Make sure you also search the item you might be interested in on
Amazon.com - the prices seem to be cheaper...

patRice

np: Miles Davis, Miles In The Sky
nr: Albert Parry, Tattoo: Secrets Of A Strange Art...


Ricardo Reis wrote:

> On Thu, 5 Apr 2001, [iso-8859-1] "Vuilleumier, St=E9phane" wrote:
>
> > Google search
> >
> > http://ord.posoe.com/mtr/welles.htm
> >
> > 39$95
> >
> > sounds interesting
> >
> > Stephane
>
>         thanx!


-



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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: leo smith's golden quartet
Date: 05 Apr 2001 16:43:56 +0200 (CEST)

Hi Martin,

The Golden Quartet was one of my first choices for
that 2000 top ten we did.

It was some of the most wonderful discoverings I made
during the last months.
Their Tzadik release is really a good listening that
mixes "freer" stuff with quiet compositions, specially
that dedicated to Leo's wife -I don't remember the
title but it's the second tune.
Smith's playing can be really soft and delicate to
turn into amazing fireworks just in seconds.
The themes usually develop as soloing improv
rounds,but don't be scared, nothing is about
virtuosism.
If you like DeJohnette, I promise his work here won't
dissappoint you.

If you like this one, you can also try Smith's
"Reflectability", also on Tzadik. Same line-up but no
drums.

Best regards,

EfrΘn



--- Martin Wisckol <[e-mail]>
escribi≤: > Fecha: Wed, 04 Apr 2001 13:26:28 -0800
> Asunto: leo smith's golden quartet
> Para: [e-mail]
> De: "Martin Wisckol"
> <[e-mail]>
>
> Leo Smith's Golden Quartet looks great on paper --
> can anybody offer
> comments on Smith's playing and the ensemble
> approach?
>
>
>
> -
>


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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: The gift
Date: 05 Apr 2001 16:49:45 +0200 (CEST)

Hello everyone,

I just got Zorn's The Gift and after repeated
listenings I must firmly state my certain
disappointment.

As someone said before, no surprises came out of my CD
player except for certain nice moments, like the last
surfy theme and maybe that with Patton on "vocals".

Maybe there was too much expectation but this
certainly is not what Naked City fans had been waiting
at all. I don't mean I don't like it but in spite of
creating such a list of collaborators, maybe Zorn
should have taken more care of the compositions.
I just can't figure out some of them.

It's got its highlights though.


Maybe next time. Greetings,

EfrΘn del VAlle

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

From: "Alastair Wilson" <[e-mail]>
Subject: Re: Zorn/Satlah at Cargo April 2
Date: 05 Apr 2001 15:21:11 -0000

Let's just say that Evan Parker makes a rather better job of it...


>
>only an attempt ?????
>
>Alastair Wilson wrote:
>>Zorn did an attempt at circular breathing,
>
>Greetings,
>
>[e-mail]
>
>-
>

_________________________________________________________________________
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-



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

From: Theo Klaase <[e-mail]>
Subject: Re: the gift
Date: 05 Apr 2001 08:28:58 -0700 (PDT)

--0-497610080-986484538=:3950
Content-Type: text/plain; charset=us-ascii

      I didn't understand the Naked City comparrison either... I do like the album, though.... Some tracks are certainly better than others, though... Dave Douglas performs nicely on the album's highlight (for me) track six... Marc Ribot does nothing but dazzle my ears anytime he plays... This seems to be more of a Filmworks album than the follow up to Taboo and Exile... and the Naked City remarks brought a host of premeditated ideas that did not materialize...


-That which is Theo     "My philosophy, in essense, is the concept of man as a heroic being, with his own happiness as the moral purpose of his life, with productive achievement as his noblest activity, and reason as his only absolute."

An individualist is a man who says:  "I will not run anyone else's life, nor let anyone rule mine.  I will not rule or be ruled.  I will not sacrifice myself for anyone, nor sacrifice anyone to myself." --Ayn Rand.





Do You Yahoo!?
Yahoo! Mail Personal Address - Get email at your own domain with Yahoo! Mail.
--0-497610080-986484538=:3950
Content-Type: text/html; charset=us-ascii

      I didn't understand the Naked City comparrison either... I do like the album, though.... Some tracks are certainly better than others, though... Dave Douglas performs nicely on the album's highlight (for me) track six... Marc Ribot does nothing but dazzle my ears anytime he plays... This seems to be more of a Filmworks album than the follow up to Taboo and Exile... and the Naked City remarks brought a host of premeditated ideas that did not materialize...<BR><BR><P>-That which is Theo     "My philosophy, in essense, is the concept of man as a heroic being, with his own happiness as the moral purpose of his life, with productive achievement as his noblest activity, and reason as his only absolute." </P>
<P>An individualist is a man who says:  "I will not run anyone else's life, nor let anyone rule mine.  I will not rule or be ruled.  I will not sacrifice myself for anyone, nor sacrifice anyone to myself." --Ayn Rand.</P>
<P> </P><p><br><hr size=1><b>Do You Yahoo!?</b><br>
<a href="http://personal.mail.yahoo.com/?.refer=mailiyfoot">Yahoo! Mail Personal Address</a> -
Get email at your own domain with Yahoo! Mail.
--0-497610080-986484538=:3950--

-



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

From: "Arthur Gadney" <[e-mail]>
Subject: Re: ruins medleys
Date: 05 Apr 2001 15:36:06 -0000

>Also available are one Ruins
>"Improvisations" CD-R and Yoshida's solo "an Etude" CD-R.

I'm pretty curious what these are like. Anyboy heard them or are you all
sick and tired of CD-Rs?
_________________________________________________________________
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-



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

From: "Julian" <[e-mail]>
Subject: Re: 2 Fuse cds
Date: 06 Apr 2001 01:51:49 +1000

Since my original email, I have discovered that the two cds I mentioned are
not on the Fuse label after all. The reason I thought they were is that
they'd been put in that section in the shop I saw them in. Anyway, cdnow has
clips from "More Encores" and that sounds pretty interesting. But if anyone
can give me a description/recommendation for "Excuse Me Mr Satie", that
would be much appreciated...


-



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

From: [e-mail]
Subject: Re: 2 Fuse cds
Date: 05 Apr 2001 12:58:16 -0400




Julian asked:
     Just curious about two discs (ie. what they are like,
     whether they are any good, etc.). I believe they are
     both on the Fuse label...
     - - Christian Marclay, I think it was called something
     like "More Encores", where he creates collages using
     the work of Strauss, Zorn, Frith, Callas,Gainsbourg...

...Hendrix, Cage, Armstrong, and himself.  I have a couple others by him, but
this is the one I come back to, since it works very well as a concept.  Each
track is in its own way a tribute to one artist/composer.   With the Strauss he
"zooms" the turntables in time with the music.  The remix of Gainsbourg's "Je
T'aime" plays with its "eroticism".  For the Cage piece he actually cut up LPs
and reassembled them;  the resulting record is what you hear.  For Louis
Armstrong, he used several old windup record players.  The Zorn piece sounds
like ... a Zorn piece.  It's very clever.

Glenn



-



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

From: [e-mail]
Subject: Berne's Quicksand
Date: 05 Apr 2001 13:35:53 EDT

Did anyone catch any of the recent shows of Tim Berne's Quicksand in Europe ?
Any reviews ?

-



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

From: "William York" <[e-mail]>
Subject: Re: Bible Launcher
Date: 05 Apr 2001 17:36:21

>anyone know what the deal is with this CD? I can't
>remember why it was recalled by Koch shortly after
>it's release. As a smart record store employee at the
>time, I purchased the copy (my 2nd) we had in stock
>instead of sending it back.

Now it is on the Radical House label (they have a web site, don't know it
off hand). That version has some extra tracks. There is also a sequel on the
same label. I bought those from 99 Hooker, and he told me the story about it
being pulled -- the ever-reliable Steve Smith had all the details before in
his last post. The other thing is that Zorn gave them back the tapes for the
band to do whatever they wanted, and they thank him in the liner notes, for
whatever that's worth.

I wish I cold find something more like the live performance I saw by him (99
Hooker). Really surreal, disturbed, funny spoken-word monologues/rants, plus
actual good screaming saxophone playing (he was with a drummer who played
through an amp with reverb). Actually that was one of the best shows I saw
all last year ...

WY




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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: Re: the gift
Date: 05 Apr 2001 19:39:28 +0200 (CEST)

Absolutely, Theo!

It also reminded me of Filmworks VI first score, the
one for the Mailman film -can't remember the title-
and even brought to my mind the second theme on
"Radio" with that Frisell's surf guitar.
--- Theo Klaase <[e-mail]> escribi≤: >
Fecha: Thu, 5 Apr 2001 08:28:58 -0700 (PDT)
> De: Theo Klaase <[e-mail]>
> Asunto: Re: the gift
> Para: Zorn List <[e-mail]>
>
>       I didn't understand the Naked City comparrison
> either... I do like the album, though.... Some
> tracks are certainly better than others, though...
> Dave Douglas performs nicely on the album's
> highlight (for me) track six... Marc Ribot does
> nothing but dazzle my ears anytime he plays... This
> seems to be more of a Filmworks album than the
> follow up to Taboo and Exile... and the Naked City
> remarks brought a host of premeditated ideas that
> did not materialize...
>
>
> -That which is Theo     "My philosophy, in essense,
> is the concept of man as a heroic being, with his
> own happiness as the moral purpose of his life, with
> productive achievement as his noblest activity, and
> reason as his only absolute."
>
> An individualist is a man who says:  "I will not run
> anyone else's life, nor let anyone rule mine.  I
> will not rule or be ruled.  I will not sacrifice
> myself for anyone, nor sacrifice anyone to myself."
> --Ayn Rand.
>
>
>
>
>
> ---------------------------------
> Do You Yahoo!?
> Yahoo! Mail Personal Address - Get email at your own
> domain with Yahoo! Mail.


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

From: "William York" <[e-mail]>
Subject: Shockabilly Question
Date: 05 Apr 2001 17:41:55

I keep seeing a listing on various sites for "FOREST: AUTHORIZED MUSICAL
BIOGRAPHY" by Shockabilly (that would be E Chadbourne, Kramer, David Licht)
that is apparently a  box set or some such collection on Shimmy Disc. It
supposedly a box set, but I have seen no physical evidence of this not have
I heard any updates from Shimmy-Disc (not that any of the Knit-related sites
are ever updated) or the Chadbourne headquarters. Does anone know anthing
aobut this??

Thank yous,

WY
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-



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

From: alberta <[e-mail]>
Subject: RE: Bible launcher
Date: 05 Apr 2001 14:57:50 -0400 (EDT)

the always lucid and informed ssmith has the story right, as i've heard it.

postscript, tho: to zorn's credit, the musicians (incl. hooker 99) got the masters back, no questions asked, no money down, to release wherever they could. most labels woulda just sat on it.

bye.

kg

FREE! The World's Best Email Address @email.com
Reserve your name now at http://www.email.com



-



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

From: [e-mail]
Subject: makigami koichi live in NYC tomorrow
Date: 05 Apr 2001 16:10:41 EDT

I can't go to this, and I'm not sure exactly what it is, but Koichi is one of
my favorite live performers in the world. if anyone goes, please report back
as to how it was.

Jon
www.erstwhilerecords.com


Soundoff: The First in a Series of New Sound Performances

Curated by Neil Benezra


Friday, April 6, 2001, 7-9 pm


Scott Fulmer: "Aural Landscape in 3 Parts" (USA)


Makigami Koichi: Throat Singing (Japan)


Karl Leitgeb: "The Early Night Radio Show" (Austria)



AC Project Room

453 West 17th Street, 2nd floor

New York, NY 10011

[phone]

-



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

From: [e-mail]
Subject: makigami koichi live in NYC tomorrow
Date: 05 Apr 2001 22:10:41 +0200 (CEST)

I can't go to this, and I'm not sure exactly what it is, but Koichi is one of
my favorite live performers in the world. if anyone goes, please report back
as to how it was.

Jon
www.erstwhilerecords.com


Soundoff: The First in a Series of New Sound Performances

Curated by Neil Benezra


Friday, April 6, 2001, 7-9 pm


Scott Fulmer: "Aural Landscape in 3 Parts" (USA)


Makigami Koichi: Throat Singing (Japan)


Karl Leitgeb: "The Early Night Radio Show" (Austria)



AC Project Room

453 West 17th Street, 2nd floor

New York, NY 10011

[phone]

-



-



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

From: Scott Handley <[e-mail]>
Subject: Re: lightning bolt
Date: 05 Apr 2001 14:34:39 -0700 (PDT)

--- Grey ElkGel <[e-mail]> wrote:
> > Besides, sometimes I like the wanky guitar solos -

> > the more ridiculous, the better!
>
> i agree there.

Before the metal/no-wave thread grows cold, does
anyone have input on the band Chrome?  They sound
interesting, in theory, but not having heard them.
Sounds like early industrial with lots of shredding
and tape/samples, etc.  Also, I got This Heat's MADE
AVAILABLE and was knocked out by the first several
tracks.  I have to get the earlier, out of print
stuff, but in the meantime: are there any bands
working this territory that I might like, esp. bands
now working?  On similar note, are there any groups
working now that really carry on the best of the
disturbing This Heat-type prog (?) and the early Kraut
triumphs, without simply aping those advances?  Sorry
for the vagueness of the question.  I should've just
asked for bands that sound like This Heat, but I
thought that'd be vulgar.

----s, skirting vulgarity, heh

P.S. Don Gunning was right: Brainwashed.com is _not_
clsing its doors, or at least not on April 16, or at
least they're not planning on it.  Just so know, if
you care.  And you should.

NP: Minit - MUSIC  (Sigma Editions)

=====
"Electric guitar gets run over by a car on the highway/This is a crime against the state/This is the meaning of life...
Electric guitar is copied, the copy sounds better/Call this law and justice, call this freedom and liberty/I thought I perjure myself, right in front of the jury!"
                        ---Talking Heads, "Electric Guitar"

__________________________________________________
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-



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

From: Eric Ong <[e-mail]>
Subject: Re: lightning bolt
Date: 05 Apr 2001 17:11:20 -0400

I don't have the 2 records with me, so this info could be off a little... but there's a band you shld check out called the Starfuckers (hmm, I think that's the name).
They remind me of This Heat but without all the rocking out. Much more low-key with just a sampler, guitar, and drums (again, working from memory here). I think
they're from Italy, so the lyrics are spoken/moaned in a langauge that is not English. Boooo.

Their last release off Drunken Fish was pretty good.

-eric.


Scott Handley wrote:

> --- Grey ElkGel <[e-mail]> wrote:
> > > Besides, sometimes I like the wanky guitar solos -
>
> > > the more ridiculous, the better!
> >
> > i agree there.
>
> Before the metal/no-wave thread grows cold, does
> anyone have input on the band Chrome?  They sound
> interesting, in theory, but not having heard them.
> Sounds like early industrial with lots of shredding
> and tape/samples, etc.  Also, I got This Heat's MADE
> AVAILABLE and was knocked out by the first several
> tracks.  I have to get the earlier, out of print
> stuff, but in the meantime: are there any bands
> working this territory that I might like, esp. bands
> now working?  On similar note, are there any groups
> working now that really carry on the best of the
> disturbing This Heat-type prog (?) and the early Kraut
> triumphs, without simply aping those advances?  Sorry
> for the vagueness of the question.  I should've just
> asked for bands that sound like This Heat, but I
> thought that'd be vulgar.
>
> ----s, skirting vulgarity, heh
>
> P.S. Don Gunning was right: Brainwashed.com is _not_
> clsing its doors, or at least not on April 16, or at
> least they're not planning on it.  Just so know, if
> you care.  And you should.
>
> NP: Minit - MUSIC  (Sigma Editions)
>
> =====
> "Electric guitar gets run over by a car on the highway/This is a crime against the state/This is the meaning of life...
> Electric guitar is copied, the copy sounds better/Call this law and justice, call this freedom and liberty/I thought I perjure myself, right in front of the jury!"
>                         ---Talking Heads, "Electric Guitar"
>
> __________________________________________________
> Do You Yahoo!?
> Get email at your own domain with Yahoo! Mail.
> http://personal.mail.yahoo.com/
>
> -


-



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

From: [e-mail]
Subject: makigami koichi live in NYC tomorrow
Date: 05 Apr 2001 22:10:41 +0200 (CEST)

I can't go to this, and I'm not sure exactly what it is, but Koichi is one of
my favorite live performers in the world. if anyone goes, please report back
as to how it was.

Jon
www.erstwhilerecords.com


Soundoff: The First in a Series of New Sound Performances

Curated by Neil Benezra


Friday, April 6, 2001, 7-9 pm


Scott Fulmer: "Aural Landscape in 3 Parts" (USA)


Makigami Koichi: Throat Singing (Japan)


Karl Leitgeb: "The Early Night Radio Show" (Austria)



AC Project Room

453 West 17th Street, 2nd floor

New York, NY 10011

[phone]

-



-



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

From: Taylor McLaren <[e-mail]>
Subject: re: Heart of darkness - Orson Welles
Date: 04 Apr 2001 19:53:43 -0400


MEEP! Ricardo Reis <[e-mail]> wrote:
>Does anyone know if there's a recording (the recording surely
>exists but is it available?) of Orson Welles reading "Heart of darkness"
>by Joseph Conrad?
I know that a couple of references to the Theatre of the Imagination disc
from Voyager Press have already been posted, but it's probably worth
mentioning that, Voyager being Voyager, this title was released in scads of
different formats. I've just found a good 'n' cheap copy of the laserdisc
on eBay, and it was also released as one of their early CD-ROM titles;
scouring the bargain bins at bookstores might very well turn a copy up
after a while.
  For what it's worth, though, the reading in question is pretty
ludicrously short for its contents, and it could be (less-than-generously)
described as being incomprehensible.

-me



-



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

From: Dwayne <[e-mail]>
Subject: The Gift pulled in Canada?
Date: 05 Apr 2001 22:15:39 -0400

I just got back from my local music store and the guy there told me that the Gift had been
pulled from shelves in Canada.  He said he was told the FBI were looking into it?  What's
the deal with this?  Thats two of his Tzadik releases pulled from shelves here in less
than 6 months.  I don't care I already have them just curious what is so offensive about
them.  Anybody here offended by the artwork?


-Dwayne


efrΘn del valle wrote:
>
> Hello everyone,
>
> I just got Zorn's The Gift and after repeated
> listenings I must firmly state my certain
> disappointment.
>
> As someone said before, no surprises came out of my CD
> player except for certain nice moments, like the last
> surfy theme and maybe that with Patton on "vocals".
>
> Maybe there was too much expectation but this
> certainly is not what Naked City fans had been waiting
> at all. I don't mean I don't like it but in spite of
> creating such a list of collaborators, maybe Zorn
> should have taken more care of the compositions.
> I just can't figure out some of them.
>
> It's got its highlights though.
>
> Maybe next time. Greetings,
>
> EfrΘn del VAlle
>
> _______________________________________________________________
> Do You Yahoo!?
> Envφa mensajes instantßneos y recibe alertas de correo con
> Yahoo! Messenger - http://messenger.yahoo.es
>
> -

--
Click here for Free Video!!
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-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: The Gift pulled in Canada?
Date: 05 Apr 2001 21:05:37 -0500

On Thu, Apr 05, 2001 at 10:15:39PM -0400, Dwayne wrote:
> I just got back from my local music store and the guy there told me that the Gift had been
> pulled from shelves in Canada.  He said he was told the FBI were looking into it?  What's
> the deal with this?  Thats two of his Tzadik releases pulled from shelves here in less
> than 6 months.  I don't care I already have them just curious what is so offensive about
> them.  Anybody here offended by the artwork?

Not offended personally -- but I sure am keeping it in the paper sleeve
here at 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: "Caleb T. Deupree" <[e-mail]>
Subject: Re: lightning bolt
Date: 05 Apr 2001 22:42:41 -0400

At 02:34 PM 4/5/01 -0700, Scott Handley wrote:
>
>Before the metal/no-wave thread grows cold, does
>anyone have input on the band Chrome?  They sound
>interesting, in theory, but not having heard them.

There's a name I haven't thought of in years.  I liked their album Alien
Soundtracks so much that it took me several other releases of trying to get
that sound again before I realized it wasn't happening.  Alien Soundtracks
was one of the few albums they made as a quartet, so perhaps it was the
combination of all the players that makes it stand out in my mind.  As I
remember, when they later became a duo, the music was much less interesting.

Funny you should mention This Heat, their album Deceit was on the player
today.  For me that one wears better than the first one, or at least the
songs stuck in my head better.  Sometimes I think Tortoise is moving in the
same territory (although I don't like Standards as much as some of their
earlier stuff).

--
Caleb Deupree
[e-mail]


-



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

From: [e-mail]
Subject: Re: The Gift pulled in Canada?
Date: 05 Apr 2001 22:52:38 EDT


--part1_75.12b3d644.27fe8976_boundary
Content-Type: text/plain; charset="US-ASCII"
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In a message dated 4/5/01 9:13:47 PM Central Daylight Time,
[e-mail] writes:


> He said he was told the FBI were looking into it?

That's odd. What in the world would the FBI need to look into it for? I can't
think of one law that the FBI would want to address...where is your local
music store? Are you in Canada? I'm curious! :)
Jan

--part1_75.12b3d644.27fe8976_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

<HTML><FONT FACE=arial,helvetica><FONT  SIZE=5 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0">In a message dated 4/5/01 9:13:47 PM Central Daylight Time,
<BR>[e-mail] writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">He said he was told the FBI were looking into it?  </FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#000000" SIZE=5 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0">
<BR>That's odd. What in the world would the FBI need to look into it for? I can't
<BR>think of one law that the FBI would want to address...where is your local
<BR>music store? Are you in Canada? I'm curious! :)
<BR></FONT><FONT  COLOR="#000000" SIZE=7 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0"><B><I>Jan</B></I></FONT></HTML>

--part1_75.12b3d644.27fe8976_boundary--

-



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

From: [e-mail]
Subject: Re: The Gift pulled in Canada?
Date: 05 Apr 2001 23:06:31 EDT

Keep in mind that I am half-asleep and have a faulty memory, but when I spoke
with Bruce at Downtown Music the other day he told me that many copies of
"The Gift" had been recalled because of a packaging error.  I don't think it
was because the artwork was found to be offensive by the FBI or any other
government appointed task squad.  From what I understood (and granted, this
was a very brief and twice interrupted conversation), the disc had a problem
with that wrap-around outer black description thingy (name please?) that
accompanies every Tzadik release.  "The Gift" wasn't supposed to have one on
the outside, and those that did were recalled.

'night,
Tom

NP: Matthew Shipp "Magnetism"

In a message dated 4/5/01 10:01:45 PM Eastern Daylight Time,
[e-mail] writes:

> I just got back from my local music store and the guy there told me that
the
> Gift had been
>  pulled from shelves in Canada.  He said he was told the FBI were looking
> into it?  What's
>  the deal with this?  Thats two of his Tzadik releases pulled from shelves
> here in less
>  than 6 months.  I don't care I already have them just curious what is so
> offensive about
>  them.  Anybody here offended by the artwork?
>
>
>  -Dwayne

-



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

From: "Jesse Kudler" <[e-mail]>
Subject: This Heat
Date: 05 Apr 2001 23:11:44 -0400

"Health and Efficiency" is one of my favorite records ever.  Buy
immediately.  "Repeat," which is packed with it as a twofer, is also really
good.

Are the full lengths besides "Made Available," um, available, anywhere?

-Jesse

----- Original Message -----
Sent: Thursday, April 05, 2001 5:34 PM



> and tape/samples, etc.  Also, I got This Heat's MADE
> AVAILABLE and was knocked out by the first several
> tracks.  I have to get the earlier, out of print
> stuff, but in the meantime: are there any bands
> working this territory that I might like, esp. bands
> now working?  On similar note, are there any groups
> working now that really carry on the best of the
> disturbing This Heat-type prog (?) and the early Kraut
> triumphs, without simply aping those advances?  Sorry
> for the vagueness of the question.  I should've just
> asked for bands that sound like This Heat, but I
> thought that'd be vulgar.
>
> ----s, skirting vulgarity, heh



-



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

From: Julien Quint <[e-mail]>
Subject: Re: lightning bolt
Date: 06 Apr 2001 09:42:40 +0200

Le Jeudi 05 Avril 2001 23:34, Scott Handley a =E9crit :

> On similar note, are there any groups
> working now that really carry on the best of the
> disturbing This Heat-type prog (?) and the early Kraut
> triumphs, without simply aping those advances?  Sorry
> for the vagueness of the question.  I should've just
> asked for bands that sound like This Heat, but I
> thought that'd be vulgar.

I remember when I first heard This Heat a few years ago that a lot of the=
=20
bands I was listening to at that were heavily influenced by them. Actuall=
y,=20
there was a whole bunch of French "post-rock" bands a few years ago that=20
would fit your description very well.

The best ones would be Tone Rec (3 albums on Sub Rosa; now they exist as =
the=20
glitchy laptop band Dat Politics), Ulan Bator (the first few ones on les=20
Disques du Soleil et de l'Acier, such as "2=B0" and "V=E9g=E9tale"; the l=
atest one,=20
"Ego:Echo", is awful), and especially B=E4stard: their second and last al=
bum=20
"Radiant, Discharged, Crossed-Off" is essential (the first one is OK but=20
nowhere near as good). It was first issued by Semantic, who then proceede=
d to=20
go belly up, and was then reissued by Ici D'ailleurs and should be still=20
available.

Lastly, but I think it is out of print, the "File Under Music" compilatio=
n LP=20
on Rectangle pairs those bands (B=E4stard, Sister Iodine, Prohibition,=20
H=E9liogabale, Hint) with free jazz musicians (e.g. Daunik Lazro, Yves Ro=
bert,=20
Denis Colin, Daunik Lazro) to uneven but often interesting effect.

Julien

ps -- good luck finding this abroad!

-



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

From: Ricardo Reis <[e-mail]>
Subject: Re: Heart of darkness - Orson Welles
Date: 06 Apr 2001 10:16:41 +0100 (WET DST)


> From: Taylor McLaren <[e-mail]>

>   For what it's worth, though, the reading in question is pretty
> ludicrously short for its contents, and it could be (less-than-generously)
> described as being incomprehensible.

    it's interesting what you say. i've only heard excerpts from the
"heart of darkness" documentary film by Alice Coppola on her husbands film
"Apocalipse now". i got the idea he was doing a "heavy" dark reading, very
suited to the text. can you be more explicity when classifying it as
"incomprehensible"?
                   greets,

                              Ricardo Reis

                  "NON SERVIAM"


-



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

From: Theo Klaase <[e-mail]>
Subject: the gift (artwork)
Date: 06 Apr 2001 03:43:51 -0700 (PDT)

--0-923652112-986553831=:17205
Content-Type: text/plain; charset=us-ascii

     I wasn't offended in the least... Although at work I keep the "Taboo and Exile" artwork "on the down low..."  If art doesn't provoke thought and possibly discussion, then what good is it?  It doesn't effect anyone's life, liberty, or pursuit of happiness, so what's the big deal... Those who don't like it, move on to the next CD.  It only becomes an issue when certain groups of people make an issue of it... Just as the word "shit" is only a meaningless word (like spoon) until some group labels it as "offensive" and then we can't say it at work... ...and then it becomes forbidden fruit, which in turn brings a certain allure all its own.


Do You Yahoo!?
Yahoo! Mail Personal Address - Get email at your own domain with Yahoo! Mail.
--0-923652112-986553831=:17205
Content-Type: text/html; charset=us-ascii

     I wasn't offended in the least... Although at work I keep the "Taboo and Exile" artwork "on the down low..."  If art doesn't provoke thought and possibly discussion, then what good is it?  It doesn't effect anyone's life, liberty, or pursuit of happiness, so what's the big deal... Those who don't like it, move on to the next CD.  It only becomes an issue when certain groups of people make an issue of it... Just as the word "shit" is only a meaningless word (like spoon) until some group labels it as "offensive" and then we can't say it at work... ...and then it becomes forbidden fruit, which in turn brings a certain allure all its own.  <p><br><hr size=1><b>Do You Yahoo!?</b><br>
<a href="http://personal.mail.yahoo.com/?.refer=mailiyfoot">Yahoo! Mail Personal Address</a> -
Get email at your own domain with Yahoo! Mail.
--0-923652112-986553831=:17205--

-



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

From: Dwayne <[e-mail]>
Subject: Re: The Gift pulled in Canada?/Brotz & DLAD
Date: 06 Apr 2001 07:52:25 -0400

> He said he was told the FBI were looking into it?

That's odd. What in the world would the FBI need to look into it for? I can't
think of one law that the FBI would want to address...where is your local
music store? Are you in Canada? I'm curious! :)
Jan


I live in Kitchener which is about 1hr from Toronto.  I remember when he told me about the
Taboo & Exile being pulled too.  He got a call asking him to send back any copies he still
had and it wasn't going to be available again.  This time he told me the guy he talked to
said the FBI were looking into it?  I guess this is all hearsay but I'll be back down
there today so I'll ask a little more about it.  If it is no longer going to be availbale
here I feel better knowing I already have a copy.
On a bit of a side note, anyone here going to catch any of the Die like A Dog trio shows.
There are a number of dates and I plan on heading to Buffalo next Saturday.  I remember
there being some talk about Brotzmann a week or so ago.  I've been listening to 'Little
Birds Have Fast Hearts Vol 1' and it's incredible.  Just got The Brotzmann/Drake/Kessler
in the mail from OKKA yesterday so I will be checking that out any minute now.
Here are the dates for the DLAD spring tour posted on the eremite site.

4/7 - nyc: tonic brotzmann/parker - unconfirmed -
4/10 & 11 - montreal: casa del popolo trio
4/13 - boston: i.c.a. trio special guest joe mcphee
4/14 - buffalo: hallwalls trio special guest joe mcphee
4/15 - rochester: bug jar trio
4/16 - ann arbor: firefly club trio
4/17 - bloomington: second story trio
4/19 - chicago: empty bottle brotzmann/drake
4/20 - chicago: empty bottle trio special guest fred anderson
4/22 - milwaukee: brotzmann
4/23 - austin: ceremony hall trio
4/24 - houston: trio
4/25 - nola: contemporary arts center trio special guest kidd jordan
4/27 - atlanta: first congregational church   brotzmann/drake
4/28 - athens: forty watt club brotzmann/drake

-



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

From: Moudry <[e-mail]>
Subject: Re: Brotz & Drake in Atlanta
Date: 06 Apr 2001 10:45:44 -0500


><snip!>
>4/27 - atlanta: first congregational church   brotzmann/drake
><snip!>

For clarity's sake, the Atlanta site for Brotzmann & Drake is

First Existentialist Congregation
470 Candler Park Dr NE,
Atlanta, GA 30307-2113

Phone: [phone]

which is also where Evan Parker will do his solo performance on Saturday,
21 April.

Hope to see some of you there.

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 & Creative Improv on Alabama Public Radio:
WUAL 91.5FM Tuscaloosa/Birmingham
WQPR 88.7FM Muscle Shoals/NW Alabama
WAPR 88.3FM Selma/Montgomery/Southern Alabama


-



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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: The Gift pulled in Canada?
Date: 06 Apr 2001 18:00:33 +0200 (CEST)

Hi Dwayne and all the rest,

More than annoying I found the artwork one of the
highlights of the record.
Design is one of the monthly gifts that Tzadik gives
us. I said it was ridiculous to withdraw Taboo & Exile
from the shops before, and I maintain that opinion.
These things appear to me as a stupid hypocrisy from
the authorities that demonstrate their "strong values"
in these small things while allowing the actual
pedestrians to go on abusing indefense people.

Don't worry Dwayne, you're not a pervert by liking
these beautiful pics. If you are, I am too.

Greetings,

EfrΘn del Valle

--- Dwayne <[e-mail]> escribi≤: > Fecha:
Thu, 05 Apr 2001 22:15:39 -0400
> De: Dwayne <[e-mail]>
> Responder a: [e-mail]
> Organizaci≤n: @Home Network
> Para: efrΘn del valle <[e-mail]>
> CC: [e-mail]
> Asunto: The Gift pulled in Canada?
>
> I just got back from my local music store and the
> guy there told me that the Gift had been
> pulled from shelves in Canada.  He said he was told
> the FBI were looking into it?  What's
> the deal with this?  Thats two of his Tzadik
> releases pulled from shelves here in less
> than 6 months.  I don't care I already have them
> just curious what is so offensive about
> them.  Anybody here offended by the artwork?
>
>
> -Dwayne
>
>
> efrΘn del valle wrote:
> >
> > Hello everyone,
> >
> > I just got Zorn's The Gift and after repeated
> > listenings I must firmly state my certain
> > disappointment.
> >
> > As someone said before, no surprises came out of
> my CD
> > player except for certain nice moments, like the
> last
> > surfy theme and maybe that with Patton on
> "vocals".
> >
> > Maybe there was too much expectation but this
> > certainly is not what Naked City fans had been
> waiting
> > at all. I don't mean I don't like it but in spite
> of
> > creating such a list of collaborators, maybe Zorn
> > should have taken more care of the compositions.
> > I just can't figure out some of them.
> >
> > It's got its highlights though.
> >
> > Maybe next time. Greetings,
> >
> > EfrΘn del VAlle
> >
> >
>
_______________________________________________________________
> > Do You Yahoo!?
> > Envφa mensajes instantßneos y recibe alertas de
> correo con
> > Yahoo! Messenger - http://messenger.yahoo.es
> >
> > -
>
> --
>
> Click here for Free Video!!
> http://www.gohip.com/free_video/
>
> -
>


_______________________________________________________________
Do You Yahoo!?
Envφa mensajes instantßneos y recibe alertas de correo con
Yahoo! Messenger - http://messenger.yahoo.es

-



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

From: Tom Gatzen <[e-mail]>
Subject: Re: Brotz & Drake in Atlanta
Date: 06 Apr 2001 09:45:24 -0700 (PDT)


dang...I wont be there for it...if only it was later on

__________________________________________________
Do You Yahoo!?
Get email at your own domain with Yahoo! Mail.
http://personal.mail.yahoo.com/

-



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

From: alberta <[e-mail]>
Subject: ruinscdrs
Date: 06 Apr 2001 12:52:25 -0400 (EDT)

>Also available are one Ruins
>"Improvisations" CD-R and Yoshida's solo "an Etude" CD-R.

I'm pretty curious what these are like. Anyboy heard them or are you all
sick and tired of CD-Rs?

>>>i didn't see 'an etude' when they were in nyc. the 'improvisations' disc is pretty good, although i prefer the composed ruin stuff.

kg

FREE! The World's Best Email Address @email.com
Reserve your name now at http://www.email.com



-



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

From: =?iso-8859-1?q?Pierre=20Toussaint?= <[e-mail]>
Subject: The Gift and Canada
Date: 06 Apr 2001 14:31:41 -0400 (EDT)

Hi Dwayne,
don't know where your from but here in Montreal
there's no problem finding both "the gift" and "taboo
and exile", they're readily available in the small
independent stores and even in the monstrous HMV. I
know someone who works at Customs Canada. What gets in
and what doesn't is left to the arbitrary decision of
a human who's culture and upbringing predisposed him
to be tolerant or not (and everywhere in between).
They are guidelines to what is acceptable or not, but
much is left to the person working that day.
Two more things. I personally don't find the art work
to be offensive, but it certainly can be for people
who canonize Britney Spears. The music? I find it very
entertaining. That for me is enough to justify that it
is a good cd. Reminds me of  David Lynch's movie
soundtracks. Will I listen to it in six months? I
don't know. But I'm still listening to Bar Kokhba,
that's for sure.
Pierre Toussaint
--

½C'est pas parce que τa intΘresse que c'est
intΘressant.╗
-Boris Vian.



-



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

From: "Brad Kendrick" <[e-mail]>
Subject: Re: Brotz & Drake in Atlanta
Date: 06 Apr 2001 11:28:29 +0100

no, you are wrong, the performance was listed correctly at The First
Congregational Church.  This is the work of presenters Al Smith and Rev.
Dwight Andrews.

----------
>From: Moudry <[e-mail]>
>To: [e-mail]
>Subject: Re: Brotz & Drake in Atlanta
>Date: Fri, Apr 6, 2001, 4:45 PM
>

>
>><snip!>
>>4/27 - atlanta: first congregational church   brotzmann/drake
>><snip!>
>
> For clarity's sake, the Atlanta site for Brotzmann & Drake is
>
> First Existentialist Congregation
> 470 Candler Park Dr NE,
> Atlanta, GA 30307-2113
>
> Phone: [phone]
>
> which is also where Evan Parker will do his solo performance on Saturday,
> 21 April.
>
> Hope to see some of you there.
>
> 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 & Creative Improv on Alabama Public Radio:
> WUAL 91.5FM Tuscaloosa/Birmingham
> WQPR 88.7FM Muscle Shoals/NW Alabama
> WAPR 88.3FM Selma/Montgomery/Southern Alabama
>
>
> -
>

-



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

From: Moudry <[e-mail]>
Subject: Fwd: Re: Brotz & Drake in Atlanta
Date: 06 Apr 2001 14:02:18 -0500

Brad (& Zornsters),

Thanks for the correction. Just checked a few references and is is to be in
the First Congregational, rather than the (usual hang-out) First
Existentialists'. However, I _still_ hope to see lots of folks there.

Brotzmann & Drake will be at First Congregational, but Evan Parker's solo
concert at First Existentialist.

Sorry for any confusion caused be conflating multiple e-mails into
incorrect information.

Saturnally,
Joe Moudry

>X-Mailer: Microsoft Outlook Express Macintosh Edition - 4.5 (0410)
>Date: Fri, 06 Apr 2001 11:28:29 +0100
>Subject: Re: Brotz & Drake in Atlanta
>From: "Brad Kendrick" <[e-mail]>
>To: Moudry <[e-mail]>, [e-mail]
>Sender: [e-mail]
>
>no, you are wrong, the performance was listed correctly at The First
>Congregational Church.  This is the work of presenters Al Smith and Rev.
>Dwight Andrews.
>
>----------
> >From: Moudry <[e-mail]>
> >To: [e-mail]
> >Subject: Re: Brotz & Drake in Atlanta
> >Date: Fri, Apr 6, 2001, 4:45 PM
> >
>
> >
> >><snip!>
> >>4/27 - atlanta: first congregational church   brotzmann/drake
> >><snip!>
> >
> > For clarity's sake, the Atlanta site for Brotzmann & Drake is
> >
> > First Existentialist Congregation
> > 470 Candler Park Dr NE,
> > Atlanta, GA 30307-2113
> >
> > Phone: [phone]
> >
> > which is also where Evan Parker will do his solo performance on Saturday,
> > 21 April.
> >
> > Hope to see some of you there.
> ><snip!>

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 & Creative Improv on Alabama Public Radio:
WUAL 91.5FM Tuscaloosa/Birmingham
WQPR 88.7FM Muscle Shoals/NW Alabama
WAPR 88.3FM Selma/Montgomery/Southern Alabama


-



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

From: Ken Waxman <[e-mail]>
Subject: Keith Rowe & Alan Cohen
Date: 06 Apr 2001 16:21:58 -0400 (EDT)

Hi all:

In the Keith Rowe interview in the latest Wire, he
talks about his tenure in a band led by Alan Cohen in
the time between leaving the Mike Westbrook Ork and
before the formation of AMM.

Rowe seems to have been asked to leave Westbrook, but
says he found a more sympathetic spirit in Cohen who
knew modern classical music.

Cohen's seems to be one name that has never come up in
histories of British Improvised Music. Was he a
player, a band leader or a composer? Did he lead a big
jazz band, a small combo, a dance band or a
"jazz-rock" group? Who else played with him besides
Rowe? And what is he doing now?

perplexed

Ken Waxman

_______________________________________________________
Do You Yahoo!?
Get your free @yahoo.ca address at http://mail.yahoo.ca

-



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

From: Brad Kendrick <[e-mail]>
Subject: RE: Fwd: Re: Brotz & Drake in Atlanta
Date: 06 Apr 2001 18:35:17 -0400 (EDT)

Joe and all in the southeast area:
just to clarify the presenting situtation in Atlanta - the use of the term
"usual hang-out" is a reference to the many, many concert presentations by
the Creative Music Association that established that venue in your mind as
such.  Those shows included artists such as: Brotzmann, Joe McPhee, Rova,
Mats Gustafsson, Wolgang Fuchs, William Parker, ALLY Trio + Vandermark,
Other Dem. in Music, Fred Van Hove.  Later, other presenters began using the
space.  Al Smith and Rev. Dwight Andrews have extended the vision of that
series at the First Congregational Church.  Many on this list will recognize
Dwight Andrews name as the same multi-reedist who has contributed
significantly to the music through his own compositions and collaborations
with people like Leo Smith, Braxton, Roscoe Mitchell, Anthony Davis, and
others.  Interestingly, it was a Brotzmann/Drake show that began in earnest
the Creative Music Association's presenting series back in early 1996.
Please support the Smith/Andrews vision for the music in the acoustically
superlative First Congregational Church.  The effort is the same, the names
have merely changed.

------Original Message------
Sent: April 6, 2001 7:02:18 PM GMT


Brad (& Zornsters),

Thanks for the correction. Just checked a few references and is is to be in
the First Congregational, rather than the (usual hang-out) First
Existentialists'. However, I _still_ hope to see lots of folks there.

Brotzmann & Drake will be at First Congregational, but Evan Parker's solo
concert at First Existentialist.

Sorry for any confusion caused be conflating multiple e-mails into
incorrect information.

Saturnally,
Joe Moudry

>X-Mailer: Microsoft Outlook Express Macintosh Edition - 4.5 (0410)
>Date: Fri, 06 Apr 2001 11:28:29 +0100
>Subject: Re: Brotz & Drake in Atlanta
>From: "Brad Kendrick" <[e-mail]>
>To: Moudry <[e-mail]>, [e-mail]
>Sender: [e-mail]
>
>no, you are wrong, the performance was listed correctly at The First
>Congregational Church.  This is the work of presenters Al Smith and Rev.
>Dwight Andrews.
>
>----------
> >From: Moudry <[e-mail]>
> >To: [e-mail]
> >Subject: Re: Brotz & Drake in Atlanta
> >Date: Fri, Apr 6, 2001, 4:45 PM
> >
>
> >
> >><snip!>
> >>4/27 - atlanta: first congregational church   brotzmann/drake
> >><snip!>
> >
> > For clarity's sake, the Atlanta site for Brotzmann & Drake is
> >
> > First Existentialist Congregation
> > 470 Candler Park Dr NE,
> > Atlanta, GA 30307-2113
> >
> > Phone: [phone]
> >
> > which is also where Evan Parker will do his solo performance on
Saturday,
> > 21 April.
> >
> > Hope to see some of you there.
> ><snip!>

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 & Creative Improv on Alabama Public Radio:
WUAL 91.5FM Tuscaloosa/Birmingham
WQPR 88.7FM Muscle Shoals/NW Alabama
WAPR 88.3FM Selma/Montgomery/Southern Alabama


-





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

From: "Michael Vandelaar" <[e-mail]>
Subject: re: The Gift pulled in Canada?
Date: 07 Apr 2001 10:29:40 +0930

You think that's bad ... here in Melbourne, Australia, the director's cut of
'The Exorcist' is not being shown on Good Friday as it may offend
Christians.
And further, no R-rated films are shown on Good Friday or Christmas Day for
the same reason!!!!

Michael


-



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

From: Karen Murphy <[e-mail]>
Subject: wrap-around outer black description thingy
Date: 07 Apr 2001 07:49:47 -0400

Tom,
I believe that the "wrap-around outer black description thingy" is called
an obi, which accompanies all Japanese CDs and LPs. On a side note, Evan
Parker is undertaking a brief US tour, including 3 dates with Susie
Ibarra.
T.M. Jones


EVAN PARKER & SUSIE IBARRA DUO:

8pm, Tuesday, April 10th
Hamman Hall, Rice University
Houston, TX
[e-mail]


8pm, Wednesday, April 11th
Ceremony Hall
Austin, TX
[e-mail]


8pm, Thursday, April 12th
Contemporary Arts Center
New Orleans, LA
[e-mail]


EVAN PARKER SOLO:

8:30pm, Monday, April 16th
The Lobby
St. Petersburg, FL
[e-mail]


8:30pm, Wednesday, April 18th
Western Presbyterian Church
Washington, DC
[e-mail]


8pm, Thursday, April 19th
Carrboro Century Center
Carrboro, NC
[e-mail]


8:30pm, Friday, April 20th
Flicker Theatre
Athens, GA
[e-mail]


8:30pm, Saturday, April 21st
First Existentialist Congregation
Atlanta, GA
[e-mail]


7pm, Sunday, April 22nd
Pilgrim Congregational Church
Birmingham, AL
[e-mail]



-



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

From: patRice <[e-mail]>
Subject: RE: The Gift
Date: 07 Apr 2001 14:08:06 +0200

Hi y'all...

I received my copy yesterday, and must say I like the CD very much.

Nothing new and ground-breaking, but a very enjoyable and entertaining
release.

Also one to play to your friends/family who are not into Zorn.

Besides, I feel this release is worth the money for Ribot's work
alone... I just adore his guitar-playing.

As for the artwork: doesn't offend me. The fact that it's paintings and
not photographs makes quite a bit of a difference, me thinks.

patRice

np: JZ, The Gift
nr: Jeroen Lamers, Japonius Tyrannus - Oda Nobunaga reconsidered

-



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

From: aaron chua <[e-mail]>
Subject: Cage/feldman
Date: 07 Apr 2001 06:40:07 -0700 (PDT)

Has anyone heard the new Cage prepared piano vol 2 on
naxos? any comments?
in fact any recommendations to his works written or
recorded would be appreciated.(but esp prepared piuano
pieces at hte moment. saw a drury cd of cage's music
and also by the ensemble modern today.,,)

thanks in advance,

oh yeah, i found the new morton feldman book  a great
read.great anecdotes w/ an occassional playful jibe at
stockhausen, boulez etc

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-



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

From: [e-mail]
Subject: AMM tour reports?
Date: 07 Apr 2001 21:21:13 EDT

so the much-anticipated AMM US tour has kicked off, yet we haven't heard
about it yet.

how did the Colorado show go, Matt? and let's hear some reports on the
California, Portland and Chicago shows once they happen also. I need
something to tide me over for a few weeks until they make it to the East
Coast.

Jon
www.erstwhilerecords.com

-



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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: The Gift and Canada
Date: 08 Apr 2001 18:38:14 +0200 (CEST)


 Reminds me of  David Lynch's movie
> soundtracks. Will I listen to it in six months? I
> don't know. But I'm still listening to Bar Kokhba,
> that's for sure.
> Pierre Toussaint
> --
>

After repeated listenings I have concluded that I
can't make too many comparisons -at least positive-
between the two records you mention. The quality of
"the circle maker" is IMHO much higher than that of
"The gift".

I confess I listened to "the Gift" 5 or 6 times and
won't be back in my CD player for a long time. Great
disappointment!

Greetings,

EfrΘn

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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: The Gift and Canada
Date: 08 Apr 2001 18:41:01 +0200 (CEST)


 Reminds me of  David Lynch's movie
> soundtracks. Will I listen to it in six months? I
> don't know. But I'm still listening to Bar Kokhba,
> that's for sure.
> Pierre Toussaint
> --
>

After repeated listenings I have concluded that I
can't make too many comparisons -at least positive-
between the two records you mention. The quality of
"the circle maker" is IMHO much higher than that of
"The gift".

I confess I listened to "the Gift" 5 or 6 times and
won't be back in my CD player for a long time. Great
disappointment!

By the way, thanks to all of those who included the
Michael Marcus 3 "Live in NY" in the top 2000 lists.
What an amazing recording!

Greetings,

EfrΘn

n.p: Peter Br÷tzmann/Misha Mengelberg/Han Bennink: "3
points and a mountain...plus" (FMP)

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

From: "Matthew W Wirzbicki  (S)" <[e-mail]>
Subject: RE: AMM tour reports?
Date: 08 Apr 2001 19:10:01 -0600



>how did the Colorado show go, Matt?

I was delightfully lost in their music for most of the set.  At the
beginning i didn't feel they were quite together but by about 10:00 they
seemed to have found each other (perhaps I percieved this because I didn't
close my eyes until this point).  The crowd was interesting; most of the
audience (C.Springs community and students of Colorado College) had no idea
what they were in for.  The total performance lasted about 1 hour and twenty
minutes.

Keith Rowe set up quite a few drone textures which he carefully modified and
almost unnoticably eliminated.  Their ability to blend volume levels really
astonished me.  Their transitions between textures were very decisive and
smooth.  There was a feeling of an ending which the group passed by.  Eddie
Prevost finished out the performance instead with a 5-10 min gong solo
(Keith Rowe was providing a little accompanyment at times). the silence at
the end of the performance went on for about 5 minutes before John Tilbury
played four notes at which point Keith Rowe turned off his stand light (each
member had his own stand light - there was no other stage lighting).  The
band stood and began to pack up to no applause.  Keith Rowe said that he
felt that the performance had a good overall form.
I thought it was incredible but I had never seen them before.


Matt Wirzbicki




-



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

From: Skip Heller <[e-mail]>
Subject: don pullen
Date: 09 Apr 2001 21:10:19 -0700

I've recently become quite enamored of Don Pullen's playing (I know -- I'm
late on this one).  Aside fr Mingus' CHANGES records, what are the best
choices for his playing?

skip h

np: prince -- come


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: don pullen
Date: 09 Apr 2001 00:52:49 -0400

For the earliest, "out"est stuff, check out the two Giuseppe Logan discs on
ESP.  The band also included Eddie Gomez and Milford Graves, and is
obviously worth hearing even if it's not among the best examples of any of
the sidemen concerned.  (It would be great if the Unheard Music Series could
find a way to reissue the ridiculously rare self-released duo album that
Pullen and Graves put out soon after - I've never even seen this thing.)
After this came the stretch with Mingus, of which I think 'Changes 1 & 2'
are the best examples.

Pullen recorded a fair amount of music under his own name, but for my money,
the music he made with tenorist George Adams in the Adams/Pullen Quartet
(or, as Blue Note would have it, the Pullen/Adams Quartet) is the fieriest
of his career.  Adams you'll already know from 'Changes' at the very least,
and the remainder of the group was bassist Cameron Brown and longtime Mingus
drummer Dannie Richmond.

They made a string of records on the Timeless label (including one with
guest John Scofield), but I'm most fond of their last four discs.  On Soul
Note, 'Live at the Village Vanguard' Vol. 1 & 2 give a good impression of an
average night with this incredible, raucous, telepathic band.  The two on
Blue Note, out of print but worth tracking down, are 'Breakthrough' and
'Song Everlasting.'  God do I wish I coulda seen that band.  It parted ways
when Richmond died in 1988; Adams passed in '92.

As for the latter Blue Notes under Pullen's name, 'New Beginnings' (a trio
date with Gary Peacock and Tony Williams) is good, but not really as good as
that lineup should be, mainly because Pullen rather simplified his style
here.  'Random Thoughts' with James Genus and Lewis Nash is better.  With
his next album, 'Kele Mou Bana,' Pullen started adding Native American and
African rhythms to the mix, while further simplifying his own sound.

Subsequent discs sound increasingly spiritual in a sort of New Age sense,
and I have to admit that I personally stopped keeping track of them.  But I
heard Pullen play with Arthur Blythe shortly before he died in '95, and he
remained capable of that unique mix of sanctified gospel and piano shredding
brimstone right to the end.

Steve Smith
[e-mail]

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Skip Heller
Sent: Tuesday, April 10, 2001 12:10 AM


I've recently become quite enamored of Don Pullen's playing (I know -- I'm
late on this one).  Aside fr Mingus' CHANGES records, what are the best
choices for his playing?

skip h

np: prince -- come


-


-



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

From: [e-mail]
Subject: Re: AMM tour reports?
Date: 09 Apr 2001 02:35:36 EDT

nice report, Matt, thanks. one question:

<< The band stood and began to pack up to no applause. >>

was there eventual applause, or just none at all?

Jon
www.erstwhilerecords.com

-



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

From: "Arthur Gadney" <[e-mail]>
Subject: Re: AMM tour reports?
Date: 09 Apr 2001 10:53:32 -0000

><< The band stood and began to pack up to no applause. >>
>
>was there eventual applause, or just none at all?

Are you total shameless fanboy, or is this something which often happens at
AMM concerts? ;-) Seriously, I've never heard them (live or on record) but
remember hearing similiar comments before. I'm pussled.



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-



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

From: "Andreas Dietz" <[e-mail]>
Subject: RE: don pullen
Date: 09 Apr 2001 14:02:21 +0200

>I've recently become quite enamored of Don Pullen's playing (I know -- I'm
>late on this one).  Aside fr Mingus' CHANGES records, what are the best
>choices for his playing?
>
>skip h

my Don Pullen favorites are the following:

WARRIORS (Black Saint 1978) Don Pullen/Chico Freeman/Fred Hopkins/Bobby
Battle
MILANO STRUT (Black Saint 1978) Don Pullen/Don Moye
THE MAGIC TRIANGLE (Black Saint 1979) Joseph Jarman/Don Pullen/Don Moye

Milano Strut has some groovin┤ organ playing.
Pullen┤s work with Marcello Melis and with Roots is nice too...

Andreas
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-------------------------------------------------------------------------------

From: "Matthew W Wirzbicki  (S)" <[e-mail]>
Subject: RE: AMM tour reports?
Date: 09 Apr 2001 10:29:37 -0600





<< The band stood and began to pack up to no applause. >>

>was there eventual applause, or just none at all?

i almost started it myself but eventually the official promoter began and
the whole room started a second later.  There was no standing-ovation.  The
general public was much more mixed in terms of their response to this show
than they were in their response toward Le Quan Ninh's performance.

Matt Wirzbicki

-



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

From: "Matthew W Wirzbicki  (S)" <[e-mail]>
Subject: RE: AMM tour reports?
Date: 09 Apr 2001 10:41:45 -0600





>Are you total shameless fanboy, or is this something which often happens
>at AMM concerts? ;-)

I don't know who the fanboy comment was intended for but the group visited
an Aesthetics class here on campus (the students read Eddie's book the week
before) and Keith Rowe did mention the problem of the "AMM silence" cliche.


for my part, I thought the end was very clear.  There was even a kind of end
before the end which made it clear the the end was in sight.  Nonetheless,
the audience was puzzled.

Matt Wirzbicki

-



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

From: [e-mail]
Subject: Ikue Mori - Painted Desert
Date: 09 Apr 2001 09:43:28 -0700

Ran across this CD at a local record store during the weekend and I'm very curious. Could someone who has heard this album give me a description? I'm a big Robert Quine fan so I'm also wondering how much of a contribution he brings to the album. Just don't want to get burned with a $20+ Avant CD.

Thanks.

Murray



-



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

From: [e-mail]
Subject: Re: Ikue Mori - Painted Desert
Date: 09 Apr 2001 12:50:10 EDT

Its a trio with Ribot, Quine on guitars and Ikue Mori on percussion.  Some of
its better than others, but worth a listen to.

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: AMM tour reports?
Date: 09 Apr 2001 11:54:52 -0500


On Mon, Apr 09, 2001 at 10:41:45AM -0600, Matthew W Wirzbicki  (S) wrote:

> >Are you total shameless fanboy, or is this something which often happens
> >at AMM concerts? ;-)
>
> I don't know who the fanboy comment was intended for but the group visited
> an Aesthetics class here on campus (the students read Eddie's book the week
> before) and Keith Rowe did mention the problem of the "AMM silence" cliche.

What problem is this? That the audience fails to applaud, or that they
actually can't tell that the performance is over until AMM starts to
dismantle their gear, or something else?

My ensemble, Gray Code, also uses extended silences in playing, but,
due to our visibly varied attention when playing and not playing, haven't
had a problem with audiences knowing if we were and weren't finished. I
would think that AMM would have been able to indicate this too. (I
haven't seen them yet, but am eagerly looking forward to catching them
in Baltimore.)

--
|> ~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: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Ikue Mori - Painted Desert
Date: 09 Apr 2001 09:58:50 -0700


On Mon, 9 Apr 2001 12:50:10 EDT  [e-mail] wrote:
>
> Its a trio with Ribot, Quine on guitars and Ikue Mori on percussion.  Some of
> its better than others, but worth a listen to.

Ikue Mori acknowleged in interviews that the project more or less escaped her
control, to the point that the record was more a Quine/Ribot one, than a Mori
one.

    Patrice.

-



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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: Ikue Mori - Painted Desert
Date: 09 Apr 2001 19:07:25 +0200 (CEST)

Hi,

IMHO, although the work by the three is really good,
you'll get burned as much as the contents of the album
itself are concerned.

I love both the sound and the themes, but these don't
evolve as much as I'd like too. The songs are extended
in excess and their uncomplexity makes the album a
little boring in the end.

Regards,
EfrΘn
--- [e-mail] escribi≤: > Fecha: 9 Apr 2001
09:43:28 -0700
> Para: [e-mail]
> De: [e-mail]
> Asunto: Ikue Mori - Painted Desert
>
> Ran across this CD at a local record store during
> the weekend and I'm very curious. Could someone who
> has heard this album give me a description? I'm a
> big Robert Quine fan so I'm also wondering how much
> of a contribution he brings to the album. Just don't
> want to get burned with a $20+ Avant CD.
>
> Thanks.
>
> Murray
>
>
>
> -
>


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

From: alberta <[e-mail]>
Subject: re:don pullen
Date: 09 Apr 2001 13:09:58 -0400 (EDT)

hi --

along with the previously mentioned titles, i really like don p on organ on david murray's 'shaquil's warrior.'

kurt

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-



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

From: "Matthew W Wirzbicki  (S)" <[e-mail]>
Subject: RE: AMM tour reports?
Date: 09 Apr 2001 11:11:52 -0600





> before) and Keith Rowe did mention the problem of the "AMM silence"
cliche.

I don't really want to speak for Keith Rowe here but as I understood his
statement the problem is that people expect this dramatic silence after the
performance and so can become an awkward moment.  On a semi-related tangent
Eddie Prevost also mentioned the tendancy of a promoter (and the audience)
to want to "get something for their money."

In the case of the performance here, many people simply didn't know it was
over

-



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

From: "Arthur Gadney" <[e-mail]>
Subject: Re: Ikue Mori - Painted Desert
Date: 09 Apr 2001 18:13:02 -0000

>Ran across this CD at a local record store during the weekend and I'm >very
>curious. Could someone who has heard this album give me a >description? I'm
>a big Robert Quine fan so I'm also wondering how much >of a contribution he
>brings to the album.

Huge contribution!! This album has really wonderful playing by both Ribot
and Quine. Truly marvelous.
Only problem with this album is Mori herself. I love her playing with DJ
Olive, Death Ambient and other experimental projects, but for straight
percussion stuff, it's quite bad. Had this been Cyro Baptista doing the
percussion, this would have been one of the greatests albums of all time.

Still, definately worth having, and essential for Ribot and Quine fans!!

How about recommendations for none-Zorn Quine albums?
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-------------------------------------------------------------------------------

From: Herb Levy <[e-mail]>
Subject: Re: Cage/feldman
Date: 09 Apr 2001 13:26:26 -0500

>Has anyone heard the new Cage prepared piano vol 2 on
>naxos? any comments?
>in fact any recommendations to his works written or
>recorded would be appreciated.(but esp prepared piuano
>pieces at hte moment. saw a drury cd of cage's music
>and also by the ensemble modern today.,,)
>
>thanks in advance,
>
>oh yeah, i found the new morton feldman book  a great
>read.great anecdotes w/ an occassional playful jibe at
>stockhausen, boulez etc
>

Yeah, the Feldman book is wonderful. Last time Carol & I drove down
to Houston, I spent most of the trip reading it aloud.  Full of good
stuff on music (& I'm not so sure that the jibes at Stockhausen &
Boulez are so playful) & painting & generally about the, or at least
Feldman's, creative process.

As to Cage, in late January I played parts of many different versions
of Cage's Sonatas & Interludes for prepared piano on Mappings,
unfortunately it's not available online any more. For that piece, I'd
recommend Louis Goldstein, Maro Ajemian, or the nearly impossible to
find version by Darryl Rosenberg (anyone in Boston know if this is
still in print?). The Berman version on Naxos is okay, he doesn't
screw anything up, but it doesn't seem as focused to me. The Drury
solo piano disc is well played, though he's complained (rightly, I
think) that they only released the comparatively pretty works that he
recorded, making the disc a little bit too new-agey. He's directed
and performed on many CDs of Cage's music for larger ensembles on
Mode. One I like a lot, though I'm not sure how it would work as an
introduction to Cage's music, is called "The Piano Concertos." I like
Joan La Barbara's Singing Through John Cage on New Albion as a good
mix of music from many periods, another good introductory disc is the
Mode CD of the Arditti Quartet playing String Quartet in 4 parts &
Four. After that, there's a lot of other stuff.

A good place for more information is the John Cage e-mail list,
founded and coordinated by Joseph Zitt, whose posts you often see on
the Zorn list. For more information & to subscribe to that list:
<http://www.metatronpress.com/jzitt/Cage/>

Bests,

Herb
--
Herb Levy
P O Box 9369  Forth Wort, TX  76147
817  377-2983
[e-mail]

-



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

From: h e a t h e r <[e-mail]>
Subject: Re: Cage/feldman
Date: 09 Apr 2001 13:43:30 -0700

On 4/9/01 11:26 AM, "Herb Levy" <[e-mail]> wrote:
> Yeah, the Feldman book is wonderful. Last time Carol & I drove down
> to Houston, I spent most of the trip reading it aloud.  Full of good
> stuff on music (& I'm not so sure that the jibes at Stockhausen &
> Boulez are so playful) & painting & generally about the, or at least
> Feldman's, creative process.

<snip>

would someone mind providing detailed info (title, etc.) for the Feldman
book referenced?

thanks.

heather


-



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

From: "marc elzweig" <[e-mail]>
Subject: Re: Cage/feldman
Date: 09 Apr 2001 15:08:56 -0400



>would someone mind providing detailed info (title, etc.) for the Feldman
>book referenced?

i'm assuming we're talking about "Give My Regards to Eighth Street:
Collected Writings of Morton Feldman."

recently published by Exact Change -- finally some readily available feldman
writings, i thank them for it.




ta,
marc


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

From: [e-mail]
Subject: Re: Ikue Mori - Painted Desert
Date: 09 Apr 2001 15:39:20 EDT

In a message dated 4/9/01 12:51:22 PM Eastern Daylight Time, [e-mail]
writes:

<< Its a trio with Ribot, Quine on guitars and Ikue Mori on percussion.  Some
of
 its better than others, but worth a listen to. >>
I dare say one can sample the music on Napster

-



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

From: "Neil H. Enet" <[e-mail]>
Subject: GODFLESH
Date: 09 Apr 2001 15:52:56 -0400

Hello list,

    I need some GODFLESH recommendations, please.

thanks

Neil H. Enet
------------

NP. SONIC YOUTH - goo

-



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

From: "Arthur Gadney" <[e-mail]>
Subject: Re: GODFLESH
Date: 09 Apr 2001 20:34:13 -0000

>    I need some GODFLESH recommendations, please.

there is none, unfortunately.
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-------------------------------------------------------------------------------

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Lindberg/Ehrlich
Date: 09 Apr 2001 22:53:29 +0200 (CEST)

Hi,

the other day I saw a duo CD by John Lindberg and
Marty Ehrlich. I guess that must be such a great
record but i'd like some opinions from any of you.

Thanks in advance,

EfrΘn del Valle

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

From: "Bill Ashline" <[e-mail]>
Subject: don pullen
Date: 09 Apr 2001 21:33:59 -0000

My favorite Pullen recording is his live set with George Adams and John
Scofield, "Live at Montmartre" on Timeless.  "Song Everlasting" is also good
and some of the compositions there are played on the live recording.  His
1977 Atlantic recording "Tomorrow's Promises" is also good.
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-------------------------------------------------------------------------------

From: "Neil H. Enet" <[e-mail]>
Subject: RE: GODFLESH
Date: 09 Apr 2001 18:10:51 -0400



>    I need some GODFLESH recommendations, please.

there is none, unfortunately.
----------

Ok ... I need some recommendations from someone that "likes" GODFLESH :-)

Neil H. Enet
------------

-



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

From: "Robert van Heumen" <[e-mail]>
Subject: Re: GODFLESH
Date: 10 Apr 2001 01:54:08 +0200

i know only 'songs of love and hate', but i like that one a lot.

...r.o.b.b.i.e...d.i...h.e.u.m.o...
......<composer.of.electronic.music>...
......<software.&.website.developer>...
......<http://hardhatarea.com>...

...<recommended.listening>...
...<http://hardhatarea.com/recommended.htm>...
......<pj.harvey...dry...1992>...
......<john.zorn...filmworks.ix...2000>...
......<buscemi...mocha.supremo>...

...<be kind, for everyone you meet is fighting a hard battle>...

----- Original Message -----
Sent: Tuesday, April 10, 2001 12:10 AM


>
>
> > I need some GODFLESH recommendations, please.
>
> there is none, unfortunately.
> ----------
>
> Ok ... I need some recommendations from someone that "likes" GODFLESH :-)
>
> Neil H. Enet
> ------------
>
> -
>
>

-



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

From: Taylor McLaren <[e-mail]>
Subject: re: GODFLESH and Orson Welles
Date: 08 Apr 2001 21:24:06 -0400


MEEP! "Neil H. Enet" <[e-mail]> wrote:
>I need some GODFLESH recommendations, please.
The perennial favourite among grindcore fans seems to be _Streetcleaner_,
and it definitely scores high on the death-by-slow-bludgeoning meter. If
you're familiar with any of Broadrick's other projects, you'll probably
also recognize the sounds and production techniques of Techno Animal and
The Sidewinder creeping into the Godflesh formula here and there in the
last few albums, especially on _Love and Hate in Dub_. (To be honest, for a
good example of the band's range, those two discs are just about polar
opposites...)
  If you're at all into the long, slow droney bits that they used to close
off several of their albums in the early '90s (and Broadrick's output under
the name Final), it might also be worth checking out the two-disc re-issue
of _Selfless_ from about five years ago; it think it's bundled with the
bloody awful _Merciless_ EP, but it's also rounded out by the hellishly
long remixes of "Crush My Soul" and... something else that are actually
pretty cool.

Meanwhile, Ricardo Reis <[e-mail]> asked:
>>   For what it's worth, though, the reading in question is pretty
>> ludicrously short for its contents, and it could be (less-than-generously)
>> described as being incomprehensible.
>it's interesting what you say. i've only heard excerpts from the
>"heart of darkness" documentary film by Alice Coppola on her husbands film
>"Apocalipse now". i got the idea he was doing a "heavy" dark reading, very
>suited to the text. can you be more explicity when classifying it as
>"incomprehensible"?
Only that, in order to make "Heart of Darkness" fit into an hour-long (or
however long it was) radio slot, an awful lot of the text had to be cut
out. While increasingly melodramatic vocals can go a fair distance towards
re-creating the building sense that something *dreadfully* wrong is
emanating from Kurtz and his camp, there isn't enough detail present in the
Mercury Theater version to keep the listener from feeling that there's
something really big missing from the story that they're hearing.

-me



-



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

From: [e-mail]
Subject: Berne / Paraphrase Dates
Date: 09 Apr 2001 22:32:33 -0400 (EDT)

Hi,
 Anyone have venue information on the Paraphrase
tour? Really looking for Wednesday April 11 in
Boulder, Colorado. Other than the Screwgun
homepage I can't seem to find any info on these
shows.
Thanks.
Fun and Blindness
Fort Collins, CO

http://fab.cjb.net/
Get free personalized email at http://four11.iname.com

-



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

From: "z~S" <[e-mail]>
Subject: Re: Berne / Paraphrase Dates
Date: 09 Apr 2001 19:37:59 -0700

They were exquisite
in Eagle Rock CA
last night.


-



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

From: Tom Pratt <[e-mail]>
Subject: pullen
Date: 09 Apr 2001 20:26:54 -0700 (PDT)


For the earliest, "out"est stuff, check out the two
Giuseppe Logan discs on ESP. The band also included
Eddie Gomez and Milford Graves, and is obviously worth
hearing even if it's not among the best examples of
any
of the sidemen concerned. (It would be great if the
Unheard Music Series could find a way to reissue the
ridiculously rare self-released duo album that Pullen
and Graves put out soon after - I've never even seen
this thing.)
-----------------------

There were two LPs of duets between Graves and Pullen,
'Don Pullen and Milford Graves at Yale University' and
'Nommo.' I have the latter and it's pretty sick. I
think the first one's supposed to be just as good.

                  -Tom Pratt

__________________________________________________
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-



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

From: Herb Levy <[e-mail]>
Subject: Spatial music on this week's Mappings
Date: 09 Apr 2001 23:20:46 -0500


Hi,

Just a brief note to let you know that this week's Mappings, my
weekly new music program from Antenna Internet Radio
<http://www.antennaradio.com/avant/mappings/index.htm> I'm playing
music that (mostly) plays with resonant acoustics by Maryanne
Amacher, Luciano Berio, Stuart Dempster, Annea Lockwood, Alvin
Lucier, Kaffe Matthews, Martin Mayes, Pauline Oliveros, Michael
Stirling, and Veryan Weston & Caroline Kraabel..  The RealAudio
recording went online about 10-11 pm (Greenwich -0800) on Monday
night and will remain up for about a week.

Last week's show featuring music by composer/performer Joan La
Barbara is still available in the archive
<http://www.antennaradio.com/avant/mappings/index1.htm>.

Hope to y'all there.

Bests,

Herb
--
Herb Levy
Mappings on Antenna Internet Radio
http://www.antennaradio.com/avant/mappings/
[e-mail]

Mappings
P O Box 9369
Forth Wort, TX 76147

-



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

From: Herb Levy <[e-mail]>
Subject: Pullen/Graves
Date: 09 Apr 2001 23:51:45 -0500

Steve Smith" <[e-mail]> wrote:

>>For the earliest, "out"est stuff, check out the two
>>Giuseppe Logan discs on ESP. The band also included
>>Eddie Gomez and Milford Graves, and is obviously worth
>>hearing even if it's not among the best examples of
>>any
>>of the sidemen concerned. (It would be great if the
>>Unheard Music Series could find a way to reissue the
>>ridiculously rare self-released duo album that Pullen
>>and Graves put out soon after - I've never even seen
>>this thing.)
======================================================================

Tom Pratt responded:

>There were two LPs of duets between Graves and Pullen,
>'Don Pullen and Milford Graves at Yale University' and
>'Nommo.' I have the latter and it's pretty sick. I
>think the first one's supposed to be just as good.

Back when these came out, I don't recall ever seeing volume one
ahywhere, though it did get reviewed. On the other hand, Nommo was
one of those records that seemed like they couldn't give it away. It
sat in some stores for years. (Just what y'all want to hear now,
right?)

&, for what it's worth, given Graves' long involvement in
naturopathic medicine, it may be particularly silly to use the term
"sick" as a positive description of this disc.

Bests,

Herb
--
Herb Levy
P O Box 9369  Forth Wort, TX  76147
817  377-2983
[e-mail]

-



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

From: "Brad Kendrick" <[e-mail]>
Subject: Fuchs/Koch/Van Bergen
Date: 09 Apr 2001 23:06:09 +0100

> THIS MESSAGE IS IN MIME FORMAT. Since your mail reader does not understand
this format, some or all of this message may not be legible.

--MS_Mac_OE_3069702369_234485_MIME_Part
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

Extreme reeds trio comes to Portland, Oregon on Sunday, April 22nd at the
FEZ on West Burnside above Ozone Records:
Holz Fur Europa
Peter Van Bergen - bass clarinet, contrabass clarinet, tenor saxophone,
A-flat clarinet
Wolfgang Fuchs - bass clarinet, contrabass clarinet, sopranino saxophone
Hans Koch - bass clarinet, contrabass clarinet, B-flat clarinet, soprano
saxophone
appearing with local favs Rollerball and Jackie-O Motherfucker!

"Certainly the three musicians in Holz Fur Europa don't play music of
rebellion or of open riot, times are different now.  The aesthetics of
resistance have been taken over by the aesthetics of priority of all musical
means and possibilities, in the unfolding as well as in the reduction.
Music truly of the moment."
- Christian Rentsch, liner notes, Comite Imaginaire, FMP CD, recorded
5/1&2/95

more details to follow...

...and don't forget catch Keith Rowe (solo) with special guests Presocratics
at Conduit Studio (918 SW Yamhill, downtown next door to Art Media) this
Thursday, April 12 at 9pm.  Feel free to email me for more info.
--MS_Mac_OE_3069702369_234485_MIME_Part
Content-type: text/html; charset="US-ASCII"
Content-transfer-encoding: quoted-printable

<HTML>
<HEAD>
<TITLE>Fuchs/Koch/Van Bergen</TITLE>
</HEAD>
<BODY BGCOLOR=3D"#FFFFFF">
<FONT SIZE=3D"2">Extreme reeds trio comes to Portland, Oregon on Sunday, Apri=
l 22nd at the FEZ on West Burnside above Ozone Records:<BR>
<B>Holz Fur Europa<BR>
</B>Peter Van Bergen - bass clarinet, contrabass clarinet, tenor saxophone,=
 A-flat clarinet<BR>
Wolfgang Fuchs - bass clarinet, contrabass clarinet, sopranino saxophone<BR=
>
Hans Koch - bass clarinet, contrabass clarinet, B-flat clarinet, soprano sa=
xophone<BR>
appearing with local favs Rollerball and Jackie-O Motherfucker!<BR>
<BR>
"Certainly the three musicians in Holz Fur Europa don't play music of =
rebellion or of open riot, times are different now.  The aesthetics of =
resistance have been taken over by the aesthetics of priority of all musical=
 means and possibilities, in the unfolding as well as in the reduction. &nbs=
p;Music truly of the moment."<BR>
- Christian Rentsch, liner notes, <I>Comite Imaginaire,</I> FMP CD, recorde=
d 5/1&2/95<BR>
<BR>
more details to follow...<BR>
<BR>
...and don't forget catch Keith Rowe (solo) with special guests Presocratic=
s at Conduit Studio (918 SW Yamhill, downtown next door to Art Media) this T=
hursday, April 12 at 9pm.  Feel free to email me for more info.</FONT>
</BODY>
</HTML>

--MS_Mac_OE_3069702369_234485_MIME_Part--


-



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

From: Michael Howes <[e-mail]>
Subject: Re: GODFLESH
Date: 09 Apr 2001 23:48:44 -0700


>
>         I need some GODFLESH recommendations, please.

  I think anything Justin touches is near gold....
I'd go with...

Streetcleaner an the self titled (or the Fall of Because which was reissued
last year) if you want the most abrasive, nihilistic stuff

then id go

Selfless
Slavestate
Pure

Also pick up ALL the God releases and Techno Animal (the new Techno Animal
being more ambient, hiphop, dub type stuff)

unless your looking for more "dance" type beats stay away from the newer
albums...Song of Love and Hate is the best of the last 3 or 4 albums...

  the new EP, which is only available thru Justin's own label is really
good stuff as well...it's most similar to Selfless....
mike

PS Final is also nice guitar ambient stuff, Fall of Because is the
pre-Godflesh that's really heavy, God you probably know about, early stuff
is improv, later stuff is industrial metal like Godflesh, Head of David is
a more ethereal Godflesh, Ice is similar to later God in that it's got the
industrial metal thing going but the Sax is present and powerful,
Sidewinder is one of his techno side projects, and then there is 16-17 and
about a million other side projects.




-



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

From: aaron chua <[e-mail]>
Subject: Re: Cage/feldman
Date: 10 Apr 2001 06:11:18 -0700 (PDT)


> <snip>
> would someone mind providing detailed info (title,
> etc.) for the Feldman
> book referenced?


heather,
"Give my regards to eighth street:Collected Writings
of Morton Feldman "
Edited by BH Friedman
published by Exact Change
www.exactchange.com


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-



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

From: [e-mail]
Subject: Painted Desert
Date: 10 Apr 2001 07:54:32 -0700

Thanks for the comments and insight everyone. I took the bait and picked the CD up and I must say that as a Quine fan this is almost a dream come true. His playing is so emotive and steeped in the blues; it's really a crime he doesn't have much (any?) stuff under his own name. Ribot is great as well. That being said, I can see where some people might not care of this album. Mori's contribution comes across as minimal, which is troubling since this is ostensibly her project.

As for other Quine-related projects, here's a short list of my personal favorites:

Richard Hell & the Voidoids - Blank Generation
Lou Reed - The Blue Mask
Matthew Sweet - Girlfriend
Tom Waits - Rain Dogs
Zorn - Big Gundown, Spillane, Film Works '86-'90
Lydia Lunch - Queen of Siam

Thanks again,
Murray

-



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

From: [e-mail]
Subject: Painted Desert
Date: 10 Apr 2001 07:54:42 -0700

Thanks for the comments and insight everyone. I took the bait and picked the CD up and I must say that as a Quine fan this is almost a dream come true. His playing is so emotive and steeped in the blues; it's really a crime he doesn't have much (any?) stuff under his own name. Ribot is great as well. That being said, I can see where some people might not care of this album. Mori's contribution comes across as minimal, which is troubling since this is ostensibly her project.

As for other Quine-related projects, here's a short list of my personal favorites:

Richard Hell & the Voidoids - Blank Generation
Lou Reed - The Blue Mask
Matthew Sweet - Girlfriend
Tom Waits - Rain Dogs
Zorn - Big Gundown, Spillane, Film Works '86-'90
Lydia Lunch - Queen of Siam

Thanks again,
Murray

-



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

From: Maurice Rickard <[e-mail]>
Subject: Re: Painted Desert
Date: 10 Apr 2001 11:05:05 -0400

At 7:54 AM -0700 4/10/01, [e-mail] wrote:
>  as a Quine fan this is almost a dream come true.

I'm fond of _Basic_, as well, although YMMV.  He and Ribot do have
some good lines on Corin Curschellas's Valdun: Voices of Rumantsch
CD, although they're not on every track, and I should warn you that
it contains yodeling.

--
Maurice Rickard
http://mauricerickard.com/

-



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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: Painted Desert
Date: 10 Apr 2001 17:31:13 +0200 (CEST)

Hi,

I didn't know Quine appeared on Waits' Rain Dogs. My
version has no listing of musicians. I thought it was
Ribot who played throughout the whole album and I've
never recognized Quine's playing although the album
has been in my CD player a million times.

Could you detail where exactly is Quine?

Now I'm really ashamed.

Regards,
EfrΘn del Valle


--- [e-mail] escribi≤: > Fecha: 10 Apr 2001
07:54:32 -0700
> Para: [e-mail]
> De: [e-mail]
> Asunto: Painted Desert
>
> Thanks for the comments and insight everyone. I took
> the bait and picked the CD up and I must say that as
> a Quine fan this is almost a dream come true. His
> playing is so emotive and steeped in the blues; it's
> really a crime he doesn't have much (any?) stuff
> under his own name. Ribot is great as well. That
> being said, I can see where some people might not
> care of this album. Mori's contribution comes across
> as minimal, which is troubling since this is
> ostensibly her project.
>
> As for other Quine-related projects, here's a short
> list of my personal favorites:
>
> Richard Hell & the Voidoids - Blank Generation
> Lou Reed - The Blue Mask
> Matthew Sweet - Girlfriend
> Tom Waits - Rain Dogs
> Zorn - Big Gundown, Spillane, Film Works '86-'90
> Lydia Lunch - Queen of Siam
>
> Thanks again,
> Murray
>
> -
>


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-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Fwd: Painted Desert
Date: 10 Apr 2001 08:48:33 -0700


On Tue, 10 Apr 2001 17:31:13 +0200 (CEST)  =?iso-8859-1?q?efr=E9n=20del=20valle?= wrote:
>
> Hi,
>
> I didn't know Quine appeared on Waits' Rain Dogs. My
> version has no listing of musicians. I thought it was
> Ribot who played throughout the whole album and I've
> never recognized Quine's playing although the album
> has been in my CD player a million times.
>
> Could you detail where exactly is Quine?


001 - RAIN DOGS: Tom Waits

    15/ Blind Love                              (Waits)                  4:18
    17/ Downtown Train                          (Waits)                  3:53

  Robert Quine (15,17): etc.



-



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

From: "z~S" <[e-mail]>
Subject: Zorn-List Caveat Of The Week
Date: 10 Apr 2001 09:55:29 -0700

"I should warn you that it contains yodeling."




-



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

From: [e-mail]
Subject: Re: Painted Desert
Date: 10 Apr 2001 13:20:13 EDT

In a message dated 4/10/01 11:33:03 AM Eastern Daylight Time,
[e-mail] writes:

<< I didn't know Quine appeared on Waits' Rain Dogs >>
He actually played on two tunes with Keith Richards....Keith co-wrote the
songs with Waits

-



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

From: "Martin Wisckol" <[e-mail]>
Subject: pullen
Date: 10 Apr 2001 10:30:34 -0700

Without the assistance of my library....

Shakill's Warrior is a grooving session, as somebody mentioned. D.
Murray's date, Pullen on organ. Good road music. Howard Mandel treats it
as an iconic release of postmodern music in his recent book (Future Jazz
or something like that).

Sixth Sense is one I don't think has been mentioned yet.  His ensemble
concept at its most ambitious. rec. June 12/13, 1985 Classic Sound
Studios, NYC
Olu Dara tp / Donald Harrison as / Don Pullen p / Fred Hopkins b / Bobby
Battle dr

Song Everlasting -- I'll second this. A gorgeous session. I love his work
with George Adams, both with Mingus and after.

I caught his Afro Carribean ensemble at Willisau in 1992 (girlfriend opted
to stay home in Zurich, and taped the radio broadcast). What a wonderful
set! Far superior to any of his studio recordings with the group, which I
have found a bit disappointing. Carlos Ward worked so well with him in
this setting....



-



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

From: Gavin Dunne <[e-mail]>
Subject: Laswell
Date: 10 Apr 2001 10:34:57 -0700 (PDT)

Wattup negro's
I've recently got some bill Laswell stuff, which I
liked a lot - very ambient stuff. What I want to know
is all of his released stuff like this or does he do
any much noise type music?, as I have a live cd of him
and its pretty noisy
Gav

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

From: "z~S" <[e-mail]>
Subject: New Talent On Horizon
Date: 10 Apr 2001 10:37:48 -0700

No tunes yet, but coming soon......
http://www.tswillie.com



-



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

From: alberta <[e-mail]>
Subject: rE: pAINTED dESERT
Date: 10 Apr 2001 13:45:48 -0400 (EDT)

oddly enough, i agree with almost everything that was already said about painted desert. while it's not the best from any of the three, it's a really nice record. true, as someone said, it doesn't go anywhere, but that's what i like about it. very western, endless mesa, no stampedes, no stagecoach heists. reminds me of zorn's "pueblo," the recording of which i still haven't heard but the 40 minute performance at the cooler years ago i'll never forget.

if you don't have, say, hex kitchen or shoestring symphonettes, don't rush into getting it. but it's better than the blue mask.

kurt

FREE! The World's Best Email Address @email.com
Reserve your name now at http://www.email.com



-



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

From: Gavin Dunne <[e-mail]>
Subject: Morricone the barbarian!
Date: 10 Apr 2001 10:49:52 -0700 (PDT)

Hi all again
I was wathcing Red Sonja the other night, you may
remember that film from such actors as Arnie.....and
such films as Conan. But anyway I was very surprised
to see that Morricone did the soundtrack, although
very little music was actually in the film. Does
anyone know if this soundtrack is available, if ennio
did the other Conan films and if they have available
soundtracks?
Gavaldinho

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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: rE: pAINTED dESERT
Date: 10 Apr 2001 20:02:24 +0200 (CEST)

When you say "don't rush to get Shoe String
Symphonettes" do you really mean it???!!! What's wrong
with it in your opinion?

My thoughts on that recording can't be more positive

I wouldn't compare "Pueblo" to what it's heard on
"Painted". IMHO the former is an enormous composition
by Zorn, and although it evolves lineally (It was me
who said Painted didn't get to nowhere) it creates an
incredible soundscape, unlike Painted.

Greetings,

EfrΘn
--- alberta <[e-mail]> escribi≤: > Fecha:
Tue, 10 Apr 2001 13:45:48 -0400 (EDT)
> De: alberta <[e-mail]>
> Para: [e-mail]
> Asunto: rE: pAINTED dESERT
>
> oddly enough, i agree with almost everything that
> was already said about painted desert. while it's
> not the best from any of the three, it's a really
> nice record. true, as someone said, it doesn't go
> anywhere, but that's what i like about it. very
> western, endless mesa, no stampedes, no stagecoach
> heists. reminds me of zorn's "pueblo," the recording
> of which i still haven't heard but the 40 minute
> performance at the cooler years ago i'll never
> forget.
>
> if you don't have, say, hex kitchen or shoestring
> symphonettes, don't rush into getting it. but it's
> better than the blue mask.
>
> kurt
>
> -----------------------------------------------
> FREE! The World's Best Email Address @email.com
> Reserve your name now at http://www.email.com
>
>
>
> -
>


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

From: "Steve Smith" <[e-mail]>
Subject: RE: Morricone the barbarian!
Date: 10 Apr 2001 14:06:59 -0400

As I recall, the 'Red Sonja' score was pretty tepid Morricone.  The best
parts of that film, by the way, were the Tracy-and-Hepburn repartee between
Schwartzenegger and Brigitte Nielsen and the seriously coke-addled
performance by Sandahl Bergman.  The low point was the little Asian kid who
you just wanted to strangle throughout the entire film.  Anyway, the score
was probably available at some point, but I couldn't tell you if it's still
around.

The two Conan films (of which the first is a drop dead John Millius classic)
were scored by Basil Pouledouris, and both scores were available (and may
still be) on the Varese Sarabande label.  They aren't in any way
Morricone-esque, more like echt-Wagner, RStrauss and Orff.  But they're
great film scores, and that's what counts.

Steve Smith
[e-mail]
NP - Bruckner, Symphony No. 7, SWR Radio Symphony/Sanderling (Hanssler)


-----Original Message-----
[mailto:[e-mail]]On Behalf Of Gavin Dunne
Sent: Tuesday, April 10, 2001 1:50 PM


Hi all again
I was wathcing Red Sonja the other night, you may
remember that film from such actors as Arnie.....and
such films as Conan. But anyway I was very surprised
to see that Morricone did the soundtrack, although
very little music was actually in the film. Does
anyone know if this soundtrack is available, if ennio
did the other Conan films and if they have available
soundtracks?


-



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

From: "Joshua Valocchi" <[e-mail]>
Subject: Tonight in Philadelphia
Date: 10 Apr 2001 18:18:40

For any and all who may be interested, the contemporary music ensemble
counter)induction will be putting on a free performance at UPenn's Bodek
Lounge (inside Houston Hall, 3417 Spruce Street) this evening at 8 p.m. They
will be performing COBRA as well as a handful of other movements. Endy Emby
(NY duo) guests as well.
Just thought a few on this list might want to know (and go).
For the record, I have no affiliation with any of this; I simply saw an
article ion Sunday's Inky with a photo of JZ in the middle of the sidebar.

joshua.
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com


-



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

From: alberta <[e-mail]>
Subject: rE: pAINTED sHOESTRINGS
Date: 10 Apr 2001 14:21:47 -0400 (EDT)

the venerable =?iso-8859-1?q?efr=E9n=20del=20valle?=
asked of me:

When you say "don't rush to get Shoe String
Symphonettes" do you really mean it???!!! What's wrong
with it in your opinion?

when i said:

> if you don't have, say, hex kitchen or shoestring
> symphonettes, don't rush into getting it. but it's
> better than the blue mask.

i meant don't rush into getting painted desert if you don't have these mori and ribot titles already. i loves the s-string symponettes...

for the record,
kurt

FREE! The World's Best Email Address @email.com
Reserve your name now at http://www.email.com



-



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

From: "William York" <[e-mail]>
Subject: Pullen/Graves
Date: 10 Apr 2001 19:08:57

>Shakill's Warrior is a grooving session, as somebody mentioned. D.
>Murray's date, Pullen on organ. Good road music. Howard Mandel treats it
>as an iconic release of postmodern music in his recent book (Future Jazz
>or something like that).

And yet you can find this one used or cut-out pretty much anywhere you look
(that's how I got mine). That must have something to do with them printing
too many copies since it is on DIW/Columbia or something major-ish like
that. It is still good and I've listened to it a bunch, although they could
have cut two tracks and still had a good 55-60 minute album, I think.

WY
_________________________________________________________________
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-



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

From: Philippe Dupuis <[e-mail]>
Subject: Will & Harmony
Date: 10 Apr 2001 15:53:19 +0000

Hello,

Does anyone know why Harmony Korine thanks Will Oldham in the
credits to Julien Donkey Boy?

I don't seem to hear any of his music in the film.

Martin Dupuis

-



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

From: Anne & Dan Dellosso <[e-mail]>
Subject: Re: Will & Harmony
Date: 10 Apr 2001 16:03:25 -0700

He had a small part where he is leading a blindman down the street..
dan-

Philippe Dupuis wrote:

> Hello,
>
> Does anyone know why Harmony Korine thanks Will Oldham in the
> credits to Julien Donkey Boy?
>
> I don't seem to hear any of his music in the film.
>
> Martin Dupuis
>
> -


-



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

From: Skip Heller <[e-mail]>
Subject: Re: pullen
Date: 11 Apr 2001 13:20:46 -0700



> Without the assistance of my library....
>
> Shakill's Warrior is a grooving session, as somebody mentioned. D.
> Murray's date, Pullen on organ. Good road music. Howard Mandel treats it
> as an iconic release of postmodern music in his recent book (Future Jazz
> or something like that).
>
> Sixth Sense is one I don't think has been mentioned yet.  His ensemble
> concept at its most ambitious. rec. June 12/13, 1985 Classic Sound
> Studios, NYC
> Olu Dara tp / Donald Harrison as / Don Pullen p / Fred Hopkins b / Bobby
> Battle dr
>
> Song Everlasting -- I'll second this. A gorgeous session. I love his work
> with George Adams, both with Mingus and after.
>
> I caught his Afro Carribean ensemble at Willisau in 1992 (girlfriend opted
> to stay home in Zurich, and taped the radio broadcast). What a wonderful
> set! Far superior to any of his studio recordings with the group, which I
> have found a bit disappointing. Carlos Ward worked so well with him in
> this setting....
>
>
>
> -
>
I bought this one, and Murray's playing is so terrible that I just can't
play it all the way through.

skip h


-



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

From: "z~S" <[e-mail]>
Subject: Query
Date: 10 Apr 2001 13:33:10 -0700

Anyone ventured into Elliptical Axis 15 yet?

I've already ordered it
so if it sucks be gentle
with me please.


-



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

From: Perfect Sound Forever <[e-mail]>
Subject: Robert Quine (was Re: Painted Desert)
Date: 10 Apr 2001 16:37:16 -0400

Actually Quine is still under contract to the E.G. people to deliver another album, which he's been reluctant to do (hence no other solo records since Basic).  He reunited with the Voidoids recently and has done some session work here and there in the last few years (sadly, I don't remember all the details).

re Painted Desert, Ikue has said that she loved her collaborators but prefers to play in a less rhythmic style.

Best,
Jason
--

Perfect Sound Forever
online music magazine
[e-mail]
http://www.furious.com/perfect



-



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

From: "&c." <[e-mail]>
Subject: Oboe
Date: 11 Apr 2001 00:17:14 -0400

I was having a debate with my friend about oboe.  She didn't think that the
oboe could be played in a jazz or avant garde setting.  I said that it
probably could, because it's somewhere between a soprano sax and clarinet in
sound.  Are there any oboe heavy recordings that I should know about?

Zach

-



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

From: Adam Taylor Tierney <[e-mail]>
Subject: Re: Oboe
Date: 10 Apr 2001 23:31:22 -0500 (EST)

The only jazz oboist I know of is Paul McCandless, who also plays a host
of other woodwinds. I've only heard him play with the Paul Winter Consort;
what I've heard is very folksy, but unmistakably jazz nonetheless. Do you
guys know of any avant-garde jazz oboists? I would be shocked if none
exist.

--Adam Tierney


-



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

From: "Julian" <[e-mail]>
Subject: Re: Oboe
Date: 11 Apr 2001 14:48:50 +1000

> I was having a debate with my friend about oboe.  She didn't think that
the
> oboe could be played in a jazz or avant garde setting.  I said that it
> probably could, because it's somewhere between a soprano sax and clarinet
in
> sound.  Are there any oboe heavy recordings that I should know about?

You could play the kazoo or ukelele in those settings if you wanted to. I
used to play the oboe, and didn't hear anything about rules that you can't
play certain styles on it, so I occasionally did some jazz and some free
improv. I am not aware of many recordings where it is a main feature, but
would guess that some exist. That said, oboe is present on a good handful of
list-related cds I can think of off the top of my head - Vicki Bodner on
Zorn's 'The Big Gundown', Ribot's 'Shoe String Symphonettes', Carol
Emanuel's 'Tops Of Trees', etc... I also remember oboe appearing on Eyvind
Kang's '7 NADEs' and 'Theatre Of Mineral NADEs' and also The Club Foot
Orchestra 'Plays Nino Rota'...


-



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

From: [e-mail]
Subject: Re: Oboe
Date: 11 Apr 2001 00:58:00 EDT

I'm not sure the name of the oboist, but a few years ago I caught Eugene
Chadburne playing with a synthesizer player and oboist in a coffee shop.  So,
atleast you know it exists.
~eriedell

-



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

From: "Mansur Mirovalev" <[e-mail]>
Subject: Re: Oboe
Date: 11 Apr 2001 10:22:55 +0500

Listen to Paul McCandless on Oregon's Distant Hills (1974) - lots of avant
garde sounds

----- Original Message -----
Sent: Wednesday, April 11, 2001 9:17 AM


> I was having a debate with my friend about oboe.  She didn't think that
the
> oboe could be played in a jazz or avant garde setting.  I said that it
> probably could, because it's somewhere between a soprano sax and clarinet
in
> sound.  Are there any oboe heavy recordings that I should know about?
>
> Zach
>
> -
>
>




-



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

From: Tosh <[e-mail]>
Subject: Re: Oboe
Date: 10 Apr 2001 22:35:42 -0700

on 4/10/01 9:58 PM, [e-mail] at [e-mail] wrote:

> I'm not sure the name of the oboist, but a few years ago I caught Eugene
> Chadburne playing with a synthesizer player and oboist in a coffee shop.  So,
> atleast you know it exists.
> ~eriedell
>
> -
>
>
I think Andy MacKay (Spelling is wrong) of Roxy Music played Oboe...but is
that too pop?


-



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

From: Scott Handley <[e-mail]>
Subject: Re: Oboe
Date: 10 Apr 2001 22:47:47 -0700 (PDT)

I had a Cannonball Adderley record, LIVE IN JAPAN, I
think; it featured Dr. Yusef Lateef tearing it up on
oboe on at least one track.  I've also heard some
improvised bassoon, which should count for something
(used as soloist on at least one part of the
reconstructed Mingus EPITAPH).  And in Henry Cow!

Doubly,

-----s

=====
"Electric guitar gets run over by a car on the highway/This is a crime against the state/This is the meaning of life...
Electric guitar is copied, the copy sounds better/Call this law and justice, call this freedom and liberty/I thought I perjure myself, right in front of the jury!"
                        ---Talking Heads, "Electric Guitar"

__________________________________________________
Do You Yahoo!?
Get email at your own domain with Yahoo! Mail.
http://personal.mail.yahoo.com/

-



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

From: "Julian" <[e-mail]>
Subject: Re: Oboe
Date: 11 Apr 2001 15:52:44 +1000

> I had a Cannonball Adderley record, LIVE IN JAPAN, I
> think; it featured Dr. Yusef Lateef tearing it up on
> oboe on at least one track.  I've also heard some
> improvised bassoon, which should count for something
> (used as soloist on at least one part of the
> reconstructed Mingus EPITAPH).  And in Henry Cow!

And Karen Borca with Joe Morris, Cecil Taylor and others...


-



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

From: "Jesse Kudler" <[e-mail]>
Subject: Re: Oboe
Date: 11 Apr 2001 02:06:59 -0400

There's a fine oboe and English horn player from Chicago named Kyle
Bruckmann.  He just did a short US tour, and he has a fine solo improv CD
called Entymology (Barley Auditable).  Not miles away from what you'd
imagine someone like John Butcher would do if transferred to oboe.

-Jesse

----- Original Message -----
<[e-mail]>
Sent: Wednesday, April 11, 2001 1:52 AM


> > I had a Cannonball Adderley record, LIVE IN JAPAN, I
> > think; it featured Dr. Yusef Lateef tearing it up on
> > oboe on at least one track.  I've also heard some
> > improvised bassoon, which should count for something
> > (used as soloist on at least one part of the
> > reconstructed Mingus EPITAPH).  And in Henry Cow!
>
> And Karen Borca with Joe Morris, Cecil Taylor and others...
>
>
> -
>
>


-



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

From: [e-mail]
Subject: Re: Zorn-List Caveat Of The Week
Date: 11 Apr 2001 03:38:52 EDT

In a message dated 4/10/01 12:59:09 PM Eastern Daylight Time,
[e-mail] writes:

<< "I should warn you that it contains yodeling." >>

I hear Demetrio Stratos chuckling over that one.

--
=dg=

-



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

From: [e-mail]
Subject: Re: Laswell
Date: 11 Apr 2001 03:38:54 EDT

In a message dated 4/10/01 1:35:57 PM Eastern Daylight Time,
[e-mail] writes:

<< Wattup negro's
 I've recently got some bill Laswell stuff, which I
 liked a lot - very ambient stuff. What I want to know
 is all of his released stuff like this or does he do
 any much noise type music?, as I have a live cd of him
 and its pretty noisy >>

Most of the Negroes on this list will likely agree that Laswell's recording
date with Peter Brotzmann on _Low Life_ gets pretty noisy.  But it's a honky
noisy.

--
=dg=

-



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

From: "Andreas Dietz" <[e-mail]>
Subject: Re: pullen
Date: 11 Apr 2001 09:47:01 +0200

Hi,

there┤s a Pullen disco at www.wnur.org/jazz/artists/pullen.don/discog.txt
but the stuff with Kip Hanrahan is missing (I love Tenderness!) and Mingus
at Keystone is given but Pullen is not playing but Dannie Mixon.

Shakill┤s Warrior is good too...

Andreas

np: Michael Blake - Kingdom Of Champa
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.


-



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

From: Tim Blechmann <[e-mail]>
Subject: Re: Laswell
Date: 11 Apr 2001 09:54:36 +0200

Gavin> Wattup negro's
Gavin> I've recently got some bill Laswell stuff, which I
Gavin> liked a lot - very ambient stuff. What I want to know
Gavin> is all of his released stuff like this or does he do
Gavin> any much noise type music?, as I have a live cd of him
Gavin> and its pretty noisy
Gavin> Gav

He releases cds in quite different styles. Ambient, dub, drum'n'bass,
improvised stuff, noise. Most of them were released on the axiom
label.

and there is a good discography at
http://www.geocities.com/SunsetStrip/Underground/7093/disc.html


PEACE

 Tim                            mailto:[e-mail]



-



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

From: =?iso-8859-1?q?MJ=20Gillham?= <[e-mail]>
Subject: Re: good ol' Bill Laswell
Date: 11 Apr 2001 13:53:46 +0100 (BST)

The best thing ol' Bill has ever played on (alongside
Toshinori Kondo, Henry Kaiser, Anton Fier, and Nicky
Skopelitis) is Herbie Hancock's 'Sound-System' LP. It
is essential Laswell... ESSENTIAL! HAHAHA. Of course,
those who (unfortunately) 'know' this LP will realise
this is a fuckin' JOKE... I had a copy, but I smashed
it up, years ago. And if any of you still have a copy,
well, DESTROY! DESTROY! Bill! What were you thinking!





____________________________________________________________
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Get your free @yahoo.co.uk address at http://mail.yahoo.co.uk
or your free @yahoo.ie address at http://mail.yahoo.ie

-



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

From: patRice <[e-mail]>
Subject: David Toop Books (NO ZORN CONTENT)
Date: 11 Apr 2001 14:59:51 +0200

Hello there...

Just recently I discovered that there are two or three books available
that are written by David Toop.

Has anyone from this list ever read one of them?

Any thoughts / comments?

Thanks a lot!

Yours,
patRice

np: Kenny Dorham, Afro-Cuban
nr: Albert Parry, Tattoo


-



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

From: Julien Quint <[e-mail]>
Subject: Re: Will & Harmony
Date: 11 Apr 2001 15:46:49 +0200

Philippe Dupuis asked:
> > Does anyone know why Harmony Korine thanks Will Oldham in the
> > credits to Julien Donkey Boy?

Dan Dellosso answered:
> He had a small part where he is leading a blindman down the street..

Let me add: Harmony Korine is also credited with vocals on the latest Bonnie
"Prince" Billie (i.e. Will Oldham) album, "Ease Down The Road". I have no
idea on which track(s) he sings, though.

Julien

-



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

From: Jason Caulfield Bivins <[e-mail]>
Subject: Re: Oboe
Date: 11 Apr 2001 10:08:13 -0400 (EDT)

Speaking of Chicago, there's also Robbie Hunsinger (sp?). I saw her play a
brief duet with Evan Parker a few years back and she was great.

The oboist who played with Chadbourne may well have been Carrie Shull, a
fine player who's also in the Micro-East Collective.

Jason


-



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

From: Scott Handley <[e-mail]>
Subject: Re: Oboe / Y. Lateef
Date: 11 Apr 2001 07:43:47 -0700 (PDT)

Ah, yes: I have a David Liebman record on which his
wife (not sure about that) Caris plays oboe.  I don't
remember much in the way of what passes for
improvisation from her, though.  The album is pretty
good, a collection of Coltrane compositions, recorded
in the Eighties, with one acoustic group and one
electrified fusion group.  DRUM ODE it ain't.

BTW, I mentioned Yusef Lateef earlier; has anyone
heard his piece for orchestra and improvising
ensemble?  For a number of good and bad reasons, I'm
leery of "jazz with string orchestra" becuase it seems
that so often the resources of the orchestra are
wasted/misused.  But I heard Lateef's (long) piece,
recorded live, on NPR...it was part of a series
celebrating African-American composers, which is just
about the only way we get new music on the public
radio station here.  (Apropos.)  Anyway, the piece was
_shockingly_ good...rather, it greatly exceeded my
stunted expectations.  Yusef twisted his tenor sax in
all directions, and I rmeember being wowed by the
orchestration.  I'll try to seek that out.  It was
epic, and I have no idea if it's been published as a
recording.  What's YL been up to?

----s

=====
"Electric guitar gets run over by a car on the highway/This is a crime against the state/This is the meaning of life...
Electric guitar is copied, the copy sounds better/Call this law and justice, call this freedom and liberty/I thought I perjure myself, right in front of the jury!"
                        ---Talking Heads, "Electric Guitar"

__________________________________________________
Do You Yahoo!?
Get email at your own domain with Yahoo! Mail.
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-



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

From: Bertrand GUGGENHEIM <[e-mail]>
Subject: Oboe
Date: 11 Apr 2001 16:45:02 +0200

Could add Marshall Allen on many Sun Ra records, Nothing Is, Fondation Maeght, When Angels Speak Of Love and many others mostly end of 50's and 60's.  And  Yusef Lateef  at least 3 Faces of  YL + a bulk of others same period. Eastern-oriented, especially Yusef. Marshall more avangardish, Yusef rather hardboppish.

-



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

From: Bob Sweet <[e-mail]>
Subject: Re: Oboe
Date: 11 Apr 2001 10:52:07 -0400

I can't believe that you're speaking of Chicago and not mentioning
Douglas Ewart. I don't know about the oboe, but he is a noted improviser
on the bassoon. Another improvising bassoonist is Janet Grice. I can
remember one night at the Creative Music Studio when Joseph Jarman just
had to get on the phone to Ewart to tell him about this young white girl
(Grice), who was tearin' it up on the bassoon. I think that Janet is
active primarily with teaching these days. She lives just north of NYC.

Bob Sweet
[e-mail]
read Music Universe, Music Mind: Revisiting the Creative Music Studio
subscribe to CMS Update
http://www.arborville.com

Jason Caulfield Bivins wrote:
>
> Speaking of Chicago, there's also Robbie Hunsinger (sp?). I saw her play a
> brief duet with Evan Parker a few years back and she was great.
>
> The oboist who played with Chadbourne may well have been Carrie Shull, a
> fine player who's also in the Micro-East Collective.
>
> Jason
>
> -

-



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

From: Skip Heller <[e-mail]>
Subject: Re: David Toop Books (NO ZORN CONTENT)
Date: 12 Apr 2001 07:58:41 -0700



> Hello there...
>
> Just recently I discovered that there are two or three books available
> that are written by David Toop.
>
> Has anyone from this list ever read one of them?
>
> Any thoughts / comments?
>
> Thanks a lot!
>
> Yours,
> patRice
>
> np: Kenny Dorham, Afro-Cuban
> nr: Albert Parry, Tattoo
>
>
> -
>
I've read EXOTICA, which I thought was very good, but I'm biased as I was
quoted in it abouut a half dozen times, and unlike RJ Smith, Toop actually
gives credit to his sources.

His research on the subject (exotica) is formidable, espec when you consider
he's in England and therefore away fr a lot of idiomatic American stuff.

skip h

np: kenny dorham -- una mas (no joke)


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Oboe
Date: 11 Apr 2001 10:55:58 -0400

Karen Borca plays bassoon.

SS

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Julian
Sent: Wednesday, April 11, 2001 1:53 AM

And Karen Borca with Joe Morris, Cecil Taylor and others...


-


-



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

From: "Julian" <[e-mail]>
Subject: Re: Oboe
Date: 12 Apr 2001 01:02:58 +1000

> Karen Borca plays bassoon.

Your point being?


-



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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: rE: pAINTED sHOESTRINGS
Date: 11 Apr 2001 17:11:59 +0200 (CEST)

O.K Kurt, another English misunderstanding of mine.
I celebrate that you enjoy Shoe-String.
Greetings,

EfrΘn
--- alberta <[e-mail]> escribi≤: > Fecha:
Tue, 10 Apr 2001 14:21:47 -0400 (EDT)
> De: alberta <[e-mail]>
> Para: [e-mail]
> Asunto: rE: pAINTED sHOESTRINGS
>
> the venerable =?iso-8859-1?q?efr=E9n=20del=20valle?=
>
> asked of me:
>
> When you say "don't rush to get Shoe String
> Symphonettes" do you really mean it???!!! What's
> wrong
> with it in your opinion?
>
> when i said:
>
> > if you don't have, say, hex kitchen or shoestring
> > symphonettes, don't rush into getting it. but it's
> > better than the blue mask.
>
> i meant don't rush into getting painted desert if
> you don't have these mori and ribot titles already.
> i loves the s-string symponettes...
>
> for the record,
> kurt
>
> -----------------------------------------------
> FREE! The World's Best Email Address @email.com
> Reserve your name now at http://www.email.com
>
>
>
> -
>


_______________________________________________________________
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Envφa mensajes instantßneos y recibe alertas de correo con
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-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Oboe
Date: 11 Apr 2001 11:14:27 -0400

My point being that I shouldn't post when I'm running a fever and can't
concentrate well enough to see that someone has shifted the subject subtly
away from what the subject line says.  My appy-polly-logies.

As for oboe, well, much like the Kyle Bruckman disc alrady mentioned,
there's a disc by San Francisco reed player Dan Plonsey called
'Understanding Human Behavio' (spelling is correct here) on the Limited
Sedition CD-R label.  He made the disc on the first two days he owned the
instrument.  Dan's a fine, fine sax player, and he manages to get around the
oboe pretty well, but let's just say that the concept here is... different.
And that's there's a fair amount of intentionally bad synthesizer and rhythm
box playing on it, eventually.

Steve Smith
[e-mail]

-----Original Message-----
Sent: Wednesday, April 11, 2001 11:03 AM


> Karen Borca plays bassoon.

Your point being?


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Oboe
Date: 11 Apr 2001 11:27:27 -0400 (EDT)

One of the first modern jazz oboe playersd was Ken
McIntyre, who used it as well as alto saxophone and
flute on his own discs as well as ones with Eric
Dolphy and Bill Dixon.

As for bassoon, besides Karen Borca, seems to me that
Illinois Jacquet played that unwieldy beast on some of
his LPs in the 1950s. Also I seem to recall someone
named Michael Rabionowitz (sp?) who specializes in
playing mainstream jazz on the bassoon.

Ken Waxman


--- Julian <[e-mail]> wrote:
> > Karen Borca plays bassoon.
>
> Your point being?
>
>
> -
>


_______________________________________________________
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-



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

From: michael dessen <[e-mail]>
Subject: Yusef Lateef
Date: 11 Apr 2001 08:52:10 -0800

> orchestration.  I'll try to seek that out.  It was
> epic, and I have no idea if it's been published as a
> recording.  What's YL been up to?

The piece you're probably talking about is the "African-American Epic
Suite," a multi-movement piece for full orchestra and a small group of
improvisors (including Lateef). It was recorded and published in Germany and
I think it is available on Amazon.com's German site (amazon.com/de). A great
piece, in my opinion, but then I'm a big Lateef fan and former student so
I'm biased.

Lateef has actually been up to a lot! He has mostly put out stuff on his own
label, YAL, for many years now, and it doesn't turn up in many stores. (He
does sell it through his website, yuseflateef.com). Also he kind of
distanced himself from the "jazz" industry and won't use the word... He's in
Western Mass. teaching at a few different colleges there, and gets out to
play from time to time, collaborates with Adam Rudolph a lot, but he's not
touring too much (he's 80 this year!). But he puts out a couple of new CDs
every year and is composing a lot of new works, and plays the occasional
festival. A very industrious man...

One recording I especially recommend is the double CD he put out with Adam
Rudolph, entitled "The World at Peace." A live recording of compositions by
both of them for a 12 piece ensemble.

As far as "jazz" or avant-garde improvising oboe goes - most people I know
would be quick to cite him as one of the earliest players to use the oboe in
that context. Check out his early recordings...

michael dessen






-



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

From: Tosh <[e-mail]>
Subject: Re: David Toop Books (NO ZORN CONTENT)
Date: 11 Apr 2001 08:48:58 -0700

I read Toop's Ocean of Sound and Exotica (is that the title?) and both are
very good.    What I like about both books is that it is Toop's personal
take on the music - and it goes off in different areas..  Like I was
surprised to know that there was a David Crosby connection to Les Baxter!



--
Tosh Berman
TamTam Books
http://www.tamtambooks.com

> -
>
>


-



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

From: Mike Brooker <[e-mail]>
Subject: Elvis Costello/Ryko
Date: 11 Apr 2001 09:34:18 -0700 (PDT)

Anyone know what is going on with Elvis Costello's
Rkyo Catalog?  Are anymore being reissued or are the
current titles all out of print?  I went to Rykos
website but apparently it has not been updated in ages
which leads me to beleive that nothing else is going
to take place.  Anyone have information about this?

Thanks

__________________________________________________
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-



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

From: "z~S" <[e-mail]>
Subject: Re: Oboe
Date: 11 Apr 2001 09:36:23 -0700

>>>And that there's a fair amount
of intentionally bad synthesizer
and rhythm box playing on it,
eventually.<<<

I'll check this out if there is also
some intentionally bad yodeling.....

(Plonsey wrote a nice editorial in the
current Cadence which is sure to
irritate the anti-opera-braxtonians
in the audience.)





-



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

From: "z~S" <[e-mail]>
Subject: Re: Oboe
Date: 11 Apr 2001 10:19:51 -0700

My 13 y/o son plays oboe.

When I want to show him
how oboe can be used in
improvisational contexts
I pull out Butch Morris'
DUST TO DUST and let
him enjoy Vickey Bodner
on English Horn and John
Purcell on Oboe.

I never tire of DUST TO DUST.

If I didn't put it on my all time
Top 20 list, please add it.


-



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

From: "Steve Smith" <[e-mail]>
Subject: Because I care... info on new April and May Tzadiks
Date: 11 Apr 2001 13:20:39 -0400

Well, it's been about four years since I've been in a position to do this.
But since I suddnely find myself back on the Koch International mailing
list, I'm glad to pass on those elusive details of upcoming Tzadik releases.
For newcomers, Koch is the American distribution company for Tzadik, Avant,
DIW and numerous other interesting labels.  I no longer have any
professional connection to Koch - this is strictly a public service.  And
bear in mind that Bruce at Downtown Music Gallery ususally has these a bit
before official street date.

Steve Smith
[e-mail]
NP - Radio Tarifa, "Gujo Bushi," 'Cruzando el Rio' (Nonesuch)

APRIL 2001
Street date: April 24, 2001

John Zorn
'Love, Madness and Mysticism'
TZA CD 7065
Composers series
Performers: Jennifer Choi, Erik Friedlander, Stephen Drury
Track: Le Momo * Untitled * Amor Fou
Definitive performances of three dynamic new chamber pieces pushing the
boundaries of virtuosity and intensity.  Le Momo, for violin and piano, is a
work of extremes, a ritual about exorcism and possession inspired by the
works of visionary 20th century shaman Antonin Artaud.  Untitled, dedicated
to Joseph Cornell, the hermetic New York artist whose delirious box
constructions mix innocent personal nostalgia with uncomfortable personal
obsessions, is a tour de force for solo cello brilliantly performed by Erik
Friedlander.  The piano trio Amoor Fou explores love - obsessive love, mad
love, doomed love in a compendium of moods ranging from Bunuel to Bataille,
Scriabin to Messiaen.  A mysterious and romantic new direction from John
Zorn.

Other items of interest in April:

Michel Godard: 'Castel del Monte'
Enja CD 9362
Rabih Abou-Khalil's tuba and serpent player, with a team of international
all-stars including Gianluigi Trovesi, Renaud Garcia-Fons, Pino Minafra and
Jean-Louis Matinier.  Lots of Italian folksong materials on this one...

Vincent Courtois: 'Translucide'
Enja CD 9380
Rabih Abou-Khalil's cellist, solo and in duet with Michel Godard, Yves
Robert and Noel Akchote.

Masayuki Takyanagi & Kaoru Abe: 'Gradually Projection'
DIW CD 425
REISSUE, historic meeting of two legends of Japanese free music, recorded
July 9, 1970.

Stefano Scodanibbio: 'Six Duos'
New Albion CD 113
The phenomenal Italian bassist in duos with members of the Arditti String
Quartet.

Morton Subotnik: 'Vol. 1: Electronic Works'
Mode CD/DVD-A 97
Old and new multi-channel works by Subotnik - 'Touch,' 'A Sky of Cloudless
Sulfur,' 'Gestures: It Begins with Colors' - available in stereo mixes on CD
and in surround sound with video interviews and lots of other gimmicks on
DVD-A.

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

MAY 2001
Street date: May 22, 2001

Otomo Yoshihide's New Jazz Quintet
'Flutter'
TZA CD 7232
New Japan series
Performers: Tsugami Kenta, Kikuchi Naruyoshi, Otomo Yoshihide, Mizutami
Yasuhiro, Sachiko M, Akita Masami
Tracks: Flutter * Drift-Les * Serene * Spin * Night Lights-Density
Japanese Free Jazz has a history that goes back to the '60s, and Otomo
Yoshihide's latest project brings together some of the best Free Jazz
players in Japan with noise musicians Sachiko M and the legendary Akita
Masami of Merzbow.  Beautiful arrangements, exciting solos and a kickass
rhythm section make 'Flutter' one of Otomo's most powerful and unusual
musical statements.  Features three bizarre covers of tunes by Eric Dolphy
and Gerry Mulligan and four dynamic originals.  Sine waves, drones, jazz and
noise from one of Japan's most ubiquitous experimental musicians.

Xtatica
'Tongue Bath'
TZA CD 7701
Oracles series
Performers: Haena Kim, Mas Yamagata, Vongku Pak, Kyungwook Jung
Tracks: Taking the Angel * Malady * Tongue * Sick Fuck * Immolation * Gone *
Dance of the Phantasms * Manic Holiday * Out in the Woods, It's 3 AM *
Sunfire
New Tzadik Oracles series is proud to begin with the unique visions of
singer/songwriter Haena Kim.  Featuring hypnotic, trippy vocals, nasty
electric bass and two driving Korean percussionists, this is a band that
opens up an exciting new world of sound.  You've never heard anything like
Xtatica - a magical blend of alternative rock with Korean traditoinal music.
Pansori via Nine Inch Nails.

Other items of interest in May:

Don Cherry's Nu: 'Live at the Bracknell Jazz Festival, 1986'
BBC Jazz Legends CD 7004
Don Cherry, Ed Blackwell, Carlos Ward, Mark Helias and Nana Vasconcelos
recorded live in 1986.

Rob Reddy's Sleeping Dogs: 'However Humble'
Knitting Factory CD 291
Interesting composer/saxophonist's new band with Charles Burnham (violin,
mandolin), Don Richards (bass), Guillermo E. Brown (drums) and John Carlson
(trumpet).

John Cage: 'Complete Piano Music, Vol. 6'
MD+G CD 6130791 (2 CDs)
Piano music composed in 1960-62, including Etudes Boreales, "The Beatles,"
and ASLSP, performed by Steffen Schleiermacher in an ongoing series.

John Cage: 'The Works for Violin 4'
Mode CD 100
Irvine Arditti's ongoing series includes Nocturne (1947), 6 Melodies (1950),
Two6 (1992), One10 (1992) and 8 Whiskus (1985).  Our own Stephen Drury is
his partner in the first three pieces listed.


-



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

From: "William York" <[e-mail]>
Subject: Re: oboe
Date: 11 Apr 2001 17:42:15

Jason Caulfield Bivins wrote:
>The oboist who played with Chadbourne may well have been Carrie Shull, >a
>fine player who's also in the Micro-East Collective.

Yes this is probably true. She is from Chapel Hill and is on a bunch of
Chadbourne's semi-recent albums: Insect and Western Party, Insect Attracter,
Worms with Strings, the Hellington Country CDs ... I was so ready to chime
in and mention someone from my old hometown, and then sign the message
"Yours in obscurity," but two people beat me to it. It's the time zone
difference I tell you...

WY (Trying to recover from seeing ROVA, Leo Smith, Fred Frith, AMM,
Goatwhore, Paraphrase, Candiria and Cryptopsy all within the last five days,
in three different cities, almost all for the first time ... whew)
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com


-



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

From: "Jesse Kudler" <[e-mail]>
Subject: Takayanagi/Abe
Date: 11 Apr 2001 13:43:58 -0400


----- Original Message -----
Sent: Wednesday, April 11, 2001 1:20 PM


> Masayuki Takyanagi & Kaoru Abe: 'Gradually Projection'
> DIW CD 425
> REISSUE, historic meeting of two legends of Japanese free music, recorded
> July 9, 1970.

Anyone heard this or the other new disc from the same duo?  I'd like to get
'em, but the prices on those DIW discs are rough.

-Jesse


-



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

From: [e-mail]
Subject: Oboe
Date: 11 Apr 2001 13:49:17 EDT

Yusef Lateef plays oboe on the very first track of THE LAST SAVOY SESSIONS
re-released last spring.  Titled appropriately "Oboe Blues."

jb

-



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

From: "z~S" <[e-mail]>
Subject: Re: And because *I* care...
Date: 11 Apr 2001 10:52:04 -0700

http://www.outwestnewspaper.com/sourdough.html


-



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

From: "z~S" <[e-mail]>
Subject: Re: Oboe
Date: 11 Apr 2001 10:55:02 -0700

Titled appropriately "Oboe Blues."

jb

-

My son's first CD will be called
_I Am A Lonesome Oboe_.

Thankfully I must get to work now.

Have a lovely day Zornsters.




-



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

From: "Martin Wisckol" <[e-mail]>
Subject: collectors' corner
Date: 11 Apr 2001 11:27:27 -0700

just getting to disc five of Art Tatum's 7CD complete solo masterpieces --
listen to this one and then try arguing that you recently heard a really
fresh new reharmonization of an old standard -- and it's abundantly clear
that my collecting has exceeded my ability to digest it all. i remember
when i had three, four, five records, and knew every note, every word on
them, played them over and over and over. now, there are probably a dozen
discs at home that have yet to be spun, and who knows how many dozens i've
never listen to thoroughly from start to finish.

so, my question du jour: when did you realize you were addicted? that your
simple desire to keep your ears filled with good music became outpaced by
the desire to collect collect collect? do all collectors of a certain
magnitude harbor a shadow of guilt?


-



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

From: Scott Handley <[e-mail]>
Subject: Re: collectors' corner
Date: 11 Apr 2001 11:48:05 -0700 (PDT)

--- Martin Wisckol <[e-mail]>
wrote:
> so, my question du jour: when did you realize you
> were addicted? that your
> simple desire to keep your ears filled with good
> music became outpaced by
> the desire to collect collect collect? do all
> collectors of a certain
> magnitude harbor a shadow of guilt?

No guilt, no realization; only moments of clarity.  I
get these moments when I get things I pretty seriously
dislike or am bored by.  The irritation comes from
thinking of all the safe(r) bets (but nonetheless mind
expanding!) that I could have taken.  Last night I had
a moment of clarity with a Mille Plateaux compilation.
 Bo-ring.  Otherwise, well, running out of money does
it to me every time.

----s

=====
"Electric guitar gets run over by a car on the highway/This is a crime against the state/This is the meaning of life...
Electric guitar is copied, the copy sounds better/Call this law and justice, call this freedom and liberty/I thought I perjure myself, right in front of the jury!"
                        ---Talking Heads, "Electric Guitar"

__________________________________________________
Do You Yahoo!?
Get email at your own domain with Yahoo! Mail.
http://personal.mail.yahoo.com/

-



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

From: [e-mail]
Subject: Re: oboe
Date: 11 Apr 2001 15:04:54 EDT


In a message dated 4/11/01 1:43:34 PM, [e-mail] writes:

<< Trying to recover from seeing ROVA, Leo Smith, Fred Frith, AMM,
Goatwhore, Paraphrase, Candiria and Cryptopsy all within the last five days,
in three different cities, almost all for the first time ... whew >>

AMM live reports! more AMM live reports, please!

Jon
www.erstwhilerecords.com

-



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

From: mwoodwor <[e-mail]>
Subject: drummer john hollenbeck
Date: 11 Apr 2001 16:12:03 -0300

hey I've got a chance to go see a drummer who is currently an
artist-in-residence at a university near here - John Hollenbeck
i haven't heard of him - but he apparently plays with Cuong Vu,
Chris Speed, Drew Gress, and other good players (and is featured
on the Cuong Vu trio album Pure on KF). Can anyone let me know what
he is like and if it is worth missing Survivor tomorrow night
to go check it out (let's all pray Elizabeth doesn't get voted off)
ha ha, nobody kill me.
mike.
np. new Rabih Abou khalil (cactus of knowledge)
- best thing I've heard from him since The Blue Camel (or
maybe Al-jadida) - project seemed like a disaster waiting
to happen -but the large group pulls it off with flying colours



-



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

From: Maurice Rickard <[e-mail]>
Subject: Re: And because *I* care...
Date: 11 Apr 2001 15:18:55 -0400

At 10:52 AM -0700 4/11/01, z~S wrote:
>http://www.outwestnewspaper.com/sourdough.html

Wow.  That sure is a lot of yodeling.  I'll bet there's more yodeling
per unit time on the Sourdough Slim CD than there is on the Corin
Curschellas disc.  Key quote: "...he ended up a yodeling cowboy in
Paradise."

Not in Paradise, but not yodeling either,
Maurice

--
Maurice Rickard
http://mauricerickard.com/

-



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

From: Dan Given <[e-mail]>
Subject: Re: oboe (Dan Plonsey)
Date: 11 Apr 2001 12:21:34 -0700

> Date: Wed, 11 Apr 2001 11:14:27 -0400
> From: "Steve Smith" <[e-mail]>
> Subject: RE: Oboe

> there's a disc by San Francisco reed player Dan
> Plonsey called  'Understanding Human Behavio'
> (spelling is correct here) on the Limited
> Sedition CD-R label.  He made the disc on the
> first two days he owned the instrument.  Dan's a > fine, fine sax player, and he manages to get
> around the oboe pretty well, but let's just say that > the concept here is... different.  And that's there's
> a fair amount of intentionally bad synthesizer and > rhythm box playing on it, eventually.

What  a great disc!  I love "I've Got a Little Oboe"

Has anyone heard the solo Plonsey disc on Felmay (or Newtone, or whatever name they are going by)?  I really like his multi-tracked recording on Music and Arts.  And what else has he done that might be available?

Dan


Find the best deals on the web at AltaVista Shopping!
http://www.shopping.altavista.com

-



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

From: [e-mail]
Subject: Re: Elvis Costello/Ryko
Date: 11 Apr 2001 15:31:13 -0400




Mike Brooker asked:
Anyone know what is going on with Elvis Costello's
Rkyo Catalog?  Are anymore being reissued or are the
current titles all out of print?

I read that Rhino now has the catalog and will be reissuing each album with new
and different unreleased tracks than Ryko had.  Some will be double CD releases,
including "Very Best Of".



-



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

From: [e-mail]
Subject: Re: Because I care... info on new April and May Tzadiks
Date: 11 Apr 2001 16:09:59 EDT

what else do we know about these xtatica cats?  im all over the internet
right now and i cant find a damn thing

~fishy

-



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

From: Skip Heller <[e-mail]>
Subject: Re: David Toop Books (NO ZORN CONTENT)
Date: 12 Apr 2001 13:41:47 -0700



> I read Toop's Ocean of Sound and Exotica (is that the title?) and both are
> very good.    What I like about both books is that it is Toop's personal
> take on the music - and it goes off in different areas..  Like I was
> surprised to know that there was a David Crosby connection to Les Baxter!
>
>
Les used to refer to David Crosby as "that psychotic folksinger."

skip h


-



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

From: [e-mail]
Subject: NADEs
Date: 11 Apr 2001 16:48:40 EDT


--part1_84.14171b7f.28061d28_boundary
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Content-Transfer-Encoding: 7bit

>Kang's '7 NADEs'

What is a NADE?

ben

--part1_84.14171b7f.28061d28_boundary
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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>>Kang's '7 NADEs'
<BR>
<BR>What is a NADE?
<BR>
<BR>ben</FONT></HTML>

--part1_84.14171b7f.28061d28_boundary--

-



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

From: "z~S" <[e-mail]>
Subject: Re: oboe (Dan Plonsey)
Date: 11 Apr 2001 14:47:22 -0700

http://www.newcreativemusic.com/i_archives.html#dp


-



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

From: dan hill <[e-mail]>
Subject: toop
Date: 12 Apr 2001 02:29:23 +0100


david toop's written several books.

as skip noted, "exotica" is fabulous. toop manages to combine an
impressionistic, highly personal "kurtz-like" journey into exotica (a
broad definition thereof), with a bunch of excellent interview
material, with les baxter, ornette coleman, bill laswell, nusrat,
burt bacharach and the boo-yaa tribe.

"ocean of sound" is pretty much required reading in terms of
understanding modern popular music - how it's made and the influences
upon it. joining the dots between debussey, sun ra, aphex twin, 70s
miles, etc. ... a brilliant, groundbreaking book.

and i've also read "rap attack 3" which is a top-notch, rattling good
read of the story of hip-hop, from bronx block parties up to tupac
and notorious big ... again, lots of good research and interviews,
woven together with strong writing, opinion and insight.

david knows his stuff.

cheers,
dan.

ps. please note the new email address.

pps. david toop's also produced some very fine music - i think his
album "pink noir" (feat. jon hassall and evan parker amongst others)
is one of my favourite late-90s albums.

ppps. speaking of evan parker, as we weren't, the gig with jah wobble
(picking up on a thread from a couple of weeks ago) at london's QEH a
week ago was abysmal, imho. wobble's egomania was in overdrive,
drowning out musicians of the calibre of parker, clive bell, drummer
mark saunders, steve beresford etc. - through the sheer volume of his
bass, and a "live mix" which drowned everything in reverb.
astonishingly bad - wobble had half the stage to himself, and
'conducted' the band zappa-style. he was just doing his usual
monotonous basslines, which seemed to go on for days. rubbish. i
quite like wobble's sound and style - in a context of equal footing
within the rhythm section of a good band. but not here. there were
many walkouts. i wished i had too, but the only gig i've ever walked
out on remains astrud gilberto at the jazz cafe.

the great burnt friedman also played that night, in a hit-and-miss
duet with ex-can drummer jaki liebezeit. you'd be surprised by
liebezeit these days - he's completely stripped his style back to
basics, essentially sounding like a live drum machine, playing with
only a snare, a couple of toms, and two cymbals. no kick drum (no
kick drum!?!? someone who's responsible for some of my favourite
kickings of kick drum on "vitamin c" off "ege bamyasi"!). he employed
a plodding, deliberate style, which i quite enjoyed. there's so much
rhythmic information in friedman's samples that, once liebezeit got
going, he was able to pick out different accents and patterns all the
time. quite entertaining, though some in the audience clearly thought
he'd learnt to play the drums that afternoon. i think friedman
enjoyed the 'intellectual conceit' of one of the great organic groove
machines playing like a toy drummer-boy. he's like that. i'd love to
see friedman play with a drummer who'd take him on though - jim
black, billy kilson, joey baron, say - or indeed the liebezeit of a
few years ago.

the other 'act' was pole, who did his thing to no great effect. why
play dance music in a posh venue like the queen elizabeth hall? he
was the only one dancing ...

pppps. currently enjoying mike barnes' fine book about captain
beefheart. excellent good fun.

ppppps. also currently enjoying "wicked grin". so there. if you like
the blues, you'll like the album, whether you like waits or not. i
love waits, and have no problem *whatsoever* with someone
interpreting his tunes. go for your fuckin life, i reckon. you can
hear waits all over it anyway, and the zorn list seems an odd place
to find the notion that a certain artist's work is sacrosanct and
untouchable.

--

dan hill
cityofsound.com

-



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

From: [e-mail]
Subject: Re: toop
Date: 11 Apr 2001 21:47:09 EDT

nice recap by dan as to what toop's done so far. here's some of what he's up
to now.

he's currently at work on a book about digital music and the body, "the
impact digital music creation is having on more 'traditional' means of making
music - both the ways in which it seems to make performance in the
conventional sense redundant and in the ways it has connected with the very
social, physical and spontaneous methods of improvised music."

he's also slated to make his NY Times debut in a few weeks, writing an
electroacoustic improv scene overview, tied into my mid-May Tonic festival,
AMPLIFY 2001: mainsine. more details on the Tonic site, www.tonicnyc.com,
scroll down to May 14/15.

and I'm obviously biased, but his review of do in the new Wire is one of the
best written record reviews I've ever read. it's posted on my web site under
Press if you haven't seen it.

Jon
www.erstwhilerecords.com

-



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

From: [e-mail]
Subject: parker/wobble
Date: 11 Apr 2001 21:48:58 EDT


In a message dated 4/11/01 9:31:01 PM, [e-mail] writes:

<< speaking of evan parker, as we weren't, the gig with jah wobble
(picking up on a thread from a couple of weeks ago) at london's QEH a
week ago was abysmal, imho. >>

I heard some of this CD in DMG the other day and couldn't believe how bad it
was. I actually thought Bruce was lying to me when he told me what was
playing.

Jon
www.erstwhilerecords.com

-



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

From: [e-mail]
Subject: Re: Amm live report
Date: 11 Apr 2001 22:47:30 EDT


--part1_45.4dbd579.28067142_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

In a message dated 4/11/01 12:06:54 PM Pacific Daylight Time,
[e-mail] writes:


> AMM live reports! more AMM live reports, please!
>
> Jon
> www.erstwhilerecords.com
>
> I saw AMM Sunday night at Mills College in Oakland with a couple of fellow
> zornlisters.  It was in a big hall with great acoustics and was well
> attended.  AMM played in very little light,only small lamps near each one.
> The music slowly unfolded  and was very quiet for the most part.  A lot of
> it seemed driven by Rowe's electronics with Prevost and Tilbury adding
> embellishments.  The stage was so elevated that you could just see Rowe
> hunched over a table, not really what he was doing.  Very little seemed
> like it was produced by strings however.  Tilbury's best moments seemed to
> be when he was playing the inside of the piano.  At one point, in the
> middle of a piece, he left the stage and went and played the piano in the
> back room( with all the doors open for the sound to come out)  Prevost was
> very engaging to watch.    Besides having a somewhat normal kit, he had a
> huge bass drum laid flat upon which he did a lot of interesting cymbal
> work.  The drum would greatly amplify everything he did.  He would slide
> the cymbal across the drum in sweeping movements while he was bowing it and
> at one point he had several cymbals spinning on the drum which made for
> some very wavery sounds.  I'm glad I went to the show, found it worthwhile,
> but it wasn't as interesting as the Rova fest or the Paraphrase show the
> same weekend.  It seems more like a modern classical approach than a
> jazz/noise improv approach.  A little dry.  I know I'm speaking heresy here
> so I'm enclosing a bit more positive review from a local music list.
>     John Threadgould
>
> >>my impression of the concert was that it was like attending a dream. i
> kept
> floating in and out of being attentive/dreaming/waking/listening/hearing.
> just
> amazing. their use of their developed vocabulary has really become refined.
>
> i interviewed them collectively this morning (for an in-progress doc film
> about
> politicization in the avant-garde) and one of the things that keith rowe
> spoke
> of was that they have lately been moving from the "hotter" period of
> abstraction in their music (a visual anologue would be "astract
> expressionism"
> for lack of a better word, but the sort of expression of individuals that
> leads
> to great emotional outpouring like pollock or rauschenburg - remember keith
> is
> a painter) into a newer "cooler" way of making improvised music which is
> more
> like, say rothko's color fields etc...
> anyway. yeah. a good show..
>
> =====
> MAGNETIC -- Jonathan Segel PO Box 460816 S.F. CA. 94146-0816
>      [e-mail] <---> [e-mail]<<
>



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Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=2>In a message dated 4/11/01 12:06:54 PM Pacific Daylight Time,
<BR>[e-mail] writes:
<BR>
<BR>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">AMM live reports! more AMM live reports, please!
<BR>
<BR>Jon
<BR>www.erstwhilerecords.com
<BR>
<BR>I saw AMM Sunday night at Mills College in Oakland with a couple of fellow
<BR>zornlisters.  It was in a big hall with great acoustics and was well
<BR>attended.  AMM played in very little light,only small lamps near each one.
<BR>The music slowly unfolded  and was very quiet for the most part.  A lot of
<BR>it seemed driven by Rowe's electronics with Prevost and Tilbury adding
<BR>embellishments.  The stage was so elevated that you could just see Rowe
<BR>hunched over a table, not really what he was doing.  Very little seemed
<BR>like it was produced by strings however.  Tilbury's best moments seemed to
<BR>be when he was playing the inside of the piano.  At one point, in the
<BR>middle of a piece, he left the stage and went and played the piano in the
<BR>back room( with all the doors open for the sound to come out)  Prevost was
<BR>very engaging to watch.    Besides having a somewhat normal kit, he had a
<BR>huge bass drum laid flat upon which he did a lot of interesting cymbal
<BR>work.  The drum would greatly amplify everything he did.  He would slide
<BR>the cymbal across the drum in sweeping movements while he was bowing it and
<BR>at one point he had several cymbals spinning on the drum which made for
<BR>some very wavery sounds.  I'm glad I went to the show, found it worthwhile,
<BR>but it wasn't as interesting as the Rova fest or the Paraphrase show the
<BR>same weekend.  It seems more like a modern classical approach than a
<BR>jazz/noise improv approach.  A little dry.  I know I'm speaking heresy here
<BR>so I'm enclosing a bit more positive review from a local music list.
<BR>    John Threadgould
<BR>
<BR>>>my impression of the concert was that it was like attending a dream. i
<BR>kept
<BR>floating in and out of being attentive/dreaming/waking/listening/hearing.
<BR>just
<BR>amazing. their use of their developed vocabulary has really become refined.
<BR>
<BR>i interviewed them collectively this morning (for an in-progress doc film
<BR>about
<BR>politicization in the avant-garde) and one of the things that keith rowe
<BR>spoke
<BR>of was that they have lately been moving from the "hotter" period of
<BR>abstraction in their music (a visual anologue would be "astract
<BR>expressionism"
<BR>for lack of a better word, but the sort of expression of individuals that
<BR>leads
<BR>to great emotional outpouring like pollock or rauschenburg - remember keith
<BR>is
<BR>a painter) into a newer "cooler" way of making improvised music which is
<BR>more
<BR>like, say rothko's color fields etc...
<BR>anyway. yeah. a good show..
<BR>
<BR>=====
<BR>MAGNETIC -- Jonathan Segel PO Box 460816 S.F. CA. 94146-0816
<BR>     [e-mail] <---> [e-mail]<<
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR></FONT></HTML>

--part1_45.4dbd579.28067142_boundary--

-



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

From: [e-mail]
Subject: Re: oboe
Date: 12 Apr 2001 00:42:35 EDT

Anybody mention Emmanuelle Somer?  On her CD, "The Apple Tree" (Lyrae
Records, 1998), she plays oboe and English horn.   On some of the tracks,
she's joined by that other noted jazz ax, viola de gamba (played by Jay
Elfenbein); the lineup on those tracks also includes Chris Potter on bass
clarinet and Jim Black on drums.

David

np: Morton Feldman,  All Piano (John Tilbury)

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: drummer john hollenbeck
Date: 12 Apr 2001 01:48:26 -0400

John is an incredibly good drummer, one of New York's best-kept secrets.  He
can play literally anything, from big band swing to complete free improv.
He's also a really, really strong composer.  Don't know who he'll be playing
with in yer hood, but yeah, you should catch the concert and then find out
on Letterman who got voted off.

Steve Smith
[e-mail]
NP - Wu-Tang Clan, "Little Ghetto Boys," 'Wu-Tang Forever' (Loud)

-----Original Message-----
[mailto:[e-mail]]On Behalf Of mwoodwor
Sent: Wednesday, April 11, 2001 3:12 PM

hey I've got a chance to go see a drummer who is currently an
artist-in-residence at a university near here - John Hollenbeck
i haven't heard of him - but he apparently plays with Cuong Vu,
Chris Speed, Drew Gress, and other good players (and is featured
on the Cuong Vu trio album Pure on KF). Can anyone let me know what
he is like and if it is worth missing Survivor tomorrow night
to go check it out (let's all pray Elizabeth doesn't get voted off)
ha ha, nobody kill me.


-



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

From: "Case" <[e-mail]>
Subject: Re: NADE's..New Kang??
Date: 12 Apr 2001 16:50:48 +0950

I dont know what a NADE is, but I am sure intereted in any news about new Kang
material.

Anything on the horizon?<
I know a few of you are mates with him, , so whats he up to..?

Case
NP wire free cd on April issue (Hey, im in Oz)


- --part1_84.14171b7f.28061d28_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

>Kang's '7 NADEs'

What is a NADE?

ben


-



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From: =?iso-8859-1?Q?Thorsten_Kr=E4mer?= <[e-mail]>
Subject: Re: Zorn List Digest V3 #376
Date: 12 Apr 2001 13:27:30 +0200

> what else do we know about these xtatica cats?  im all over the internet
> right now and i cant find a damn thing


Haena Kim is credited for singing on "Pauvre Lola" (Poor Lola) on Zorn's
Gainsbourg Tribute. The odd thing about it is that she sounds like April
March and the whole cut (with Ikue Mori & Marc Ribot) sounds exactly like a
version of the song on one of April March's records. So I always thought
that she's just some kind of alias for Mrs. March.


-



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

From: "Bill Ashline" <[e-mail]>
Subject: toop
Date: 12 Apr 2001 12:58:50 -0000

>From: dan hill <[e-mail]>
>Subject: toop
>ppps. speaking of evan parker, as we weren't, the gig with jah wobble
>(picking up on a thread from a couple of weeks ago) at london's QEH a
>week ago was abysmal, imho.

I caught it on radio.  It was a pile of mush to be sure.  I prefer Wobble
when he's working on someone else's project.  His own stuff, other than
"Heaven and Earth" and "Molam Dub," I've found generally dull.  "Molam Dub"
though was an excellent CD, my favorite release from him.

Speaking of Toop, one of these days I'm going to muster the words needed to
praise the hell out of "Do," an absolutely groundbreaking release.  The
first track is fabulous.
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.


-



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

From: [e-mail]
Subject: John Hollenbeck
Date: 12 Apr 2001 09:00:24 EDT

Great drummer & ESP. composer.
I saw his Quintet - damn - forget the name, but it had a woman's name, like
"The Jennifer Quintet" or something like that -  which was heavily composed,
intricate chamber jazz type stuff, & was blown away.

I have no idea what he'll be doing, but I bet it will be worthwhile!

To hell with Survivor - go see some music!

Steve F.

Don't know
>hey I've got a chance to go see a drummer who is currently an
>artist-in-residence at a university near here - John Hollenbeck
>i haven't heard of him - but he apparently plays with Cuong Vu,
>Chris Speed, Drew Gress, and other good players (and is featured
>on the Cuong Vu trio album Pure on KF). Can anyone let me know what
>he is like and if it is worth missing Survivor tomorrow night
>to go check it out (let's all pray Elizabeth doesn't get voted off)
>ha ha, nobody kill me.

-



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

From: Bob Sweet <[e-mail]>
Subject: Re: John Hollenbeck
Date: 12 Apr 2001 09:38:34 -0400

The Claudia Quintet

Bob Sweet
read Music Universe Music Mind: Revisiting the Creative Music Studio
subcscribe to CMS Update
http://www.arborville.com

[e-mail] wrote:
>
> Great drummer & ESP. composer.
> I saw his Quintet - damn - forget the name, but it had a woman's name, like
> "The Jennifer Quintet" or something like that -

-



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

From: Theo Klaase <[e-mail]>
Subject: Killer Joey - Joey Baron
Date: 12 Apr 2001 09:49:39 -0700 (PDT)

--0-25314808-987094179=:25144
Content-Type: text/plain; charset=us-ascii


      One can now purchase this album from Tone Field's web site for $12.... I just got a copy yesterday and I think it's marvelous... Although I'm not familiar with the either guitarist previous work, I am quite impressed and moved with their playing... Both of them have elements of Frisell and Ribot that really work nicely with Joey's compositions... Recommended to all Joey fans...

-Theo



Do You Yahoo!?
Yahoo! Mail Personal Address - Get email at your own domain with Yahoo! Mail.
--0-25314808-987094179=:25144
Content-Type: text/html; charset=us-ascii

<P>      One can now purchase this album from Tone Field's web site for $12.... I just got a copy yesterday and I think it's marvelous... Although I'm not familiar with the either guitarist previous work, I am quite impressed and moved with their playing... Both of them have elements of Frisell and Ribot that really work nicely with Joey's compositions... Recommended to all Joey fans...</P>
<P>-Theo</P><p><br><hr size=1><b>Do You Yahoo!?</b><br>
<a href="http://personal.mail.yahoo.com/?.refer=mailiyfoot">Yahoo! Mail Personal Address</a> -
Get email at your own domain with Yahoo! Mail.
--0-25314808-987094179=:25144--

-



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

From: [e-mail]
Subject: Re: Oboe
Date: 12 Apr 2001 13:11:23 EDT


In a message dated 4/11/01 8:09:02 AM, [e-mail] writes:

<< Speaking of Chicago, there's also Robbie Hunsinger (sp?). I saw her play a
brief duet with Evan Parker a few years back and she was great.

The oboist who played with Chadbourne may well have been Carrie Shull, a
fine player who's also in the Micro-East Collective.

Jason >>

It's very possible that was her.  I live in greensboro, nc where chadburne is
from (and occasionally comes back to every once and a while).
~eriedell

-



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

From: "William York" <[e-mail]>
Subject: Re: oboe
Date: 12 Apr 2001 18:10:17

>AMM live reports! more AMM live reports, please!

I was one of the zornlisters John mentioned at the Mills show, and he
described it really well I'd say. I was going to say that I only had 2 of
their CDs, Nameless Uncarved block and Live in Allentown, and that it
resembled Allentown more, but that only makes sense b/c that has the same
lineup. But the overall form and dynamics were similar enough that it wasn't
a real surprise. It was interesting to see how they made some of the sounds,
although like John said, you really couldn't see what he was doing that
well. My favorite part of the show was the noisier stuff Rowe was doing --
it got loud enough that some people were holding their ears (although these
loud parts didn't last long).

I did notice a few musicians -- Larry Ochs, Dan plonsey ... I'm sure there
were more (Jonathan Segel from Camper Van Beethoven for one apparently), but
I didn't look too carefully.

As for this:

>i interviewed them collectively this morning (for an in-progress doc >film
>about politicization in the avant-garde) and one of the things >that keith
>rowe spoke of was that they have lately been moving from >the "hotter"
>period of abstraction in their music [...] into a >newer "cooler" way of
>making improvised music which is more like, say >rothko's color fields
>etc...anyway.

i keep seeing these kinds of statements from different musicians. which is
fine -- at least here they are saying that "they" are moving in this
direction, as opposed to "the music" or "things in general." because maybe
they are for some folks, but not for everybody. i thought amm was
interesting, but i also (heresy) got a lot more out of paraphrase. it is
acoustic, jazz-based free improv, but it's not cliched, it's not retro, and
it has the physical/emotional/rhythmic qualities that i look for more and
that amm doesn't have (or strive for, yes yes, i realize this). i guess it's
just a personal thing?

wy

_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com


-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: AMM tour reports?
Date: 12 Apr 2001 11:18:15 -0700

At 9:21 PM 4/7/01, [e-mail] wrote:
>so the much-anticipated AMM US tour has kicked off, yet we haven't heard
>about it yet.
>
>how did the Colorado show go, Matt? and let's hear some reports on the
>California, Portland and Chicago shows once they happen also. I need
>something to tide me over for a few weeks until they make it to the East
>Coast.
>
>Jon
>www.erstwhilerecords.com
>
They were in Portland last night. I really don't know what to write about
the show, it was typically brilliant and as alike and unalike as any other
AMM show.

It was at the Old Church, and sponsored by the Creative Music Guild. The
CMG really deserves some credit, they have been booking some amazing shows
this year (Dave Douglas' Charms of the Night Sky, Sam Rivers Trio), and
have done a great job of getting audiences to these shows, the Dave Douglas
show, also at the Old Church, was sold out. I thought the turnout at the
AMM show was a little light by recent standards, but still good.

The Old Church is a wonderful acoustic space, definitely the best I've
heard them in, and also has the best piano of the shows I've seen. In the
past shows, John Tilbury has tended to disappear beneath the volume that
Rowe and Prevost can produce. Last night, I really got a new appreciation
of how he provides a harmonic backdrop for AMM. He has a wonderful ability
to play the perfect chord that harmonizes the (seemingly) non-pitched
sounds that Rowe and Prevost produce. He reminded me of Morton Feldman,
very slow moving, not quite tonal, yet not quite atonal either. At one
point, about 1/3 of the way through the performance, he left the room and
played a piano in another part of the church, and his sounds had the
quality of drifting in from the ether, like Rowe's radio drop-ins.

They played with just a few lights behind them, and since the light was
shining directly in my eyes, I listened to much of the concert with them
closed. In the past, I've tended to watch Rowe closely, and I think it's
more interesting not to know who is making each sound and how. One thing I
really appreciate about AMM is the way their music evolves. Most of the
free improv I've seen lately is tends to be episodic, with little sense of
development from moment to moment. With AMM, every sound seems to develop
from the last. The musicians move slowly and with great deliberation. None
of what Braxton has called "the tyranny of the sweating brow."

What else?
A cell phone rang at about 30 seconds in. This is one of the reasons I
refuse to own one.
The were a few people who seemed inspired not just to leave the concert,
but to do so as noisily as possible. Despite the fact that the audience
were told beforehand that they were free to move about during the show,
most of the audience listened raptly throughout.
At one point, Rowe dropped in, via radio, a voice saying, "If I could give
you amnesia right now, would you want it?" When I saw them in Vancouver BC,
10 year ago or so, he found a voice saying, "You're listening to
Vancouver's best rock." I'm constantly astounded that he finds stuff so
appropriate, and often hilarious, being broadcast. These things would be
cheesy if they were taped, but given that he's just magically stumbling
across them, they're great.

Great, great show. See them.




____________________________________________
Dave Trenkel : [e-mail]
New & Improv Media
http://www.newandimprov.com
Now available: Admiral Twinkle Devil: Wabi Dub
____________________________________________



-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: NADE's..New Kang??
Date: 12 Apr 2001 13:28:19 -0700

At 4:50 PM 4/12/01, Case wrote:
>I dont know what a NADE is, but I am sure intereted in any news about new Kang
>material.
>
>Anything on the horizon?<
>I know a few of you are mates with him, , so whats he up to..?

Eyvind did the arranging on Aiko Shimada's new Tzadik disc Blue Marble.
Aiko's an old friend, so I'm not exactly objective here, but I think it's
pretty great. Probably the most pop thing ion Tzadik, but very nice.

____________________________________________
Dave Trenkel : [e-mail]
New & Improv Media
http://www.newandimprov.com
Now available: Admiral Twinkle Devil: Wabi Dub
____________________________________________



-



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

From: [e-mail]
Subject: Class cuts
Date: 13 Apr 2001 00:27:42 EDT

OK, when it comes to jazz cutouts,  I've got a pretty good idea where to
look. But what about classical cutouts?  I'm currently looking in particular
for Charles Ives: The Celestial Country (Collins CD 14792), which (unlike the
recording on Citadel that is in print) also includes Ives' psalm settings.
The CD in question isn't particularly old (1996), but the label apparently
went belly-up a while back.  Got a bunch of other cutout classical CD wants
too.  Any good tips?

(Also still looking for Legba Crossing...)

David

np: The Band, Academy of Outtakes


-



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

From: [e-mail] (Benjamin Pequet)
Subject: Fwd: [Nettime-bold] Is Mark Dery an Absolute Idiot? Read this
Date: 13 Apr 2001 02:12:41 -0400


While some of you recount your experience of amm shows in orgasmic terms /
for the intellectual-oriented fringe on this mailing list here's something
that just appeared on [nettime-bold]. In that email exchange Dj spooky
cites his influences and quotes heraclitus, drops a lot of names,
philosophises about space and time, ... hip-hop, culture at as part of an
African re-contextualization, digital culture, napster, ...

That might not fuel your doc film about politicization in the avant-garde
but Dj spooky would certainly appreciate the attention and might perhaps
even drop the word (politicization) in his next self-interview.

I forward only the beginning because it's quite long, email me perso if by
any chance you want the rest - and don't forget to check out
www.djspooky.com to learn new things! (I guess I sort of knew Dj spooky was
a pseudo-intellectual.)




Delivered-To: [e-mail]
out....
List-Id: the uncut, unmoderated version of nettime-l
<nettime-bold.nettime.org>
X-BeenThere: [e-mail]


Hey folks, it's been a while. Things have been mega hectic in the world of
djspooky.com
Me, Ashley Crawford and a host of other Digital Culture progressives are in
the middle of reconstructing 21C, and there's a whole bunch of literary,
digital arts/theory stuff on the horizon. Multi-Cultural multi- media
folks.... anything is well.... boring. But anyway, enclosed is an interview
I did with Roy Christopher, the fellow who edits www.frontwheeldrive.com an
e-zine that focuses on "New Science and new Media." In the dialog I talk
about stuff like William Gibson's loa computer loa programs versus John
Shirley's "city avatars" (John Shirley wrote a classic cyberpunk novel
called "City Comes a Walkin'" that influenced Gibson big time, and the
different uses of digital media in the two novels speaks volumes about how
people can perceive the uh... "Africa Within" of Mchluhan's Gutenberg
Galaxy of text and electri-city) and alot more stuff. Check it out! More
info? Check the website, www.djspooky.com


read on....
Cc:
Bcc:
X-Attachments:

Hey Roy! Okay,this is the "final" edited version. Please use it instead of
the ones that I sent yesterday...







--------------
1) The worlds of academia and pop culture are oft found at odds with one
another, yet your work resides - and prospers - decidedly in the
crossfire between the two. From your unique vantagepoint, how do you
perceive the two worlds and their interaction?


1) Response:

Well... the basic idea for me is to somehow convey a sense of how
conceptual art, language art, and an engagement with some kind of idealism
can function in this day and age. Basically, as an artist, my work is an
investigation into how culture gets made. I guess you could say its process
oriented... That doesn't mean I'm going to sit down everyday and write
"cultural crit" stuff. Folks who I like to call "low level cultural
bureaucrats" do that... it's a false and ultimately sterile way to try to
beat culture into some kind of formula that they then try to stamp their
name on to make some kind of "career" and it's a modus operandi that
disgusts me.... A weird hero on mine is a Victorian age biologist, Paul
Kammerer, who in the late 19th century/early 20th century was the first
person to really explore ideas of "synchronicity" - how things converge in
patterns. He would walk around and collect examples of simultaneity -
coincidences would be marked and registered with exact mathematical
precision, and he searched long and hard for an equation that would
describe how things manifested in urban reality. He'd call this kind of
stuff "the law of sequences" or a "law of series" "Das gesetz der serie" in
German (that's also parallel to how we name the elements of a music track
these days - "a sequence"), and he was looking for algorhythms of everyday
life - how patterns appear - stuff like what the biochemist Rupert
Sheldrake would call "morphic fields" - i.e. how morphology of structure
can affect all aspects of the creative act. In other words, patterns ain't
just about bein' digital. They are global. They are universal. They are
rhythms that hold everything we know and can understand together. But
anyway, Kammerer's idea of sequential reality and process oriented events -
it's one of the first systematic attempts at figuring out a rhythm of
everyday life in an industrial context. It ended badly - he committed
suicide. I'm more concerned with praxis - how to foster a milieu where
dialog about culture becomes a way to move into the pictures we describe
with words, text, sounds - you name it. I'm an archivist of sound. Like I
always enjoy saying its a method that becomes "actionary" rather than
"re-actionary" - you end up with a culture that is healthier and more
dynamic. What Kammerer would call a series, someone like Henry Louis Gates
would call "signifyin'" - it's all about how we play with perception of
events, and this is the link that I make between dj culture,
techno-science, and the art of everyday creativity in a digital
environment. I'm not really concerned with the "academy" per se - it's one
reflection of the illusions of class structure and hierarchy that have
clouded any real progressive contexts of criticism and that I think have
been an absolute bane to any kind of creativity in American culture for the
last decade or so. When theory gets too in the way of culture, it's dead.
Period. No comma, no colon, no semi-colon... it's the end of the sentence,
and it's time for a new paragraph. Turn the page, close the book, check a
different website, 'cause that's when things get really really boring. I
think that youth culture reflexively understands this. Part of my goal was
to bypass the notion of the "critic" as an "authority" who controls
narrative, and to create a new role that's alot more concurrent with web
culture: you become the cultural producer and content provider at the same
time. It's a role consolidation. After all, American media is so utterly
terrible that even lame critics like Mark Dery are still around. That's not
just sad, it's something that is a tragedy. When you're in a situation
where the pop culture mags are terrible and the art/theory stuff is so out
of touch with what's going on... it's time for a new situation. End the mix
tape, stop the CD player, press cancel on that file that was downloading...
whatever... I started dj'ing as a conceptual art project that critiqued
alot of the absolutely terrible things I see in American media, and the end
result was to create my own platform - social sculpture -

[snip snip snip]


-



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

From: Jim Flannery <[e-mail]>
Subject: Re: Class cuts
Date: 12 Apr 2001 23:14:47 -0700

[e-mail] wrote:
>
> But what about classical cutouts?  I'm currently looking in particular
> for Charles Ives: The Celestial Country (Collins CD 14792), which (unlike the

Berkshire Record Outlet lists it in stock @ $6.99 (you'll probably need to cut &
paste the link):

http://www.broinc.com/cgi-bin/seek.cgi?StartRow=1&Label=COLLINS+CLASSICS&QueryText=ives&RPP=10&AndOr=OR&Meth=Some

They can be *slow* (don't even think of seeing your order in less than 4 weeks,
6 is more likely) but the selection is massive ... usually worth checking for
the Hat Art, ECM & New World cutouts, too.

--
Jim Flannery                                             [e-mail]

         "It's no bed of roses, let me tell you, being a mutant."
                                                         -- Warren Dearden
np: Lungfish, _Necrophones_
nr: John Dunning, _Booked to Die_

-



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

From: [e-mail]
Subject: Re: [Nettime-bold] Is Mark Dery an Absolute Idiot? Read this and find out....
Date: 13 Apr 2001 03:26:51 EDT

"I started dj'ing as a conceptual art project that critiqued
alot of the absolutely terrible things I see in American media, and the end
result was to create my own platform - social sculpture -"

In this vain I was wondering how many of you have ever heard of Negativland.
It's a band that uses a kind of collage sampling method to create their
pieces, some of which function as formulaic songs and the majority of which
are cuts and connections between seemingly random noises and pieces of
information.  Their albums always have a distinct focus, however, and range
from biting social comedy to lighthearted parody.  The idea is to use media
itself as media commentary.  They put out an album which I absolutely love
called Dispepsi, which does exactly that.  It disses pepsi, using their own
commercials and press statements aswell as discussions on television and
radio.  The end result is somethign that's sometimes riotous and sometimes
disturbing, but that makes u feel exquisitely guilty every time you buy a
product from any kind of major corporation.  They present pepsi as simply an
example, the poster child, we can say for argument's sake, of big business's
methods of using the media to sort of beat the public into buying their
products.

But ignoring their album work, they do a weekly radio show which can be heard
over the internet called "Over the Edge," which uses the same elements of
media sampling as on their albums, but relies heavily on spontanaity and
improvisation.  They call it "cultural jamming."  Sometimes theyll work
around a certain theme, musical or otherwise, and sometimes they'll just wing
it.  The idea behind it was to change the way radio as a live medium is used,
incorporating nearly all the usually untouched machinery in the station to
experiment with new sounds.

They also encourage listeners to call in and talk about anythign they want
to.  But they ask you 3 things:  1, dont say hello.  if u say hello, u will
get cut off.  they only want your voice, they wont respond to anythign u say,
but u will be involved in a live improvised broadcast, so they would prefer u
dont waste time.  2, be prepared.  often listeners will actually jam with
them, using their own instruments at home, horns or synths or even flipping
around on the tv.  But the worst thign u can do is call them and suddenly
realize ur on air and not know what to say.  if u say hello, they will cut u
off, and if ur silent they will cut u off.  3, they ask that u accept ahead
of time that theyre only using u the way they would use anything they were
sampling, you are just another sound to them, and they reserve the right to
cut u off in midsentence and at any time theyw ant to.  and they ask that u
not be offended when they do, but instead take pride in havign participated
insomethign with them.

There's a great essay about what they do, how they do it and why they do it
on the website.  www.Negativland.com

They also have this awesome album that makes fun of U2, and actually has a
rare recording of casey kasem practicing announcing a U2 single and saying
something like "these are 4 morons from ireland and nobody gives a shit."
They got away from Dispepsi withotu a lawsuit, but not this one.  And after
U2 sued the pants off them for libel and copyright infringement, they went
ahead and stole negativland's idea and made it the running theme of their
ZooTV tour.  little known fact.

anyway, thats enough rambling for a while.  if ur curious about them check
out teh website, they have some of their older live shows there to be heard
free if u dont want to wait for the next actual show.

~fishy

-



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

From: [e-mail]
Subject: Re: [Nettime-bold] Is Mark Dery an Absolute Idiot? Read this and find out....
Date: 13 Apr 2001 04:02:22 EDT

*vein.  i'm that tired.

-



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

From: Rob Allaert <[e-mail]>
Subject: Avant Strings
Date: 13 Apr 2001 16:01:24 +0200

Zorn Agains,

I'm enjoying some avant-classical stuff (Hemingway - Chamber Works, Zorn -
String 4tets, Dresser - Banquet). Any other string recommendations in the
same vein?

    greetings,
      [e-mail]
        np: places - brad mehldau

-



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

From: Jeni Dahmus <[e-mail]>
Subject: Hans Bellmer exhibit in NYC
Date: 13 Apr 2001 10:41:06 -0400

See New York Times article below and www.icp.org for more info.

-----
Hans Bellmer: A German-Born Artist's Obsession With Doll
Images

The International Center of Photography is presenting a
retrospective of Hans Bellmer, a German-born artist whose
doll images continue to unsettle and disturb.

www.nytimes.com/2001/04/13/arts/13GOLD.html

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Class cuts
Date: 13 Apr 2001 11:20:15 -0400

David:

As Jim Flannery pointed out, the Berkshire Record Outlet is ALWAYS a great
source for classical cut outs.  However, since I know that you're in New
York, I'll also add this tip (which is copied to the list for the benefit of
other New Yorkers and those planning a visit).  If you're as much into
instant gratification as I am, you'll want to try both of the following.

The Tower Clearance Annex (at 4th and Lafayette, upstairs over the video
store) has for the last month or so been holding a HUGE blowout sale, where
virtually everything is on sale for $4.99 a disc.  They've got a ton of
Collins overstock on hand.  I don't remember if they've got the Ives disc
you mention, but I've picked up in the last few weeks a bunch Collins
releases of the handful of Peter Maxwell Davies recordings I was missing as
well as Birtwistle's 'The Triumph of Time.'  I also grabbed a Graham Fitkin
disc on Argo and an amazing Scelsi disc on Accord.  And they had numerous
New World discs when last I checked, also at $4.99 apiece and not just
limited to classical (I saw a Mario Pavone title and the Ehrlich/Abrams duo,
to name two, in the "Various 20th Century" section).

Most of the stuff is in pretty random order in huge dump bins, though you
might also find the Ives you're looking for in the regular Ives bin.  Plan
to spend an hour or so to pick through the countless Brahms symphonies and
Mozart choral music releases, and you're bound to come away with an armload.
Whie you're there, look for Enja and Red Toucan cut-outs in the jazz section
and remaindered Fela import Barclays in the world section (these last are
$12.99, but I bought three more anyway).

You might also find a used copy of what you're looking for at Academy on
18th Street between 5th and 6th Avenues, where I've been cleaning up on
out-of-print Argos by Fitkin, Sessions, Feldman and Turnage just lately.
(Modern classical seems to be the general mode I'm in lately, which is no
doubt work-related.)  This store's always a great resource because it's
where most of the reviewers in town dump their promos.

Have fun!

Steve Smith
[e-mail]
NP - Mark Wastell/Derek Bailey/Rhodri Davies, "MW/DB/RD," 'Company in
Marseilles' (Incus)
(though my ears are still buzzing and howling from hearing Derek Bailey solo
and then The Haunted and Lamb of God, all last night...)


-



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

From: HirakeMike <[e-mail]>
Subject: The Residents
Date: 13 Apr 2001 08:24:08 -0700 (PDT)

What works by The Residents would one recommend for
the uneducated listener?  Is the music worthy of
exploration?

Thanks

__________________________________________________
Do You Yahoo!?
Get email at your own domain with Yahoo! Mail.
http://personal.mail.yahoo.com/

-



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

From: [e-mail]
Subject: Re: Avant Strings
Date: 13 Apr 2001 11:27:10 EDT

In a message dated 4/13/01 10:02:58 AM Eastern Daylight Time, [e-mail]
writes:

> Zorn Agains,
>
>  I'm enjoying some avant-classical stuff (Hemingway - Chamber Works, Zorn -
>  String 4tets, Dresser - Banquet). Any other string recommendations in the
>  same vein?
>
>      greetings,
>        [e-mail]
>          np: places - brad mehldau


I'd recommend "Charms of the Night Sky" from Dave Douglas, or any of his
"String Band's" releases.

Tom

______________________________________________________________________
Phil Spector: "I've been listening to a lot of Andrew Lloyd Webber lately,
and enjoying it. Someday I hope to set his stuff to music."

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: The Residents
Date: 13 Apr 2001 11:30:40 -0400

We went over this recently on the list, so you might want to dig through the
archives if you've got time to look for the extensive posts.  Likewise,
there was a good Residents primer in a recent issue of The Wire.  Yes, the
Residents are eminiently worth exploration, though you'll find a diversity
of opinion, especially as regards their most recent work.

That said, if they were still in print, I'd recommend easily the two Ryko
compilations 'Heaven' and 'Hell.'  You might be able to find them used, and
they're still a great entry point.  But since they're apparently deleted,
I'll go with my two favorite albums, 'Third Reich'n'Roll' and 'The
Commercial Album,' which taken together provide a similar sort of yin-yang
look at the group's concerns and methodologies.  (Note that virtually
everything the Residents have ever done is now available on remastered CD
from Eastside Digital.)

Now sit back and wait for Kurt Gottschalk to say something much more
authoritative.

Steve Smith
[e-mail]
NP - Simon Fell/Will Gaines, "SF/WG," 'Company in Marseilles' (Incus)


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: The Residents
Date: 13 Apr 2001 08:37:17 -0700


On Fri, 13 Apr 2001 08:24:08 -0700 (PDT)  HirakeMike wrote:
>
> What works by The Residents would one recommend for
> the uneducated listener?  Is the music worthy of
> exploration?

Sure!

After all these years, the relevance of their music stands quite well.

Two of my favorites are:

    COMMERCIAL ALBUM (set of 1mn songs)
    NOT AVAILABLE

THIRD REICH AND ROLL is quite good also (kind of hommage to R&R songs). For an
unknown reason, the first LP never clicked the way most of the others did.

The music is quirky, experimental and very listenable, and can give you the
creeps sometimes. Definitely a unique band that we would have to create if it
did not already existed :-).

    Patrice.

PS: I tried to make a bet with Keith Rowe that they would tell the world the
meaning of AMM as soon as the Residents would uncover their identity. Needless
to say that I failed to get a commitment.
PPS: best bet on the meaning of AMM (from Rohan de Saram through Eddie):

    Ain't Make Money

-



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

From: Skip Heller <[e-mail]>
Subject: Re: Avant Strings
Date: 14 Apr 2001 09:07:09 -0700



> Zorn Agains,
>
> I'm enjoying some avant-classical stuff (Hemingway - Chamber Works, Zorn -
> String 4tets, Dresser - Banquet). Any other string recommendations in the
> same vein?
>
> greetings,
> [e-mail]
> np: places - brad mehldau
>
> -
>
Arcadia String Trio w/Feldman/Roberts/(I think) Cohen

skip h

np: NRBQ -- tiddlywinks


-



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

From: "Steve Smith" <[e-mail]>
Subject: New Company releases on Incus
Date: 13 Apr 2001 12:08:38 -0400

Those who actually look at "NP" listings under signatures have no doubt
spotted the new Company release I'm still listening to.  Marking the
occasion of the new Company week about to take place here in New York next
week, Derek, Karen and Incus have just issued three new Company releases,
two archival and one new.

Incus CD 41  Company 5 (originally Incus LP 28)
Derek Bailey, Leo Smith, Maarten van Regteren Altena, Tristan Honsinger,
Anthony Braxton, Steve Lacy, Evan Parker
More music from Company Week 1977, already represented on the earlier CD
release 'Company 6/7'
single disc, $20

Incus CD 42/43  Epiphanies by Company (originally Incus LP 46/47)
Derek Bailey, Ursula Oppens, Fred Frith, George Lewis, Akio Suzuki, Julie
Tippetts, Moto Yoshizawa, Anne Le Baron, Keith Tippett, Phil Wachsmann
One of the more diverse Company weeks, recorded in 1982.
double disc, $27

Incus CD 44/45  Company in Marseilles (new release)
Derek Bailey, Will Gaines, Simon Fell, Mark Wastell, Rhodri Davies
Recorded in France (duh) in 1999, this includes all five of the musicians
playing at Tonic next Tuesday.  Will they all perform together on that
occasion?  Who knows?
double disc, $27

An Incus "supplementary list" also includes non-Incus new releases which
include 'Llaer' on the Sofa label with percussionist Ingar Zach, 'Vortices &
Angles' on Emanem with John Butcher and Rhodri Davies, 'Daybreak' on Emanem
with Ian Smith, Gail Brand, Oren Marshall and Veryan Weston, '!*#@=?" on an
unnamed label with percussionist Michael Welch, and 'And' on the Rectangle
label with Pat Thomas and Steve Noble.  They've also got the rather
hard-to-find 'Drop Me Off on 96th.'  Virtually all of these are for sale at
the Tonic gigs, or by mail.  E-mail me privately if you need ordering
information.

This has been a public service announcement on behalf of one of my favorite
negligible-profit corporations in the world...

Steve Smith
[e-mail]
NP - Simon Fell/Derek Bailey, "SF/DB," 'Company in Marseilles' (Incus)



-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Avant Strings
Date: 13 Apr 2001 12:16:53 -0400

Close - Arcado's bassist was Mark Dresser.  Also, after Roberts left there
was a disc on Avant with Ernst Reijseger.  Still later, Eyvind Kang replaced
Mark Feldman; I don't think that lineup recorded.  But it's a great
recommendation.

Here's another: IST (bassist Simon Fell, cellist Mark Wastell, harpist
Rhodri Davies), who have a disc called 'Ghost Notes' on Fell's label,
Bruce's Fingers.  Four trio improvs, plus compositions by Fell, Wastell,
Phil Durrant, and some other contemporary composers.

Steve Smith
[e-mail]
NP - Mark Wastell/Will Gaines/Rhodri Davies, "MW/WG/RD," 'Company in
Marseilles' (Incus)

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Skip Heller
Sent: Saturday, April 14, 2001 12:07 PM

Arcadia String Trio w/Feldman/Roberts/(I think) Cohen


-



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

From: [e-mail]
Subject: Re: Avant Strings
Date: 13 Apr 2001 12:50:25 EDT

Well, obviously Zorn's Masada String Trio (Mark Feldman, violin, Erik Freidlander, cello, and Greg Cohen, bass), plus the Bar Khokba Sextet, which adds guitar, drums, and percussion to the trio.  Their recordings are sublime.

Amsterdam String Trio (Maurice Horsthuis, viola, Ernst Reisjeger, cello,  Ernst Glerum, bass), plus various other projects involving Reisjeger - his solo CD on Winter & Winter (Colla Parte Versioni Per Violoncello Solo) was very good.

There's also a great string piece in one of the ICP Orchestra's Bospaadje Konijnehol CDs (I forget if it's 1 or 2), with Reisjeger and Tristan Honsinger on cellos.  Honsinger also shows up as part of a five-cello contingent in Butch Morris's Conduction 23.  That's also pretty wild stuff.

Arcado String Trio (Mark Feldman, violin, Hank Roberts - and later Reisjeger - cello, Mark Dresser, bass). Feldman's "Music for Violin Alone" and "Music for Violin and Piano" with Sylvie Courvoisier are also must-haves - the latter is really remarkable.

Yuko Fujiyama (piano), Feldman (violin), and Tomas Ulrich (cello) also produce wonderful avant chamber jazz on Fujiyama's "Tag" CD.  And more good violin-piano stuff from Mat Manari and Matt Shipp on various recordings.

Check out the groups Friedlander has lead also - Chimera and Topaz.

Another great avant cellist is Vancouver's own Peggy Lee.  She's got a beautiful cello-guitar duo CD with Carlos Zingaro on hatOLOGY ("Under Western Skies") and and leads or plays on several excellent CDs on the Spool label.

This is what I can quickly think of off the top of my head (without having my collection at hand).  There's more...

David

-



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

From: [e-mail]
Subject: new Knitting Factory albums
Date: 13 Apr 2001 12:54:14 -0400

With all the discussion about the Knit, thought I'd point out some new and possibly unexpected releases:  Charles Gayle's "Jazz Solo Piano" (which I was quite surprised to like, we'll see if it holds up to repeated hearings), Ori Kaplan Percussion Ensemble (w/Ibarra) "Gongol" and Ballin' the Jack "The Big Head."  And maybe the new Shimmy-Disc counts, it's currently dominating my player:  "No Knowledge of Music Required" by the Du-Tels (Peter Stampfel & Gary Lucas).

Lang

-



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

From: [e-mail]
Subject: Re: Avant Strings
Date: 13 Apr 2001 13:24:08 EDT

Carol Emanuel's "Top of Trees" is quite nice too.

Tom

In a message dated 4/13/01 12:19:39 PM Eastern Daylight Time,
[e-mail] writes:

> Close - Arcado's bassist was Mark Dresser.  Also, after Roberts left there
>  was a disc on Avant with Ernst Reijseger.  Still later, Eyvind Kang
replaced
>  Mark Feldman; I don't think that lineup recorded.  But it's a great
>  recommendation.
>
>  Here's another: IST (bassist Simon Fell, cellist Mark Wastell, harpist
>  Rhodri Davies), who have a disc called 'Ghost Notes' on Fell's label,
>  Bruce's Fingers.  Four trio improvs, plus compositions by Fell, Wastell,
>  Phil Durrant, and some other contemporary composers.
>
>  Steve Smith
>  [e-mail]
>  NP - Mark Wastell/Will Gaines/Rhodri Davies, "MW/WG/RD," 'Company in
>  Marseilles' (Incus)
>
>  -----Original Message-----
>  From: [e-mail]
>  [mailto:[e-mail]]On Behalf Of Skip Heller
>  Sent: Saturday, April 14, 2001 12:07 PM
>  To: Rob Allaert; Zornlist
>  Subject: Re: Avant Strings
>
>  Arcadia String Trio w/Feldman/Roberts/(I think) Cohen
>


______________________________________________________________________
Phil Spector: "I've been listening to a lot of Andrew Lloyd Webber lately,
and enjoying it. Someday I hope to set his stuff to music."

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: new Knitting Factory albums
Date: 13 Apr 2001 10:30:47 -0700


On Fri, 13 Apr 2001 12:54:14 -0400  [e-mail] wrote:
>
> With all the discussion about the Knit, thought I'd point out some new and
> possibly unexpected releases:  Charles Gayle's "Jazz Solo Piano" (which I
> was quite surprised to like, we'll see if it holds up to repeated hearings),
> Ori Kaplan Percussion Ensemble (w/Ibarra) "Gongol" and Ballin' the Jack
> "The Big Head."  And maybe the new Shimmy-Disc counts, it's currently
> dominating my player: "No Knowledge of Music Required" by the Du-Tels
> (Peter Stampfel & Gary Lucas).

And DMG even mentions another one:


MAY 2001
Street date: May 22, 2001

Rob Reddy's Sleeping Dogs: 'However Humble'
Knitting Factory CD 291
Interesting composer/saxophonist's new band with Charles Burnham (violin,
mandolin), Don Richards (bass), Guillermo E. Brown (drums) and John Carlson
(trumpet).


which is strange since a record with the same name was released on Koch last
year.

    Patrice.

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: new Knitting Factory albums
Date: 13 Apr 2001 10:36:47 -0700


On Fri, 13 Apr 2001 10:30:47 -0700  "Patrice L. Roussel" wrote:
>
>
> On Fri, 13 Apr 2001 12:54:14 -0400  [e-mail] wrote:
> >
> > With all the discussion about the Knit, thought I'd point out some new and
> > possibly unexpected releases:  Charles Gayle's "Jazz Solo Piano" (which I
> > was quite surprised to like, we'll see if it holds up to repeated hearings),
> > Ori Kaplan Percussion Ensemble (w/Ibarra) "Gongol" and Ballin' the Jack
> > "The Big Head."  And maybe the new Shimmy-Disc counts, it's currently
> > dominating my player: "No Knowledge of Music Required" by the Du-Tels
> > (Peter Stampfel & Gary Lucas).
>
> And DMG even mentions another one:

Correction, it was from a Koch newsletter, courtesy of Steve Smith. Could it
be a mistake?

    Patrice.


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Avant Strings
Date: 13 Apr 2001 10:39:09 -0700


On Fri, 13 Apr 2001 13:24:08 EDT  [e-mail] wrote:
>
> Carol Emanuel's "Top of Trees" is quite nice too.

Wow! If we move to harp now, piano is not far away :-).

    Patrice.

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: new Knitting Factory albums
Date: 13 Apr 2001 13:38:47 -0400

I think I made the same mistake in my lengthy post on upcoming Koch stuff.
The actual name of the new release is 'Sleeping by the Light of My Own
Candle.'

And another mistake Bruce and I both made: the actual name of the bass
player is Dom Richards, not "Don."

Steve Smith
[e-mail]
NP - some kinda power drill outside on the street...

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Patrice L.
Roussel

And DMG even mentions another one:
--
MAY 2001
Street date: May 22, 2001
Rob Reddy's Sleeping Dogs: 'However Humble'


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: new Knitting Factory albums
Date: 13 Apr 2001 13:42:28 -0400

Of course, now that Patrice has revised the source of his information, Bruce
stands faultless.  Mea culpa.  Figures I'd fuck something up in all that
typing.

Steve Smith
[e-mail]
NP - drrrrrrrrrillllllllll...

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Steve Smith
Sent: Friday, April 13, 2001 1:39 PM
Cc: [e-mail]

And another mistake Bruce and I both made: the actual name of the bass
player is Dom Richards, not "Don."


-



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

From: "Bob Kowalski" <[e-mail]>
Subject: blues dream?  zony?
Date: 13 Apr 2001 13:54:02 -0400

No mentions of Blues Dream out there amongst the zornsters?  At least not =
since it's release...  This is a constant in the cd player lately.  Maybe =
I'm gettin' old and into chillin' ?

On related note, thanks to all who recommended Upper Egypt after my recent =
raves over American Bandstand.  So do I go for bust and pick up Zony =
Mash's first two releases?

Bob=20
     =20


-



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

From: Scott Handley <[e-mail]>
Subject: RE: Class cuts
Date: 13 Apr 2001 10:54:34 -0700 (PDT)

--- Steve Smith <[e-mail]> wrote:
> (though my ears are still buzzing and howling from
> hearing Derek Bailey solo
> and then The Haunted and Lamb of God, all last
> night...)

What are The Haunted and Lamb of God like?  I'm
assuming that's two bands, right?

----s

__________________________________________________
Do You Yahoo!?
Get email at your own domain with Yahoo! Mail.
http://personal.mail.yahoo.com/

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: new Knitting Factory albums
Date: 13 Apr 2001 10:57:23 -0700


On Fri, 13 Apr 2001 13:42:28 -0400  "Steve Smith" wrote:
>
> Of course, now that Patrice has revised the source of his information, Bruce
> stands faultless.  Mea culpa.  Figures I'd fuck something up in all that
> typing.

That's a proof to all of us (not in NY) that you are human since you can still
make a minor mistake in the ocean of fantastic information that you keep on
providing to the list.

    Patrice.

-



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

From: "Jesse Kudler" <[e-mail]>
Subject: How was Derek Bailey last night?
Date: 13 Apr 2001 14:09:09 -0400

Reports, please.  I really wanted to go, since I've never seen him solo, but
I had a class I couldn't miss.  Maybe I can make it Saturday with Susie
Ibarra.

-Jesse


-



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

From: "=?iso-8859-1?Q?Efr=E9n_del_Valle?=" <[e-mail]>
Subject: Re: Avant Strings
Date: 13 Apr 2001 20:09:51 +0200

Hi,

Maybe you'd like Kronos Quartet's "Short Stories", performing compositions
by Elliott Sharp, John Oswald's "Spectrum" (superb!!!) , Pandit Pran Nath
and Zorn's "Cat O'Nine Tails". This version of Zorn's classic is probably
the most widespread.
In general terms is such a hard stuff but it's worth a listen.

With a larger string ensemble, I would definitely recommend Arvo PΣrt's
"Cantus in Memory of Benjamin Britten" from Tabula Rasa (ECM), one of the
most beautiful pieces I ever heard. Really spiritual, religious or whatever
words applicable, but all in all, your legs will shake.


Greetings,

EfrΘn del Valle

n.p: Peter Br÷tzmann Quartet & Sextet: "Nipples"
-----Original Message-----


>Zorn Agains,
>
>I'm enjoying some avant-classical stuff (Hemingway - Chamber Works, Zorn -
>String 4tets, Dresser - Banquet). Any other string recommendations in the
>same vein?
>
>    greetings,
>      [e-mail]
>        np: places - brad mehldau
>
>-


_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: "=?iso-8859-1?Q?Efr=E9n_del_Valle?=" <[e-mail]>
Subject: Soft Machine
Date: 13 Apr 2001 20:21:14 +0200

This is a multi-part message in MIME format.

------=_NextPart_000_007E_01C0C457.49BA0320
Content-Type: text/plain;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

Hi everyone!,

I feel like going deeper into Robert Wyatt's discography and I heard =
today several songs from Soft Machine's "third" and "fourth". I digged =
the listen quite a lot but would like to be sure.

I have "Ruth is Stranger than Richard" and "Rock Bottom" only. Something =
tells me I'm missing a lot. Am I right?

Thanks in advance.

Best regards,

Efr=E9n del Valle

------=_NextPart_000_007E_01C0C457.49BA0320
Content-Type: text/html;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.72.3110.7"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>Hi everyone!,</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>I feel like going deeper into Robert =
Wyatt's=20
discography and I heard today several songs from Soft Machine's=20
"third" and "fourth". I digged the listen quite a =
lot but=20
would like to be sure.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>I have "Ruth is Stranger than =
Richard"=20
and "Rock Bottom" only. Something tells me I'm missing a lot. =
Am I=20
right?</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>Thanks in advance.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>Best regards,</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>Efrén del=20
Valle</FONT></DIV></BODY></HTML>

------=_NextPart_000_007E_01C0C457.49BA0320--


_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: Scott Handley <[e-mail]>
Subject: Re: Avant Strings
Date: 13 Apr 2001 11:28:08 -0700 (PDT)


--- Rob Allaert <[e-mail]> wrote:
>Any other string recommendations in the same vein?

Rob and all,

I've heard some of the record MAP OF MOODS by a
string-dominated quintet (2 violins, cello, bass,
drums) led by cellist Tristan Honsinger, on FMP
(FMPCD76, go see http://www.free-music-production.de);
Louis Moholo is drumming, which is always a treat.
It's been a few years since I heard this, but I
remember thinking it was really varied, rich stuff,
and a lot of fun besides.  Check out Honsinger's
pretty comprehensive home page at the Euro Free Improv
site
(http://www.shef.ac.uk/misc/rec/ps/efi/index.html).

I have not heard the Dominic Duval "CT String Quintet"
(??), but I keep hearing good reviews of their album.
I think there's a good review at Musings:
http://www.geocities.com/SoHo/Square/6100/ddct.htm
Note: Cecil Taylor is _not_ in this group.

I like Paul Giger's solo violin outing on ECM,
SCHATTENWELT.  I believe some others on the list
prefer his ensemble work.

And there's the European Chaos String Quartet.  I
haven't a clue where reviews would be, but if you
don't mind music that's completely divorced from jazz
influences, they might be pretty exciting.  They have
work on Guenter Mueller's For4Ears
(http://www.for4ears.com) and O.O. Discs too, I think.

FMP reissued a long CD of duos between terrific
double-bassist Peter Kowald (whose solo improvisation
seems to me to be presented as a prayer, or
meditation, or ritual, albeit never in an ostentatious
way) and bassists Barry Guy and Barre Phillips,
respectively, both of whom have excellent solo work
still in print.

Maybe you would like solo bass insanity by the
monstrous Fernando Grillo, who has a good solo
recording on Ampersand/Cramps called FLUVINE (good
description on the Forcedexposure site), as well as
even more impressive stuff on various records by
composer Iancu Dumitrescu (check out MEDIUM
III...whew!).

A bit much, this mish-mash, but I think every one of
these would be worth exploring for fans of all things
improvised and/or avant.

-----s

NP: Bark Psychosis - INDEPENDENCY








=====
"Electric guitar gets run over by a car on the highway/This is a crime against the state/This is the meaning of life...
Electric guitar is copied, the copy sounds better/Call this law and justice, call this freedom and liberty/I thought I perjure myself, right in front of the jury!"
                        ---Talking Heads, "Electric Guitar"

__________________________________________________
Do You Yahoo!?
Get email at your own domain with Yahoo! Mail.
http://personal.mail.yahoo.com/

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Class cuts
Date: 13 Apr 2001 14:33:03 -0400

Yup.  The Haunted are a "classic" death metal band from Sweden, formed by
former members of a band called At the Gates which I understand to have been
pretty popular.  Nothing too shocking, just straightforward heavy riffage,
earsplitting volume, and a sound rather like the heavier end of Slayer or
pre-suck Metallica.  Most of the band looks like your typical Scandinavian
metalheads, with that bleary-eyed, almost-slack look, but they've got the
metal mechanics down well, and their singer is pretty terrific in the
punk-shouter vein, plus he looks kinda like Matt Pinfield, or Butterbean.

Lamb of God is my favorite of the newer death metal bands.  Take the above,
add a pinch of industrial groove (though nothing like stoopid so-called
"nu-metal," the term coined by Kerrang for rap-appropriating jack-offs like
Limp Bizkit), a dash of Meshuggah-style mathematics, and a seriously
charismatic lead vocalist who's got a whiff of Southern Culture on the Skids
trashiness about him, a serious vocal range, and the same air of potential
danger that you get in great frontmen like Gibby Haynes or David Yow.  Great
album (IF you're into this stuff), better show.

(While we're on the metal tip, allow me to throw in a quick plug for the
Australian band Blood Duster, whose CD 'C**t' is on Edgar Lee's Dr. Jim
label.  It's a ridiculously funny mix of technically accomplished
Carcass-style grind, A.C.'s scabarous wit and sophistication, and the
philosophical seriousness of Lawnmower Deth.  Great stoopid fun.  Bet they'd
be a riot live.  And they're named after a Zorn tune, so there's the
Z-content.  Check out http://members.ozemail.com.au/~drjim/.  End of plug.)

Steve Smith
[e-mail]
NP - heavy metal in the streets, courtesy of Verizon (that's the phone
company, for non-Americans on the list)...

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Scott Handley

What are The Haunted and Lamb of God like?  I'm
assuming that's two bands, right?


-



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

From: [e-mail]
Subject: Re: NPs (was: New Company releases on Incus)
Date: 13 Apr 2001 14:56:11 EDT

In a message dated 4/13/01 12:11:42 PM Eastern Daylight Time,
[e-mail] writes:

<< Those who actually look at "NP" listings under signatures have no doubt
 spotted the new Company release I'm still listening to. >>

I wish more people listed their "NPs", despite how it might relate to the
list or NG to which they're posting.  IMO, it's the best way to discover
people whose listening tastes parallel my own, and it turn, open up
possibilities to discover music I may have otherwise overlooked.

--
=dg=

-



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

From: =?Windows-1252?Q?Antonio_Mart=EDn?= <[e-mail]>
Subject: Zorn on BBC Radio 3
Date: 13 Apr 2001 20:57:55 +0200

 Next week on Friday you can hear on BBC radio 3 that:

23:30   Jazz On 3
  Features a rare solo performance by leading light of the New York
avant-garde scene John Zorn, and music from radical trio Satlah, who present
their blend of jazz and Jewish/Middle Eastern sounds.

You can hear in http://www.bbc.co.uk/radio3/jazz/jon3.shtml



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From: "Antonio Martφn" <[e-mail]>
Subject: Re: Soft Machine
Date: 13 Apr 2001 21:00:43 +0200

This is a multi-part message in MIME format.

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Hello Efren, try with "shleep" you can hear Evan Parker on several =
tracks.
  ----- Original Message -----=20
  From: Efr=E9n del Valle=20
  To: Zorn-list=20
  Sent: Friday, April 13, 2001 8:21 PM
  Subject: Soft Machine


  Hi everyone!,
  =20
  I feel like going deeper into Robert Wyatt's discography and I heard =
today several songs from Soft Machine's "third" and "fourth". I digged =
the listen quite a lot but would like to be sure.
  =20
  I have "Ruth is Stranger than Richard" and "Rock Bottom" only. =
Something tells me I'm missing a lot. Am I right?
  =20
  Thanks in advance.
  =20
  Best regards,
  =20
  Efr=E9n del Valle

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<META content=3D"text/html; charset=3Dwindows-1252" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2919.6307" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>Hello Efren, try with "shleep" you can hear Evan =
Parker on=20
several tracks.</FONT></DIV>
<BLOCKQUOTE=20
style=3D"BORDER-LEFT: #000000 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: =
0px; PADDING-LEFT: 5px; PADDING-RIGHT: 0px">
  <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A href=3D"mailto:[e-mail]" title=[e-mail]>Efr=E9n =
del Valle</A>=20
  </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A=20
  href=3D"mailto:[e-mail]"=20
  title=[e-mail]>Zorn-list</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Friday, April 13, 2001 =
8:21=20
PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Soft Machine</DIV>
  <DIV><BR></DIV>
  <DIV><FONT color=3D#000000 size=3D2>Hi everyone!,</FONT></DIV>
  <DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
  <DIV><FONT color=3D#000000 size=3D2>I feel like going deeper into =
Robert Wyatt's=20
  discography and I heard today several songs from Soft Machine's =
"third" and=20
  "fourth". I digged the listen quite a lot but would like to be=20
  sure.</FONT></DIV>
  <DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
  <DIV><FONT color=3D#000000 size=3D2>I have "Ruth is Stranger than =
Richard" and=20
  "Rock Bottom" only. Something tells me I'm missing a lot. Am I=20
  right?</FONT></DIV>
  <DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
  <DIV><FONT color=3D#000000 size=3D2>Thanks in advance.</FONT></DIV>
  <DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
  <DIV><FONT color=3D#000000 size=3D2>Best regards,</FONT></DIV>
  <DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
  <DIV><FONT color=3D#000000 size=3D2>Efr=E9n del=20
Valle</FONT></DIV></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_000F_01C0C45C.CDD99D00--


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From: Scott Handley <[e-mail]>
Subject: Re: Avant Strings
Date: 13 Apr 2001 12:04:18 -0700 (PDT)

Speaking of avant strings, maybe you would like the
highly processed violin of Kaffe Matthews.  (She has
since stopped using violin, I think.)  She's on the
titanic triple-disc STRINGS WITH EVAN PARKER (sic?) on
Emanem, which was given mixed reviews on the list
about a month ago.  Phil Wachsmann's processed violin
and fine tape-work is paired with genius percussionist
Paul Lytton's wired up batterie on the ECM release
SOME OTHER SEASON, which comes highly, hihgly
recommended.  I also really like Phil Durrant's solo
violin album from several years ago, SOWARI, which
uses electronics, tape, and overdubbing on parts.
Very....scratchy.  BTW, aside from the release of
Durrant's DACHT (w/Malfatti, Lehn), now he has his
very own home on Euro Free Improv!  They've posted a
longish essay by the man, too, for those who didn't
see it in RUBBERNECK
(http://www.shef.ac.uk/misc/rec/ps/efi/fulltext/ftdurr.html).
 (Hm, very suggestive that the photo used would not at
all feature the violin.  Hmm...)

Geez, dammit...

----s, must...stop...dropping...names...

NP: Hⁿsker Dⁿ


> Phil Spector: "I've been listening to a lot of
> Andrew Lloyd Webber lately,
> and enjoying it. Someday I hope to set his stuff to
> music."


=====
"Electric guitar gets run over by a car on the highway/This is a crime against the state/This is the meaning of life...
Electric guitar is copied, the copy sounds better/Call this law and justice, call this freedom and liberty/I thought I perjure myself, right in front of the jury!"
                        ---Talking Heads, "Electric Guitar"

__________________________________________________
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-------------------------------------------------------------------------------

From: Scott Handley <[e-mail]>
Subject: Re: NPs (was: New Company releases on Incus)
Date: 13 Apr 2001 12:07:57 -0700 (PDT)


--- [e-mail] wrote:
> I wish more people listed their "NPs", despite how
> it might relate to the
> list or NG to which they're posting.

Amen, and be loose with it; "recent"
listening/viewing/reading is fine as wine.  I love
getting hipped to new sounds, or shit I can't believe
I missed, on account of being teenage
fakemetalhead/jazz-anus.

----s

NP: Hⁿsker Dⁿ - ZEN ARCADE

=====
"Electric guitar gets run over by a car on the highway/This is a crime against the state/This is the meaning of life...
Electric guitar is copied, the copy sounds better/Call this law and justice, call this freedom and liberty/I thought I perjure myself, right in front of the jury!"
                        ---Talking Heads, "Electric Guitar"

__________________________________________________
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-------------------------------------------------------------------------------

From: Joseph Zitt <[e-mail]>
Subject: Re: Avant Strings
Date: 13 Apr 2001 14:11:41 -0500

You pretty much can't go wrong performancewise with anything performed
by the Arditti string quartet. I'm particularly partial to their
performance of the Cage string quartets on Mode, but they've covered
a wide range. Their compilation "U.S.A." on Editions Montaigne (I
think) is a good over view.

On the very-cheap-and-very-good front, check out the Vox box "The
Avant Garde String Quartet in the USA" (or something like that).
Older material, but quite good.

--
|> ~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: William Crump <[e-mail]>
Subject: Re: Avant Strings
Date: 13 Apr 2001 12:16:47 -0700

"EfrΘn del Valle" wrote:

> Hi,
>
> Maybe you'd like Kronos Quartet's "Short Stories", performing compositions
> by Elliott Sharp, John Oswald's "Spectrum" (superb!!!) , Pandit Pran Nath
> and Zorn's "Cat O'Nine Tails". This version of Zorn's classic is probably
> the most widespread.
>

Pardon my pedantry, but the Oswald piece is "Spectre," not "Spectrum." I only
mention it because it's one of my favorite recordings ever. The string quartet
version of Willie Dixon's "Spoonful" is pretty darn avant, too.

William Crump

NP: Wang Chung on some god-awful "hits of the 80s and 90s" station at work.
For the love of God, Montresor!!


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From: graham connah <[e-mail]>
Subject: scott and gary show
Date: 13 Apr 2001 12:30:58 -0700


i recently viewed an entertaining compilation of clips taken from a NYC
public access show called THE SCOTT AND GARY SHOW.
obviously early eighties:

Shockabilly, post pubescent punk Beastie Boys,

and a lengthy performance/interview with the Butthole Surfers.

anyone on this list an afficianado of the show?
who else performed on the show?
are the clips i saw widely circulated?

oh, and by the way, the word around here (SF) is that the bible launcher was
withdrawn because zorn was receiving death threats......but you probably
knew that already........

G


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From: [e-mail]
Subject: Re: Soft Machine
Date: 13 Apr 2001 15:34:29 EDT

In a message dated 4/13/01 2:27:21 PM Eastern Daylight Time, [e-mail]
writes:

<< I feel like going deeper into Robert Wyatt's discography and I heard today
several songs from Soft Machine's "third" and "fourth". I digged the listen
quite a lot but would like to be sure.

 I have "Ruth is Stranger than Richard" and "Rock Bottom" only. Something
tells me I'm missing a lot. Am I right? >>

Earlier SM are more into the experimental pop realm, for lack of a better
term.  Absolutely phenomenal stuff, but not as jazzy as are _Third_ and
_Fourth_ .

Allow me to suggest Michael Mantler's _The Hapless Child_ .  It features an
extraordinary grouping that includes the aforementioned Mantler and Wyatt in
its ranks, along with guitar god Terje Rypdal.

--
=dg=

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From: [e-mail]
Subject: Re: Re: NPs (was: New Company releases on Incus)
Date: 13 Apr 2001 15:34:32 -0400

> I wish more people listed their "NPs", despite how
> it might relate to the

What about TLs:  Today's Listening.  Broader, possibly more embarassing.  In fact I could easily set up a separate mailing list to send such stuff without clogging up the Zornlist.  Anybody interested?

Lang

(Oh, my TLs:  Gayle "Jazz Solo Piano," Marianne Faithful "A Perfect Stranger: The Island Anthology," De La Soul "Art Official Intelligence," "The Bing Crosby Story, Volume One"; hey I'm at work and can't blare out Merzbow and Brotzmann pere.)

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From: Rob Allaert <[e-mail]>
Subject: Big Fat Bass
Date: 13 Apr 2001 21:39:15 +0200

Zorn Agains,

How's Mark Dresser's Marinade? Anyone bought it ????

    greetings,
      Rob @ risk
        np: Satoko Fujii - Kitsuni-bi (w/ Jim Black & Mark Dresser)

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From: Scott Handley <[e-mail]>
Subject: Re: Avant Strings
Date: 13 Apr 2001 13:35:45 -0700 (PDT)

--- Joseph Zitt <[e-mail]> wrote:
> You pretty much can't go wrong performancewise with
> anything performed
> by the Arditti string quartet.

I'd like to attest to the remarkable consistency of
the Arditti recordings on the Auvidis-Montaigne
label's recordings, many of which are being reish'd
under the "Naive-Montaigne" imprint, in nice
monochromatic cardboard sleeve packaging.  I've been
really happy with the Wolfgang Rihm, Iannis Xenakis,
Luigi Nono, and particularly the Helmut Lachenmann (a
string quartet and unbelievably otherworldly/groovin'
'German dance suite' for quartet and orchestra).  I
need more Lachenmann...that stuff is phenomenal.

----s, damn, enough posting from me.

NP: Oren Ambarchi - INSULATION  (Touch)

=====
"Electric guitar gets run over by a car on the highway/This is a crime against the state/This is the meaning of life...
Electric guitar is copied, the copy sounds better/Call this law and justice, call this freedom and liberty/I thought I perjure myself, right in front of the jury!"
                        ---Talking Heads, "Electric Guitar"

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From: Tosh <[e-mail]>
Subject: Re: Soft Machine
Date: 13 Apr 2001 14:12:35 -0700

> This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.

--MS_Mac_OE_3070015956_57889_MIME_Part
Content-type: text/plain; charset="US-ASCII"
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Robert Wyatt is one of the great wonders of the music world.  I would get
everything.  Virgin some years ago put out a double cd collection of his
'hits.'   That would be a great place to start - 'Rock Bottom' is for sure a
masterpiece.  But if you like Rock Bottom and Ruth, you will pretty much
like all his other releases.  So do buy and enjoy.



--
Tosh Berman
TamTam Books
http://www.tamtambooks.com




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<HTML>
<HEAD>
<TITLE>Re: Soft Machine</TITLE>
</HEAD>
<BODY>
<BLOCKQUOTE>Robert Wyatt is one of the great wonders of the music world. &n=
bsp;I would get everything.  Virgin some years ago put out a double cd =
collection of his 'hits.'   That would be a great place to start -=
 'Rock Bottom' is for sure a masterpiece.  But if you like Rock Bottom =
and Ruth, you will pretty much like all his other releases.  So do buy =
and enjoy.<BR>
<BR>
<BR>
<BR>
</BLOCKQUOTE>-- <BR>
Tosh Berman<BR>
TamTam Books<BR>
http://www.tamtambooks.com<BR>
<BR>
<BR>
</BODY>
</HTML>


--MS_Mac_OE_3070015956_57889_MIME_Part--


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From: Tosh <[e-mail]>
Subject: Robert Wyatt
Date: 13 Apr 2001 14:15:18 -0700

Robert Wyatt is one of the great wonders of the music world.  I would get
everything.  Virgin some years ago put out a double cd collection of his
'hits.'   That would be a great place to start - 'Rock Bottom' is for sure a
masterpiece.  But if you like Rock Bottom and Ruth, you will pretty much
like all his other releases.  So do buy and enjoy.


--
Tosh Berman
TamTam Books
http://www.tamtambooks.com


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From: sergio luque <[e-mail]>
Subject: Re: Avant Strings (arditti & lachenmann)
Date: 13 Apr 2001 15:30:24 -0600

> --- Joseph Zitt <[e-mail]> wrote:
>> You pretty much can't go wrong performancewise with
>> anything performed
>> by the Arditti string quartet.
totally agreed!, my personal favs are:

cage (i remember cage saying that the arditti quartet was THE string quarte=
t
for his music)
=20
lachenmann
ferneyhough
xenakis
nancarrow
scelsi
ligeti
estrada
& beethoven's _grosse fuge_

Scott Handley en [e-mail] escribi=F3:
> particularly the Helmut Lachenmann (a
> string quartet and unbelievably otherworldly/groovin'
> 'German dance suite' for quartet and orchestra).  I
> need more Lachenmann...that stuff is phenomenal.

i have that cd (helmut lachenmann 1 on auvidis montaigne) and i need more
lachenmann too!, any recommendations?

do you know if his writings are available in english or french or spanish?

i'm particularly fond of lachenmann's idea of creating your own instruments
within the traditional instruments, e.g. to make some rules for a violin:
the g string always plays in fifths with the d string, the a string is
always played open, the e string is always played sul ponticello and very
softly, and so on. thus avoiding generic instrumental writing.

happy listening,
--=20
sergio luque
[e-mail]

NP: brian ferneyhough _time and motion study II_ (1973)
for cello and electronics
formerly known as _electric chair music_
want to loose your sense of time due to complex musical objects?



"i knew i was going to be a professional the day i first became practical.
practicality took the form of copying out my music neatly, keeping my desk
tidy and organized -all the unimportant things that seem unrelated to the
work, yet somehow do affect it"
- morton feldman
=20


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

From: Ken Waxman <[e-mail]>
Subject: Re: Avant Strings
Date: 13 Apr 2001 17:51:02 -0400 (EDT)

More avant strings:

String Trio of New York with John Lindberg (bass),
James Emery (guitar) and Diane Monroe (violin). Saw
them in concert in NYC a couple of years ago and was
quite impressed.

Leroy Jenkins Themes & Improvisations On The Blues
(CRI)--featuring different stribg groups and, of
course, the Revolutionary Emsmble, since 2/3 were
stringS: Jenkins and Sirone (bass)

Ken Waxman

--- Scott Handley <[e-mail]> wrote:
> --- Joseph Zitt <[e-mail]> wrote:
> > You pretty much can't go wrong performancewise
> with
> > anything performed
> > by the Arditti string quartet.


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

From: Herb Levy <[e-mail]>
Subject: Re: Avant strings
Date: 13 Apr 2001 17:04:21 -0500

Lots of good stuff recommended so far, here's lots more:

Solos:

There are several recordings by Leroy Jenkins, one that's fairly
readily available is the solo disc on Lovely Music

Tom Cora: Gumption in Limbo cello solos on sound aspects

Malcolm Goldstein Sounding the new Violin  OODiscs reissue of Non
Sequitur/What Next? CD
Goldstein plays Goldstein  on da capo

Phil Durrant's Sowari  on Acta improvised violin with & without electronics,

Cello solos by Frances-Marie Uitti on BVHaast, also CDs of works  by
Cage & Scelsi on Et cetera

Kosugi violin solos on Lovely Music

Barry Guy: Fizzles bass solos on Maya, also a great old LP of bass
solos on Incus that's never come out on CD

Stefano Scodanibbio: Voyage that Never Ends solo bass on New Albion

Garth Knox, viola player of Arditti Quartet, solo works by Berio,
Ligeti & others on Montaigne

Irvine Arditti violin solos on Montaigne, also for violin & tape,
Luigi Nono's Lontanaza nostalgica utopica futura

Phill Wachsmann  Chathuna solo violin (mostly) on Bead

Mostly Quartets, a few larger ensembles

Morton Feldman: String Quartet 1 on Koch (this is NOT the 4-6 hour
work, though that's now planned for eventual release on Hat Now),
Trio & Piano, Violin, Viola, Cello; both on Hat Now; Piano & String
Quartet, both Ogre/Ogress & Hat Now list forthcoming "first
recordings" of Violin & String Quartet, which work I've never heard

Lois V Vierk  River Beneath the River on Tzadik

Philip Glass  Quartets by Kronos on Nonesuch
Bob Ostertag's All the Rage for Kronos on Nonesuch
Steve Reich's Different trains for Kronos on Nonesuch
Kaija Saariaho's Nymphaea for Kronos on Ondine

Jason Hwang with the far East Side Band on Victo & New World

John Adams: Shaker Loops there are several versions of this, I like
the original small ensemble best & I think the only recording of that
is the one on New Albion re-issued from 1750 Arch

John Luther Adams: Clouds of Forgetting  on New World  a gorgeous
tour of the tonal/timbral universe of the tempered scale

There're many great discs by Arditti Quartet: some that come quickly
to mind are (all from Montaigne unless otherwise noted)  Xenakis
Chamber works, Roger Reynolds, John Cage (two volumes on Mode),
collections of music from the US, Germany, Italy, a collection that
includes Nancarrow, Ruth Crawford, Xenakis, Reynolds, & Beethoven (on
Gramavision), Schoenberg, Berg & Webern,

--
Herb Levy
P O Box 9369  Forth Wort, TX  76147
817  377-2983
[e-mail]

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From: "Ryan W. Blum" <[e-mail]>
Subject: Re: Big Fat Bass
Date: 13 Apr 2001 18:16:50 -0400


I think it it fantastic. Varied, virtuosic, beautiful, you know how he
plays... I'm espeically fond of the solo compositions and the quartet with
Skuli Sverrisson, Gerry Hemingway and Michael Sarin. And Matthias Ziegler is
back.

How is your np, Kitsuni-bi by Satoko Fujii?? I've been eyeing this for a bit
now. Should I go out of my way to find it? What is the interplay between Jim
Black and Dresser (are they together on any other recordings?)?

Ryan
np: JZ string quartets

> From: Rob Allaert <[e-mail]>
> Date: Fri, 13 Apr 2001 21:39:15 +0200
> To: Zornlist <[e-mail]>
> Subject: Big Fat Bass
>
> Zorn Agains,
>
> How's Mark Dresser's Marinade? Anyone bought it ????
>
> greetings,
> Rob @ risk
> np: Satoko Fujii - Kitsuni-bi (w/ Jim Black & Mark Dresser)
>
> -


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From: Ken Waxman <[e-mail]>
Subject: Re: Avant strings
Date: 13 Apr 2001 18:34:21 -0400 (EDT)

Can't begin to parallel Herb's encyclopedic string
recs, but there are a couple more Goldstein discs,
very much worth investigating, but probably more
obscure:

- chants cachΘs (Ambiances Magnetiques)with MG
(violin); Rainer Wiens (prepared guitar)and John
Heward (percussion)

-Monsun (True Muze) with MG and Peter Niklas Wilson
(bass)


Ken Waxman

--- Herb Levy <[e-mail]> wrote:
> Lots of good stuff recommended so far, here's lots
> more:
>
> Solos:
>

> Malcolm Goldstein Sounding the new Violin  OODiscs
> reissue of Non
> Sequitur/What Next? CD
> Goldstein plays Goldstein  on da capo


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

From: "Steve Smith" <[e-mail]>
Subject: RE: How was Derek Bailey last night?
Date: 13 Apr 2001 19:08:42 -0400

Derek's solo set was wonderful, as always.  I couldn't actually see him, as
the crowd was enormous thanks to the presence of Thurston Moore (we know
that this was the case; a young woman approached the line outside prior to
the gig and asked what the line was for; the young man standing behind Jon
Abbey and myself said, "It's Thurston Moore from Sonic Youth," rather
breathlessly).  Derek played two pieces on electric, one on an old acoustic
Epiphone with a gorgeous tone, and another on the electric.  Lovely, lovely.
One of the pieces sounded downright tuneful - like Cecil, is there a latest
romanticism creeping into Derek's recent work?  ;-)  Lotsa confused-looking
folks around me talked through a lot of the set.  Can't wait to hear more
tomorrow night with Susie Ibarra.

I split after Derek's solo set to hear death metal at CBGB, but Bruce
Gallanter told me this afternoon that what followed was a long, loud guitar
duo by Moore and Loren MazzaCane Connors (in which Loren "blew Thurston
away," according to Bruce) and two trios, at least one of which featured
Connors on "Feldmanish" piano.  But I'd be eager to hear other reports.
Jon?  Tom?

Jesse, all I can say is, try to make it on Saturday night.  Derek and Susie
are special indeed.  Hats off to Tonic for making all this abundant
loveliness available.

Steve Smith
[e-mail]
NP - Blue Noise Band, "Like I Care," 'Brad Green from Queens'
(Chocolate/Southern Love)... mmm, mmm, good... one of my favorite tunes by
our buddy Tom Benton and his big, fat bass.

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Jesse Kudler
Sent: Friday, April 13, 2001 2:09 PM

Reports, please.  I really wanted to go, since I've never seen him solo, but
I had a class I couldn't miss.  Maybe I can make it Saturday with Susie
Ibarra.


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From: "Bill Ashline" <[e-mail]>
Subject: Re: Zorn List Digest V3 #380
Date: 13 Apr 2001 23:44:22 -0000

>From: [e-mail]
>Subject: Re: Re: NPs (was: New Company releases on Incus)

>What about TLs:  Today's Listening.  Broader, possibly more embarassing.
>In fact I could easily set up a separate mailing list to send such stuff
>without clogging up the Zornlist.  Anybody interested?

Over on the avant list, our list-mate Jerzy from Poland (Happy Easter,
Jerzy!) used to post his evening playlists, which I found quite fascinating
actually.  This could be done as unobtrusively as possible in a footer, as
Lang has done.  I'm going to give it a try, but I think I'll use PL for
playlist rather than TL.  I hope Lang doesn't mind.  I'm always forgetting
to put my NPs and NLs on the bottom.

PL: Transonic 3: Future Primitive, Nils Petter Molvaer: Solid Ether, HIM:
Our Point of Departure, Harry Partch: Delusion of the Fury, DJ Pica Pica
Pica: Planetary Natural Love Gas Webbin'199999, Cornelius Cardew: The Great
Learning, Avantgardism Volume 2 on Law and Auder, Robert Ashley: Automatic
Writing, Le Sun Ra: A Night in East Berlin/My Brothers the Wind and Sun No.
9, John Coltrane: Live in Japan CD 4

Hope that didn't clog the list too much.

NP: Nils Petter Molvaer: Solid Ether
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-------------------------------------------------------------------------------

From: hatta <[e-mail]>
Subject: Re: Avant Strings
Date: 13 Apr 2001 17:03:52 -0700

This comment reminds me that I have heard very little "avant" harp,
besides Zeena Parkins. What else is out there that people can
recommend.  This seems like an instrument full of possibilities that
is regulated to romantic classical and trad "world" type stuff.
Also anyone know where to find this Carol Emanuel cd mentioned below?
I tried the usual suspects ('Forced Exposure', AB-CD' 'Aquarius
Records' 'CDNow') and a few others with no luck.

-Robert

On Fri, 13 Apr 2001 13:24:08 EDT  [e-mail] wrote:
>>
>>  Carol Emanuel's "Top of Trees" is quite nice too.

>Wow! If we move to harp now, piano is not far away :-).

>    Patrice.

Todays Sequence: AMM 'Newfoundland', Vladislav Delay 'Entain.',
Buckethead 'Bucketheadland'

--
"The true traveller is without goal, it is the absence of goals which
creates the ultimate  traveller."
-Gao Xingjian 'Soul Mountain'

-



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

From: hatta <[e-mail]>
Subject: AMM at the Old Church
Date: 13 Apr 2001 17:05:11 -0700

<I may have sent this via a wrong address, so my apologies if it
shows up twice)

I saw AMM at the Old Church in Portland OR, Wednesday April 11th.
This was my first time seeing AMM, and I really only have just begun
listening to them (thanks to this list for this introduction!). The
Old Church was a great place, with beautiful stained glass and a
stunning painted pipe organ (alas that never got played with) Only a
few reference lights were on in the church, otherwise it was quite
dark. The acoustics were great and the audience was very respectful.

I found the show to unbelievably hypnotic and entrancing. They played
with layers of sound, and moments of absolute silence. The ability
these guys have to entice these sounds of their instruments was
really unparalleled. I loved how Keith Rowes's guitar just seems on
the edge of chaos at all times, and he bows and taps and gently
evokes waves of sound out of it. The way he could bow the whammy bar,
while just touching the strings or gently brushing the eBow over
them--incredible Then the radio...often just added white noise, then
the random bits of dialog or music. I thought there was a decent
amount of radio used during the show, more than on most of the
recordings I have heard.

Prevost's percussion work was really unlike any other I have heard.
He really is adding a lot more sounds and tonalities, and is
completely unconcerned with rhythmic grounding. His gear included a
snare, a huge bass drum laying flat on the floor, a couple of other
drums and a good dozen cymbals and a gong. He also had lots of loose
cymbals or cymbals with handles. He bowed symbols, he played with the
squawks of his chair, he did this fantastic thing where he would
balance a medium sized cymbal on the snare and would bow the
cymbal....incredible. He would take the loose cymbals and he would
set them on the huge bass drum and then play the drum or bow the
cymbals.  The bass drum would add extra amplification and
reverberation.  This also worked to great effect when he would place
a bunch of his sticks on the bass drum and then play it with mallets.

John Tilbury played a normal (baby? ) grand piano and had a metal bar
that he used to damp the strings.  At times he would use it like a
slide while he plucked the strings, or leave it laying one the
strings while he played. He also bowed the strings. He played a lot
of sparse notes and chords. At one point he go up and walked off.
During a quieter moment you realized that he was playing a piano in a
choir room or something next door. This sparse John Cage-esque piano
just coming out of nowhere, that would disappear as the others got
louder was fantastic. The relatively "normal" sounds of the piano had
a wonderful grounding or contrasting effect to the other players.
Which is a stunning occurrence considering how sparse, non-melodic
and nearly aleatoric his playing was.

The show ended with Rowe fading out static/white noise over a period
of about 5min. They played about 1'15" total. The audience managed to
wait out the full fadeout at the end, until he had switched off his
stuff before applauding.

This was one of the best shows I have seen. The music was utterly
captivating, and was entirely engrossing to watch these guys play. If
you closed your eyes though, it was like being in a dream world. I
had driven a long ways to get to this show and was plenty tired, but
listening with my eyes closed, I really had that just before sleep
feel. Sounds were hard to spatially place, and would often drive my
eyes open to try to see just what was making that sound. The way the
three of them played together, totally synched, no solos is so far
beyond most avant shows I have seen.
--
"The true traveller is without goal, it is the absence of goals which
creates the ultimate  traveller."
-Gao Xingjian 'Soul Mountain'

-



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

From: "z~S" <[e-mail]>
Subject: TP-ing The Zorn List
Date: 13 Apr 2001 17:17:05 -0700

Today's tunes:

Scary Monsters - David Bowie

Einstein On The Beach - ad infinitum


-



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

From: [e-mail]
Subject: Re: Avant strings
Date: 13 Apr 2001 20:21:28 EDT

Arditti: also the Ligeti quartets recordings (were they mentioned?)

Utti: also the duo CD with Dresser

ICP: a correction -  the 10 minute string trio section with Reijseger,
Honsinger, and Glerum is in the middle of the Jubilee Varia suite (haTOLOGY)

And as we've edged pretty far into "modern classical" territory (which, of
course, is kind of where we started with the new Zorn), let me also pitch
Fred Sherry's performances of Wuorinen in various settings - solo, duo,
amplified, with the Tashi quartet, with Speculum Musicae, with the Group for
Contemporary Music et al.

David

np: Bob Wills and the Texas Playboys, The Tiffany Transcriptions

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Zorn List Digest V3 #380
Date: 13 Apr 2001 20:14:48 -0500

On Fri, Apr 13, 2001 at 11:44:22PM -0000, Bill Ashline wrote:

> PL: Transonic 3: Future Primitive, Nils Petter Molvaer: Solid Ether, HIM:
> Our Point of Departure, Harry Partch: Delusion of the Fury, DJ Pica Pica
> Pica: Planetary Natural Love Gas Webbin'199999, Cornelius Cardew: The Great
> Learning, Avantgardism Volume 2 on Law and Auder, Robert Ashley: Automatic
> Writing, Le Sun Ra: A Night in East Berlin/My Brothers the Wind and Sun No.
> 9, John Coltrane: Live in Japan CD 4

Hmm, this gets me to trying to remember what I've played today:
Daniel Lentz: Apologetica
Random, Inc: Jerusalem
Who: Who's Next
Tori Amos: varied bootlegged cover tunes
Karlheinz Stockhausen: Unsichtbare Chore (or something like that)
and gearing up now for the Springsteen concert on HBO.

--
|> ~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] (Patrick Carey)
Subject: FS: Ensemble Sondarc, Laswell, 23 Skidoo, Jaworzyn ...
Date: 13 Apr 2001 22:09:14 +0100

I have the following items for sale that
some on this list may be interested in.

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, make me an OFFER.

$18 -- Divination - "Distill" US 2CD (Submeta: sm9803-2) 1996
       [Feat. 8 long tracks by Thomas K=F6ner (Async Sense), Mick Harris,
       Tetsu Inoue, Haruomi Hosono, Bill Laswell, Pete Namlook, Anton
       Fier, and Paul Sch=FCtze.  On Laswell's defunct "Submeta" imprint.]
$16 -- Ensemble Sondarc - "For Four Rooms" SWI CD (For 4 Ears) 1997
       [66 min. of ensemble-improv from 6 (yes, six) doublebassists.]
$20 -- Shea/Rimbaud/Hampson - "Sub Rosa Live Sessions: May 1996"
       AUS CD (Sub Rosa/Quantum: 051) 1996   [Feat. one piece by
       Rimbaud (Scanner) & David Shea, and one by David Shea &
       Robert Hampson (Main).  Recorded live at Upstairs At The
       Garage, London, 5/12/96.  Limited to 2000 copies.  Mint.]
$ 7 -- Stefan Jaworzyn - "Disco Death Fury" US 7" (Fusetron) 1995
       [Nice guitar piece from 1983 split over two sides.  Limited
       to 250 copies.  Out of print.]
OFFERS -- 23 Skidoo - "The Culling Is Coming" AUS CD (L.A.Y.L.A.H.
       Antirecords: lay23cd) 1989   [CD of Skidoo's most unorthodox
       LP from 1983.  Pt. 1 - improvised live w/ scrap metal perc.,
       gas pipes/cylinders, tape loops & Tibetan thighbone trumpet
       by D. Tibet (7/82, WOMAD).  Pt. 2 - trad. gamelan (10/82,
       Dartington College).  Brilliant, and currently deleted.]
$20 -- Vidna Obmana/Djen Ajakan Shean - "Parallel Flaming" SWE CD
       (Multimood: mrc-015) 1994  [Lush ambient electronics, field
       recordings, and layers of ethnic percussion courtesy of Djen
       Ajakan Shean.  Perhaps the best Vidna Obmana recording from
       his ritual atmospheric period.  Original pressing.]
$15 -- Whitehouse - "Erector" UK CD (Susan Lawly: slcd011) 1995
       [Follow up to "Total Sex" from 1981.  Feat. "Shitfun".  Mint.]
$15 -- Whitehouse - "Thank Your Lucky Stars (special edition)" UK CD
       (Susan Lawly: slcd018) 1997   [Feat. "Neronia", "Sadist" and
       "Still Going Strong" not on first "TYLS" pressing.  Mint.]

Thanks for looking.


-Patrick
[e-mail]




-



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

From: [e-mail]
Subject: Re: How was Derek Bailey last night?
Date: 13 Apr 2001 23:07:28 EDT

some quick thoughts on the Bailey/Thurston/Mazzacane extravaganza:

as Steve said, Derek's solo set was superb. and there were definitely some
melodic passages, both electric and acoustic, as well as a wild stretch which
gave me flashbacks to a Derek and the Ruins show at the Knit. when he broke
out the 1936 Epiphone, he was obviously quite proud of it, and he sat down
and played a few minutes of Faheyesque strumming, putting the guitar through
its paces.

<<a long, loud guitar duo by Moore and Loren MazzaCane Connors (in which
Loren "blew Thurston away," according to Bruce)>>

Loren's best collaborators are the biggest fans of his music, which is why I
was looking forward to see this, only the second duo set they've done. it
worked pretty well, with Thurston remaining pretty restrained and Loren
gradually going more and more wild, in his Cream-influenced mode.

<<two trios, at least one of which featured
Connors on "Feldmanish" piano.>>

after about 45 minutes, they called Bailey up. Loren started playing piano
(first time in public). he played solo while the other two set up, and both
played acoustically, very quietly, along with the piano. I'm far, far, far
from an expert on classical piano, but it sounded a lot closer to Bach than
Feldman to me. Thurston and Derek were both playing very quietly during this
stretch, lots of squeaking and scratching sounds from rubbing parts of their
guitars. then Loren went back to his guitar, and they all started playing
more actively. the second encore was much longer, and they were all plugged
in, although Thurston was having trouble with his amp and wasn't entirely
comfortable.

bunch of musicians in the house, including Jim O'Rourke and Hecker, as well
as Ron Asheton of the Stooges. too bad those guys aren't playing some of the
Company shows; they'd shake things up some.

Jon
www.erstwhilerecords.com

-



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

From: [e-mail]
Subject: Re: Avant Strings
Date: 13 Apr 2001 23:14:20 EDT


In a message dated 4/13/01 8:04:36 PM, [e-mail] writes:

<< This comment reminds me that I have heard very little "avant" harp,
besides Zeena Parkins. What else is out there that people can
recommend. >>

Rhodri Davies, a young English harpist, is 1/3 of IST (playing Tonic on
Tuesday), and taking part in all of the Company shows. bio and discography at:

http://www.shef.ac.uk/misc/rec/ps/efi/musician/mdavies.html

Jon
www.erstwhilerecords.com

-



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

From: "Steve Smith" <[e-mail]>
Subject: Avant Harp [was RE: Avant Strings]
Date: 13 Apr 2001 23:33:43 -0400

Rhodri Davies, who appears on two of the things I've mentioned today
('Company in Marseilles' and 'Ghost Notes' by IST) is about the only harpist
I've heard so far in non-idiomatic free improv.  He's also on the 'Strings
with Evan Parker' set and the London Improvisers Orchestra release
'Proceedings,' both on Emanem.  He seems to do lots of little things to
physically manipulate his instrument in unusual ways, and gets impressive
results.  I look forward to seeing him next week with IST and Company at
Tonic.

And sadly, the domestic Koch version of the Carol Emanuel disc is out of
print.  Don't know about the original Japanese release on Eva, but I suspect
the same.

Steve Smith
[e-mail]
NP - The Melvins, "Colossus of Density," 'Colossus of Density' (Ipecac)
(and at the moment downloading an MP3 of Fantomas, "Rosemary's Baby," from
the upcoming album 'Director's Cut' from the Ipecac site...)
today's playlist - Company, 'Live in Marseilles,' Napalm Death, 'Scum,' and
the Melvins, 'Colossus of Density' - kinda slow day, actually.

-----Original Message-----
[mailto:[e-mail]]On Behalf Of hatta
Sent: Friday, April 13, 2001 8:04 PM


This comment reminds me that I have heard very little "avant" harp,
besides Zeena Parkins. What else is out there that people can
recommend.  This seems like an instrument full of possibilities that
is regulated to romantic classical and trad "world" type stuff.
Also anyone know where to find this Carol Emanuel cd mentioned below?
I tried the usual suspects ('Forced Exposure', AB-CD' 'Aquarius
Records' 'CDNow') and a few others with no luck.

-Robert

On Fri, 13 Apr 2001 13:24:08 EDT  [e-mail] wrote:
>>
>>  Carol Emanuel's "Top of Trees" is quite nice too.

>Wow! If we move to harp now, piano is not far away :-).

>    Patrice.

Todays Sequence: AMM 'Newfoundland', Vladislav Delay 'Entain.',
Buckethead 'Bucketheadland'

--
"The true traveller is without goal, it is the absence of goals which
creates the ultimate  traveller."
-Gao Xingjian 'Soul Mountain'

-


-



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

From: "z~S" <[e-mail]>
Subject: Re: Avant Strings
Date: 13 Apr 2001 20:39:25 -0700

My personal favorite, in a big way:

VICTO cd 019
ELLIOT SHARP/ORCHESTRA CARBON

"Abstract Repressionism: 1990-99"

Gregor Kitzig violin
David Soldier violin
Wendy Ultan violin
Ron Lawrence alto
Michelle Kinney violoncello
Margret Parkins violoncello
Mary Wotten violoncello
Lindsay Horner b
Joseph Trump dr,perc,elec
Elliott Sharp e-b



-



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

From: [e-mail]
Subject: Re: new Knitting Factory albums
Date: 14 Apr 2001 01:14:11 EDT


--part1_f9.91347e0.280936a3_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

In a message dated 4/13/01 10:32:24 AM Pacific Daylight Time,
[e-mail] writes:


> And DMG even mentions another one:
>
>
>
> ------------------------------------------------------------------------------
>
> MAY 2001
> Street date: May 22, 2001
>
> Rob Reddy's Sleeping Dogs: 'However Humble'
> Knitting Factory CD 291
> Interesting composer/saxophonist's new band with Charles Burnham (violin,
> mandolin), Don Richards (bass), Guillermo E. Brown (drums) and John Carlson
> (trumpet).
>
>
>
> ------------------------------------------------------------------------------
>
> which is strange since a record with the same name was released on Koch
> last
> year.
>
>     Patrice.
>
>
hey all
       The release on Koch last year was Rob Reddy's Quttah "However Humble".
 It is strange Reddy would  make another cd with the same title.  The lineup
on the Koch is Jef Lee Johnson, Charles Burnham, Rufus Cappadocia, Dom
Richards, and Hearn Gadbois(percussion).  Its  definitely worth getting,
very memorable tunes and of course great playing.  While we're talking about
new KF releases, isn't there a new Brad Shepik Trio coming out soon?
       John Threadgould
       np Prayer 2 from "However Humble"


--part1_f9.91347e0.280936a3_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT  SIZE=2>In a message dated 4/13/01 10:32:24 AM Pacific Daylight Time,
<BR>[e-mail] writes:
<BR>
<BR>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">And DMG even mentions another one:
<BR>
<BR>
<BR>
<BR>------------------------------------------------------------------------------
<BR>
<BR>MAY 2001
<BR>Street date: May 22, 2001
<BR>
<BR>Rob Reddy's Sleeping Dogs: 'However Humble'
<BR>Knitting Factory CD 291
<BR>Interesting composer/saxophonist's new band with Charles Burnham (violin,
<BR>mandolin), Don Richards (bass), Guillermo E. Brown (drums) and John Carlson
<BR>(trumpet).
<BR>
<BR>
<BR>
<BR>------------------------------------------------------------------------------
<BR>
<BR>which is strange since a record with the same name was released on Koch
<BR>last
<BR>year.
<BR>
<BR>    Patrice.
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">hey all
<BR>       The release on Koch last year was Rob Reddy's Quttah "However Humble".
<BR> It is strange Reddy would  make another cd with the same title.  The lineup
<BR>on the Koch is Jef Lee Johnson, Charles Burnham, Rufus Cappadocia, Dom
<BR>Richards, and Hearn Gadbois(percussion).  Its  definitely worth getting,
<BR>very memorable tunes and of course great playing.  While we're talking about
<BR>new KF releases, isn't there a new Brad Shepik Trio coming out soon?
<BR>       John Threadgould
<BR>       np Prayer 2 from "However Humble"
<BR></FONT></HTML>

--part1_f9.91347e0.280936a3_boundary--

-



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

From: Jim Flannery <[e-mail]>
Subject: Re: Avant Harp [was RE: Avant Strings]
Date: 14 Apr 2001 00:08:21 -0700

And Anne LeBaron. Try _The Musical Railism of ..._, a co-release by Mode and
Tellus from 1995, which is split between her compositions (incl. some songs from
her opera _The E&O Line_, with instrumentalists Frank London, Marcus Rojas, Myra
Melford, Davey Williams, Fred Hopkins, and Thurman Barker, and a libretto by
Thulani Davis) and her electric harp solos. ISTR one on Trans Museq as well, but
I can't get to the L vinyl right now (ah, the joys of the one-room apartment
;^>) to check personnel.

--
Jim Flannery                                             [e-mail]

         "It's no bed of roses, let me tell you, being a mutant."
                                                         -- Warren Dearden
np: Cerberus Shoal, _Elements of Structure Permanence_
nr: Robert Sullivan, _The Meadowlands_

-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: Soft Machine
Date: 14 Apr 2001 10:50:10 +0200

Sm 4&3 are the best ones. IMHO you'd better avoid later guitar-base soft
machine - 'softs' sucks seriously.
Marcin Gokieli
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem you
are working on, tell him to go climb a tree - Jerry Fodor
----- Original Message -----
Sent: Friday, April 13, 2001 8:21 PM


Hi everyone!,

I feel like going deeper into Robert Wyatt's discography and I heard today
several songs from Soft Machine's "third" and "fourth". I digged the listen
quite a lot but would like to be sure.

I have "Ruth is Stranger than Richard" and "Rock Bottom" only. Something
tells me I'm missing a lot. Am I right?

Thanks in advance.

Best regards,

EfrΘn del Valle



-



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

From: "John Thomas" <[e-mail]>
Subject: Where to purchase ADDA label?
Date: 14 Apr 2001 08:44:35 -0500

Sorry for the off-topic post, but does
anyone know where you can purchase old
titles on the ADDA label? I am looking to
get some old Joelle Leandre discs.
Is the label still in print?

TIA
John

-



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

From: [e-mail]
Subject: Recording Paraphrase?
Date: 14 Apr 2001 08:14:55 -0600

I'm looking forward with great excitement to Monday night, when I'll see
what I'm sure will be the best live performance witnessed since
beginning my avant adventure, Paraphrase Trio in Taos.

Granted, because of my bullheaded unwillingness to spend much time in
cities over about 100,000 in population, there hasn't been much
opportunity, but nonetheless, or even more so, because of the
specialness of the occasion, it'd be really great to make the most of
the opportunity.

Does anyone know how the trio might feel about the presence of a
flashless digital camera and/or my powerbook with a microphone(or
ideally, a direct line from the board, assuming this all-acoustic trio
will be miked)?  Of course, I'd be careful to get permission from all
involved, but if there's no chance in hell, I'll leave my black bag at home.

I heard once, here, I think, that even Zorn allowed recording by a
paying customer, with the understanding that the recording was not to be
reproduced, ever.  But that was a few years ago, when the world was different.

Of course, if all I can take away are my memories, it'll be enough...

Dan

NP:  "Topsy Turvy, Gilbert and Sullivan and so much more", the DVD  -
much more awesome than I expected.

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Recording Paraphrase?
Date: 14 Apr 2001 10:21:47 -0400

1. Don't count on Paraphrase being miked.

2. I know that many folks here could testify to this: if you ASK Tim first,
he's usually been okay with taping and photos.

Steve Smith
[e-mail]

-----Original Message-----
[mailto:[e-mail]]On Behalf Of
[e-mail]

Does anyone know how the trio might feel about the presence of a
flashless digital camera and/or my powerbook with a microphone(or
ideally, a direct line from the board, assuming this all-acoustic trio
will be miked)?  Of course, I'd be careful to get permission from all
involved, but if there's no chance in hell, I'll leave my black bag at home.


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Where to purchase ADDA label?
Date: 14 Apr 2001 11:38:17 -0400

ADDA declared bankruptcy and went out of business sometime around 1994.  But
in situ, the improv series formerly associated with the label, seems to
still be in business, and there's one Leandre title on that series,
'Ecritures' with Carlos Zingaro.  Try this: in situ, c/o Didier Petit, 6 rue
de la Justice, 75020 Paris, France; tel/fax : + 1 43 64 50 35; e-mail:
[e-mail].  (Information courtesy of Peter Stubley's
European Free Improvisation site: http://www.shef.ac.uk/misc/rec/ps/efi/.)

Only a handful of ADDA classical releases are available at Berkshire Record
Outlet, and Cadence appears to have nothing at all left.  Checking at
www.gemm.com (thanks, Skip!), there are a handful of classical and
avant-garde titles listed, including Leandre's 'Urban Bass,' which is being
offered through a dealer called Art Control.  They've got it listed at
$19.00.  But I also notice that their catalog does not seem to have been
updated since November '99.  Good luck...

http://www5.gemm.com/c/search.pl?sid=8110434&key=52978&disp_ad_format_mode=0
&artist=LEANDRE%2CJOELLE&label=ADDA&&title=URBAN+BASS&label=ADDA&

Steve Smith
[e-mail]
NP - Archie Shepp, "Blue Bossa," 'St. Louis Blues' (Jazz Magnet)


-



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

From: "Steve Smith" <[e-mail]>
Subject: Sandy Bull RIP
Date: 14 Apr 2001 11:51:12 -0400

I know at least a few people on this list will want to know that
classical/jazz/folk music/world music pioneer Sandy Bull has just died at
age 60.  There's a good obit at the New York Times:

http://www.nytimes.com/2001/04/14/obituaries/14BULL.html

Steve Smith
[e-mail]
NP - Archie Shepp, "God Bless the Child," 'St. Louis Blues' (Jazz Magnet)


-



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

From: Matt Plummer <[e-mail]>
Subject: Re: Recording Paraphrase?
Date: 14 Apr 2001 12:22:37 -0600 (MDT)


>
> Does anyone know how the trio might feel about the presence of a
> flashless digital camera and/or my powerbook with a microphone(or
> ideally, a direct line from the board, assuming this all-acoustic trio
> will be miked)?  Of course, I'd be careful to get permission from all
> involved, but if there's no chance in hell, I'll leave my black bag at home.

There is a chance...in the show I had here in boulder with paraphrase and
ron miles (which was great, btw) i was able to record the concert. i would
second the notion that you should ask him.  but its a possibility.

Matt Plummer
Coalition for Creative Music

np: nothing



-



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

From: "Martin Wisckol" <[e-mail]>
Subject: CT String Quartet, playlists
Date: 14 Apr 2001 11:46:59 -0700

I was delighted by Ivo Perelman's Cd with the CT String Quartet -- "The
Alexander Suite." The strings generally steer clear of traditional
harmonic architecture, instead following a more freewheeling schematic
ranging from delicate and melancholy to rowdy and intense. Perelman
navigates the waters brilliantly, extracting wideranging tales and
emotions from his accompanists....

I would like to second Arvo Part's "Tabula Rasa." One of the most
beautiful releases of my lifetime -- I've been listening to it since it
came out 17 years ago....

CAR CD CHANGER
1. Lori Carson -- Where it goes
2. MMW -- The Dripper
3. Ian Shaw -- Soho stories
4. Tricky -- Maxinquaye
5. John Hammond -- Wicked Grin (count me among the unimpressed)
6. Macire Sylla -- maya irafama (female, guinea funk version of youssou
n'dour)

HOME CHANGER
1. The Best of the Staple Singers
2. Jacky Terrasson -- Paris....
3. Don Cherry -- Cool (just released live duet with Eddie Blackwell)
4. Bob Moses -- Love Everlasting
5. Bill Laswell -- Dub Chamber 3
6. Zoot Sims/ Lockjaw Davis -- the tenor giants

Turntable
Art Ensemble -- Paris Sessions

Bedroom boombox
Paul Bley -- Basics, with Nana Vasconcelos standing by for those special
moments



-



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

From: [e-mail]
Subject: Re: Odp: Soft Machine
Date: 14 Apr 2001 14:55:22 EDT

In a message dated 4/14/01 5:10:04 AM Eastern Daylight Time,
[e-mail] writes:

<< Sm 4&3 are the best ones. IMHO you'd better avoid later guitar-base soft
 machine - 'softs' sucks seriously. >>

Definitely a different strokes thing.  _Softs_ is definitely an entirely
different sound from the above-much more of a spacy guitar-led Fusion thing.
The susequent album _Alive and Well_ follows the same path.  I enjoy them
more than the previous Holdsworth-led _Bundles_ outing, and that one seems to
get more accolades from most SM'ers.

Would anyone else agree that *any* SM beats the hell out of what Karl Jenkins
is doing these days...?

--
=dg=

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Avant Strings/harp
Date: 14 Apr 2001 15:51:19 -0400 (EDT)

Here's a disc that's sorta of avant ambient  -in a
good way:

l'intense (For 4 Ears) featuring HΘlΦne Breschand
(harp); Michael Doneda (soprano and tenor saxophone)
and GΘrald Zbinden (electric guitar)

Ken Waxman

--- hatta <[e-mail]> wrote:
> This comment reminds me that I have heard very
> little "avant" harp,
> besides Zeena Parkins. What else is out there that
> people can
> recommend.  This seems like an instrument full of
> possibilities that
> is regulated to romantic classical and trad "world"
> type stuff.


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-



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

From: "z~S" <[e-mail]>
Subject: Re: Soft Machine
Date: 14 Apr 2001 18:21:14 -0700

Most, maybe all, of the live releases
of Soft Machine performances from the
3-5 era incarnations are treasures.


-



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

From: [e-mail]
Subject: Re: Odp: Soft Machine
Date: 14 Apr 2001 21:22:14 EDT

In a message dated 4/14/2001 2:56:30 PM Eastern Daylight Time,
[e-mail] writes:

> Definitely a different strokes thing.  _Softs_ is definitely an entirely
>  different sound from the above-much more of a spacy guitar-led Fusion
thing.
>
>  The susequent album _Alive and Well_ follows the same path.  I enjoy them
>  more than the previous Holdsworth-led _Bundles_ outing, and that one seems
> to
>  get more accolades from most SM'ers.

Bundles is a killing record !  Its my favourite Soft Machine, but then again
its the only one I own ....

-Jody

-



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

From: [e-mail]
Subject: Re: Recording Paraphrase?
Date: 14 Apr 2001 21:30:25 EDT

In a message dated 4/14/2001 10:13:26 AM Eastern Daylight Time,
[e-mail] writes:

> Does anyone know how the trio might feel about the presence of a
>  flashless digital camera and/or my powerbook with a microphone(or
>  ideally, a direct line from the board, assuming this all-acoustic trio
>  will be miked)?  Of course, I'd be careful to get permission from all
>  involved, but if there's no chance in hell, I'll leave my black bag at
home.

Getting a recording of a board feed is pretty far from ideal .... since
whoever might be doing sound is not likely to offer a special discreet mix
for your recording purposes.   Which is a moot point anyways since theres no
way they'll be mic'd unless theyre playing a really, really big place.
Either way, youre always better off just using some mics from your seat
location, capturing the sound in the room and hoping for the best.  Oh, and
ask first.  : )))
-Jody

PS anyone with Quicksand tapes ??

-



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

From: "Ryan W. Blum" <[e-mail]>
Subject: Barre Phillips' solo stuff
Date: 15 Apr 2001 01:49:27 -0400

Can anyone tell me in what form and where Barre Phillips' solo work exists?

Also, does anyone have any input on the Iancu Dumitrescu releases Medium III
and Pierres Sacres in terms of Fernando Grillo content? I'm on a big solo
bass kick lately, and Fluvine's grooves have begun to wear thin.

BTW, the list has been so helpful in helping me find what I've been looking
for lately... muchos gracias.

Ryan
np: Konitz/Solal, Star Eyes (Hat)


-



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

From: Hywel Davies <[e-mail]>
Subject: sideshow
Date: 15 Apr 2001 07:55:14 -0700 (PDT)

does anyone have the cd by Sideshow on composer
records? it's a quartet (with Hollenback on drums)
that improvise on tunes by Ives...

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

From: "Steve Smith" <[e-mail]>
Subject: RE: sideshow
Date: 15 Apr 2001 12:06:16 -0400

Yes.  It's vibraphonist (and Zornlister) Matt Moran's project, with Oscar
Noreiga on alto sax and bass clarinet, former Zornlister Adam Good on
guitar, and Hollenbeck on drums, percussion and melodica.  They play a set
of Ives songs without lyrics.  It's dreamy, impressionistic, tuneful,
raucous, pretty much everything you'd expect from Ives.  The sound world is
not so far from a good ECM recording.  Of course, I've got a certain bias
that prevents total objectivity, as I helped to convince CRI/Blueshift to
release the disc after I'd had a demo for over a year, and I wrote the
little liner essay.  But there it is.

Steve Smith
[e-mail]
NP - nada

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Hywel Davies
Sent: Sunday, April 15, 2001 10:55 AM

does anyone have the cd by Sideshow on composer
records? it's a quartet (with Hollenback on drums)
that improvise on tunes by Ives...


-



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

From: "Frunobulax" <[e-mail]>
Subject: new fantomas album
Date: 15 Apr 2001 13:19:10 -0400

This is a multi-part message in MIME format.

------=_NextPart_000_001D_01C0C5AE.A8243360
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    charset="iso-8859-1"
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Hi there.

To anyone interested in the work of Mike Patton and/or his group =
Fantomas, a new track called "Rosemary's Baby" can be downloaded from =
www.ipecac.com.   Look under the "ARCHIVES" category.  It is a nice =
progression from Book 1, but still very Fantomas. =20

dave

------=_NextPart_000_001D_01C0C5AE.A8243360
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 5.00.2614.3500" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Hi there.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>To anyone interested in the work of =
Mike Patton=20
and/or his group Fantomas, a new track called "Rosemary's Baby" can be=20
downloaded from <A =
href=3D"http://www.ipecac.com">www.ipecac.com</A>.  =20
Look under the "ARCHIVES" category.  It is a nice progression from =
Book 1,=20
but still very Fantomas.  </FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=3DArial size=3D2>dave</FONT></DIV></BODY></HTML>

------=_NextPart_000_001D_01C0C5AE.A8243360--


-



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

From: Skip Heller <[e-mail]>
Subject: Re: sideshow
Date: 16 Apr 2001 10:37:18 -0700



> does anyone have the cd by Sideshow on composer
> records? it's a quartet (with Hollenback on drums)
> that improvise on tunes by Ives...
>
> __________________________________________________
> Do You Yahoo!?
> Get email at your own domain with Yahoo! Mail.
> http://personal.mail.yahoo.com/
>
> -
>
I just saw that thing, and it really vexed me, because I've been working on
a similar program of Ives for about a year now (although the focus is not
too much on soloing).

Since the release of URLICHT, there is an intense focus on classical
composers as a source of improvising material.  The big jazz magazines say
so, so it MUST be true.  I'm not sure that such formulation always a good
thing.  On one hand, it can lead to stuff like URLICHT, which I liked
immensely.  On the other, it can lead to stuff like Don Byron's last record,
for which I didn't care much.

Anybody notice that Frisell was way ahead of this curve, with the Ives
business on HAVE A LITTLE FAITH?

skip h

np: HORACE SILVER: RETROSPECTIVE


-



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

From: "=?iso-8859-1?Q?Efr=E9n_del_Valle?=" <[e-mail]>
Subject: Re: new fantomas album
Date: 15 Apr 2001 19:34:03 +0200

This is a multi-part message in MIME format.

------=_NextPart_000_000B_01C0C5E3.076CE900
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    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

In addition to Dave's info, you will also find at www.ipecac.com the =
track listing for the new Fantomas' soundtracks cover album, due in =
July. Such a promising release!

greetings,

Efr=E9n=20
    -----Original Message-----
    From: Frunobulax <[e-mail]>
    To: [e-mail] <[e-mail]>
    Date: domingo, 15 de abril de 2001 19:09
    Subject: new fantomas album
   =20
   =20
    Hi there.
   =20
    To anyone interested in the work of Mike Patton and/or his group =
Fantomas, a new track called "Rosemary's Baby" can be downloaded from =
www.ipecac.com.   Look under the "ARCHIVES" category.  It is a nice =
progression from Book 1, but still very Fantomas. =20
   =20
    dave

------=_NextPart_000_000B_01C0C5E3.076CE900
Content-Type: text/html;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 =
Transitional//EN">
<META content=3D'"MSHTML 4.72.3110.7"' name=3DGENERATOR>
<STYLE></STYLE>

</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>In addition to Dave's info, you will =
also find=20
at <A href=3D"http://www.ipecac.com">www.ipecac.com</A> the track =
listing for the=20
new Fantomas' soundtracks cover album, due in July. Such a promising=20
release!</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>greetings,</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Efrén </FONT></DIV>
<BLOCKQUOTE=20
style=3D"BORDER-LEFT: #000000 solid 2px; MARGIN-LEFT: 5px; PADDING-LEFT: =
5px">
    <DIV><FONT face=3DArial size=3D2><B>-----Original =
Message-----</B><BR><B>From:=20
    </B>Frunobulax <<A=20
    =
href=3D"mailto:[e-mail]">[e-mail]</A>><BR><B=
>To:=20
    </B><A=20
    =
href=3D"mailto:[e-mail]">[e-mail]=
</A>=20
    <<A=20
    =
href=3D"mailto:[e-mail]">[e-mail]=
</A>><BR><B>Date:=20
    </B>domingo, 15 de abril de 2001 19:09<BR><B>Subject: </B>new =
fantomas=20
    album<BR><BR></DIV></FONT>
    <DIV><FONT face=3DArial size=3D2>Hi there.</FONT></DIV>
    <DIV> </DIV>
    <DIV><FONT face=3DArial size=3D2>To anyone interested in the work of =
Mike Patton=20
    and/or his group Fantomas, a new track called "Rosemary's =
Baby"=20
    can be downloaded from <A=20
    href=3D"http://www.ipecac.com">www.ipecac.com</A>.   Look =
under the=20
    "ARCHIVES" category.  It is a nice progression from =
Book 1,=20
    but still very Fantomas.  </FONT></DIV>
    <DIV> </DIV>
    <DIV><FONT face=3DArial =
size=3D2>dave</FONT></DIV></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_000B_01C0C5E3.076CE900--


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-



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

From: "Artur Nowak" <[e-mail]>
Subject: RE: new fantomas album
Date: 15 Apr 2001 20:13:32 +0200

The new Fant=F4mas album seems to be a Filmworks type of album Naked City
never recorded:

1) The Godfather (Rota)
2) The Golem (Sasse)
3) Spider Baby (Stein)
4) One Step Beyond (Lubin)
5) Night Of The Hunter (Schumann)
6) Cape Fear (Herrmann)
7) Experiment In Terror (Mancini)
8) The Omen (Goldsmith)
9) Vendetta (Barry)
10) Twin Peaks - Fire Walk With Me (Badalamenti)
11) The Devil Rides Out (Bernard)
12) Henry: Portrait Of A Serial Killer (Mcnaughton)
13)
14) Rosemary's Baby (Komeda)
15) Investigation Of A Citizen Above Suspicion (Morricone)
16) Charade (Mancini)
17) Flashdance- What A Feeling (Cara)

"Fant=F4mas THE DIRECTORS CUT IPC-17 due out in July" -
http://www.ipecac.com/news.php

    __________________________________________________________________
    Artur Nowak [arno at emd dot pl] muzyka.emd.pl


-



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

From: "=?iso-8859-1?Q?Efr=E9n_del_Valle?=" <[e-mail]>
Subject: Re: new fantomas album
Date: 15 Apr 2001 19:34:03 +0200

This is a multi-part message in MIME format.

------=_NextPart_000_000B_01C0C5E3.076CE900
Content-Type: text/plain;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

In addition to Dave's info, you will also find at www.ipecac.com the =
track listing for the new Fantomas' soundtracks cover album, due in =
July. Such a promising release!

greetings,

Efr=E9n=20
    -----Original Message-----
    From: Frunobulax <[e-mail]>
    To: [e-mail] <[e-mail]>
    Date: domingo, 15 de abril de 2001 19:09
    Subject: new fantomas album
   =20
   =20
    Hi there.
   =20
    To anyone interested in the work of Mike Patton and/or his group =
Fantomas, a new track called "Rosemary's Baby" can be downloaded from =
www.ipecac.com.   Look under the "ARCHIVES" category.  It is a nice =
progression from Book 1, but still very Fantomas. =20
   =20
    dave

------=_NextPart_000_000B_01C0C5E3.076CE900
Content-Type: text/html;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type><!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 =
Transitional//EN">
<META content=3D'"MSHTML 4.72.3110.7"' name=3DGENERATOR>
<STYLE></STYLE>

</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>In addition to Dave's info, you will =
also find=20
at <A href=3D"http://www.ipecac.com">www.ipecac.com</A> the track =
listing for the=20
new Fantomas' soundtracks cover album, due in July. Such a promising=20
release!</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>greetings,</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Efrén </FONT></DIV>
<BLOCKQUOTE=20
style=3D"BORDER-LEFT: #000000 solid 2px; MARGIN-LEFT: 5px; PADDING-LEFT: =
5px">
    <DIV><FONT face=3DArial size=3D2><B>-----Original =
Message-----</B><BR><B>From:=20
    </B>Frunobulax <<A=20
    =
href=3D"mailto:[e-mail]">[e-mail]</A>><BR><B=
>To:=20
    </B><A=20
    =
href=3D"mailto:[e-mail]">[e-mail]=
</A>=20
    <<A=20
    =
href=3D"mailto:[e-mail]">[e-mail]=
</A>><BR><B>Date:=20
    </B>domingo, 15 de abril de 2001 19:09<BR><B>Subject: </B>new =
fantomas=20
    album<BR><BR></DIV></FONT>
    <DIV><FONT face=3DArial size=3D2>Hi there.</FONT></DIV>
    <DIV> </DIV>
    <DIV><FONT face=3DArial size=3D2>To anyone interested in the work of =
Mike Patton=20
    and/or his group Fantomas, a new track called "Rosemary's =
Baby"=20
    can be downloaded from <A=20
    href=3D"http://www.ipecac.com">www.ipecac.com</A>.   Look =
under the=20
    "ARCHIVES" category.  It is a nice progression from =
Book 1,=20
    but still very Fantomas.  </FONT></DIV>
    <DIV> </DIV>
    <DIV><FONT face=3DArial =
size=3D2>dave</FONT></DIV></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_000B_01C0C5E3.076CE900--


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

From: Tom Pratt <[e-mail]>
Subject: barre phillips
Date: 15 Apr 2001 11:44:48 -0700 (PDT)

> Can anyone tell me in what form and where Barre
> Phillips' solo work exists?

Phillips has an amazing solo LP (his first, I think)
called 'Journal Violone' that was on Opus One and
Futura and I'm pretty sure has never been reissued.

There's a solo CD on Victo I've never heard.

> Also, does anyone have any input on the Iancu
> Dumitrescu releases Medium III and Pierres Sacres in
> terms of Fernando Grillo content?

Grillo plays on most of EDMN 1001 and about half of
EDMN 1003. Both are great, but "Medium III" is kind of
the must-hear for Grillo fans. I like EDMN 1005 too.

If you ever see it, check out Maarten Altena's
'Handicaps' LP on ICP where Altena plays with casts on
on both his broken wrist and the neck of his bass.

                -Tom Pratt

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

From: Rob Allaert <[e-mail]>
Subject: Re: Big Fat Bass
Date: 15 Apr 2001 23:06:42 +0200

Ryan W. Blum wrote:

> How is your np, Kitsuni-bi by Satoko Fujii?? I've been eyeing this for a
> bit now. Should I go out of my way to find it? What is the interplay
> between Jim Black and Dresser (are they together on any other recordings?
> )?

Fujii also recorded 'Toward To West' (Enya) with Dresser and Black. Both
recordings come highly recommended. Fujii is very melodic and very intense,
  Dresser is haunting and Black is filling every space with 100 different
sounds. Beautiful yet challenging.

    greetings,
      Rob @ risk
        np: Kol Nidre - The String Quartets - John Zorn
          (proves once more that he's a true classical composer)

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Big Fat Bass
Date: 15 Apr 2001 18:26:32 -0400

There's a third by the trio on her own Libra label as well, 'Looking Out of
the Window.'  Her website (http://www2s.biglobe.ne.jp/~Libra/index_e.html)
says it's available through North Country, but it doesn't appear in the
latest Cadence list.  Anyway, I've heard it and I own the other two.
They're all eminently worthwhile.  The Tzadik release is set apart by
including saxophonist Sachi Hayasaka on three tracks.

Steve Smith
[e-mail]
NP - The Melvins, "Colossus of Destiny," 'Colossus of Destiny' (Ipecac)
(which I'm increasingly inclined to rename 'Melvins Machine Music'... no
drums until 48 minutes into the piece, for instance...)

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Rob Allaert
Sent: Sunday, April 15, 2001 5:07 PM
Cc: Zornlist

Ryan W. Blum wrote:

> How is your np, Kitsuni-bi by Satoko Fujii?? I've been eyeing this for a
> bit now. Should I go out of my way to find it? What is the interplay
> between Jim Black and Dresser (are they together on any other recordings?
> )?

Fujii also recorded 'Toward To West' (Enya) with Dresser and Black. Both
recordings come highly recommended. Fujii is very melodic and very intense,
  Dresser is haunting and Black is filling every space with 100 different
sounds. Beautiful yet challenging.


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: barre phillips
Date: 15 Apr 2001 18:34:08 -0400

Also, not strictly solo, 'Journal Violone II' is available on ECM.  It
includes saxophonist John Surman and vocalist Aina Kermanis, but that's
still a pretty exposed setting.

Steve Smith
[e-mail]
NP - Bollywood tunes from some car parked in the street...

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Tom Pratt
Sent: Sunday, April 15, 2001 2:45 PM


> Can anyone tell me in what form and where Barre
> Phillips' solo work exists?

Phillips has an amazing solo LP (his first, I think)
called 'Journal Violone' that was on Opus One and
Futura and I'm pretty sure has never been reissued.

There's a solo CD on Victo I've never heard.


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: sideshow
Date: 15 Apr 2001 18:46:15 -0400

I'd say the focus on the Sideshow disc is not too much on soloing, either.
There's very little "blowing" or elaboration.  The Frisell comparison is
appropriate.  Frisell seemed to be ahead of a number of trends on that
particular album - his covers of "pop" material like Madonna and John Hiatt
predate the records released by the likes of Herbie Hancock and Joshua
Redman, when that was the trend du jour (not that that's gone away, either,
with Jason Moran covering Bjork and Brad Mehldau doing Radiohead).

Steve Smith
[e-mail]
NP - nada


-



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

From: [e-mail] (Benjamin Pequet)
Subject: joey ramone rip
Date: 15 Apr 2001 20:57:59 -0400

Punk legend Joey Ramone passed away this afternoon.

http://www.mtv.com/sendme.tin?page=/news/articles/1442817/20010415/ramones.jhtml


-



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

From: =?iso-8859-1?q?A?= <[e-mail]>
Subject: Joey Ramone Dead at 49
Date: 15 Apr 2001 20:37:14 -0500 (CDT)

Joey Ramone, lead singer of legendary punk band the Ramones, passed
away at 2:40 p.m. Sunday at the age of 49.

The towering front man, born Jeffrey Hyman, did not respond to
treatment for lymphatic cancer, a disease that attacks the body's
ability to fight infection.

Along with his cohorts Johnny, Tommy and Dee Dee ù all of whom
adopted Ramone as a surname ù Joey was credited with helping found
the modern punk movement. In mixing the griminess of the New York
streets with a love of bubblegum pop, '60s girl groups and the
Stooges, the Ramones inspired everyone from the Sex Pistols and the
Clash to Green Day and Blink-182 to stake their turf on four dirty
chords and an (often) inane hook.

With his trademark rose-colored shades, black leather jacket,
shoulder-length hair, ripped jeans and alternately snarling and
crooning, hiccoughing vocals, Joey was the iconic godfather of punk.
He gave voice to some of the most revered songs in the punk canon:
"Blitzkrieg Bop," "Gimme Gimme Shock Treatment," "Rock 'n' Roll High
School," "I Wanna Be Sedated," "Sheena Is a Punk Rocker."

His profile was indelible.

The image of Joey's body, left foot forward, right foot back, left
hand strangling the microphone, fist pumping in the air as he shouted
one of the band's unofficial mantras, "Gabba Gabba Hey!," is forever
imprinted in the minds of any fan who attended one of the band's
2,263 shows.

Born in the Forest Hills section of Queens, New York, on May 19,
1952, Joey founded the Ramones in 1974 with Johnny, Dee Dee and
Tommy. Originally the drummer, Joey switched to vocals two months
after the band played it first show in March 1974 at New York's
Performance Studio.

The group soon became a staple at the dingy New York punk club CBGB,
home to fellow downtown bands Talking Heads, Patti Smith and Blondie.
In 1975 the Ramones became the first punk band to sign a record
contract. Their self-titled debut, recorded for $6,000, was released
in 1976 and featured such rock landmarks as "Judy Is a Punk," "Now I
Wanna Sniff Some Glue" and "Beat on the Brat."

Destroying the '70s prog-rock idea that rock had to be played by
learned musicians in full command of their instruments, the Ramones
pioneered the do-it-yourself ideal that inspired thousands of punk
bands with lots of energy but dicey chops to pick up instruments and
rock.

Their 1977 album Ramones Leave Home featured a quintessential mix of
gutter-punk anthems and homages to classic pop songs ("I Remember
You," "Oh Oh I Love Her So"). It also featured the unofficial Ramones
anthem "Pinhead," in which Joey sang, "I don't want to be a Pinhead
no more/ I just found a nurse that I could go for."

The Ramones not only prodded bands such as the Sex Pistols, the Clash
and X-Ray Spex to take up their instruments and take on the world,
but they also laid the path for the next generation of new wave and
punk bands to rock maximally with minimal flourish.

Inspired by the Ramones' wide-open subject matter ù which ranged from
sniffing glue to male prostitution to lobotomies ù as well as by the
music, '80s bands such as Husker Du, the Replacements and Devo
further exploded the notion of how rock could sound.

The Ramones released what is arguably their best album, Rocket to
Russia, in 1977. Featuring such concert staples as "Cretin Hop,"
"Rockaway Beach" and "We're a Happy Family," the album not only
summed up the glum outlook of the punk generation, it was a shrill
counterpoint to the disco music that was sweeping the nation in the
wake of "Saturday Night Fever." After trying their hands at the
movies, starring in 1979's "Rock 'n' Roll High School," the group
entered the studio with one of their idols, '60s' "wall of sound"
producer Phil Spector. The resulting 1980 album, End of the Century,
included a cover of "Baby I Love You" by the Ronettes, who were
fronted by one of Joey's favorite singers, Ronnie Spector (Phil's
ex-wife).

The group followed with 10 more studio albums of speedy, anti-social
punk and a relentless touring schedule, and enjoyed Beatlemania-style
fame in Argentina and Japan.

Although the band rarely cracked the album charts and achieved
marginal album sales during a 22-year career, its influence continues
to this day. With most of his contemporaries faded, dead or inactive,
Joey became the embodiment of first-wave punk, with a shy,
soft-spoken manner that belied his band's twisted songs about social
misfits too bored, disconnected or disaffected to play by the rules.

Joey may have shared a last name with his bandmates, but familial
love couldn't keep them from their constant bickering, leading to the
Ramones' dissolution in 1996. After the group played its final show
on August 9, 1996 ù such fans as Pearl Jam's Eddie Vedder and
Soundgarden's Chris Cornell jammed with the Ramones that night ù Joey
continued to carry the torch for the music he loved.

In addition to producing an EP and an album by horror-ska rockers the
Independents ù whom he tirelessly championed and managed for much of
the late '90s ù Joey co-produced a 1999 EP by his idol Ronnie
Spector.

The EP featured one of Joey's most poignant tunes, "She Talks to
Rainbows," a ballad he wrote for the Ramones' 1995 studio swan song,
Adios Amigos!. It was about a girl Joey would often see in his
neighborhood, who he said looked like she was in her own world.

"She's a little lost girl in her own little world/ She looks so
happy, but seems so sad/ Oh yeah/ I'd like to help her/ I'd like to
try/ Oh yeah," Spector sang in her trademark yearning voice on the
EP.

In addition to trying to help resurrect the career of his hero
Spector, Joey was working on his debut solo album over the past three
years.

Collaborating with long-time Ramones producer Daniel Rey, Ramone had
written nearly 20 new tunes that he planned to record with a band
that included Andy Shernoff of the punk group the Dictators, Cracker
drummer Frank Funaro and Rey on guitar.

Joey kept a low profile over the past few years, jumping onstage to
belt out occasional Ramones songs at birthday parties in his honor
thrown by his punk-rocker friends in New York. In February 2000, he
buried the hatchet with former Ramones drummer Marky Ramone,
recruiting Marky to play on a handful of his solo songs.


_________________________________________________________
Do You Yahoo!?
Obtenga su direcci≤n de correo-e gratis @yahoo.com
en http://correo.espanol.yahoo.com

-



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

From: Tosh <[e-mail]>
Subject: Re: Joey Ramone Dead at 49
Date: 15 Apr 2001 21:01:02 -0700

This is such sad news.  When I first heard the debut Ramones album 'I
thought this is it -sort of the end of rock as I knew it.  It was such a
simple conceptual stance and sound that in reality it was almost
'intellectual' in its nerve and humor.  When I saw them around that time (76
I think), it was such a brilliant performance -I think their set was only 20
minutes long - and that was that.  Perfect length and I guess they were sort
of the perfect rock group.



--
Tosh Berman
TamTam Books
http://www.tamtambooks.com


-



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

From: "John Thomas" <[e-mail]>
Subject: Re: Barre Phillips
Date: 15 Apr 2001 23:32:32 -0500

> From: Tom Pratt <[e-mail]>
> There's a solo CD on Victo I've never heard.
>

I agree with Tom the Opus One LP is great and this
Victo release _Camouflage_ is also in the same
league. Phillips remains for me the most lyrical
and graceful of the free jazz/improv bassists
out there. William Parker even dedicates his solo bass
recording _Testimony_ partially to Phillips, thanking
him and Marzette "for starting it all."

John



-



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

From: "Arthur Gadney" <[e-mail]>
Subject: RE: Big Fat Bass
Date: 16 Apr 2001 08:55:21 -0000

I can see that Satoko Fujii has started playing a lot with Tatsya Yoshida
from The Ruins. That was a surprise. Anyone heard that? Is it still jazz, I
have never heard Tatsya play anything liek that at all.

bye
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Get your FREE download of MSN Explorer at http://explorer.msn.com


-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: Odp: Soft Machine
Date: 15 Apr 2001 14:06:18 +0200


> Definitely a different strokes thing.  _Softs_ is definitely an entirely
> different sound from the above-much more of a spacy guitar-led Fusion
thing.

I bought some ten years ago, when i was a huge '70s fusion fan. I played
that record only a few times: a kind of quite vukgar mahavishnu rip-off.

> Would anyone else agree that *any* SM beats the hell out of what Karl
Jenkins
> is doing these days...?

What's he up to?
Marcin Gokieli
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem you
are working on, tell him to go climb a tree - Jerry Fodor


-



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

From: Andy Marks <[e-mail]>
Subject: Allsound.org
Date: 16 Apr 2001 04:41:18 -0700 (PDT)

Some may already know about this, but I just
found out today and thought others here might
be interested (I know i was).

www.allsound.org

What it is is a Slashdot.org styled news site for
avant/jazz/experimental music, run by one of the
members of Gravitar.
Looks like it's just getting started, but seems promising.

__________________________________________________
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Get email at your own domain with Yahoo! Mail.
http://personal.mail.yahoo.com/

-



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

From: Herb Levy <[e-mail]>
Subject: More strings
Date: 16 Apr 2001 06:53:53 -0500

Good to see all of the other Arditti mentions, I'd forgotten about
many of them.

Over the weekend, while I was digging out a few of the discs
mentioned in this discussion, I found a few other things that might
be of interest:

Gloria Coates Symphony #1 (formerly released on vinyl as Music for
Open Strings) chamber orchestra work for bowed strings with no
fingering, instruments are re-tuned during the course of the piece.
Louis Andriessen also has a work for such an ensemble, I can't find
it, & it may not be on CD, with a similar name, though it's only in
Dutch on the vinyl I think I still have, somewhere.

Both of these remind me of some of the sounds from Ellen Fullman's
Long String Instrument and Stephen Scott's bowed piano music (we're
now even closer to piano music, Patrice).

Also, harpist Rhodri Davies, cited a few times as a member of IST, is
also involved in a trio called Cranc with his sister Angharad Davies
(violin) & Nikos Veliotis (cello) with a CD out on a Greek label Edo.

& I don't recall much being said about violinist Carlo Zingaro who
has a few solo discs and collaborations with keyboard/computer maven
Richard Teitelbaum, cellist Frances-Marie Uitti, and others in
addition to the duo with Peggy Lee that was mentioned earlier.

There're several interesting CDs by Paul Zukofsky, a compilation, and
discs of music by Morton Feldman & John Cage. He's also got what's
probably the only recording of Steve Reich's Violin Phase.

I'll be working some of the works that have come up in this thread
into Mappings programs over the next few weeks.

Bests,

Herb
--
Herb Levy
P O Box 9369  Forth Wort, TX  76147
817  377-2983
[e-mail]

-



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

From: [e-mail]
Subject: Festival of Solitude
Date: 16 Apr 2001 11:12:37 EDT

There's a pretty amazing sounding concert series taking place the next 5
Fridays (starting April 20) at 8pm at Exit Art in Soho, 548 Broadway in NYC.
Each evening features five musicians playing a 15 minute solo set.  There's a
broad mix of styles and genres--including improvisers like Leroy Jenkins,
Hamiett Bluiett, Matt Moran, Brad Shepik, Matt Wilson, Ned Rothenberg, Jane
Ira Bloom, Drew Gress, Brandon Ross, along with world music people (Balkan,
African, Indian, Japanese) and classical. The complete schedule is at
www.fileunder.org.

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Zorn List Digest V3 #380
Date: 16 Apr 2001 08:27:24 -0700


On Fri, 13 Apr 2001 20:14:48 -0500  Joseph Zitt wrote:
>
> Daniel Lentz: Apologetica

Can you comment on that one?

    Thanks,

    Patrice.

-



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

From: [e-mail]
Subject: Re: More strings
Date: 16 Apr 2001 11:35:19 EDT

Diedre Murray - Fred Hopkins, "Firestorm."  Fantastic cello-bass duo on Victo.  The Murray-Hopkins quartet recording, "Stringology" (Black Saint) also kills.

The Satako Fuji - Mark Feldman release due out later this year ought to be a great addition to the avant piano - violin repertoire.

David

np: Dave Burrell, "Jelly Roll Joys"

-



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

From: David Royko <[e-mail]>
Subject: Masada 4/14/01
Date: 16 Apr 2001 09:18:19 -0700 (PDT)

Drove up (from Chicago) Saturday to hear Masada
(quartet) in Minneapolis. Big crowd in a large hall,
terrific performance. What surprised my very much was
the length of the show. Including encores, they were
on stage for a total of maybe an hour and 15 minutes,
give or take 5 minutes. I was shocked to hear Zorn
introduce the band and wave goodnight after only
slightly more than an hour. When they came back, Zorn
said, chuckling, "Second set." I actually thought
maybe that's what it would be, but after the two
encores, they were done. Of course, quality takes
precedence over quantity, and in that regard, I'd find
it impossible to complain, but being the sole act on
the program, I expected and wanted more, considering
how rare the opportunities are to hear this group, or
Zorn in any context (at least in the Midwest.)

Anybody tape this? And as long as I'm on that topic,
anybody tape the Grant Park Masada set from the
Chicago Jazz Festival in September of 1999?

And finally, has anyone heard anything more about the
end of the Masada quartet, and when/where the last
performance might be?

Dave Royko


=====
Dave Royko's Self-Promotion Department:
My book, "Voices of Children of Divorce,"
is in paperback at Amazon.com (and elsewhere):
http://www.amazon.com/exec/obidos/ASIN/0312254695
Fun Department: Interested in trading live jazz
or bluegrass-related CD-Rs? Click here: http://www.geocities.com/davidroyko/mypage.html

__________________________________________________
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Get email at your own domain with Yahoo! Mail.
http://personal.mail.yahoo.com/

-



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

From: "William York" <[e-mail]>
Subject: Soft Machine/Melvins
Date: 16 Apr 2001 17:06:25

>Sm 4&3 are the best ones. IMHO you'd better avoid later guitar-base soft
>machine - 'softs' sucks seriously.

Everybody seems to like different stuff...My faves are Vol.1 and especially
Vol. 2, which you can get together on the same disc. More in the vein of
quirky psychadelic-prog-pop than the fusion-ish stuff on Vol. 3. Shorter
songs, arranged into suites (I guess one for each side of the LP). It
reminds me of the Mothers of Invention somewhat (especially all those 7/8
and 7/16 rhythms) but with a very different "attitude," generally. Not so
sarcastic. Great fuzz bass sound, too...

>Steve Smith
>[e-mail]
>NP - The Melvins, "Colossus of Destiny," 'Colossus of Destiny' (Ipecac)
>(which I'm increasingly inclined to rename 'Melvins Machine Music'... no
>drums until 48 minutes into the piece, for instance...)

Do you like this? They are getting to be like Zorn, with new albums and
reissues coming out what seems like every month. Can't keep up with them.
The Crybaby, with all those collaborations, was entertaining but hit and
miss, the Bootlicker was good, just different and quieter. Then I guess they
just reissued Gluey Porch Treatments on Ipecac, which is classic, but why
not get that on the CD w/ Ozma (if you can find it?) I love those two-fers
being cheap as I am.

WY (still wishing they would do a "Leng T'ch'e" remake w/ the Melvins + Zorn
+ Eye...)


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-



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

From: patRice <[e-mail]>
Subject: Re: Soft Machine/Melvins
Date: 16 Apr 2001 19:13:41 +0200

William York wrote:
>

>
> WY (still wishing they would do a "Leng T'ch'e" remake w/ the Melvins + Zorn
> + Eye...)

Now that sounds like an EXCELLENT idea!

patRice

np: s.f.a.
nr: Ray Bradbury, The Illustrated Man

-



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

From: "William York" <[e-mail]>
Subject: Re: Soft Machine/Melvins
Date: 16 Apr 2001 17:28:31

>(still wishing they would do a "Leng T'ch'e" remake w/ the Melvins + >Zorn
>+ Eye...)
>
>Now that sounds like an EXCELLENT idea!
>
>patRice

Actually, even better would be if that Fantomas/Melvins big band (whose new
year's eve show was good, but not great in my opinion) would get together w/
Zorn + Eye. That would be Dale from the Melvins and Dave Lombardo on drums;
Kevin from the Melvins and Trevor Dunn on bass; Patton and Eye on vocals;
King Buzzo and that fourth Melvins member on guitar; and Zorn on sax. It
makes perfect sense! We should petition Tzadik and Ipecac, I tell you...

WY

Listening to: Shockabilly, Heaven (possibly also a part of that mythical box
set I was asking about last week?)
_________________________________________________________________
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-



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

From: [e-mail]
Subject: zorndiscs  in mexico
Date: 16 Apr 2001 13:58:27 EDT

hi gang
just got back from mexico sojourn
was wearin g MMW tshirt; the
saleskid in Tower smiled and said they're great,
no? and i said i prefer noiser stuff. immediately, he said, like zorn!  we laughed and he said yes.
the bootleg discs scene has grown and is cheaper, now about $2USD per disc and has more than just the doors and ccr;i saw boots of henry cow!
in tower, which had tons of prog-rock (mex city is the prggie capital of the world, i think)only has two zorns, both elektras, german imports. usually they have a buncha tzadiks.  not this time.
welcome home.
steve koenig
n.p.: bunbury: mexican ep (spanish group with mex-only ep in new disc)

-



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

From: Jay Mote <[e-mail]>
Subject: RE: Masada 4/14/01
Date: 16 Apr 2001 13:06:51 -0500

David,

I, too, was shocked by how short the performance in Minneapolis was. Zorn
doesn't visit our friendly confines very often, and, although the music was
great, I wasn't sure if he might have not quite indentified with the crowd too
much. I know that, personally, playing in the Twin Cities for the past 10
years, even large crowds can suck the energy right out of you. A concert hall
filled with passive-agressive Scandinavians might have had something to do
with it, although they were most receptive. I've always had to go to Madison
or Chicago (Park West) to see Zorn's projects, but have been lucky enough to
open for Ribot and some others in Minneapolis. But as often as the Knitting
Factory gents make out here, you'd think they'd play up the fact that it's
indeed a treat to see them....and TREAT US. Most midwesterners, however, are
just not as "avant" savvy as folks on both coasts who can walk out their door
and see the great improv every night if they want to. I sense that Zorn
recognizes that fact and it is also the reason he will not pander to the
illiterates. Most of the people at the show were newcomers, and it's easy to
have a little disregard/contempt for your audience when you've had this long
extensive career and your audience has heard one Masada tune at a Jewish
friend's house last week. On the other hand, I saw Diz in '82 in Cedar Rapids
IA, and he played over 3 hours (w/no breaks) to a enthusiastic
mostly-Caucasian audience, so you never can tell....Zorn could have had a cold
for all we know.

On many other notes: Dave, the trumpet dude, blew me away more than anyone has
in a long time.

J "GET ME OUT OF THIS NORDIC HELL" Mote


>===== Original Message From David Royko <[e-mail]> =====
>Drove up (from Chicago) Saturday to hear Masada
>(quartet) in Minneapolis. Big crowd in a large hall,
>terrific performance. What surprised my very much was
>the length of the show. Including encores, they were
>on stage for a total of maybe an hour and 15 minutes,
>give or take 5 minutes. I was shocked to hear Zorn
>introduce the band and wave goodnight after only
>slightly more than an hour. When they came back, Zorn
>said, chuckling, "Second set." I actually thought
>maybe that's what it would be, but after the two
>encores, they were done. Of course, quality takes
>precedence over quantity, and in that regard, I'd find
>it impossible to complain, but being the sole act on
>the program, I expected and wanted more, considering
>how rare the opportunities are to hear this group, or
>Zorn in any context (at least in the Midwest.)
>
>Anybody tape this? And as long as I'm on that topic,
>anybody tape the Grant Park Masada set from the
>Chicago Jazz Festival in September of 1999?
>
>And finally, has anyone heard anything more about the
>end of the Masada quartet, and when/where the last
>performance might be?
>
>Dave Royko
>
>
>=====
>Dave Royko's Self-Promotion Department:
>My book, "Voices of Children of Divorce,"
>is in paperback at Amazon.com (and elsewhere):
>http://www.amazon.com/exec/obidos/ASIN/0312254695
>Fun Department: Interested in trading live jazz
>or bluegrass-related CD-Rs? Click here:
http://www.geocities.com/davidroyko/mypage.html
>
>__________________________________________________
>Do You Yahoo!?
>Get email at your own domain with Yahoo! Mail.
>http://personal.mail.yahoo.com/
>
>-


-



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

From: [e-mail]
Subject: Re: Masada 4/14/01
Date: 16 Apr 2001 14:16:29 EDT


--part1_b4.1438176c.280c90fd_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit


Does he ever come to the Southeast? Atlanta, maybe? New Orleans? Anywhere
near me (AL)?
Jan

--part1_b4.1438176c.280c90fd_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR>Does he ever come to the Southeast? Atlanta, maybe? New Orleans? Anywhere
<BR>near me (AL)?
<BR></FONT><FONT  COLOR="#000000" SIZE=7 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0"><B><I>Jan</B></I></FONT></HTML>

--part1_b4.1438176c.280c90fd_boundary--

-



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

From: [e-mail]
Subject: Re: Re: Masada 4/14/01
Date: 16 Apr 2001 14:26:04 -0400

> Does he ever come to the Southeast? Atlanta, maybe? New Orleans?

Masada has played Atlanta at least once, Zorn in other combos a couple of times I think.  He was also at the Incus Week in Chattanooga a few years back (along w/F. Frith, Oxley, Shaking Ray Levis).

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Soft Machine/Melvins
Date: 16 Apr 2001 14:49:10 -0400

I dont' know enough of the Melvins work to NOT like the new album - I have
heard very little other material by which to judge it.  It's not what I
expected, true, and from what I can gather, it's not even a "proper" Melvins
performance per se.  It's credited to Buzz, Dale, "Korny Ass Joker" and Adam
Jones, recorded live in Cupertino on December 13, 1998.  Seems like a
one-off or a side project to me, given the little that I know of the band.
Am I mistaken?

And given that it's one long track of rumbling noise, feedback and porn
samples, I think it's gonna be one of those "only once in a while" listens,
like 'Leng T'che,' actually.  The only other Melvins disc I've got is 'The
Maggot.'  I'm curious to know more, but since there was already a Melvins
survey on the Zornlist within the last coupla years, I figured I'd go dig
through the archives at some point.  But hey, if anyone wants to send me
recommendations through private mail instead of clogging up the list, feel
free.

Steve Smith
[e-mail]

-----Original Message-----
[mailto:[e-mail]]On Behalf Of William York

>NP - The Melvins, "Colossus of Destiny," 'Colossus of Destiny' (Ipecac)
>(which I'm increasingly inclined to rename 'Melvins Machine Music'... no
>drums until 48 minutes into the piece, for instance...)

Do you like this? They are getting to be like Zorn, with new albums and
reissues coming out what seems like every month. Can't keep up with them.
The Crybaby, with all those collaborations, was entertaining but hit and
miss, the Bootlicker was good, just different and quieter. Then I guess they
just reissued Gluey Porch Treatments on Ipecac, which is classic, but why
not get that on the CD w/ Ozma (if you can find it?) I love those two-fers
being cheap as I am.
-


-



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

From: [e-mail]
Subject: good news/bad news/melvins
Date: 16 Apr 2001 15:06:46 EDT

good news: Matador Records Re-issued the Soft Boys record "Underwater
Moonlight."

bad news: I suddenly became childishly enraged when i saw a picture of
Britney Spears wearing a shirt that said "I love punk" on it.
I wonder if that's healthy...

melvins: i noticed in the Leng Tch'e liner notes (a long time ago actually, i
am just now getting around to mentioning it though) that Zorn thanks the
melvins. i saw them a while ago, and a lot of stuff they played was like Leng
Tch'e. Are their records like this too? i would be interested in hearing them
in any case. what is a good place to start?

ben o.

-



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

From: "William York" <[e-mail]>
Subject: RE: Soft Machine/Melvins
Date: 16 Apr 2001 19:12:19

>I dont' know enough of the Melvins work to NOT like the new album - I >have
>heard very little other material by which to judge it.  It's not >what I
>expected, true, and from what I can gather, it's not even >a "proper"
>Melvins performance per se.  It's credited to Buzz, >Dale, "Korny Ass
>Joker" and Adam Jones, recorded live in Cupertino on >December 13, 1998.
>Seems like a one-off or a side project to me, given >the little that I know
>of the band.
>Am I mistaken?

No, you're right. Here is what their web site says:

"The live CD "COLLOSUS OF DESTINY" should be coming out soon on IPECAC. It's
a live set we did a year or two ago that was recorded straight to DAT. It
was me, Dale Buzz and Adam Jones from TOOL. It should be out mid-April on
IPECAC. The music is "out in the tall weeds" as we like to sayùthat is, a
tad abstractùlive and vicious and then resolving into a light and fluffy
version of Eye Flys. We were opening for ourselves, and played a loud, loud
attack style music. The audience had their fingers in their ears, and
couldn't leave because that wasn't allowed by the club. It went on for an
hour and then evolved into our "normal " set. It was quite lovely. The
promoter asked us not to do that set again, even though we sold the place
out 2 nights in a row. We don't play there anymore thanks to their misplaced
artistic guidance."

>I'm curious to know more, but since there was already a Melvins
>survey on the Zornlist within the last coupla years, I figured I'd go >dig
>through the archives at some point.  But hey, if anyone wants to >send me
>recommendations through private mail instead of clogging up the >list, feel
>free.

At the risk of getting on people's nerves (hopefully this won't), I would
say the Ozma/Gluey Porch Treatments CD is my favorite, but is not the most
accessible. Slow, thudding, ugly, etc. Bullhead is also in this vein but has
longer songs including the great "Zodiac." Houdini has some great stuff,
plus a little screwing around sort of stuff near the end. But you can find
it cheap used since it was on a major label. I haven't heard the Maggot yet
actually but from what I understand it was a "return to form" toward the
old, heavier style, not like the stuff on their later major label albums.

WY

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-



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

From: [e-mail]
Subject: Re: good news/bad news/melvins
Date: 16 Apr 2001 15:37:34 -0400

>Britney Spears wearing a shirt that said "I love punk" on it.
>I wonder if that's healthy...

Depends on whether it was a way-too-tight shirt or not.

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Soft Machine/Melvins
Date: 16 Apr 2001 15:50:43 -0400

So "Korny Ass Joker" = Kevin, huh?  I'd wondered if it was someone else,
like maybe Patton.

Thanks for the tips.  Think I'll download those MP3s from their site as
well.

Steve Smith
[e-mail]
NP - nada

-----Original Message-----
Sent: Monday, April 16, 2001 7:12 PM

No, you're right. Here is what their web site says:

"The live CD "COLLOSUS OF DESTINY" should be coming out soon on IPECAC. It's
a live set we did a year or two ago that was recorded straight to DAT. It
was me, Dale Buzz and Adam Jones from TOOL.


-



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

From: Moudry <[e-mail]>
Subject: Re: Masada 4/14/01
Date: 16 Apr 2001 15:06:29 -0500

At 14:16 16-04-01 -0400, Jan wrote:

>Does he ever come to the Southeast? Atlanta, maybe? New Orleans? Anywhere
>near me (AL)?
>Jan

Jan,

The following are two/three events in the Birmingham/Atlanta area for the
next few weeks:

Euphonic Productions & WREK
present
Evan Parker - tenor & soprano saxophones
8:30pm, Saturday, April 21st
$10 at the door
First Existentialist Congregation
470 Candler Park Drive, NE
404-622-3355 or [e-mail]

Evan Parker solo
Pilgrim Congregational
1024 Center Street
Birmingham AL
Sunday, 22 April @ 8:00 PM

Creative Music Association
presents
Peter Brotzmann - reeds
Hamid Drake - percussion
8pm, Friday, April 27th
$10 at the door
First Congregational Church
105 Courtland Avenue
404-659-6255 or [e-mail]

See you there (either/both)?

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 & Creative Improv on Alabama Public Radio:
WUAL 91.5FM Tuscaloosa/Birmingham
WQPR 88.7FM Muscle Shoals/NW Alabama
WAPR 88.3FM Selma/Montgomery/Southern Alabama


-



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

From: Matt Plummer <[e-mail]>
Subject: Re: Masada 4/14/01
Date: 16 Apr 2001 14:11:39 -0600 (MDT)

David,
where was the show in Minneapolis?

thanks,
matt

Matt Plummer
Coalition for Creative Music



-



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

From: David Royko <[e-mail]>
Subject: Re: Masada 4/14/01
Date: 16 Apr 2001 13:17:35 -0700 (PDT)

--- Matt Plummer <[e-mail]> wrote:
> David,
> where was the show in Minneapolis?

Ted Mann Auditorium, on the UofM campus.

Dave

=====
Dave Royko's Self-Promotion Department:
My book, "Voices of Children of Divorce,"
is in paperback at Amazon.com (and elsewhere):
http://www.amazon.com/exec/obidos/ASIN/0312254695
Fun Department: Interested in trading live jazz
or bluegrass-related CD-Rs? Click here: http://www.geocities.com/davidroyko/mypage.html

__________________________________________________
Do You Yahoo!?
Get email at your own domain with Yahoo! Mail.
http://personal.mail.yahoo.com/

-



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

From: h e a t h e r <[e-mail]>
Subject: Re: good news/bad news/melvins
Date: 16 Apr 2001 16:46:15 -0700

you know what, there are women on this list.  perhaps blatantly offensive
comments about teenage girls, regardless of their pop icon status, would
better be suited for off list commentary.

h

On 4/16/01 12:37 PM, "[e-mail]" <[e-mail]> wrote:

>> Britney Spears wearing a shirt that said "I love punk" on it.
>> I wonder if that's healthy...
>
> Depends on whether it was a way-too-tight shirt or not.


-



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

From: Craig S Nixon <[e-mail]>
Subject: Re: Avant Strings, etc
Date: 16 Apr 2001 20:57:09 -0400

Ken Waxman spake of Herb Levy's avant string recs...
>>Can't begin to parallel Herb's encyclopedic string recs...

Me neither, but I'll throw a few more into the hat that weren't mentioned
yet (I think)..
Carlos Zingaro's "Solo",  on the ADDA imprint of in situ records.
Absolutely amazing solo set, beuatifully captured in a large, empty hall.
 The availability of ADDA imprint discs is questionable, however.

Bassist Leon Francioli's "Acoustic Ladyland", on a French label the name
of which I forget and can't access the disc now....

Harpist Elizabeth Panzer's fine solo recording on the O.O. Discs label.,
which covers several other composers in addition to some original works.
Also, Panzer's more improvisational trio Talking Harp, with Bruce Gremo
on wood flutes and Ed Ware on drums....

Craig Nixon
Revolution In Sound

________________________________________________________________
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-



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

From: "Julian" <[e-mail]>
Subject: Re: good news/bad news/melvins
Date: 17 Apr 2001 11:16:06 +1000

> you know what, there are women on this list.  perhaps blatantly offensive
> comments about teenage girls, regardless of their pop icon status, would
> better be suited for off list commentary.

how about humour? are we allowed to have humour? please?


-



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

From: [e-mail] (Dave Trenkel)
Subject: RE: Soft Machine/Melvins
Date: 16 Apr 2001 18:31:29 -0700

At 2:49 PM 4/16/01, Steve Smith wrote:
>I dont' know enough of the Melvins work to NOT like the new album - I have
>heard very little other material by which to judge it.  It's not what I
>expected, true, and from what I can gather, it's not even a "proper" Melvins
>performance per se.  It's credited to Buzz, Dale, "Korny Ass Joker" and Adam
>Jones, recorded live in Cupertino on December 13, 1998.  Seems like a
>one-off or a side project to me, given the little that I know of the band.
>Am I mistaken?
>
>And given that it's one long track of rumbling noise, feedback and porn
>samples, I think it's gonna be one of those "only once in a while" listens,
>like 'Leng T'che,' actually.  The only other Melvins disc I've got is 'The
>Maggot.'  I'm curious to know more, but since there was already a Melvins
>survey on the Zornlist within the last coupla years, I figured I'd go dig
>through the archives at some point.  But hey, if anyone wants to send me
>recommendations through private mail instead of clogging up the list, feel
>free.
>
The Melvins are one of my favorite bands, but I feel much the same about
"Colossus of Destiny" (great title, though). I have yet to hear a Melvins
disc that lives up to their live shows. When not actively pissing off their
audience, they're one of the consistantly heaviest live bands ever. And
they tend to be pretty entertaining when they are actively pissing off
their audience. I've never left one of their shows unhappy. I think they
tend to use things like the stuff on Colossus, the extended feedback and
gong solos, etc, as a test: if you make it through that, they'll give you
the rock.

That said, I do like just about every Melvins disc I own. I even like their
major label stuff, just as heavy as the earlier stuff, but better recorded.
"Honky" has a great summation of their major label experience.

____________________________________________
Dave Trenkel : [e-mail]
New & Improv Media
http://www.newandimprov.com
Now available: Admiral Twinkle Devil: Wabi Dub
____________________________________________



-



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

From: "Nirav Soni" <[e-mail]>
Subject: Re: Soft Machine/Melvins
Date: 16 Apr 2001 21:35:45 -0400

> The Melvins are one of my favorite bands, but I feel much the same about
> "Colossus of Destiny" (great title, though). I have yet to hear a Melvins
> disc that lives up to their live shows. When not actively pissing off
their
> audience, they're one of the consistantly heaviest live bands ever. And
> they tend to be pretty entertaining when they are actively pissing off
> their audience.

The first (and only) time I saw them, the first words Buzz said were "We're
gonna give you a headache." I was in 7th or 8th grade at the time and I
fucking ate it up. It was actually at Lollapalooza, where I also saw The
Ramones.

Nirav,
--
AIM: Icefactory37
OnNow- Town and Country- s/t
"Undocumented recollections are rarely disappointing." -Derek Bailey


-



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

From: [e-mail]
Subject: Re: More strings
Date: 16 Apr 2001 22:00:36 EDT

>  The Satako Fuji - Mark Feldman release due out later this year ought to be
a
> great addition to the avant piano - violin repertoire.

Funny - mere hours after I wrote this, Bruce at DMG tells me that it's just
been released in Japan, will be here (New York) soon.

David

PS.  One of the tracks on the Arvo Part / Tabula Rasa disk mentioned earlier
is "Fratres," performed by the 12 Cellists of the Berlin Philharmonic.  I
just want to add that their recording of Beatles songs (Cello Submarine) is
really not to be missed.

np: Sleater-Kinney, "i wanna be your joey ramone"

-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: Soft Machine/Melvins
Date: 16 Apr 2001 20:01:21 -0700

>> The Melvins are one of my favorite bands, but I feel much the same about
>> "Colossus of Destiny" (great title, though). I have yet to hear a Melvins
>> disc that lives up to their live shows. When not actively pissing off
>their
>> audience, they're one of the consistantly heaviest live bands ever. And
>> they tend to be pretty entertaining when they are actively pissing off
>> their audience.
>
>The first (and only) time I saw them, the first words Buzz said were "We're
>gonna give you a headache." I was in 7th or 8th grade at the time and I
>fucking ate it up. It was actually at Lollapalooza, where I also saw The
>Ramones.
>
First time I saw them, years ago, they were opening for some doctrinaire
punk rock band, I don't remember whom, I left after the Melvins. They came
onstage, and with 30 minutes of feedback at extreme volume, emptied the
room. I was one of about 5-6 left. Then they played about 15 minutes of
totally crushing rock. I was hooked for life....

____________________________________________
Dave Trenkel : [e-mail]
New & Improv Media
http://www.newandimprov.com
Now available: Admiral Twinkle Devil: Wabi Dub
____________________________________________



-



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

From: [e-mail]
Subject: Re: More strings
Date: 16 Apr 2001 22:08:42 -0500

Yep, the CD is called April Shower.  It was released a few weeks ago by
ewe records in Japan and I've heard that Buzz records is very interested in
releasing it for
US and European audiences in the near future.  Half of the CD is devoted to
Satoko
Fujii's solo and dubbed piano duets with herself and the rest to her duets
with
Mark Feldman. A profoundly deep listening experience for me.  It's nice to
hear Fujii and
Feldman intertwine so perfectly on these wonderful songs!  Should be
available from Cadence
soon, if not already.

James


At 10:00 PM 4/16/01 -0400, you wrote:
> >  The Satako Fuji - Mark Feldman release due out later this year ought
> to be
>a
> > great addition to the avant piano - violin repertoire.
>
>Funny - mere hours after I wrote this, Bruce at DMG tells me that it's just
>been released in Japan, will be here (New York) soon.
>
>David
>
>PS.  One of the tracks on the Arvo Part / Tabula Rasa disk mentioned earlier
>is "Fratres," performed by the 12 Cellists of the Berlin Philharmonic.  I
>just want to add that their recording of Beatles songs (Cello Submarine) is
>really not to be missed.
>
>np: Sleater-Kinney, "i wanna be your joey ramone"
>
>-


-



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

From:    [e-mail] (Patrick Carey)
Subject: Non-JZ FS: Blind Idiot God, Toop/Eastley, Ensemble Sondarc ...
Date: 17 Apr 2001 03:13:44 +0100

I have the following items for sale that
some on this list may be interested in.

Prices are in _US $_ and are POSTAGE PAID within North America.
Shipping on orders outside NA can be arranged.

$25 -- Blind Idiot God - "Undertow" JAP CD (Tokuma) 1990
       [Japanese pressing of the Laswell produced Enemy CD from 1988.
       Hawkins, Katz & Epstein w/ a George Clinton cover, and the
       track, "Purged Specimen", featuring Zorn on sax.]
OFFERS -- David Toop & Max Eastley - "Buried Dreams" UK CD
       (Beyond: rbadcd6) 1994   [An environmental ambient masterpiece
       of digitally manipulated field recordings, found sounds and
       traditional acoustic instruments.  Long out of print.]
$16 -- Ensemble Sondarc - "For Four Rooms" SWI CD (For 4 Ears) 1997
       [66 min. of ensemble-improv from 6 (yes, six) doublebassists.]
OFFERS -- 23 Skidoo - "The Culling Is Coming" AUS CD (L.A.Y.L.A.H.
       Antirecords: lay23cd) 1989   [CD of Skidoo's most unorthodox
       LP from 1983.  Pt. 1 - improvised live w/ scrap metal perc.,
       gas pipes/cylinders, tape loops & Tibetan thighbone trumpet
       by D. Tibet (7/82, WOMAD).  Pt. 2 - trad. gamelan (10/82,
       Dartington College).  Brilliant, and currently deleted.]

Thanks for looking.


-Patrick
[e-mail]




-



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

From: Adam Taylor Tierney <[e-mail]>
Subject: Peter Brotzmann
Date: 17 Apr 2001 02:41:55 -0500 (EST)

This is very last-minute, but for those of you (if any) who live in the
Midwest:

Peter Brotzmann's Die Like a Dog Trio is playing at the Waldron Arts
Center in Bloomington for free tomorrow (Tuesday) at 8:00 PM. Promises to
be a good time.

--Adam Tierney


-



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

From: patRice <[e-mail]>
Subject: Re: David Toop Books (NO ZORN CONTENT)
Date: 17 Apr 2001 10:11:45 +0200


Thanks to everyone who shared their comments/thoughts on the Toop books
with me.

Very much appreciated.

I'll order one of them pretty soon, I think...

Yours,
patRice

np: Art Pepper & Eleven, Modern Jazz Classics
nr: Juzo Suzuki, Utagawa Kuniyoshi - 250 Years


-



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

From: Herb Levy <[e-mail]>
Subject: New Music in RealAudio
Date: 17 Apr 2001 06:41:42 -0500

This week's Mappings features duets by John Cage, Elliott Carter;
John Corbett, Fred Lonberg-Holm, & Torsten Mueller; Morton Feldman,
Jin Hi Kim; Guy Klucevsek, Steve Nelson-Raney & Jon Mueller; Reza
Vali; and Veryan Weston & Caroline Kraabel. Available online for a
week: http://www.antennaradio.com/avant/mappings/.

Hope to see y'all there.

Bests,

Herb
--
Herb Levy
Mappings on Antenna Internet Radio
http://www.antennaradio.com/avant/mappings/
[e-mail]

Mappings
P O Box 9369
Forth Wort, TX 76147

-



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

From: HirakeMike <[e-mail]>
Subject: Guilty Choices
Date: 17 Apr 2001 05:54:19 -0700 (PDT)

So since we've gone over top tens a few hundred times,
would anyone care to name bands/albums/cd's that they
normally wouldnt mention and be considered a guilty
choice?  Something in the norm, not even closely
related to zorn or musicians as widely discussed.

__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: Maurice Rickard <[e-mail]>
Subject: Re: Guilty Choices
Date: 17 Apr 2001 10:14:37 -0400

At 5:54 AM -0700 4/17/01, HirakeMike wrote:
>would anyone care to name bands/albums/cd's that they
>normally wouldnt mention and be considered a guilty
>choice?

Steely Dan.  Pretty much all of it, including the new one, except
most of _Gaucho_, which just doesn't do it for me.  You may fire when
ready.

More defensible, perhaps, are my easy listening/exotica LPs--Martin
Denny, Enoch Light (_I Want to be Happy Cha-Chas_ is great party
music), that kind of thing.

--
Maurice Rickard
http://mauricerickard.com/

-



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

From: patRice <[e-mail]>
Subject: Re: Guilty Choices
Date: 17 Apr 2001 16:16:29 +0200

HirakeMike wrote:

> So since we've gone over top tens a few hundred times,
> would anyone care to name bands/albums/cd's that they
> normally wouldnt mention and be considered a guilty
> choice?  Something in the norm, not even closely
> related to zorn or musicians as widely discussed.

I wouldn't feel guilty about them - but here are some bands/artists that
maybe aren't too zorn related...

The Cure
Marc Almond
Depeche Mode
Madonna
Joy Division
Fields Of The Nephilim
Indochine
Iron Maiden
Eminem
Dream Theater

There are probably lots more... But my memory... ;-)

patRice

np: John Zorn, Trembling before G*D
nr: Timothy Clark, Ukiyo-e Paintings in the British Museum


-



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

From: "Andrew Harrison" <[e-mail]>
Subject: Re: Guilty Choices
Date: 18 Apr 2001 01:37:53 +1000

HirakeMike wrote:
>
> So since we've gone over top tens a few hundred times,
> would anyone care to name bands/albums/cd's that they
> normally wouldnt mention and be considered a guilty
> choice?  Something in the norm, not even closely
> related to zorn or musicians as widely discussed.
>
> __________________________________________________
> Do You Yahoo!?
> Yahoo! Auctions - buy the things you want at great prices
> http://auctions.yahoo.com/
>
> -

I have to confess that I love Slayer, Metallica and Kreator. This is
probably no big surprise to Zorn fans, given the Lombardo connection.

And Abba are so cool - I just love Mama Mia!

ANDREW
--
_______________________________________________________________
Andrew Harrison
Phantom Dog Music
A.B.N. 89 306 085 735
P.O. Box 663
Moonee Ponds, VIC.
Australia 3039
ph/fax [phone]
email: [e-mail]
http://www.amcoz.com.au/comp/h/aharris.htm

-



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

From: Jay Mote <[e-mail]>
Subject: RE: Guilty Choices
Date: 17 Apr 2001 09:37:16 -0500

Since I was a little late chiming in on the Top 10 thread, I'll mention now I
have a page dedicated to some of the Top live shows I've seen over the past 20
years (and some of the crappier shows, as well).

See: http://www.hotheadfiasco.com/hhphotos/Jay%20Mote/jay_shows.htm

Guilty Pleasures: Missing Persons, Sparks, Elton John

Jay Mote

>===== Original Message From HirakeMike <[e-mail]> =====
>So since we've gone over top tens a few hundred times,
>would anyone care to name bands/albums/cd's that they
>normally wouldnt mention and be considered a guilty
>choice?  Something in the norm, not even closely
>related to zorn or musicians as widely discussed.
>
>__________________________________________________
>Do You Yahoo!?
>Yahoo! Auctions - buy the things you want at great prices
>http://auctions.yahoo.com/
>
>-


-



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

From: patRice <[e-mail]>
Subject: Re: Guilty Choices
Date: 17 Apr 2001 16:43:21 +0200



Jay Mote wrote:

>
> Guilty Pleasures: Missing Persons,

Ouch - yeah, completely forgot about them in my last mail!
Also ADORE them! :-)

patRice




-



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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: Guilty Choices
Date: 17 Apr 2001 16:59:01 +0200 (CEST)


--- HirakeMike <[e-mail]> escribi≤: >
Fecha: Tue, 17 Apr 2001 05:54:19 -0700 (PDT)
> De: HirakeMike <[e-mail]>
> Asunto: Guilty Choices
> Para: [e-mail]
>
> So since we've gone over top tens a few hundred
> times,
> would anyone care to name bands/albums/cd's that
> they
> normally wouldnt mention and be considered a guilty
> choice?  Something in the norm, not even closely
> related to zorn or musicians as widely discussed.
>

I confess I've got the full The Cure discography,
which is such a guilt!!

I should add some The Smiths which I even got to like
several years ago!.

after this, I'll probably unsubscribe... thought I was
so cool...

Greetings,

efrΘn

_______________________________________________________________
Do You Yahoo!?
Envφa mensajes instantßneos y recibe alertas de correo con
Yahoo! Messenger - http://messenger.yahoo.es

-



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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: Guilty Choices
Date: 17 Apr 2001 16:59:01 +0200 (CEST)


--- HirakeMike <[e-mail]> escribi=C3=B3: >
Fecha: Tue, 17 Apr 2001 05:54:19 -0700 (PDT)
> De: HirakeMike <[e-mail]>
> Asunto: Guilty Choices
> Para: [e-mail]
>=20
> So since we've gone over top tens a few hundred
> times,
> would anyone care to name bands/albums/cd's that
> they
> normally wouldnt mention and be considered a guilty
> choice?  Something in the norm, not even closely
> related to zorn or musicians as widely discussed.
>=20

I confess I've got the full The Cure discography,
which is such a guilt!!

I should add some The Smiths which I even got to like
several years ago!.

after this, I'll probably unsubscribe... thought I was
so cool...

Greetings,

efr=C3=A9n

_______________________________________________________________
Do You Yahoo!?
Env=C3=ADa mensajes instant=C3=A1neos y recibe alertas de correo con=20
Yahoo! Messenger - http://messenger.yahoo.es

-


-



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

From: [e-mail]
Subject: Re: Guilty Choices
Date: 17 Apr 2001 11:08:27 EDT

Disclaimer:  I NEVER listen to the bands or albums or songs listed below.  I
no longer own the albums/tapes.  But if by chance I happen to stumble across
a song while flipping the dial I crank it and soak myself in a nostalgic wave
of sound.  So...

Metallica's first three albums
Motorhead up to Another Perfect Day
The Eagles' "I Can't Tell You Why" (which is the lowest of the low, I know,
but it reminds me of my first girlfriend)
Van Halen 1
Southern rock (Skynyrd, Allmans, Outlaws, Blackfoot)
Queen (up to about "The Game")
Uli Jon Roth era Scorpions
early 80s power/death/speed metal in general
When I was eleven I owned a Journey album and I still remember all of Neil
Schon's guitar solos.

Raised on radio,
Tom

NP:  Kronos Quartet -- Morton Feldman's Piano and String Quartet





______________________________________________________________________
Phil Spector: "I've been listening to a lot of Andrew Lloyd Webber lately,
and enjoying it. Someday I hope to set his stuff to music."

-



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

From: patRice <[e-mail]>
Subject: Re: Fwd: Guilty Choices
Date: 17 Apr 2001 17:10:30 +0200

Don't despair, Efr=E9n!

I have all the The Cure albums - plus 12" maxis, some stuff on vinyl, 3"
single-cds, live bootlegs... etc. etc.
So I'm herewith claiming the "uncoolest person on this list" tag... ;-)

patRice



efr=E9n del valle wrote:

> I confess I've got the full The Cure discography,
> which is such a guilt!!
>
> I should add some The Smiths which I even got to like
> several years ago!.
>
> after this, I'll probably unsubscribe... thought I was
> so cool...


-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Guilty Choices
Date: 17 Apr 2001 10:37:46 -0500

On Tue, Apr 17, 2001 at 05:54:19AM -0700, HirakeMike wrote:
> So since we've gone over top tens a few hundred times,
> would anyone care to name bands/albums/cd's that they
> normally wouldnt mention and be considered a guilty
> choice?  Something in the norm, not even closely
> related to zorn or musicians as widely discussed.

Hoo boy, lemme see... faves that would be out of the norm here...

Sean Cassidy: Wasp
October Project: October Project
almost any recording of Jesus Christ Superstar
Happy Rhodes: Warpaint
Simon and Garfunkel: Parsley Sage Rosemary & Time
Ricky Martin: (video collection)
Dio: Holy Diver
Yes: Tales of Topographic Oceans
Tina Turner: Private Dancer
Jane Siberry: Bound by the Beauty
Queen: A Night at the Opera
Prince: 0+)->
Meatloaf: Bat Out of Hell
Michael Jackson: Bad
Dean Friedman: Well, Well, said the Rocking Chair
Argument Clinic: Argument Clinic

That's just off the top of my head, not looking at my collection.

--
|> ~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: "Neil H. Enet" <[e-mail]>
Subject: RE: Guilty Choices
Date: 17 Apr 2001 11:54:28 -0400

Ok, I have all of MORRISSEY and SMITHS CDs.  SUEDE, PLACEBO, DEPECHE MODE,
CHRIS ISAAK!!!!

Let's see, what else?.....PRODIGY, CHEMICAL BROTHERS, COCTEAU TWINS and a
lot of the 4AD groups.

Guess that's it ... I must confess ... I'm a bigger Morrissey fan than a
Zorn one (OK, now I'm really out of the list :-)

Neil H. Enet
------------

NP. PUNGENT STENCH Praise the names of the musical assassins


-



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

From: Wolfgang Armbruster <[e-mail]>
Subject: re- barre phillips
Date: 17 Apr 2001 18:11:20 +0200

Guten Tag - Hi list,

  I do have a few Barre Phillips records in my collection. The only
  _real_ bass solo album is

  "Call Me When You Get There" ECM1257 recorded in 1983
        very recommended!

  Another favourite is

  "Three Day Moon" ECM1123 recorded in 1978
         with Rypdal, Feichtner and Gurtu

  Another two are bass and electronics:

  "Aquarian Rain" ECM1451 recorded in 1991
  "Camouflage" Victo cd08 recorded in 1989

---
Best,
 Wolfgang Armbruster
 mailto:[e-mail]



-



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

From: Tosh <[e-mail]>
Subject: Re: Guilty Choices
Date: 17 Apr 2001 09:26:55 -0700

What I am hearing on this list is not 'guilty choices' but really 'good
taste choices!

Morrissey/Smiths, Sparks, ABBA, etc. are truly great!  In fact in my dreams
I am waiting for a Zorn produced tribute album to Sparks.

One artist that hasn't come up on the Zorn list 'so-called guilty pleasure'
is Billy Mackenzie/Associates.   Like Sparks they are part of the culture,
but when the photos develop their images disappear, unlike Cure, etc.


--
Tosh Berman
TamTam Books
http://www.tamtambooks.com


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: sideshow
Date: 17 Apr 2001 09:27:11 -0700


On Sun, 15 Apr 2001 12:06:16 -0400  "Steve Smith" wrote:
>
> not so far from a good ECM recording.  Of course, I've got a certain bias
> that prevents total objectivity, as I helped to convince CRI/Blueshift to
> release the disc after I'd had a demo for over a year, and I wrote the
> little liner essay.  But there it is.

Is this the first CD from the new CRI/Blueshift label, or are there
already other ones out? Any idea about the upcoming ones also?

    Thanks,

    Patrice.

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: sideshow
Date: 17 Apr 2001 12:40:05 -0400

Yes, Sideshow is the first release from Blueshift.  The next one, a 3 CD set
by Scott Fields, is due out fairly soon.  Beyond that, there's nothing
etched in stone.  A few projects have been lingering for years (in
particular a Gerry Hemingway project, and ideas or proposals for projects
from Mark Helias, Tim Berne and Bill Roper, among others).  And the John
Hollenbeck disc that was to have inaugurated the series was derailed at
least temporarily for legal issues, the clearance of speech samples.  It may
be in the process of being replaced by another Hollenbeck project.

More when I hear about it.

Steve Smith
[e-mail]

-----Original Message-----
Sent: Tuesday, April 17, 2001 12:27 PM
Cc: 'Hywel Davies'; [e-mail];
[e-mail]

Is this the first CD from the new CRI/Blueshift label, or are there
already other ones out? Any idea about the upcoming ones also?


-



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

From: Grey ElkGel <[e-mail]>
Subject: ordinary fanfares #4
Date: 17 Apr 2001 09:50:06 -0700 (PDT)

tonight (tuesday april 17 2001)
from midnight to 2am EST

ordinary fanfares #4

wmfo 91.5fm medford MA / www.wmfo.org (webcast)

including music by bethlehem, yoshimitsu ichiraku,
sandro gorli, clark-hutchinson, and much, much more.

this will be the final installment of ordinary
fanfares. thanks for listening!

__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: Skip Heller <[e-mail]>
Subject: Re: Guilty Choices
Date: 18 Apr 2001 09:59:26 -0700



> At 5:54 AM -0700 4/17/01, HirakeMike wrote:
>> would anyone care to name bands/albums/cd's that they
>> normally wouldnt mention and be considered a guilty
>> choice?
>
> Steely Dan.  Pretty much all of it, including the new one, except
> most of _Gaucho_, which just doesn't do it for me.  You may fire when
> ready.
>
> More defensible, perhaps, are my easy listening/exotica LPs--Martin
> Denny, Enoch Light (_I Want to be Happy Cha-Chas_ is great party
> music), that kind of thing.

Steely Dan is NOT a guilty pleasure.  Michael McDonald-era Doobies, however,
is.  And I am fessing up to loving "Minute BY MInute" et al.

skip h

np: beach boys today


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From: [e-mail]
Subject: Re: Guilty Choices
Date: 17 Apr 2001 13:01:00 EDT

Well, I don't really feel guilty about owning The Baronics' "Get Bach," but everyone I play their surf instro version of Vivaldi's Four Seasons for thinks I should.  Feel guilty, that is.

But, hey, I still groove on the first Go-Go's record.  And I was, like, already grown up when I first heard it.

And the Ronettes.  Though I haven't stooped yet to buying a best-of compilation on CD.

David

np: "Be My Baby" (in my head)

-



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

From: "z~S" <[e-mail]>
Subject: Re: Guilty Choices
Date: 17 Apr 2001 10:05:34 -0700

>>>np: beach boys today<<<

np: Surf's Up - David Thomas And Two Pale Boys







-



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From: alberta <[e-mail]>
Subject: satoko/tatsuya
Date: 17 Apr 2001 13:34:31 -0400 (EDT)

who heard about the fuji/yoshida duo? what'd you hear?

kurtg

FREE! The World's Best Email Address @email.com
Reserve your name now at http://www.email.com



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From: [e-mail]
Subject: Re: Guilty Choices
Date: 17 Apr 2001 14:08:25 EDT


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Nope, you can't go wrong with Metallica...

Jan

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Nope, you can't go wrong with Metallica...
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=7 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0"><B><I>Jan</B></I></FONT></HTML>

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From: [e-mail]
Subject: Re: Guilty Choices
Date: 17 Apr 2001 14:17:05 EDT


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In a message dated 4/17/01 9:38:23 AM Central Daylight Time,
[e-mail] writes:


> live shows

One of the best live shows I ever saw was the The Rolling Stones, in London.
Ya'll might kick me off this list, but I reallllly like the Goo Goo
Dolls...not so much because of the music, it's more about the kind of people
they are. Very cool. Other than that, my tastes pretty much cover any artist
who is really talented musically, not your Mtv class....Stevie Ray Vaughan
kicked ass on a guitar and was an incredibly soulful player...of course
Clapton, etc. I think Dave Matthews is good, and really like to watch him
play...he is soulful as well...the last CD I bought was Johnny Cash/Willie
Nelson live...and I love the Cowboy Junkies. I'd love to see them live
sometime. Although, it's almost impossible for me to even stay on my feet
when I hear that music.... ;)
Jan

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 4/17/01 9:38:23 AM Central Daylight Time,
<BR>[e-mail] writes:
<BR>
<BR>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">live shows </FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR>One of the best live shows I ever saw was the The Rolling Stones, in London.
<BR>Ya'll might kick me off this list, but I reallllly like the Goo Goo
<BR>Dolls...not so much because of the music, it's more about the kind of people
<BR>they are. Very cool. Other than that, my tastes pretty much cover any artist
<BR>who is really talented musically, not your Mtv class....Stevie Ray Vaughan
<BR>kicked ass on a guitar and was an incredibly soulful player...of course
<BR>Clapton, etc. I think Dave Matthews is good, and really like to watch him
<BR>play...he is soulful as well...the last CD I bought was Johnny Cash/Willie
<BR>Nelson live...and I love the Cowboy Junkies. I'd love to see them live
<BR>sometime. Although, it's almost impossible for me to even stay on my feet
<BR>when I hear that music.... ;)
<BR></FONT><FONT  COLOR="#000000" SIZE=7 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0"><B><I>Jan</B></I></FONT></HTML>

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From: [e-mail]
Subject: Re: Guilty Choices
Date: 17 Apr 2001 14:24:46 EDT


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In a message dated 4/17/01 10:08:09 AM Central Daylight Time,
[e-mail] writes:


> after this, I'll probably unsubscribe... thought I was
> so cool...

If you must unsub, then so will I....if we aren't allowed here anymore, we'll
just start our own list, for the quasi-cool....lol! :)
Jan

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 4/17/01 10:08:09 AM Central Daylight Time,
<BR>[e-mail] writes:
<BR>
<BR>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">after this, I'll probably unsubscribe... thought I was
<BR>so cool...</FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR>If you must unsub, then so will I....if we aren't allowed here anymore, we'll
<BR>just start our own list, for the quasi-cool....lol! :)
<BR></FONT><FONT  COLOR="#000000" SIZE=7 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0"><B><I>Jan</B></I></FONT></HTML>

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From: [e-mail]
Subject: Guilty Choices
Date: 17 Apr 2001 11:32:56 -0700

I am not ashamed, just slightly embarrassed.

I'm a sucker for the Hit Parade, and consequently own all six volumes of the "Now That's What I Call Music!" series. That's not to say I like every song on every disc (my average is appx. 40-60% enjoyment per CD), but it's a great way to get my Timbaland on. Besides, you can get 'em for, usually, $5 a pop on Half.com.

Other items that draw grimaces from friends include:

Third Eye Blind - s/t
Saturday Night Fever soundtrack
Blur - Greatest Hits
Oasis - What's the Story Morning Glory?
Randy Newman
Van Morrison
Pearl Jam - Vs., Vitalogy
Paul Simon - s/t, Graceland
Simon & Garfunkel - Bookends, Bridge Over Troubled Water
U2 - Achtung Baby
Dwight Yoakam - Greatest Hits 80s & 90s

I used to get a lot of grief for my love of Bruce Springsteen, but his cachet seems to be on the up these days as my so-called friends jump on the "Nebraska-as-classic-album" bandwagon.

Murray

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From: [e-mail]
Subject: Re: Guilty Choices
Date: 17 Apr 2001 14:32:48 EDT


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In a message dated 4/17/01 10:09:28 AM Central Daylight Time,
[e-mail] writes:


> Metallica's first three albums
> Motorhead up to Another Perfect Day
> The Eagles' "I Can't Tell You Why" (which is the lowest of the low, I know,
> but it reminds me of my first girlfriend)
> Van Halen 1
> Southern rock (Skynyrd, Allmans, Outlaws, Blackfoot)
> Queen (up to about "The Game")
> Uli Jon Roth era Scorpions
> early 80s power/death/speed metal in general
> When I was eleven I owned a Journey album and I still remember all of Neil
> Schon's guitar solos.
>
>

I think I own most of those you just mentioned. I'm not ashamed, Skynyrd did
some good stuff, especially when the piano parts are smokin'....same is true
for Allman, screw the lyrics for the most part, if there is a drop of talent
in the music that is carrying it, then I can appreciate it. Queen were an
incredible group on many levels...they were innovators. Anyone who can pull
of a daring, original mix of music deserves respect. Metallica....they are
just great because they've stayed true to themselves and proven to be leaders
instead of followers in the genre. And the Eagles....except for some of the
most recent stuff, and the solo stints, they are cool as well. I saw them
live at a small venue in Tupelo, MS a few years ago. Great show. These days,
any show that doesn't involve a bunch of screaming teenagers, I can't deal
with. I'm getting old, but what the hell, I've always been an old soul I
guess.
Jan

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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">In a message dated 4/17/01 10:09:28 AM Central Daylight Time,
<BR>[e-mail] writes:
<BR>
<BR>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Metallica's first three albums
<BR>Motorhead up to Another Perfect Day
<BR>The Eagles' "I Can't Tell You Why" (which is the lowest of the low, I know,
<BR>but it reminds me of my first girlfriend)
<BR>Van Halen 1
<BR>Southern rock (Skynyrd, Allmans, Outlaws, Blackfoot)
<BR>Queen (up to about "The Game")
<BR>Uli Jon Roth era Scorpions
<BR>early 80s power/death/speed metal in general
<BR>When I was eleven I owned a Journey album and I still remember all of Neil
<BR>Schon's guitar solos.
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR>I think I own most of those you just mentioned. I'm not ashamed, Skynyrd did
<BR>some good stuff, especially when the piano parts are smokin'....same is true
<BR>for Allman, screw the lyrics for the most part, if there is a drop of talent
<BR>in the music that is carrying it, then I can appreciate it. Queen were an
<BR>incredible group on many levels...they were innovators. Anyone who can pull
<BR>of a daring, original mix of music deserves respect. Metallica....they are
<BR>just great because they've stayed true to themselves and proven to be leaders
<BR>instead of followers in the genre. And the Eagles....except for some of the
<BR>most recent stuff, and the solo stints, they are cool as well. I saw them
<BR>live at a small venue in Tupelo, MS a few years ago. Great show. These days,
<BR>any show that doesn't involve a bunch of screaming teenagers, I can't deal
<BR>with. I'm getting old, but what the hell, I've always been an old soul I
<BR>guess.
<BR></FONT><FONT  COLOR="#000000" SIZE=7 FAMILY="SCRIPT" FACE="Bradley Hand ITC" LANG="0"><B><I>Jan</B></I></FONT></HTML>

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

From: "Arthur Gadney" <[e-mail]>
Subject: Re: satoko/tatsuya
Date: 17 Apr 2001 18:38:01 -0000


>who heard about the fuji/yoshida duo? what'd you hear?

not much, but at least it's not a duo, it's a quartet. Yoshidas concert list
has mentioned several performances, also they are playing in europe pretty
soon.

Still puzzled, and hoping somebody has actually heard this group and could
comment further.
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com


-



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

From: [e-mail]
Subject: Re: Guilty Choices
Date: 17 Apr 2001 15:02:06 EDT

OK, here goes...



BILLY JOEL

I also like early Elton John.

 I love Jeff Buckley, which doesn't really count as a guilty pleasure as far as I'm concerned, but would probably count as such to some people here.  I totally also dig Michael McDonald-era Doobie Brothers, as Skip mentioned.

Thats all I can think of at the moment.

-matt mitchell

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

From: "z~S" <[e-mail]>
Subject: Guilty
Date: 17 Apr 2001 12:06:11 -0700

>>>Other items that draw grimaces from friends include:

Saturday Night Fever soundtrack

Murray<<<






-



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

From: [e-mail]
Subject: Feldman
Date: 17 Apr 2001 15:30:26 EDT

Anyone know where I might find a healthy selection of Feldman's available
(and out of print) discs?  Furthermore, can anyone recommend his best
recordings?  So far I have the Kronos Quartet's "Piano and String Quartets"
recording, the complete Philip Guston, and Samuel Beckett.  Is "The Ecstacy
of the Moment" worth buying?

Thanks,
Tom

P.S.  Another guilty pleasure: Will Smith's "Wild Wild West"  Oh God.  I
can't believe I admitted that.

______________________________________________________________________
Phil Spector: "I've been listening to a lot of Andrew Lloyd Webber lately,
and enjoying it. Someday I hope to set his stuff to music."

-



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

From: =?iso-8859-1?q?MJ=20Gillham?= <[e-mail]>
Subject: MELVINS, EARTH
Date: 17 Apr 2001 20:36:15 +0100 (BST)

Apparently, in an interview, JZ said that 'Leng T'che'
was partly inspired by MELVINS' 'Lysol' LP. For me, it
is one of their best, but I recommend most, if not all
MELVINS. I certainly recommend the above anyway. It is
not easy to recommend specific MELVINS titles!

I also recommend EARTH 'Extra-Capsular Extraction' and

'Earth 2'. You'll see why...

____________________________________________________________
Do You Yahoo!?
Get your free @yahoo.co.uk address at http://mail.yahoo.co.uk
or your free @yahoo.ie address at http://mail.yahoo.ie

-



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

From: "Arthur Gadney" <[e-mail]>
Subject: Re: MELVINS
Date: 17 Apr 2001 20:39:30 -0000

>Apparently, in an interview, JZ said that 'Leng T'che'
>was partly inspired by MELVINS' 'Lysol' LP.

I love "Leng Tch'e" but have found the Melvins stuff I have heard to be
quite bad and rather unlike "Leng Th'e", but I have only heard their recent
Ipecac releases.
So........................ how similar is "Lysol" and "Leng Tch'e"?????
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com


-



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

From: Christopher eaton <[e-mail]>
Subject: Re: Zorn List Digest V3 #386
Date: 17 Apr 2001 16:40:44 -0400

hmmm . . . some guilty choices:

-i'll have to second the beach boys note
-paul simon
-the violent femmes (mmm . . . male teen angst)
-ween (a little too silly for many zornsters?)
-i confess to some of stevie wonder's ballads (NOT the later ones) (i don't
feel guilty about the shake-yer-booty funk grooves though)

~christopher

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

From: =?iso-8859-1?q?A?= <[e-mail]>
Subject: Re: Guilty Choices
Date: 17 Apr 2001 16:17:04 -0500 (CDT)

Toto!!!

_________________________________________________________
Do You Yahoo!?
Obtenga su direcci≤n de correo-e gratis @yahoo.com
en http://correo.espanol.yahoo.com

-



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

From: [e-mail]
Subject: Reissue? (no Zorn content)
Date: 17 Apr 2001 17:29:08 EDT

So Herbie Nichol's splendiferous Bethlehem album, "Love, Gloom, Cash, Love" has just been reissued (again).  Sticker on the front says "digitally remastered from original master tapes."  But is it actually materially different (and better) than the last CD release back in '94?  How does one find out these things?  I don't even know who to ask.  Source of frequent frustration...

David

-



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

From: Rick Lopez <[e-mail]>
Subject: Re: Guilty Choices
Date: 17 Apr 2001 17:49:12 +0000

on 01.04.17 9:17 PM, A at [e-mail] wrote:

> Toto!!!

And toto too!?!?

I'm never speaking to any of you people again...

Going to go mope and listen to Andy Williams do Moon River over and over
again.

RL

--
----------
Sessionographies:  CRISPELL;  IBARRA; Wm. PARKER; RIVERS; SHIPP; D.S. WARE.
Discographies:  COURVOISIER; ENEIDI; MANERI,; MORRIS; SPEARMAN; THREADGILL;
WORKMAN.
Also:
 --Samuel Beckett Eulogy--Baseball & the 10,000 Things--Time Stops
 --LOVETORN--HARD BOIL-- ETC., all at: http://www.velocity.net/~bb10k

WHERE THE HELL HAVE I BEEN??? :
http://www.velocity.net/~bb10k/LUCILLE.html


-



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From: "Steve Smith" <[e-mail]>
Subject: RE: Guilty Choices
Date: 17 Apr 2001 18:03:45 -0400

"Guilty pleasures" would seem to imply that there is indeed guilt involved.
In my case, I'm certainly not copping to much.  Nor do I think we need to,
given that we are here on a list dedicated to an artist whose catholic taste
and willful perversity are legendary.  Certainly I can't see any reason for
embarassment over the likes of Michael Jackson (though I prefer Janet), the
Cure, the Smiths, or any death metal whatsoever.  (Though really, Joseph, if
you weren't a singer, I don't know if I could let you get away with 'Bat Out
of Hell.')

Nevertheless, for your amusement and edification, my more... erm... unusual
affections:

The Bangles - forget "Eternal Flame," think of those gorgeous three and four
part harmonies and retro guitar riffs.  Think of "Different Light" and "Hero
Takes a Fall" and the cover of "Hazy Shade of Winter."  Think of the tender
version of "If She Knew What She Wants."  (Hell, don't forget "Eternal
Flame.")

Mandy Barnett - torch song redux, a la Patsy Cline.  Qualifies perhaps as
"guilty" even though Patsy doesn't (since Patsy's deceased and the
original).  k.d. lang's 'Shadowland' would also qualify, if I hadn't purged
it years ago.

Imani Coppola - ditzy little multi-culti trip-hop rapper/singer and violin
scraper, not afraid to talk about wanting to be a cowgirl or a tree or
picking a big ol' booger.

E/The Eels - perfectly crafted gems of pure pop - the music would make Brian
Wilson proud; the lyrics would send him spiralling back to Dr. Landy.  (Gee,
that's insensitive of me.)

Electric Light Orchestra - the tasteless man's Beatles.  I like their own
version of "Xanadu" better than the one they did with Olivia Newton-John.

Fairground Attraction/Eddi Reader - anyone who's paid any attention to my
NPs and desert island lists already knows of my abiding passion for this
Scottish thrush and her defunct early acoustic swing combo.

Garbage - power pop as finely tuned as an Indie 500 race car, and just as
sleek.  (Plus I love to watch my girlfriend bounce around to this.)

Gordon Haskell - boyhood friend of Robert Fripp and singer of King Crimson
for a couple of weeks, this somewhat mawkish singer/songwriter is closer to
Gordon Lightfoot than I care to admit.  And he covers a tune by - gad -
Michael Franks on one of his albums, for which I paid $30 at Other Music, of
all places.  Having to cough up import bucks to own these is more
embarassing than merely owning them.  (See also: McDonald and Giles.)

Kansas - anything up to and including 'Point of Know Return,' or maybe even
'Monolith.'  My copy of the more recent but completely retro 'Live at the
Whisky' is autographed by all of the members, even the Johnny-come-lately
ringers.

King Crimson - yes, I know there are enough fellow Crimfans out there that I
needn't feel guilty.  But my unalloyed passion for the '71-'72 version of
the band - you know, the one just prior to "the good one" - merits some
derision, even in light of its ongoing reassessment and rehabilitation.

KISS - My original heroes and inspiration.  I no longer own a single record
by them.  I don't need to.  I know every note of the canon, from 'Kiss' to
'Love Gun,' by heart.  (Not to mention 'Dynasty,' 'Unmasked' and 'Music from
"The Elder,"' somewhat less fortunately.)  I *AM* going to convince Zorn to
do 'Great Jewish Music: Stanley Eisen & Chaim Witz,' you wait and see.

Lerner & Lowe - 'Gigi' is to die for, even if the dishy Leslie Caron didn't
sing her own songs...  (And she's still dishy as an old lady, as anyone who
saw 'Chocolat' can confirm.)

Andrew Lloyd-Webber - 'Starlight Express' is a neglected masterpiece, the
likes of which... nah, I'm just fucking with you here.

Madonna - "Live to Tell" and "Crazy for You" are, respectively, a perfect
power ballad and a perfect love song.  The rest is just dumb disposable fun
that I can't seem to dispose of.  I have no use for most of the recent
electronica flirtations, but that retro song from the second Austin Powers
movie was pretty damned fine, whatever the hell it was called.  "Beautiful
Stranger," maybe?

Steve Miller Band - "big ol' jet airliner / don't carry me too far away"...
yeah, and I can still hear "Fly Like an Eagle" without thinking of the post
office.  Surest sign of my age.

Michael Penn - more pure guitar jangle pop for yuppies.  Owning the first
album is warranted; owning all four is a bit more embarassing.

Stephen Sondheim - yeah, I know, the early stuff is all classic.  But I
retain a perverse affection for 'Into the Woods' and even 'Assassins,' the
runt of the litter.

Steve Smith
[e-mail]
NP - Graham Fitkin, "Bed," 'Ironic' (GFR)



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From: [e-mail]
Subject: composition, no zorn
Date: 17 Apr 2001 19:00:47 EDT

This might be a question best suited for a list with a different title, but i
know there are some composers on the list who could answer.
so, here it is: could someone here provide me with a list of books that a
composer would deem important to an understanding of both classical and
modern composition?
the books i am looking for need not be under any specific banner, or only
dealing with modern creative music. i am just interested in what people
assume to be THE most essential books on composition/theory/harmony etc.

if this will clutter the list, send the reply privately.

thanks,
ben

-



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

From: Skip Heller <[e-mail]>
Subject: Re: composition, no zorn
Date: 18 Apr 2001 16:06:15 -0700



> This might be a question best suited for a list with a different title, but i
> know there are some composers on the list who could answer.
> so, here it is: could someone here provide me with a list of books that a
> composer would deem important to an understanding of both classical and
> modern composition?
> the books i am looking for need not be under any specific banner, or only
> dealing with modern creative music. i am just interested in what people
> assume to be THE most essential books on composition/theory/harmony etc.
>
> if this will clutter the list, send the reply privately.
>
> thanks,
> ben
>
> -
>
Fux Theory & Counterpoint is the book Bach studied and is still in print.
Great book.

skip h


-



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

From: Albrecht Koschnik <[e-mail]>
Subject: [no zorn] guilty crimson
Date: 17 Apr 2001 19:11:46 -0400 (EDT)


Since King Crimson came up as one of the guilty pleasures (touch standards
indeed!), let me ask all the closet Crimson fans:

Recently I picked up "Epitaph," a 2CD collection of 1969 live recordings
of the first line-up, and I find parts of this more exciting than any
of the studio Crimson I know.  There are quite a few other live cds
available, from Discipline Global Mobile, from what seems to be a new
Crimson cd club, expensive Japan imports, and so on.  Also a pricy 4CD
box, The Great Deceiver.

Do you have any recommendations, or comments?  I am especially interested
in what you think of releases involving the line-up with Lol Coxhill and
Michael Wallace.

Thanks, Albrecht

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: [no zorn] guilty crimson
Date: 17 Apr 2001 18:51:10 -0500

On Tue, Apr 17, 2001 at 07:11:46PM -0400, Albrecht Koschnik wrote:

> Do you have any recommendations, or comments?  I am especially interested
> in what you think of releases involving the line-up with Lol Coxhill and
> Michael Wallace.

Er, I don't know of any Crimson recordings with either of these, offhand.

Could you mean drummer Ian Wallace?

--
|> ~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: "Patrice L. Roussel" <[e-mail]>
Subject: Re: [no zorn] guilty crimson
Date: 17 Apr 2001 17:09:01 -0700


On Tue, 17 Apr 2001 18:51:10 -0500  Joseph Zitt wrote:
>
> On Tue, Apr 17, 2001 at 07:11:46PM -0400, Albrecht Koschnik wrote:
>
> > Do you have any recommendations, or comments?  I am especially interested
> > in what you think of releases involving the line-up with Lol Coxhill and
> > Michael Wallace.
>
> Er, I don't know of any Crimson recordings with either of these, offhand.

Same here. It is the first time that I even hear about Coxhill and King
Crimson. But Fripp and Coxhill in the same studio or stage, that should
not surprised me (large Keith Tippett projects?).

    Patrice.

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From: mwoodwor <[e-mail]>
Subject: unconditional love
Date: 17 Apr 2001 21:24:50 -0300

2 albums that don't really fit into my collection anymore and that I have
CONSISTENTLY loved and listened to for many, many years
and NEVER gotten sick of (to a point where I find it worrisome!) are

1. Genesis - Lamb lies down on Broadway
and
2. Kate Bush - Hounds of love

mike.

np Joe Morris Quartet - Live at the knitting factory (Tim berne's new
one on THirsty Ear is in the mail - can't wait)


-



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

From: Ronald Hiznay <[e-mail]>
Subject: Re: Zorn List Digest V3 #387
Date: 17 Apr 2001 18:31:06 -0700 (PDT)

"I love "Leng Tch'e" but have found the Melvins stuff
I have heard to be
quite bad and rather unlike "Leng Th'e", but I have
only heard their
recent
Ipecac releases.
So........................ how similar is "Lysol" and
"Leng Tch'e"?????



Funny,I find Leng Tch'e to be irritatingly boring, and
wholly uninspiring, not to say that the melvins can't
be really boring too, but leng tch'e is a crappy rip
off of them, I thought so in 92 when I first heard it,
and I still think so today, needless to say, the
tourture garden cd of my black case tourture
garden/leng tch'e double cd is nearly worn out, while
the leng tch'e cd has barely ever seen the light of
day, although i do keep checking to see if it's gotten
any better with age, sorry, but no......

__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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From: Stephen Drury <[e-mail]>
Subject: Re: feldman
Date: 17 Apr 2001 22:20:31 -0400

At 05:13 PM 4/17/01 -0600, Tom wrote:
>Anyone know where I might find a healthy selection of Feldman's available
>(and out of print) discs?

Louis Goldstein's recording of Triadic Memories - I think you can get it through

http://www.anomalousrecords.com

more info about it on Louis' site:
http://www.wfu.edu/users/louieg/tmnote.htm

--steve

updated info on the Summer Institute for Contemporary Piano Performance at
http://www.stephendrury.com


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: [no zorn] guilty crimson - LONG (as you might expect...)
Date: 18 Apr 2001 01:27:20 -0400

Like Joseph and Patrice, I can't think of a single instance in which Lol
Coxhill and Michael Wallace are featured on any recording with Robert Fripp.
They most assuredly were not involved in any King Crimson permutation.
However, the much maligned 1971-72 version of the band to which I referred
in my own list did feature drummer Ian Wallace (as Joseph pointed out) and a
saxophonist named Mel Collins.  Perhaps the names are close enough to
explain the mistaken identities?

There are indeed a lot of live Crimson releases, especially lately.  All
periods and permutations of the band are represented on the 2CD set 'Cirkus:
The Young Person's Guide to King Crimson Live.'  This is the best starting
place for absolutely anyone, as it offers fine examples of all of the below
phases of the band.  Otherwise, here's a quick run down, arranged by period,
with the Collectors Club noted at the end:

1. 1969 band - 'Epitaph' - If you bought the two CD version, you might
already know that there are two additional discs that can be ordered via
mail order or purchased as Japanese imports.  The additional discs are more
of the same, in far lesser sound quality.  Order them if that appeals to
you - they're a must for completists, and sound better than the available
boots (some of which are more complete, however).

2. 1971-72 band - no live releases on CD, but the bootleg-sounding official
release 'Earthbound' can sometimes be found on used vinyl.  Again, mostly
for completists.  This was more of a bluesy jam band than any other version,
and frequently they relied on simple one or two chord vamps for their
improvs.  But on a good night they could be more exciting than just about
any other version of the band.  I've got a boot from the Academy of Music in
NYC circa '71 where at one point they reach the white light and white heat
of Last Exit, no kidding.  If I was Procol Harum, I would have been afraid
to follow them on stage.

3. 1973-74 band - 'The Great Deceiver' (4CD), 'The Night Watch' (2CD) - This
version of the band improvised extensively in every single show.  There's
something new in every single show, therefore, but, like the Grateful Dead,
once you know the langauage in which they played, you've got a pretty good
idea of what the band was like in general.  Since this is the richest lode
of improv, there is correspondingly the most live material available, both
legit and boot.  'The Great Deceiver' is a heaping helping of this stuff,
with most of the band's studio compositions represented amongst copious
improvs.  'The Night Watch' is an almost complete recording of a singularly
great show from Amsterdam in 1973, much of which would subsequently be found
on the album 'Starless and Bible Black.'  It's essential to fans of this
era.  The Wetton/Bruford rhythm  team was a monster.

4. 1981-84 band - 'Absent Lovers' (2CD) - This version of the band
improvised least of any, so multiple boots are pointless in my opinion
except for historical and repertoire purposes.  But the instrumental
interplay is often awe-inspiring, and I've seen many testimonials to the
effect that this set is in some ways even more convincing than the three
studio records of the period.  It's also, in one way, the most willfully
strange: Fripp's mix pans the two guitars hard left and hard right to better
illuminate the separate but interlocking parts, but the vocals remain in the
positions they would occupy on stage.  Therefore, you hear Adrian Belew's
guitar to the left but his vocals in the center, and vice versa with Tony
Levin's bass and backing vocals.

5. 1994-96 band - 'BBoom' (2CD), 'Thrakattak' - The first of these is a live
date prior to the recording of the studio album 'Thrak,' representing tht
material well enough and also providing versions of this lineup's take on
previous material, sometimes rather convoluted but certainly acceptable.
The second is more akin to the Grateful Dead's patchwork disc 'Infrared
Roses' in that it isolates the improv sections from performances of the tune
"Thrak' over the course of several performances.  Brilliant moments, but
overall this demonstrates how unconvincing this band was in the area of
Euro-style free improv.

6. 1999-present - 'Heavy ConstruKction' (3CD) - The studio album 'The
ConstruKction of Light' was the first KC release to ever leave me mostly
cold.  But here in a live setting, much of the material really comes to
life.  Even that music which is most referential to earlier works comes off
in a more convincing manner.  And once again, as in 1973-74, the free
improvs are completely convicing.  The third disc is made up entirely of
such improvs, plus a cover version of Bowie's "Heroes."

The King Crimson Collectors Club is highly recommended for hardcore fans.
It costs $96 to join and for that you get 6 releases roughly bimonthly, with
decent art, generally good notes, and the best possible sound restored from
sources ranging from excellent to pretty darn bad.  Every now and then
they'll deviate from the pattern of live releases and instead put out a disc
of studio outtakes, many of which are quite illuminating.  But for me, the
live stuff is the best, and it's here that the reappraisal of the 1971-72
Boz/Collins/Wallace band began.  Particularly exciting was the revelation
that the show taped at Summit Studios in Denver, widely available on boots,
had actually concluded in a cover of Pharoah Sanders's "The Creator Has a
Master Plan," which had not been included on any of the boots.  You can find
out more about the club, hear sound samples, and check out fan reviews and
sound quality ratings at the Discipline Global Mobile website - go to
www.disciplineglobalmobile.com and click on "Club" at the top of the main
page.

The Japanese import box sets of Collectors Club releases are best avoided.
They're too expensive, but more importantly, they're edited, which means you
aren't getting everything that Club members are getting.  Why bother?  The
Club allows you to pick and choose which discs you receive for your $96, so
you can safely collect things by your favorite lineup without being bothered
with stuff you don't want.

(I'm not a representative of DGM, by the way, just a very satisified
customer who hasn't felt the need to add to his copious boot collection
since the club started.)

Steve Smith
[e-mail]
NP - The Melvins w/Bliss Blood, "The Man with the Laughing Hand Is Dead,"
'The Crybaby' (Ipecac)
... yes, apparently a new fetish has begun... picked up 'Gluey Porch
Treatments' tonight as well...
NR - Dave Eggers, 'A Heartbreaking Work of Staggering Genius' (Vintage)


-



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

From: [e-mail] (Frank Malczewski)
Subject: Re: unconditional love
Date: 17 Apr 2001 23:35:03 -0600

Good choices, actually.  Though I'd go with "The Kick Inside".

--Frank

> 2 albums that don't really fit into my collection anymore and that I have
> CONSISTENTLY loved and listened to for many, many years
> and NEVER gotten sick of (to a point where I find it worrisome!) are
>
> 1. Genesis - Lamb lies down on Broadway
> and
> 2. Kate Bush - Hounds of love
>
> mike.
>


> np Joe Morris Quartet - Live at the knitting factory (Tim berne's new
> one on THirsty Ear is in the mail - can't wait)

Curious whether yours plays all the way through without crapping out at
the end (bad CD pressing... though varies from disc to disc)

-



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

From: [e-mail] (Frank Malczewski)
Subject: Re: Guilty Choices
Date: 17 Apr 2001 23:35:02 -0600

Well, I'll chime in on Missing Persons, and throw in Berlin while I'm at
it.   And Garbage for that matter.

Probably most guilty pleasure would be Melanie's Leftover Wine album,
though (wish they hadn't chopped the CD up however, as it's much better
without the abrupt pauses between the you-are-there type of feeling the
LP provided).

I'll throw out Canned Heat just for the hell of it, and Blue Cheer.  And
Flash.  And Frankie Goes To Hollywood.  Not sure if Limp Bizkit and Kid
Rock qualify...  [They should end up on one of my lists somewhere]

--Frank Malczewski,
currently still trying to hear things properly again nearly a week after
that AC/DC concert... (I think I've managed to pick up just a taste of
some permanent ringing in me ears).

> Jay Mote wrote:
>
> >
> > Guilty Pleasures: Missing Persons,
>
> Ouch - yeah, completely forgot about them in my last mail!
> Also ADORE them! :-)
>
> patRice

-



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

From: [e-mail]
Subject: Re: Guilty Choices
Date: 18 Apr 2001 01:41:36 EDT

ac/dc concert?  so u saw buckcherry too then?  they opened right?  how are
they live?

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: unconditional love
Date: 18 Apr 2001 01:44:33 -0400

And I, 'The Dreaming.'

Steve Smith
[e-mail]
NP - The Melvins, "Eye Flys," 'Gluey Porch Treatments' (Ipecac)

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Frank Malczewski

Good choices, actually.  Though I'd go with "The Kick Inside".

--Frank

> 2 albums that don't really fit into my collection anymore and that I have
> CONSISTENTLY loved and listened to for many, many years
> and NEVER gotten sick of (to a point where I find it worrisome!) are
>
> 1. Genesis - Lamb lies down on Broadway
> and
> 2. Kate Bush - Hounds of love

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Guilty Choices
Date: 18 Apr 2001 01:52:52 -0400

You want guilty?  I once paid money and drove over an hour to see Berlin
open for the Thompson Twins.

If I still owned anything by the Thompson Twins - and I do consider it from
time to time - then it would definitely qualify as a guilty pleasure.  Same
with Culture Club (who I didn't have to drive nearly as far to see live).

Never did manage to see Missing Persons, though.  Too bad.  While I can't
really deal with Dale Bozzio anymore, any band with Warren Cuccurullo *and*
Terry Bozzio has to have something going for it.  (I say "any band with
Warren Cuccurullo *and* Terry Bozzio" so that no one reminds me that
Warren's been in Duran Duran for a really long time now, while Terry
recently played with The Knack...)

And I shoulda remembered Cyndi Lauper.

Guiltier by the minute,
Steve Smith
[e-mail]
NP - The Melvins, "Echo/Don't Piece Me," 'Gluey Porch Treatments' (Ipecac)

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Frank Malczewski

Well, I'll chime in on Missing Persons, and throw in Berlin while I'm at
it.


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Guilty Choices
Date: 18 Apr 2001 02:10:15 -0400

This is a multi-part message in MIME format.

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    charset="iso-8859-1"
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You win.  Furthest I ever drove for a show was about four and a half hours,
from San Antonio to Houston for an Einsturzende Neubauten show that started
90 minutes late and lasted 30 minutes before the police shut it down, thanks
to noise ordinances in the neighborhood.

And of course, that's not guilty - just damned frustrating.

Steve Smith
[e-mail]
NP - The Melvins, "Big As Mountain," 'Gluey Porch Treatments' (Ipecac)
  -----Original Message-----
  From: [e-mail] [mailto:[e-mail]]
  Sent: Wednesday, April 18, 2001 1:58 AM
  To: [e-mail]
  Subject: Re: Guilty Choices


  In a message dated 4/18/01 12:55:51 AM Central Daylight Time,
  [e-mail] writes:



    You want guilty?  I once paid money and drove over an hour to see Berlin
    open for the Thompson Twins.



  Drove 8 1/2 hrs to see Goo Goo Dolls. Suffered through Dido and
  Smashmouth...but I love the Dolls...
  Jan

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    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

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<HTML><HEAD>
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charset=3Diso-8859-1">


<META content=3D"MSHTML 5.00.2614.3500" name=3DGENERATOR></HEAD>
<BODY>
<DIV><FONT color=3D#0000ff face=3DArial size=3D2><SPAN =
class=3D720190306-18042001>You=20
win.  Furthest I ever drove for a show was about four and a half =
hours,=20
from San Antonio to Houston for an Einsturzende Neubauten show that =
started 90=20
minutes late and lasted 30 minutes before the police shut it down, =
thanks to=20
noise ordinances in the neighborhood.</SPAN></FONT></DIV>
<DIV><FONT color=3D#0000ff face=3DArial size=3D2><SPAN=20
class=3D720190306-18042001></SPAN></FONT> </DIV>
<DIV><FONT color=3D#0000ff face=3DArial size=3D2><SPAN =
class=3D720190306-18042001>And of=20
course, that's not guilty - just damned frustrating.</SPAN></FONT></DIV>
<DIV><FONT color=3D#0000ff face=3DArial size=3D2><SPAN=20
class=3D720190306-18042001></SPAN></FONT> </DIV>
<DIV><FONT color=3D#0000ff face=3DArial size=3D2><SPAN =
class=3D720190306-18042001>Steve=20
Smith</SPAN></FONT></DIV>
<DIV><FONT color=3D#0000ff face=3DArial size=3D2><SPAN =
class=3D720190306-18042001><A=20
href=3D"mailto:[e-mail]">[e-mail]</A></SPAN></FON=
T></DIV>
<DIV><FONT color=3D#0000ff face=3DArial size=3D2><SPAN =
class=3D720190306-18042001>NP -=20
The Melvins, "Big As Mountain," 'Gluey Porch Treatments'=20
(Ipecac)</SPAN></FONT></DIV>
<BLOCKQUOTE>
  <DIV align=3Dleft class=3DOutlookMessageHeader dir=3Dltr><FONT =
face=3DTahoma=20
  size=3D2>-----Original Message-----<BR><B>From:</B> [e-mail]=20
  [mailto:[e-mail]]<BR><B>Sent:</B> Wednesday, April 18, 2001 =
1:58=20
  AM<BR><B>To:</B> [e-mail]<BR><B>Subject:</B> Re: Guilty=20
  Choices<BR><BR></DIV></FONT><FONT face=3Darial,helvetica><FONT =
face=3DArial lang=3D0=20
  size=3D2 FAMILY=3D"SANSSERIF">In a message dated 4/18/01 12:55:51 AM =
Central=20
  Daylight Time, <BR>[e-mail] writes: <BR><BR><BR>
  <BLOCKQUOTE=20
  style=3D"BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; =
MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"=20
  TYPE=3D"CITE">You want guilty?  I once paid money and drove over =
an hour=20
    to see Berlin <BR>open for the Thompson Twins. <BR></FONT><FONT=20
    color=3D#000000 face=3DArial lang=3D0 size=3D3=20
  FAMILY=3D"SANSSERIF"></BLOCKQUOTE><BR></FONT><FONT color=3D#000000 =
face=3DArial=20
  lang=3D0 size=3D2 FAMILY=3D"SANSSERIF"><BR>Drove 8 1/2 hrs to see Goo =
Goo Dolls.=20
  Suffered through Dido and <BR>Smashmouth...but I love the Dolls...=20
  <BR></FONT><FONT color=3D#000000 face=3D"Bradley Hand ITC" lang=3D0 =
size=3D7=20
  FAMILY=3D"SCRIPT"><B><I>Jan</B></I></FONT> =
</FONT></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_000B_01C0C7AC.B645BD60--


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From: FJG_Lamerikx <[e-mail]>
Subject: Re: Leng Tch'e
Date: 18 Apr 2001 08:20:38 +0200


> "I love "Leng Tch'e" but have found the Melvins stuff
> I have heard to be quite bad and rather unlike "Leng Th'e",
> but I have only heard their recent Ipecac releases.
> So........................ how similar is "Lysol" and
> "Leng Tch'e"?????

"Lysol" really is the blueprint for Leng T'che, to the point where the
similarities become embarrassing. I was fortunate enough to see Melvins
live recently, and they ended their set with the A-side of "Lysol".

You probably won't be able to find the album under that name anymore, as
I believe they got in trouble with the company producing Lysol. It is now
simply titled "Melvins". Just look out for the record with the Indian on
the cover...

F


-



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From: [e-mail] (Frank Malczewski)
Subject: Re: Guilty Choices
Date: 18 Apr 2001 00:22:33 -0600

Nope, we were supposed to see Slash's Snakepit, but given Denver's
blizzard that day, almost didn't get to the show at all due to the
drifts (and minimal snowplows) in my area.

I think Slash (the guy from GNR) was not able to perform, and since we
got there late, not sure who the blues-inspired so-so trio was (may have
been Snakepit w/o Slash for all I know) that was already on stage.

AC/DC was at least twice as loud as any concert I've ever been to, fwiw.
From now on I take earplugs...  Oh, and they were pretty good too;
almost have become a fan.

> ac/dc concert?  so u saw buckcherry too then?  they opened right?  how are
> they live?
>
> -

Frank Malczewski <[e-mail]>

-



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

From: patRice <[e-mail]>
Subject: Georges Bataille - New Books (Zorn Content?)
Date: 18 Apr 2001 09:24:15 +0200

Hi y'all

Thought some of you might be interested that there are two books by
Georges Bataille made available in English (1st time; or reprint? I
don't know...). Got the info from Amazon.

L'Abbe C
Literature And Evil

patRice

np: JZ, Trembling Before G*D
nr: Eiji Yoshikawa, Taiko


-



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

From: patRice <[e-mail]>
Subject: The Knack / Duran / Kajagoogoo (was: Guilty Choices)
Date: 18 Apr 2001 09:32:12 +0200



Steve Smith wrote:

> (I say "any band with
> Warren Cuccurullo *and* Terry Bozzio" so that no one reminds me that
> Warren's been in Duran Duran for a really long time now, while Terry
> recently played with The Knack...)
>

Steve,

Could you maybe tell me a little about The Knack. Never heard of them, but am
quite a fan of Terry Bozzio.

In my previous mails I'd completely forgotten about Duran Duran - they've
always been a fave band of mine.

Talking about Warren Cucurullo: I saw him live around 1994; a solo thing - the
guy of Dweezil Zappa's band of that time on drums, and Nick Beggs (of
Kajagoogoo fame!!!) on bass!!! Quite unbelievable, I thought. The music was -
well, too show-offish...

patRice


-



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

From: patRice <[e-mail]>
Subject: Re: composition, no zorn
Date: 18 Apr 2001 09:45:48 +0200



[e-mail] wrote:

> so, here it is: could someone here provide me with a list of books that a
> composer would deem important to an understanding of both classical and
> modern composition?

My piano teacher, who was also a composer, said that Arnold Schoenberg's book on
harmony was essential. According to him, the best book ever written on the
subject. (And he didn't like Schoenberg as a composer that much.)

There's also a two volume book on composition available by Schoenberg.

patRice


-



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

From: mwoodwor <[e-mail]>
Subject: distances driven to concert
Date: 18 Apr 2001 09:23:59 -0300

I left with 2 friends at 5 AM and drove 14 hours straight to
see Masada in Montreal at the Jazz Fest last year and then came back
the morning after the show!! So I believe that puts me in the lead
with 14- anyone top that!?!

mike


-



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

From: Peter Risser <[e-mail]>
Subject: Re: Melvins
Date: 18 Apr 2001 06:50:55 -0700 (PDT)

Quite frankly, all the new Melvins stuff has sucked
crap.  But I'd buy everything up to Stoner Witch.

If you want the heavy, Lysol is good, but there's also
Bullhead, Ozma, Gluey Porch Treatments, Houdini and
Eggnog.

King Buzzo's solo album is great as well, and Joe
Preston's is alright, very heavy.

After Stoner Witch, they sucked shit, which is really
too bad.

Peter

=====
===
Visit 20six20: http://risser.manilasites.com

__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: HirakeMike <[e-mail]>
Subject: Re: Georges Bataille - New Books (Zorn Content?)
Date: 18 Apr 2001 06:58:07 -0700 (PDT)


--- patRice <[e-mail]> wrote:
> Hi y'all
>
> Thought some of you might be interested that there
> are two books by
> Georges Bataille made available in English (1st
> time; or reprint? I
> don't know...). Got the info from Amazon.
>
> L'Abbe C
> Literature And Evil
>
> patRice

L'Abbe C has been in print previously, I think through
City Lights books who also prints my favorite Bataille
"The Impossible".

I've never read Literature and Evil.  I also loved:

Story of the Eye (Read somewhere that a few young
Filmmakers were attempting to turn this into a film
using Digital Video/Dogme '95 possibly??)

Tears of Eros (It grew on me after awhile, but I
enjoyed it otherwise)

> np: JZ, Trembling Before G*D

I recently picked this up a few weeks ago at <gasp>
Best Buy.  I've always loved Zorns piano pieces.
Still waiting for the film to arrive.  I emailed the
director awhile back but she never mentioned a date
that it would open.

HM

np: Velvet Underground, Loaded



__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: patRice <[e-mail]>
Subject: Trembling Before G*D (was: Re: Georges Bataille...)
Date: 18 Apr 2001 16:03:54 +0200



HirakeMike wrote:

> > np: JZ, Trembling Before G*D
>
> I recently picked this up a few weeks ago at <gasp>
> Best Buy.  I've always loved Zorns piano pieces.
> Still waiting for the film to arrive.  I emailed the
> director awhile back but she never mentioned a date
> that it would open.

Has anyone from the list seen the film yet?
I would love to see it - what I've read so far in the booklet sounds
very interesting.

Don't know if it's running now, but there's a webpage:
www.tremblingbeforegod.com.

patRice

np: Marc Ribot Y Los Cubanos Postizos, 1st CD
nr: Albert Parry, Tattoo - Secrets...


-



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

From: [e-mail]
Subject: Re: distances driven (or flown) to concert
Date: 18 Apr 2001 10:04:22 EDT

In a message dated 4/18/01 8:26:38 AM Eastern Daylight Time,
[e-mail] writes:

> I left with 2 friends at 5 AM and drove 14 hours straight to
>  see Masada in Montreal at the Jazz Fest last year and then came back
>  the morning after the show!! So I believe that puts me in the lead
>  with 14- anyone top that!?!
>
>  mike


Nay.  But I did drive from Binghamton to NYC (4 hours) to see Elvis Costello
and Burt Bacharach at Radio City Music Hall.  After the show I drove to CT (2
and a half hours) to meet a friend.  I crashed on his couch, got up, then we
drove to Washington D.C. (about six hours) for another EC/BB show.  After
that we drove all the way to Massachusetts (about 9 hours, maybe more).

And they were the worst Elvis shows I've ever attended.

When Ilived in CA I had friends fly out from Boston for a Tom Waits concert.

I once flew to Las Vegas from Boston to see Elvis Costello.  From Vegas I
drove to LA where I saw Elvis twice.  Then I drove to SF.

My best friend Craig flew from Boston to London just for a Rick Wakeman show.

This is nothing compared to Deadheads.

Tom

______________________________________________________________________
Phil Spector: "I've been listening to a lot of Andrew Lloyd Webber lately,
and enjoying it. Someday I hope to set his stuff to music."

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: The Knack / Duran / Kajagoogoo (was: Guilty Choices)
Date: 18 Apr 2001 10:05:31 -0400

The Knack was an early '80s pop band that wanted to be the Beatles in the
worst way, and the hoopla manufactured by their record company would have
you believe that they were the second coming of same.  The scary thing was
that you got the feeling they really believed it, like Oasis did.  Anyway,
the Knack had one huge, huge hit that you couldn't escape when I was in high
school, "My Sharona," which was common enough currency that Weird Al
Yankovic did a send-up, "My Bologna" (about the lunch meat, not the city).
To draw an apt musical comparison, it's kind of like if Terry Bozzio had
joined the Go-Gos, or maybe Blur.  And he's only on one album, a recent
attempt at a comeback.  If you look at the cover, he looks pretty dour among
all those snarky grins.

Duran Duran were a favorite of mine, too, but I have a hard time believing
that they're still around, still trying to make a go of it long after Simon
Le Bon's "sell by" date has expired.

Have to admit, I didn't ever expect to see the name Kajagoogoo appear on the
Zornlist, ever.  But I guess anything's possible, right?  Wonder if we'll
ever see Jon Abbey again after all this nonsense... ;-)

Steve Smith
[e-mail]


-



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

From: HirakeMike <[e-mail]>
Subject: Trembling Before G-D
Date: 18 Apr 2001 07:09:34 -0700 (PDT)

If anyone is curious, the website for the film
"Trembling Before G-D" is:

http://www.tremblingbeforeg-d.com/index2.html

If you type www.tremblingbeforegod.com it will only
give you a construction message.

HM

__________________________________________________
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Yahoo! Auctions - buy the things you want at great prices
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-



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

From: "Arthur Gadney" <[e-mail]>
Subject: Re: distances driven to concert
Date: 18 Apr 2001 14:15:38 -0000

>I left with 2 friends at 5 AM and drove 14 hours straight to
>see Masada in Montreal at the Jazz Fest last year and then came back
>the morning after the show!! So I believe that puts me in the lead
>with 14- anyone top that!?!

I've travelled more than 24 hours, but that was to go to a festival, not a
single concert. Does it count?


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-



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

From: "Arthur Gadney" <[e-mail]>
Subject: Re: distances driven to concert
Date: 18 Apr 2001 14:17:24 -0000

And while we're at it: aparantly Zorn recently traveled from NYC to London
to play a 20min solo concert for BBC. That's pretty sick!
_________________________________________________________________
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-



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

From: patRice <[e-mail]>
Subject: Re: The Knack / Duran / Kajagoogoo (was: Guilty Choices)
Date: 18 Apr 2001 16:21:04 +0200

Steve Smith wrote:

> The Knack was an early '80s pop band that wanted <snip>

> , it's kind of like if Terry Bozzio had

> joined the Go-Gos, or maybe Blur.  And he's only on one album, a recent
> attempt at a comeback.  If you look at the cover, he looks pretty dour among
> all those snarky grins.

Right - I see.
Thanks for putting me in on this.
And of course I knew "My Sharona" - just never knew the name of the band.
Unfortunately, Terry sometimes ends up doing VERY weird recordings to make a
living...
I think he should simply stick to his solo drumming. His style, I feel, doesn't
really fit into any band context anymore.


>
>
> Duran Duran were a favorite of mine, too, but I have a hard time believing
> that they're still around, still trying to make a go of it long after Simon
> Le Bon's "sell by" date has expired.

Well - haven't heard anything new by them for a long time, but they're still
around...

> Have to admit, I didn't ever expect to see the name Kajagoogoo appear on the
> Zornlist, ever.  But I guess anything's possible, right?  Wonder if we'll
> ever see Jon Abbey again after all this nonsense... ;-)

Well - I wouldn't have believed it either...!!!
But I couldn't resist pointing that line-up out... This was a once in a
lifetime opportunity...  ;-)

patRice


-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: [no zorn] guilty crimson - LONG (as you might expect...)
Date: 18 Apr 2001 09:32:58 -0500

On Wed, Apr 18, 2001 at 01:27:20AM -0400, Steve Smith wrote:

> The King Crimson Collectors Club is highly recommended for hardcore fans.
> It costs $96 to join and for that you get 6 releases roughly bimonthly, with
> decent art, generally good notes, and the best possible sound restored from
> sources ranging from excellent to pretty darn bad.  Every now and then
> they'll deviate from the pattern of live releases and instead put out a disc
> of studio outtakes, many of which are quite illuminating.  But for me, the
> live stuff is the best, and it's here that the reappraisal of the 1971-72
> Boz/Collins/Wallace band began.  Particularly exciting was the revelation
> that the show taped at Summit Studios in Denver, widely available on boots,
> had actually concluded in a cover of Pharoah Sanders's "The Creator Has a
> Master Plan," which had not been included on any of the boots.  You can find
> out more about the club, hear sound samples, and check out fan reviews and
> sound quality ratings at the Discipline Global Mobile website - go to
> www.disciplineglobalmobile.com and click on "Club" at the top of the main
> page.

For me, the revelation among the KCCC disks was the one recorded at the
Beat Club, Bremen in 1972 (by what is usually called the 1973-74 band,
getting an early start). In addition to performances of "Exiles" and
"Lark Tongues in Aspic Part 1", the bulk of the disk is taken up by a
half-hour long improv featuring Derek Bailey's occasional coconspirator
Jamie Muir.

The Jacksonville cover of the Pharoah Sanders tune seems kinda
perfunctory to me -- it sounds like Boz just started singing the one
line of it repeatedly, and the rest fell in behind him. But it's
still a good listen.

--
|> ~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: Joseph Zitt <[e-mail]>
Subject: Re: The Knack / Duran / Kajagoogoo (was: Guilty Choices)
Date: 18 Apr 2001 09:38:32 -0500


On Wed, Apr 18, 2001 at 09:32:12AM +0200, patRice wrote:

> Could you maybe tell me a little about The Knack. Never heard of them, but am
> quite a fan of Terry Bozzio.

Could one possibly have survived the past couple of decades without being
subjected to "My Sharona"?!

--
|> ~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: Jay Mote <[e-mail]>
Subject: Guilty Choices
Date: 18 Apr 2001 09:59:02 -0500

>Could one possibly have survived the past couple of decades without being
>subjected to "My Sharona"?!

- Seems highly improbable. I thought this was the most overplayed tune of its
era (making it on to numerous KTEL compilations and spinoffs). I still will
hear mention of this song title, & I'm sure it still gets airplay on pop-crap
hitlist radio even now. Maybe 'one' was in a coma? plastic bubble? out of the
country for the last 25 years? just learned English?

On another note: Besides Weird Al, another parody version of this tune can be
found on one of the Cheech & Chong soundtracks (Up In Smoke?) entitled "My
Scrotum".

More guilty choices/pleasures: Judas Priest, Asia (I listened to the first
album relentlessly - age 16 - '82), Supertramp (eek!), Manfred Mann's Earth
Band, Echo & the Bunnymen, Big Country


-



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

From: Grey ElkGel <[e-mail]>
Subject: ordinary fanfares playlist #4
Date: 18 Apr 2001 08:04:34 -0700 (PDT)

ordinary fanfares playlist #4 - april 17, 2001
wmfo 91.5fm, medford massachussetts // www.wmfo.org

1. clark-hutchinson: improvisation on a modal scale
[a=mh2 CD - repertoire]

2. afrika bambaataa: looking for the perfect beat
[looking for the perfect beat 1980-1985 CD - tommy
boy]

3. brainbombs: anne frank [singles CD - load]

4. yoshimitsu ichiraku: machine headz [the music of
surround panner CD - zero gravity]

5. sven-ake johansson: rasche achtel [six little
pieces for quintet CD - hatOLOGY]

6. bethlehem: schatten aus der alexander welt [dictius
te necare CD - red stream]

7. hasil adkins: i need your head (...this ain't no
rock & roll show) [out to hunch LP - norton]

8. mark bain: skowhegan bridge [vibronics 3" CD -
staalplaat]

9. fushitsusha: thought it went so well? [a death
never to be complete CD - tokuma]

10. sandro gorli: requiem (ensemble vocal europeen de
la chapelle royale/philippe herreweghe)
[gesualdo/gorli CD - harmonia mundi]

11. hawd gankstuh rappuhs mc's wid ghatz: mind if i
fart? [2hype 2wype CD - wordsound]

12. rodney dangerfield: no respect [no respect LP -
casablanca]








__________________________________________________
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Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Guilty Choices
Date: 18 Apr 2001 10:07:46 -0500

On Wed, Apr 18, 2001 at 09:59:02AM -0500, Jay Mote wrote:

> More guilty choices/pleasures: Judas Priest, Asia (I listened to the first
> album relentlessly - age 16 - '82), Supertramp (eek!), Manfred Mann's Earth
> Band, Echo & the Bunnymen, Big Country

I cut work and stayed up all night to see the "Asia in Asia" concert
live on MTV (the one where Greg Lake sat in for John Wetton). And
Manfred Mann's Earth Band's "Watch" might qualify as another guilty
pleasure for me.

--
|> ~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: Mark Saleski <[e-mail]>
Subject: Re: Guilty Pleasures
Date: 18 Apr 2001 11:10:08 -0400


Hall & Oates

--
Mark Saleski - [e-mail]
"Is it so wrong, wanting to be at home with your record collection?" -
Nick Hornby



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: unconditional love
Date: 18 Apr 2001 08:12:09 -0700


On Tue, 17 Apr 2001 23:35:03 -0600  Frank Malczewski wrote:
>
> Good choices, actually.  Though I'd go with "The Kick Inside".

I would stick to HOUNDS OF LOVE, or THE DREAMING.

    Patrice.

-



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

From: "Andreas Dietz" <[e-mail]>
Subject: Re: playlists
Date: 18 Apr 2001 17:16:36 +0200

>From: "Martin Wisckol" <[e-mail]>
>
>HOME CHANGER
>3. Don Cherry -- Cool (just released live duet with Eddie Blackwell)

can someone give any details about this release - is it comparable to El
Corazon?

Andreas
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-



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

From: [e-mail]
Subject: Re: The Knack / Duran / Kajagoogoo (was: Guilty Choices)
Date: 18 Apr 2001 11:21:55 EDT


In a message dated 4/18/01 10:09:44 AM, [e-mail] writes:

<< Wonder if we'll ever see Jon Abbey again after all this nonsense... ;-) >>

I'm still here, and I even tried to come up with something to contribute to
this thread, but my guilty pleasures don't go much further these days than
owning every Jandek CD. I did own Get the Knack, though, and I even bought
the second Knack record, ...But the Little Girls Understand.

as far as the distance thread, I'm driving five hours each way this weekend
to see the AMM/Christian Wolff show at Dartmouth. next month, I'm flying from
NYC to Milan, then driving to Bologna, just to see the MIMEO/John Tilbury
show, which should only last a couple of hours.

great night at Tonic last night. first up was Derek Bailey/Will Gaines.
Gaines is a tap dancer in his seventies (as Bailey said, their combined ages
are 148!), but is still full of energy. Derek seemed more interesting in
playing behind and with Gaines than by himself; whenever Gaines took a rest,
Bailey played by himself for a minute or two, then just started casually
strumming until Gaines started tapping again. a fun set.

next was IST, Simon Fell/Mark Wastell/Rhodri Davies, all making their US
debuts. IST is a string trio, bass, harp and cello, respectively. normally
they play both compositions and improvs, but this was a series of improvs.
these guys really use their whole instrument, bowing and rubbing everything
within reach. one memorable piece began with all three of them bowing small
metal bowls and bells, getting a Tibetan bowl effect. Wastell also had one
great sequence where he somehow got splintering noises from his bow, which
went on for a few minutes with no apparent damage. this set was really great,
incredibly tight, ranging from angrily destructive to subtle sounds on the
edge of inaudibility, and made even more impressive by the fact that Davies
was using his "travelling harp", roughly half the size of the one he uses in
Europe. my friend compared seeing them to Polwechsel, and there's a definite
overlap in sensibilities. great set.

as if that weren't enough, next were the trio of Holz For Europa, Wolfgang
Fuchs, Peter Van Bergen and Hans Koch. they played for more than an hour,
each on three or four different horns, including the first piece, a subtle,
rumbling contrabass clarinet trio. I-Sound sat in for the last twenty
minutes, underlining the horns with some subtle beats and sampled drum sounds
(Simon Fell was certain after the show that these were from Simon Vincent on
the VHF Erstwhile CD). one of the best things about this set was just seeing
all of the beautiful horns on their stands covering the stage. contrabass
clarinets are probably six feet long.

a long, really nice night of music. kudos to Tonic for putting it on.

now I'm off to see every show left on the AMM tour, starting in Baltimore
tomorrow night.

Jon
www.erstwhilerecords.com

-



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

From: "Martin Wisckol" <[e-mail]>
Subject: Re(2): playlists
Date: 18 Apr 2001 08:21:33 -0700

[e-mail] writes:
>>From: "Martin Wisckol" <[e-mail]>
>>
>>HOME CHANGER
>>3. Don Cherry -- Cool (just released live duet with Eddie Blackwell)
>
>can someone give any details about this release - is it comparable to El
>Corazon?
>
I find that it captures Cherry's charm a bit better than El Corazon. It's
closer to Mu, and I suspect recorded about that time (anybody know the
recording date?). Lots of flutes, plus piano and trumpet.
>



-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: The Knack / Duran / Kajagoogoo (was: Guilty Choices)
Date: 18 Apr 2001 10:34:22 -0500

On Wed, Apr 18, 2001 at 11:21:55AM -0400, [e-mail] wrote:

> now I'm off to see every show left on the AMM tour, starting in Baltimore
> tomorrow night.

I wish we had Zorn-list T-shirts, so we all could easily recognize each
other. I'm eagerly looking forward to Baltimore tomorrow (and Evan Parker
in DC tonight, and the Cobra at George Washington U. Saturday). Wheee!

n.p. Derek Bailey & Keijo Haino -- otherwise unlabeled live clip grabbed
via Napster.

--
|> ~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: "Andreas Dietz" <[e-mail]>
Subject: More Avant Strings
Date: 18 Apr 2001 17:37:00 +0200


I┤m a little bit late on this thread, but my two cents:

Italian String Trio: Renato Geremia on violin, Paolo Damiani on cello and
Bruno Tommaso on bass. A really outstanding string trio - worth checking
out.

Canvas Trio: Carlos Zingaro on violin, Joelle Leandre on bass and Ruediger
Carl on accordian and clarinet. I don┤t know if they are still together but
I hope so. It┤s definitely one of my first selections in this vein.

Andreas

np: Sam Rivers - Portrait (FMP)
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.


-



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

From: mwoodwor <[e-mail]>
Subject: concert distances 2
Date: 18 Apr 2001 12:39:49 -0300

ah, I almost forgot - many moons ago when I was 'younger,' myself and
3 friends drove approximately 5 hours to see Pavement (just after slanted and
enchanted was released: while they still had their original (and crazy)
drummer) in Vancouver. The show wound up sometime after midnight and we
started the 5 hour journey home THAT NIGHT (we had driven there on the same
day).
Berry Berry bad Idea, I will always remember waking up in the back of that
station wagon to see THE DRIVER's SLEEPING head half-resting on the steering
wheel as it spun our car OFF OF THE ROAD... and into a big field, thank
goodness (there are many areas of the drive back from Vancouver, where we
would have been off of a very high cliff).  Needless to say, we were all very
shaken up and vowed NEVER to do such a stupid thing again... that is until, we
saw the notice for the My bloody Valentine/Yo la Tengo double bill about a
month later.......

w


-



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

From: Christopher eaton <[e-mail]>
Subject: Re: Zorn List Digest V3 #389
Date: 18 Apr 2001 12:01:47 -0400

deadheads or phishheads.  you all make me laugh.  i went on tour with phish
last summer with two firends.  one section had us driving up to toronto,
catching a show, driving the next day all the way down to pittsburgh,
seeing a show, getting 3 hrs of sleep in a cheap motel before driving 13
(!) hours to see a show in wisconsin, then double-tracking back the next
day after that to set up camp in indiana for a few days.  this was my life
for three weeks.

needless to say, i was quite stupid near the end.

~christopher



> Nay.  But I did drive from Binghamton to NYC (4 hours) to see Elvis
> Costello  and Burt Bacharach at Radio City Music Hall.  After the show I
> drove to CT (2  and a half hours) to meet a friend.  I crashed on his
> couch, got up, then we  drove to Washington D.C. (about six hours) for
> another EC/BB show.  After  that we drove all the way to Massachusetts
> (about 9 hours, maybe more).
>
> And they were the worst Elvis shows I've ever attended.
>
> When Ilived in CA I had friends fly out from Boston for a Tom Waits
> concert.
>
> I once flew to Las Vegas from Boston to see Elvis Costello.  From Vegas I
> drove to LA where I saw Elvis twice.  Then I drove to SF.
>
> My best friend Craig flew from Boston to London just for a Rick Wakeman
> show.
>
> This is nothing compared to Deadheads.
>
> Tom


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: The Knack / Duran / Kajagoogoo (was: Guilty Choices)
Date: 18 Apr 2001 11:41:09 -0400

Thank God, Jon's as susceptible to crap as the rest of us.  ;-)

I used to own the first two Knack albums as well.  If either of us had gone
as far as owning the third, however, I might be worried.  Can't remember the
title, but I can clearly picture the cover, a crane shot of the band against
a bright red background...

Thanks for the review of last night's Tonic show, by the way.  I was bummed
to miss it, but duty called - which included a shot of Finlandia vodka
containing a small dead fish.  Try ordering THAT at Tonic...  Now I'm even
more bummed that I missed the show, but glad to hear it was so memorable.
Hope that the next three nights of Company at Tonic provide the members of
IST with the opportunity to display more of what you've described.

And do provide reports of the AMM shows.  Jon Abbey, the world's first
itinerant "AMMhead"!

Steve Smith
[e-mail]
NP - Beethoven, Symphony No. 9, 4th mvt., Bayreuth/Furtwangler (EMI)


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: [no zorn] guilty crimson - LONG (as you might expect...)
Date: 18 Apr 2001 12:03:33 -0400

Agreed regarding the value of the Collectors Club 'Beat Club' performance.
I'd owned much of this on boot for a while, but hearing it in decent studio
sound was a real treat.  Recently bought a bootleg videotape that included
the first half of the "Larks' Tongues in Aspic, Part One" performance from
that show.  As striking as it is to hear Muir, seeing him perform in that
bright red fur jacket is better still...

Agreed as well about character of the performance of "The Creator Has a
Master Plan," but here the value to me was twofold.  First, as a Crim freak
with about three feet of boots on the shelf, it was revelatory to me to hear
a performance of which I had no previous knowledge.  That, in itself, would
have been enough.  But the archaeologist in me was also overwhelmed to hear
motifs from "Larks' Tongues in Aspic, Part One" snuck into that performance
of "Creator."  I knew that the '71-'72 band had dabbled once or twice
previous in material that would be developed by the '73-'74 band, but it's
still jarring and amazing to hear it, especially in this context.  I don't
exactly know how to describe this so that a non-Crimson fan could understand
it (I'm not thinking of you, Joseph, but the other 1000 people on the list
who hve no idea what we're talking about.)  Maybe sort of like if the 1956
version of the Miles Davis Quintet had suddenly snuck in a few bars of
"Bitches Brew," or the Mothers of Invention had tried their hand at "G-Spot
Tornado."  Or something like that.

Steve Smith
[e-mail]
NP - Brahms, Ein Deutsches Requiem - mvt 1, Philharmonia/Klemperer (EMI)


-



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

From: [e-mail]
Subject: RE: The Knack / Duran / Kajagoogoo (was: Guilty Choices)
Date: 18 Apr 2001 12:09:25 EDT

In a message dated Wed, 18 Apr 2001 10:09:44 AM Eastern Daylight Time, "Steve Smith" <[e-mail]> writes:

> "My Sharona," which was common enough currency
> that Weird Al Yankovic did a send-up, "My Bologna"

And don't forget "Ay-ay-ay-ay-Ayatolla," the immortal soundtrack to the Iran hostage crisis.  Who did *that* take-off?  I don't think I ever knew.

David

np: Leroy Jenkins w/ Muhal Richard Abrams, Lifelong Ambitions

-



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

From: Jay Mote <[e-mail]>
Subject: Deadheads or Phishheads
Date: 18 Apr 2001 11:15:47 -0500

>===== Original Message From Christopher eaton <[e-mail]>
=====
>deadheads or phishheads.  you all make me laugh.  i went on tour with phish
>last summer with two firends.  one section had us driving up to toronto,
>catching a show, driving the next day all the way down to pittsburgh,
>seeing a show, getting 3 hrs of sleep in a cheap motel before driving 13
>(!) hours to see a show in wisconsin, then double-tracking back the next
>day after that to set up camp in indiana for a few days.  this was my life
>for three weeks.

-all of this to a) see the mindless songless tripe offered up by guitar
wankers
b) scrog hippy chicks who eat too much chocolate c) enjoy the U.S. countryside
d) witness artless masterbatory dancing by smelly folks w/o jobs selling LSD
e) waste time & energy

>needless to say, i was quite stupid near the end.

-Hmmmm....I don't doubt it. From the music or the acid or the smells? or some
combination of these?

-You can commit suicide anytime now. You've seen it all.

J out


-



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

From: "Steve Smith" <[e-mail]>
Subject: Zornlist T-shirts...
Date: 18 Apr 2001 12:15:10 -0400

... might be frowned upon, since they would no doubt involve images of
Japanese bondage and latent pedophilia... ;-)

In all seriousness, I've found that the best way to meet other Zornlisters
is to arrange it in advance.  I met Jon through a mutual friend, and I think
Brian just overheard my rather large mouth one night at Tonic, but other
than that my encounters with Rrrrrrrrrrrick and Dan and Jason and several
others have been more or less pre-arranged.  In that respect (among others),
I still regret missing your own recent appearance at the Knit.  (And
Francesco, if you're out there reading this, how am I going to identify you
at Tonic this week?)

Steve Smith
[e-mail]
NP - Brahms, Ein Deutsches Requiem-mvt 2, Philharmonia/Klemperer (EMI)

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Joseph Zitt

I wish we had Zorn-list T-shirts, so we all could easily recognize each
other. I'm eagerly looking forward to Baltimore tomorrow (and Evan Parker
in DC tonight, and the Cobra at George Washington U. Saturday). Wheee!


-



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

From: Matt Plummer <[e-mail]>
Subject: Oliveros
Date: 18 Apr 2001 10:42:17 -0600 (MDT)

After seeing her last fall with Dana Reason and Phillip Gelb, I was
extremely impressed with Pauline Oliveros.  Can anyone recommend any early
albums that she did... I'm aware of more recent things with Deep Listening
Band, etc.  but I'm not sure exactly where to start for her early stuff.

Thanks,
Matt

Matt Plummer
Coalition for Creative Music


-



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

From: HirakeMike <[e-mail]>
Subject: Re: The Knack / Duran / Kajagoogoo (was: Guilty Choices)
Date: 18 Apr 2001 10:32:20 -0700 (PDT)


--- [e-mail] wrote:
>
> In a message dated 4/18/01 10:09:44 AM,
> [e-mail] writes:
>
> << Wonder if we'll ever see Jon Abbey again after
> all this nonsense... ;-) >>
>
> I'm still here, and I even tried to come up with
> something to contribute to
> this thread, but my guilty pleasures don't go much
> further these days than
> owning every Jandek CD.

Whats wrong with Jandek?

Actually I just sold 8 LP's I had just sitting here,
and gave away all the cd's.  My Jandek phase ended
quickly, I guess I became too demanding....

__________________________________________________
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Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: Rob Allaert <[e-mail]>
Subject: Re: ordinary fanfares playlist #4
Date: 18 Apr 2001 19:39:56 +0200


Hi,

I suppose you send these mails to the zorn-list. This way lots of people
receive unwanted mail. I'd suggest that instead of making a group-address
with the zornlist included, you send it to your group list and put the
zornlist address in the copy field or as a different address. This way we
can still use a mail rule to redirect all zornmails into a zorn folder.

Am I making sense ?

greetings,

Rob Allaert.


On woensdag, april 18, 2001, at 05:04 , Grey ElkGel wrote:

> ordinary fanfares playlist #4 - april 17, 2001
> wmfo 91.5fm, medford massachussetts // www.wmfo.org
>
> 1. clark-hutchinson: improvisation on a modal scale
> [a=mh2 CD - repertoire]
>
> 2. afrika bambaataa: looking for the perfect beat
> [looking for the perfect beat 1980-1985 CD - tommy
> boy]
>
> 3. brainbombs: anne frank [singles CD - load]
>
> 4. yoshimitsu ichiraku: machine headz [the music of
> surround panner CD - zero gravity]
>
> 5. sven-ake johansson: rasche achtel [six little
> pieces for quintet CD - hatOLOGY]
>
> 6. bethlehem: schatten aus der alexander welt [dictius
> te necare CD - red stream]
>
> 7. hasil adkins: i need your head (...this ain't no
> rock & roll show) [out to hunch LP - norton]
>
> 8. mark bain: skowhegan bridge [vibronics 3" CD -
> staalplaat]
>
> 9. fushitsusha: thought it went so well? [a death
> never to be complete CD - tokuma]
>
> 10. sandro gorli: requiem (ensemble vocal europeen de
> la chapelle royale/philippe herreweghe)
> [gesualdo/gorli CD - harmonia mundi]
>
> 11. hawd gankstuh rappuhs mc's wid ghatz: mind if i
> fart? [2hype 2wype CD - wordsound]
>
> 12. rodney dangerfield: no respect [no respect LP -
> casablanca]
>
>
>
>
>
>
>
>
> __________________________________________________
> Do You Yahoo!?
> Yahoo! Auctions - buy the things you want at great prices
> http://auctions.yahoo.com/
>
> -
>
>


    greetings,
      [e-mail]

-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: Zornlist T-shirts...
Date: 18 Apr 2001 13:50:10 -0400

Steve Smith wrote:
>(And
> Francesco, if you're out there reading this, how am I going to identify you
> at Tonic this week?)

Steve, look for the guy who looks just like Lopez but speaks with a
charming Italian accent!

Brian Olewnick

NP: Kip Hanrahan - Vertical's Currency

-



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

From: [e-mail]
Subject: Re: The Knack / Duran / Kajagoogoo (was: Guilty Choices)
Date: 18 Apr 2001 14:03:15 EDT


In a message dated 4/18/01 1:33:45 PM, [e-mail] writes:

<< Whats wrong with Jandek?

Actually I just sold 8 LP's I had just sitting here,
and gave away all the cd's.  My Jandek phase ended
quickly, I guess I became too demanding.... >>

well, you partially answered your own question. nothing is wrong with Jandek.
my point was that I have 14 CDs by him. most would consider that excessive,
to say the least. it was the closest I could come to a guilty pleasure with
my current listening habits, which are largely Erstwhile-related.

Jon
www.erstwhilerecords.com

-



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

From: Skip Heller <[e-mail]>
Subject: Re: The Knack / Duran / Kajagoogoo (was: Guilty Choices)
Date: 19 Apr 2001 11:07:42 -0700



> Thank God, Jon's as susceptible to crap as the rest of us.  ;-)
>
> I used to own the first two Knack albums as well.  If either of us had gone
> as far as owning the third, however, I might be worried.  Can't remember the
> title, but I can clearly picture the cover, a crane shot of the band against
> a bright red background...
>

> Steve Smith
> [e-mail]
> NP - Beethoven, Symphony No. 9, 4th mvt., Bayreuth/Furtwangler (EMI)
>
>
> -
>
Gee, Doug Fieger appeared on my last album.  What does this make me?

skip h


-



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

From: Grey ElkGel <[e-mail]>
Subject: Re: ordinary fanfares playlist #4
Date: 18 Apr 2001 11:09:32 -0700 (PDT)

hi,

i don't have a group list. i *just* sent this to the
zorn-list, to the boss-improv list and to the
lowercase-sound list. i *didn't* send this to any
individual addresses (w/ the exception of 2 friends
who aren't on any of these lists). if you're on more
than one of those lists, then you may have recieved it
more than once, but i only sent them to these 3 lists
(and to myself, and the 2 aforementioned friends).
nonetheless, it was the last show, so you'll receive
no more playlists from me.

sorry about any inconvenience.

.greg.

> I suppose you send these mails to the zorn-list.
> This way lots of people receive unwanted mail. I'd
> suggest that instead of making a group-address
> with the zornlist included, you send it to your
> group list and put the zornlist address in the copy
> field or as a different address. This way we
> can still use a mail rule to redirect all zornmails
> into a zorn folder.
>
> Am I making sense ?
>
> greetings,
>
> Rob Allaert.
>
>
> On woensdag, april 18, 2001, at 05:04 , Grey ElkGel
> wrote:
>
> > ordinary fanfares playlist #4 - april 17, 2001
> > wmfo 91.5fm, medford massachussetts //
> www.wmfo.org
> >
> > 1. clark-hutchinson: improvisation on a modal
> scale
> > [a=mh2 CD - repertoire]
> >
> > 2. afrika bambaataa: looking for the perfect beat
> > [looking for the perfect beat 1980-1985 CD - tommy
> > boy]
> >
> > 3. brainbombs: anne frank [singles CD - load]
> >
> > 4. yoshimitsu ichiraku: machine headz [the music
> of
> > surround panner CD - zero gravity]
> >
> > 5. sven-ake johansson: rasche achtel [six little
> > pieces for quintet CD - hatOLOGY]
> >
> > 6. bethlehem: schatten aus der alexander welt
> [dictius
> > te necare CD - red stream]
> >
> > 7. hasil adkins: i need your head (...this ain't
> no
> > rock & roll show) [out to hunch LP - norton]
> >
> > 8. mark bain: skowhegan bridge [vibronics 3" CD -
> > staalplaat]
> >
> > 9. fushitsusha: thought it went so well? [a death
> > never to be complete CD - tokuma]
> >
> > 10. sandro gorli: requiem (ensemble vocal europeen
> de
> > la chapelle royale/philippe herreweghe)
> > [gesualdo/gorli CD - harmonia mundi]
> >
> > 11. hawd gankstuh rappuhs mc's wid ghatz: mind if
> i
> > fart? [2hype 2wype CD - wordsound]
> >
> > 12. rodney dangerfield: no respect [no respect LP
> -
> > casablanca]
> >
> >
> >
> >
> >
> >
> >
> >
> > __________________________________________________
> > Do You Yahoo!?
> > Yahoo! Auctions - buy the things you want at great
> prices
> > http://auctions.yahoo.com/
> >
> > -
> >
> >
>
>
>     greetings,
>       [e-mail]


__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: ordinary fanfares playlist #4
Date: 18 Apr 2001 14:09:35 -0400

No offense, but I strongly disagree; I enjoyed seeing Greg's playlists, as
much as I enjoy seeing "NP" listings appended to everyone's random thoughts.
And the point is moot now, anyway, because the show has ended.

Steve Smith
[e-mail]
NP - nada

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Rob Allaert
Sent: Wednesday, April 18, 2001 1:40 PM
Cc: Zornlist

I suppose you send these mails to the zorn-list. This way lots of people
receive unwanted mail. I'd suggest that instead of making a group-address
with the zornlist included, you send it to your group list and put the
zornlist address in the copy field or as a different address. This way we
can still use a mail rule to redirect all zornmails into a zorn folder.


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: The Knack / Duran / Kajagoogoo (was: Guilty Choices)
Date: 18 Apr 2001 14:27:56 -0400

A lucky man, actually.  Doug's a talented writer and a charismatic
performer, who happened to write a song that caught the entire world's
attention for a spell.  Doesn't make it a bad song.  And he's done some very
cool things since then - I even know about 'em.  It's really kind of a shame
that the manufactured hype surrounding the Knack (some of which the band
contributed too, remember) ultimately resulted in backlash.  If I appear to
take the group less than seriously, that's probably why.  And in a thread
about guilty pleasures, "crap" is not necessarily intended as a complaint or
an insult.  It's just shorthand for catchy, kitschy, disposable (but often
unforgettable) pop.

I'm probably overreacting, but I'd like to avoid igniting the kind of shit
storm I set off in the Zappa thread.  On the other hand, everybody steps on
someone's toe sometime.

Semantics, schmemantics,
Steve Smith
[e-mail]
NP - still nada...

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Skip Heller

Gee, Doug Fieger appeared on my last album.  What does this make me?


-



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

From: [e-mail]
Subject: RE: unconditional love
Date: 18 Apr 2001 14:32:23 EDT



<< And I, 'The Dreaming.'

Steve Smith
[e-mail]


and i as well...

-matt mitchell

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Frank Malczewski

Good choices, actually.  Though I'd go with "The Kick Inside".

--Frank

> 2 albums that don't really fit into my collection anymore and that I have
> CONSISTENTLY loved and listened to for many, many years
> and NEVER gotten sick of (to a point where I find it worrisome!) are
>
> 1. Genesis - Lamb lies down on Broadway
> and
> 2. Kate Bush - Hounds of love

-

 >>



-



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

From: =?iso-8859-1?q?MJ=20Gillham?= <[e-mail]>
Subject: MELVINS, BORIS
Date: 18 Apr 2001 19:34:10 +0100 (BST)

The B side of 'Lysol' is, for the most part, similar
to 'Leng T'che' and comparisons can be definitely be
drawn there, and there only... The rest of the LP is
more rockin, inc. FLIPPER, ALICE COOPER covers which
have been Melvined, so to speak.

A special mention for 'Charmicarmacat', from 'Eggnog'
EP. Now THAT is SLOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOW.

I also recommend Japan's BORIS. Their 'Absolutego' CD
has recently been rereleased by SOUTHERN LORD with an
extra track and as a "special low frequency version".
As if it wasn't heavy enough already! 'Absolutego' is
basically, 20mins of feedback, 20mins SERIOUSLY HEAVY
MELVINS style 'rock', and another 20mins of feedback.
An excellent release.

Also highly recommended:

CORRUPTED
Japan. Feat. Chew ex-BOREDOMS, OMOIDE HATOBA, etc.

SUNN0)))
US. Apparently an EARTH 'tribute' band.

BURNING WITCH
US. Probably too 'metal' for most of you...

Theres more, but I think I've said enough for now...



____________________________________________________________
Do You Yahoo!?
Get your free @yahoo.co.uk address at http://mail.yahoo.co.uk
or your free @yahoo.ie address at http://mail.yahoo.ie

-



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

From: =?iso-8859-1?q?MJ=20Gillham?= <[e-mail]>
Subject: JZ covering NAPALM DEATH solo?
Date: 18 Apr 2001 19:41:51 +0100 (BST)

Does anybody know about a JZ recording of him covering
NAPALM DEATH songs solo on his sax? If so, what is it?
I know his discography, but don't know this...

____________________________________________________________
Do You Yahoo!?
Get your free @yahoo.co.uk address at http://mail.yahoo.co.uk
or your free @yahoo.ie address at http://mail.yahoo.ie

-



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

From: Herb Levy <[e-mail]>
Subject: Feldman/Oliveros/Music with Roots in the Aether/Guilty Pleasure
Date: 18 Apr 2001 13:59:08 -0500

Hi all,

A few guilty pleasures back, there was a request for a source for
Feldman sources & recommendations. If you're looking for a single
source, the best may be Anomalous
<http://www.anomalousrecords.com/mailorder.html>. As for
recommendations: you've got a good start on the late works with

>the Kronos Quartet's "Piano and String Quartets"
>recording, the complete Philip Guston, and Samuel Beckett.

For more works from this period, Stephen Drury's suggestion of Louis
Goldstein's recording of Triadic Memories is right on too. There're a
lot of other good recordings of Feldman works from the last ten years
or so of his life.

But I'd suggest that you check into some of Feldman's earlier music
too, though this is different from the later works you already know,
not only in terms of scale. The box set you asked about, Ecstasy of
the Moment, is good & offers a lot of works from Feldman's entire
career, but a couple of smaller (& cheaper) sets also offer good
overviews. The Mode disc by Aki Takahashi offers very good
performances of a wide range of piano solo works & Mode's album of
violin & piano pieces is also very good. There's a quirky collection
on the RZ label of solo piano and chamber works culled from many live
European radio broadcasts that's got some really wonderful
performances on it, Anomalous often has it in stock.

As to Oliveros, again there's a significant difference in style
between earlier works & what she's doing now. &, for now at least,
there's a lot less to choose from for recordings of pre-Deep
Listening Band recordings. The CD called Electronic Works on Paradigm
has a nice array of studio electronic pieces from the mid-1960s.
After that, there're a couple of Lovely Music releases from the 1970s
that have never came out on CD: Accordion & Voice presents two
meditative solo works & is very good; The Wanderer presents two works
for ensemble, one a small group version of one of the solos from A&V,
the title piece, for a large accordion ensemble, is more lively than
most of her other recorded works. There's also a mid-1980s collection
that came out on Hat Art called the Well & the Gentle with chamber
works performed by Relache & solo accordion pieces. This is listed as
a forthcoming re-issue on the Hat Web site, and it's worth checking
out.

There's also a good video of Oliveros with an interview and
performance that's part of Robert Ashley's video project Music with
Roots in the Aether. This series of seven roughly two-hour video
tapes presents interviews and performances by Robert Ashley, David
Behrman, Philip Glass, Alvin Lucier, Gordon Mumma, Terry Riley, as
well as Pauline Oliveros. This a very good way to see/hear what was
going on with these artists in the late 1970s. The settings are often
hilarious, though I don't want to give away any surprise here, the
performances are all at least very good, & the interviews are quirky
(most are lengthy and informative, one or two are brief and/or
cryptic). Anomalous usually has these in stock, and some enlightened
(for which read non-chain) video rental places have them.

My best musical guilty pleasure is hearing things on pop radio and
trying to figure out what I've heard about that it may be. This
worked better when I lived in Seattle, though, cause I only rarely
ever hear about what gets played on pop radio round here.

Bests,

Herb
--
Herb Levy
Mappings on Antenna Internet Radio
http://www.antennaradio.com/avant/mappings/
[e-mail]

Mappings
P O Box 9369
Forth Wort, TX 76147

-



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

From: [e-mail]
Subject: Re: Deadheads or Phishheads
Date: 18 Apr 2001 15:01:28 EDT

Wow, you're really nice.


-matt mitchell


-all of this to a) see the mindless songless tripe offered up by guitar
wankers
b) scrog hippy chicks who eat too much chocolate c) enjoy the U.S. countryside
d) witness artless masterbatory dancing by smelly folks w/o jobs selling LSD
e) waste time & energy

>needless to say, i was quite stupid near the end.

-Hmmmm....I don't doubt it. From the music or the acid or the smells? or some
combination of these?

-You can commit suicide anytime now. You've seen it all.

J out


-

 >>



-



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

From: Skip Heller <[e-mail]>
Subject: Re: The Knack / Duran / Kajagoogoo (was: Guilty Choices)
Date: 19 Apr 2001 12:25:19 -0700



> A lucky man, actually.  Doug's a talented writer and a charismatic
> performer, who happened to write a song that caught the entire world's
> attention for a spell.  Doesn't make it a bad song.  And he's done some very
> cool things since then - I even know about 'em.  It's really kind of a shame
> that the manufactured hype surrounding the Knack (some of which the band
> contributed too, remember) ultimately resulted in backlash.  If I appear to
> take the group less than seriously, that's probably why.  And in a thread
> about guilty pleasures, "crap" is not necessarily intended as a complaint or
> an insult.  It's just shorthand for catchy, kitschy, disposable (but often
> unforgettable) pop.
>
> I'm probably overreacting, but I'd like to avoid igniting the kind of shit
> storm I set off in the Zappa thread.  On the other hand, everybody steps on
> someone's toe sometime.
>
> Semantics, schmemantics,
> Steve Smith
> [e-mail]
> NP - still nada...
>
> -----Original Message-----
> From: [e-mail]
> [mailto:[e-mail]]On Behalf Of Skip Heller
>
> Gee, Doug Fieger appeared on my last album.  What does this make me?
>
In all honesty, I think Fieger is pretty rpoud to have wrotten "Sharona",
but I think he misses the days of feeling vital, which is what has led him
to try his hand at some more interesting things that might seem out of his
balliwick.  And Doug's balliwick is admirable -- when he performed live with
us, we did "Surf's Up", and he sang it AS WRITTEN -  all 30 octaves worth.
It was like Yma Sumac (without the ulcer).

skip h


-



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

From: William Crump <[e-mail]>
Subject: Re: Masada 4/14/01
Date: 18 Apr 2001 12:29:02 -0700

[e-mail] wrote:

> > Does he ever come to the Southeast? Atlanta, maybe? New Orleans?
>
> Masada has played Atlanta at least once, Zorn in other combos a couple of times I think.  He was also at the Incus Week in Chattanooga a few years back (along w/F. Frith, Oxley, Shaking Ray Levis).

There was a brief US Masada tour in, uh, 1997 I think, that kicked off in Memphis, at Barristers.  My first time seeing the band, and Joey was en fuego. I don't remember where the 2nd show was, but
then the 3rd was in Knoxville. The tour jumped all over the place, like Denver to Seattle to Chicago.

I heard some weirdness later on about the contract requiring the band to be provided a strictly kosher menu, but when they landed in Memphis, the first thing they wanted was some good barbecue.

William Crump


-



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

From: Rob Allaert <[e-mail]>
Subject: Re: ordinary fanfares playlist #4
Date: 18 Apr 2001 23:09:59 +0200

What I meant was: I like all zorn related mails to appear in my Zorn
mailfolder instead of it being mingled with my 'ordinary' mail. My normal
INBOX has mails that are personally addressed to me. When mail is
addressed to a "group" it doesn't work since the real addresses aren't
visible. If everyone just puts the real address in the 'to' or 'cc' field,
  then it is solved. Maybe I'll just have to create (many) rules for all
mails that have the zornlist in their undisclosed group mailings.

Anyway, np: Michel Portal - Minneapolis (2001)

> No offense, but I strongly disagree; I enjoyed seeing Greg's playlists,
> as much as I enjoy seeing "NP" listings appended to everyone's random
> thoughts. And the point is moot now, anyway, because the show has
> ended. - Steve Smith

-



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

From: Grey ElkGel <[e-mail]>
Subject: Re: ordinary fanfares playlist #4
Date: 18 Apr 2001 14:21:51 -0700 (PDT)

> If everyone just puts the real address in
> the 'to' or 'cc' field, then it is solved.

ok. now i get what you're saying - from now on, i'll
try to make sure not to put mailing list emails under
bcc:

.greg.


__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: Rob Allaert <[e-mail]>
Subject: Re: ordinary fanfares playlist #4
Date: 18 Apr 2001 23:25:28 +0200

Thanks my friend, you truly are zorn again ;-)


>> If everyone just puts the real address in
>> the 'to' or 'cc' field, then it is solved.
>
> ok. now i get what you're saying - from now on, i'll
> try to make sure not to put mailing list emails under
> bcc:
>
> .greg.
>

    greetings,
      Rob @ risk
        np: Michel Portal - Minneapolis

-



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

From: Rick Lopez <[e-mail]>
Subject: Re: distances driven to concert
Date: 18 Apr 2001 17:30:09 +0000

on 01.04.18 12:23 PM, mwoodwor at [e-mail] wrote:

> I left with 2 friends at 5 AM and drove 14 hours straight to
> see Masada in Montreal at the Jazz Fest last year and then came back
> the morning after the show!! So I believe that puts me in the lead
> with 14- anyone top that!?!

Ummm.... well, my wife and I drove 7 hours to NYC to see Marilyn Crispell at
Tonic, then drove back the next day, but we left at 9 a.m. and didn't arrive
home in Erie, PA, until midnight-- which is 15 coming back, but that's
because it included a side-trip to Woodstock to eat lunch w/ Marilyn...

PLUS! We're most likely MUCH older than you... so... ummmm...

Do we win?
RL
--
----------
Sessionographies:  CRISPELL;  IBARRA; Wm. PARKER; RIVERS; SHIPP; D.S. WARE.
Discographies:  COURVOISIER; ENEIDI; MANERI,; MORRIS; SPEARMAN; THREADGILL;
WORKMAN.
Also:
 --Samuel Beckett Eulogy--Baseball & the 10,000 Things--Time Stops
 --LOVETORN--HARD BOIL-- ETC., all at: http://www.velocity.net/~bb10k

WHERE THE HELL HAVE I BEEN??? :
http://www.velocity.net/~bb10k/LUCILLE.html


-



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

From: Mike Chamberlain <[e-mail]>
Subject: Re: distances driven to concert
Date: 18 Apr 2001 17:36:11 -0400

on 4/18/01 10:15 AM, Arthur Gadney at [e-mail] wrote:

>
> I've travelled more than 24 hours, but that was to go to a festival, not a
> single concert. Does it count?

Twenty-four hours each way (Saskatoon to Boulder) to see the Stones in 1981.
Otherwise, 7 hours each way to see Waits in NYC in 99.  Both worth the trip.

I've got the single concert lead at this point, I think.

>
> _________________________________________________________________
> Get your FREE download of MSN Explorer at http://explorer.msn.com
>
>
> -
>

--



-



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

From: Grey ElkGel <[e-mail]>
Subject: Re: Zorn List Digest V3 #389/bataille
Date: 18 Apr 2001 15:03:53 -0700 (PDT)

> From: patRice <[e-mail]>
>
> Thought some of you might be interested that there
> are two books by Georges Bataille made available in
> English (1st time; or reprint? I don't know...). Got
> the info from Amazon.
>
> L'Abbe C
> Literature And Evil

these have both been in print previously (and
reprinted periodically) by marion boyars publishers.

__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: "Robert A. Pleshar" <[e-mail]>
Subject: Re: distances driven to concert
Date: 18 Apr 2001 17:03:12 -0500

Well, I don't think I can beat the distances, but perhaps the total cost to
a participant. My frind Chuck and I, several years ago decided to drive
from Pittsburgh to NYC to visit his dad and see Bill Frisell's band with
joey baron and kermit driscoll on a Friday night and Masada and Pete LaRoca
(at seperate venues) on Saturday. We started driving down the PA turnpike
when I noticed Chuck's car hood vibrating quite a bit. We talked about how
in Driver's Ed in High School the teacher said to look through the little
crack between the hood and bottom of the windshield if you're hood ever
flew up. Chuck figured if you didn't have the presence of mind to think of
that in the first place, you wouldn't remember it if it happened. We
stopped for lunch ans got back on the road after looking at the hood and
determining that it seemed as normal as it ever was after Chuck rear ended
a semi a few years before. We got up to  about 75mph and lo and behold, the
hood flies up and we're both trying to look out the little crack. I say "I
can't see shit, how about you?" Chuck: "I can't see shit either." So we get
to Lancaster at about 5pn when the car rental place is about to close. We
can't continue in Chuck's car because the windshield has cracked and is
falling in. We are able to rent a car and continue to NYC. A body shop in
Lancaster says they'll have Chuck's car ready on Monday when we're going
back. We see Frisell and fall asleep, thinking it is due to our exhausting
ordeal, but some other guy falls asleep and falls to the floor of th KF and
sleeps there, so we figure maybe it is the music. Masada kicks ass, Pete's
band with Dave Liebman is excellent. We start to drive back to Pgh, call
Lancaster no windshield it will be a week. Chuck makes arrangements to keep
rental car until next saturday when he can pick up his finally ready car.
Chuck gets speeding tickets on sat on way to and from Lancaster. Almost 2
years later his auto insurance policy is cancelled due to the 2 tickets. He
has to by a more expensive policy. Costs (excluding the normal gas, food,
admission to clubs):

windshield: $800
rental car: $900 (they didn't tell him he had bought their expensive
insurance in addition to his own insurance)
tickets: $180
new insurance policy: $1200 more than his previous policy
Total extras: $3080

Chuck's response: "Next time, we a re flying."

Rob


-



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

From: Grey ElkGel <[e-mail]>
Subject: Re: Zorn List Digest V3 #391
Date: 18 Apr 2001 15:16:57 -0700 (PDT)

> From: =?iso-8859-1?q?MJ=20Gillham?=
> <[e-mail]>
>
> SUNN0)))
> US. Apparently an EARTH 'tribute' band.

i actually like them better than their intended
tributees. and they're made up of members of burning
witch and goatsnake, though i don't like those bands
quite as much as sunn 0))) - i'm not too into the
vocals in either goatsnake or burning witch, so i
guess i appreciate the instrumental band more. though
i do like thorr's hammer (there are 3 bands called
thorr's hammer i'm talking here about the most recent
of them), which also has members of goatsnake and
burning witch, but the vocalist is a swedish woman who
can grunt it out w/ the best death metal crooners.

__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: Whit Schonbein <[e-mail]>
Subject: musical harbringers (was: crimson)
Date: 18 Apr 2001 17:35:17 -0500 (CDT)


Steve Smith described his hearing 'larks tongues in aspic' part 1 embedded
in an improv by an earlier incarnation of king crimson, and then said it
was "Maybe sort of like if the 1956 version of the Miles Davis Quintet had
suddenly snuck in a few bars of "Bitches Brew"

which reminded me of the fact that miles davis, in a show from 22 march
1960, stockholm, plays 'jean pierre' during a solo, which wouldn't show up
as a 'real' tune until his 'comeback' in 1981.  i was surprised, and
imagined being in davis' shoes, having that inane jingle stuck in one's
head for 21 years (and now it's in mine...).

any others?

whit
http://artsci.wustl.edu/~wwschonb/



-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: Georges Bataille - New Books (Zorn Content?)
Date: 18 Apr 2001 23:16:11 -0000

>From: HirakeMike <[e-mail]>
>
>- --- patRice <[e-mail]> wrote:
> >
> > Thought some of you might be interested that there
> > are two books by
> > Georges Bataille made available in English (1st
> > time; or reprint? I
> > don't know...). Got the info from Amazon.
> >
> > L'Abbe C
> > Literature And Evil
> >
> > patRice
>
>L'Abbe C has been in print previously, I think through
>City Lights books who also prints my favorite Bataille
>"The Impossible".

Both "Literature and Evil" and "L'Abbe C" go in and out of print frequently
as they are published by a small press out of New York, Marion Boyars.  The
same for "Blue of Noon."  City Lights publishes "Erotism," "The Impossible,"
and "Story of the Eye."  The last is his most essential fictional work.

NP: "Harim Castle," from "Sounds of the Night: Kayagum Masterpieces Vol. 4"
by Hwang Byung-ki (No PL today.  I'm too busy).
_________________________________________________________________________
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-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Georges Bataille - New Books (Zorn Content?)
Date: 18 Apr 2001 16:22:58 -0700


On Wed, 18 Apr 2001 23:16:11 -0000  "Bill Ashline" wrote:
>
> Both "Literature and Evil" and "L'Abbe C" go in and out of print frequently
> as they are published by a small press out of New York, Marion Boyars.  The
> same for "Blue of Noon."  City Lights publishes "Erotism," "The Impossible,"
> and "Story of the Eye."  The last is his most essential fictional work.

And his study on Gilles de Rais, has it ever been translated?

    Patrice.

-



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

From: "thomas chatterton" <[e-mail]>
Subject: Re: The Residents
Date: 18 Apr 2001 23:45:03 -0000

>From: HirakeMike <[e-mail]>

>What works by The Residents would one recommend for
>the uneducated listener?  Is the music worthy of
>exploration?

As one who had closely followed this group from the beginning (Meet The
Residents, Fingerprince, Not Available, Duckstab, Eskimo, Commercial Album,
all recommended by the way), I  lost interest around the time of Mark Of The
Mole & Stars 'N' Hank, where it'd seemed to me they were losing their 'avant
edge' and becoming more just 'cutesy-weird'. Anyway, they played live here a
couple of weeks ago, in support of a newly released DVD that compiles their
video work (Icky Flix), I actually agonised about whether to go, finally
broke down a few hours before showtime bought a ticket and ended up seeing
them playing live to their videos! This was what I had feared they were
going to do, but the way they did it was so completely unique, I came away
appreciating just how innovative this band has been, especially using video
imagery. This was the best 'show' I have seen in ages! So if you have DVD
facilities check out the 'Icky Flix' compilation. If you have the chance go
see them perform live. Failing those 2 options check out any of the early
albums listed above, especially Duck Stab, Fingerprince, Not Available. Oh
yeah, Eskimo is my personal favourite, but this strange piece of
ethnoforgery is certainly not for everyone! (It was always great for driving
customers beserk at the indie store where I worked when it was released.)

np: ~scape staedtizism
_________________________________________________________________________
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-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: Georges Bataille - New Books (Zorn Content?)
Date: 18 Apr 2001 23:50:56 -0000

>From: "Patrice L. Roussel" <[e-mail]>

>And his study on Gilles de Rais, has it ever been translated?

That one goes in and out of print as well, Patrice.  A hipster publisher out
of San Francisco I believe publishes it--Amok.  Amok is distributed with
Re/Search publications and City Lights, as I recall from my bookstore days.

NP: "Spring Snow" "Sounds of the Night: Kayagum Masterpieces Vol. 4" by
Hwang Byung-ki.
_________________________________________________________________________
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-



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

From: "thomas chatterton" <[e-mail]>
Subject: Re: Soft Machine
Date: 19 Apr 2001 00:04:39 -0000

>From: "EfrΘn del Valle" <[e-mail]>

>I feel like going deeper into Robert Wyatt's discography and I heard today
>several songs from Soft Machine's "third" and "fourth". I digged the listen
>quite a lot but would like to be sure.
>

Cuneiform released the ultimate Soft Machine album last year, 'Noisette',
featuring the band in full flight live, with 2 horn players, Elton Dean and
Lyn Dobson. The essential version of this group revolved around Mike
Ratledge keys, Hugh Hopper bass, and Robert Wyatt drums & voice (although
Kevin Ayers lent his unique charm to the first album). Once Wyatt left, the
others should really have called it a day, although Six and Seven do have
some moments. Whatever you think about the Bundles era group is
inconsequential, they should have changed the name once all the original
members were out! As mentioned,  Volume 1 & 2 are well worth checking out,
their eccentric English psychedelic charm making up for any musical
shortcomings. Plus they were more song oriented which means more Wyatt
vocals, one of the great rock singers of our time! Wyatt's first solo effort
'End Of An Ear' is more in an avant jazz vein, somewhat dated sounding now
but still worth a listen. And his last solo date 'Shleep' was pretty fab
too. But it's 'Noisette' that delivers the goods!

np: Pi O.S.T.


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-



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

From: "thomas chatterton" <[e-mail]>
Subject: RE: Class cuts
Date: 19 Apr 2001 00:10:54 -0000

>From: "Steve Smith" <[e-mail]>

>
>Yup.  The Haunted are a "classic" death metal band from Sweden...

For what it's worth, The [original] Haunted were a 'classic' psych garage
punk band from Montreal in the late '60s, whose original records of course
now fetch 3-4 figure prices...

_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.


-



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

From: Rick Lopez <[e-mail]>
Subject: Re: Zornlist T-shirts...
Date: 18 Apr 2001 20:08:43 +0000

on 01.04.18 5:50 PM, Brian Olewnick at [e-mail] wrote:

> Steve Smith wrote:
>> (And
>> Francesco, if you're out there reading this, how am I going to identify you
>> at Tonic this week?)
>
> Steve, look for the guy who looks just like Lopez but speaks with a
> charming Italian accent!

Francesco looks *much* older of course.

And wiser...

rrrrrrrr
--
----------
Sessionographies:  CRISPELL;  IBARRA; Wm. PARKER; RIVERS; SHIPP; D.S. WARE.
Discographies:  COURVOISIER; ENEIDI; MANERI,; MORRIS; SPEARMAN; THREADGILL;
WORKMAN.
Also:
 --Samuel Beckett Eulogy--Baseball & the 10,000 Things--Time Stops
 --LOVETORN--HARD BOIL-- ETC., all at: http://www.velocity.net/~bb10k

WHERE THE HELL HAVE I BEEN??? :
http://www.velocity.net/~bb10k/LUCILLE.html


-



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

From: "thomas chatterton" <[e-mail]>
Subject: Re: re- barre phillips
Date: 19 Apr 2001 00:16:33 -0000

>From: Wolfgang Armbruster <[e-mail]>

>   I do have a few Barre Phillips records in my collection. The only real
>bass solo album...

I recall an album entitled 'Bass Is' featuring Phillips and 3 other
bassists...
_________________________________________________________________________
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-



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

From: "Lee, Edgar" <[e-mail]>
Subject: Keith Rowe
Date: 19 Apr 2001 10:25:11 +1000

I had the pleasure of driving Keith Rowe around Melbourne when he performed
at the What is Music Festival last year. He is a wonderful conversationalist
who would remark that he thought  a lot of music was brilliant and then
would add that he didn't like it, which for a few of us has become a fun
remark to drop at the end of a gig. His solo performance seemed similar to
those described recently. I think he preferred it if the audience didn't
applaud in a rapturous fashion, although some of us did anyway. The recent
interview in Wire seemed to capture his spirit and is a great way to start
if you want to know more about AMM.

Edgar
NP Austrian Choir Old songs for a new country

-



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

From: [e-mail]
Subject: Re: distances driven to concert
Date: 18 Apr 2001 23:05:15 EDT

From South Carolina to Vancouver, B.C. to see Orquesta Aragon.  Well, okay- truth is in order.  I flew there for vacation last year and they happened to be playing in the Vancouver Jazz Festival while I was there...

--
=dg=

-



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

From: "z~S" <[e-mail]>
Subject: Re: distances driven to concert
Date: 18 Apr 2001 20:11:11 -0700

Once I flew completely around the world
to catch Robert Fripp here in Ventura.


-



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

From: [e-mail]
Subject: Re: distances driven to concert
Date: 18 Apr 2001 23:44:13 EDT

In the spring of 1999, I flew from New York City to Houston, Texas to see the
world premiere of Tod Machover's opera "Resurrection."

David K.

-



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

From: [e-mail]
Subject: Re: Zorn List Digest V3 #390
Date: 19 Apr 2001 00:27:25 EDT

In a message dated 4/18/01 1:41:41 PM Eastern Daylight Time,
[e-mail] writes:

<< Whats wrong with Jandek? >>

Besides the fact that his music is terrible?


-



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

From: patRice <[e-mail]>
Subject: Re: Zornlist T-Shirts
Date: 19 Apr 2001 10:03:23 +0200



whoever wrote:

> ... might be frowned upon, since they would no doubt involve images of
> Japanese bondage and latent pedophilia... ;-)
>

Lovely! I wouldn't mind wearing one... ;-)

Reminds me of the times when I used to always run 'round in my Naked City
t-shirt; which had a rather "violent" image on it...

A girl at a bar almost refused to serve me - she said "God, how can you
wear such a horrible t-shirt? My flatmate listens to this band all the
time, and I fucking hate them. They're evil. People who listen to that crap
are sick!" :-)

Another time I left a club in London where people were handing out flyers
to everyone to promote other parties - whoever noticed my t-shirt didn't
give me a flyer... but looked at me rather funnily...

patRice

np: JZ, Trembling Before G*D
nr: Albert Parry, Tattoo: Secrets...


-



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

From: [e-mail]
Subject: Re: Zornlist T-Shirts
Date: 19 Apr 2001 05:25:36 EDT

whoa.  hey, ive got a job interview in a few days.  can i borrow that t-shirt?

-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: [no zorn] guilty crimson
Date: 19 Apr 2001 11:20:42 +0200

> Crimson cd club, expensive Japan imports, and so on.  Also a pricy
4CD
> box, The Great Deceiver.

Just go and buy that one.

Marcin Gokieli
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem
you are working on, tell him to go climb a tree - Jerry Fodor


-



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

From: patRice <[e-mail]>
Subject: Re: Zornlist T-Shirts
Date: 19 Apr 2001 14:18:19 +0200

I take it you don't really want the job, right??? ;-)

patRice


[e-mail] wrote:

> whoa.  hey, ive got a job interview in a few days.  can i borrow that t-shirt?
>
> -


-



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

From: =?iso-8859-1?q?MJ=20Gillham?= <[e-mail]>
Subject: NAKED CITY shirt
Date: 19 Apr 2001 13:18:47 +0100 (BST)

Seeing as though we're on the subject of Zorn shirts,
if anyone has a NAKED CITY shirt and would be willing
to sell/trade, please contact me off-list. Thanks.

____________________________________________________________
Do You Yahoo!?
Get your free @yahoo.co.uk address at http://mail.yahoo.co.uk
or your free @yahoo.ie address at http://mail.yahoo.ie

-



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

From: [e-mail]
Subject: Re: NAKED CITY shirt
Date: 19 Apr 2001 08:20:56 EDT

yeah, and while we're trading intimate pieces of clothing, if anybody's got
some v-neck undershirts with really brown underarms... feel free not to
contact me off-list about it, thanks ;)

~fishy

-



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

From: =?iso-8859-1?q?MJ=20Gillham?= <[e-mail]>
Subject: NAKED CITY, PAINKILLER wants
Date: 19 Apr 2001 13:31:06 +0100 (BST)

If anyone has the following and would be willing to
sell/trade, please get in contact with me off-list.

1.NAKED CITY Torture Garden CD
Earache,UK MOSH28CD
2.NAKED CITY Leng T'che CD
Toy's Factory,Jap TFCK-88604
3.PAINKILLER Rituals : Live In Japan CD
Toy's Factory,Jap TFCK-88627
4.PAINKILLER Execution Ground 2xCD marble or metal box
Subharmonic,US SD 7008-2 17082

Thanks.

____________________________________________________________
Do You Yahoo!?
Get your free @yahoo.co.uk address at http://mail.yahoo.co.uk
or your free @yahoo.ie address at http://mail.yahoo.ie

-



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

From: "Benito Vergara" <[e-mail]>
Subject: RE: Zornlist T-Shirts
Date: 19 Apr 2001 05:38:46 -0700

> -----Original Message-----
> From: [e-mail]
> [mailto:[e-mail]]On Behalf Of patRice
> Sent: Thursday, April 19, 2001 1:03 AM

> Reminds me of the times when I used to always run 'round in my Naked City
> t-shirt; which had a rather "violent" image on it...

This wouldn't happen to be the one with the sailor-suited girl with the
ripped-open face, whose eyeball is being tongued by that guy, is it? I stil
can't wear that T-shirt around here in San Francisco...

Later,
Ben

http://members.tripod.com/~tamad2/
ICQ: 12832406


-



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

From: =?iso-8859-1?q?MJ=20Gillham?= <[e-mail]>
Subject: NAKED CITY video
Date: 19 Apr 2001 13:37:33 +0100 (BST)

NAKED CITY 'Live at the Marquee Club, NYC 4/9/92' VHS
Video (120mins) is available to buy for $30 from:

VIDEOBEAT MUSIC VIDEOS
2616 N CLARK STREET
CHICAGO
IL 60614
U.S.A

Tel    : [phone]
E-Mail : [e-mail]

If anyone has any other NAKED CITY and PAINKILLER live
videos, audios, etc. Please contact me off-list.

Thanks.

____________________________________________________________
Do You Yahoo!?
Get your free @yahoo.co.uk address at http://mail.yahoo.co.uk
or your free @yahoo.ie address at http://mail.yahoo.ie

-



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

From: =?iso-8859-1?q?MJ=20Gillham?= <[e-mail]>
Subject: Re: NAKED CITY shirt
Date: 19 Apr 2001 13:55:25 +0100 (BST)

[e-mail] wrote:
> yeah, and while we're trading intimate pieces of
> clothing, if anybody's got some v-neck undershirts
> with really brown underarms... feel free not to
> contact me off-list about it, thanks ;)
 > ~fishy

HA.

I have everything else by NAKED CITY, except for the
'Torture Garden' CD on EARACHE and the shirt. I need
these items to complete my er, 'collection'...

____________________________________________________________
Do You Yahoo!?
Get your free @yahoo.co.uk address at http://mail.yahoo.co.uk
or your free @yahoo.ie address at http://mail.yahoo.ie

-



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

From: [e-mail]
Subject: new John Oswald
Date: 19 Apr 2001 10:46:40 -0400

After hearing about the impending release of Oswald's "Plunderphonic 69/96" it has now shown up on the new WFMU playlist.  However, I can't find it listed in the usual mailorder sources.  Anybody know when it might turn up and more importantly how much it'll cost?


-



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

From: [e-mail]
Subject: Distances driven to concerts
Date: 19 Apr 2001 07:49:41 -0700

I once drove 12 hours from Portland to San Francisco to see Praxis with the Invisibl Skratch Piklz (November '95). We left Portland at 2:00 in the afternoon, got to Palo Alto (where we crashed with a friend's family) around 3:00am, went to the show at Slim's the following night at 8:00pm and then drove back to Portland at 5:00am the next morning.

Gone 48 hours total - 24 in a car, 24 in the city. That's about as "hard core" as I get.

Murray

-



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

From: big ums <[e-mail]>
Subject: Re: NAKED CITY
Date: 19 Apr 2001 07:58:41 -0700


<[e-mail]> writes:
> I have everything else by NAKED CITY, except for the
> 'Torture Garden' CD on EARACHE...

So...

Is my cd copy of Torture Garden on Shimmy Disc a reissue?  Or is it the
other way around?

Cornfused,

CP.

np.  Parson Sound... fuh!





________________________________________________________________
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-



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

From: Scott Handley <[e-mail]>
Subject: Re: new John Oswald
Date: 19 Apr 2001 08:44:10 -0700 (PDT)

--- [e-mail] wrote:
> After hearing about the impending release of
> Oswald's "Plunderphonic 69/96" it has now shown up
> on the new WFMU playlist.  However, I can't find it
> listed in the usual mailorder sources.  Anybody know
> when it might turn up and more importantly how much
> it'll cost?

I'm not sure what good it does one to have one's work
"stolen" in complicity, except perhaps Seeland's
lawyers are top-notch.  This came through a while back
on the plunderphonics group (a yahoogroup, for those
interested).  It's actually great news, though it
doesn't really answer Lang's question.  Maybe try
Seeland mail order?

>From: Ray Brain <[e-mail]>
>To: <[e-mail]>
>Subject: [plunderphonia] Seeland steals 69
Plunderphonics 96 box set
>Date: Fri, 13 Apr 2001 16:59:05 -0400
>
>The following is a message to all plunderphoniacs
from John Oswald:
>
>For the past month or so there have been many
conflicting reports about the
>existence & availability of the box/book set of
PLUNDERPHONICS.
>Well, it does exist now, but it's not mine to sell or
give away.
>
>My label Fony produced this retrospective package
under my direct
>supervision & hands-on involvement. It features 60
plunderphonic tracks
>created between 1969 and 1996. In January, after a
couple of years of work
>on compilation, remastering, rerealization, and
licensing, we announced a
>mid-March release date for the project. Many
licensing deals had been made
>to enable this package to be published with the
acquiescence of the major
>labels. Licensing fees would have been reflected in
our estimated retail
>list price of $100.
>
>But,as of January 2001, after two years of
negotiating, some license deals
>were still not in place.
>
>In the end Fony was unable to obtain a couple of
licenses. And i have a
>legal agreement with the majors that i won't
rerelease specific tracks from
>the 1989 PLUNDERPHONICS CD without their permission.
In a couple of cases,
>permission wasn't given, or even discussible.
>
>The result would have been that i would have had to
compromise the contents
>of the set and condone some glaring omissions in
order to release it at all.
>I abhore the notion of creative compromise more than
the i like the idea of
>everyone & their brother-in-law getting paid. But a
deal is a deal, so i was
>in a position where it seemed like my best option was
to put the set into a
>time capsule for a hundred years or so, until it, and
all the
>electroquotations it contains, enter the public
domain.
>
>Luckily, Seeland has decided to steal this project
from me. Several months
>ago Fony sent Seeland digital replicas of all the
music, texts & graphics
>which constitute the package, for their perusal and
comment. When they
>received word that Fony & i would be unable to
release it, Seeland decided
>to take over & publish the set independent of any
licensing.
>
>I thank Seeland for this benevolent act of theft, and
approve of their
>release of the 69 PLUNDERPHONICS 96 box/book set. No
animals, including any
>hairless apes, were harmed in bringing this
production to fruition.
>
>Like they say: "Get it while you can!"
>
>for now,
>
>: john oswald
>
>
>



__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: NAKED CITY
Date: 19 Apr 2001 09:10:32 -0700


On Thu, 19 Apr 2001 07:58:41 -0700  big ums wrote:
>
> <[e-mail]> writes:
> > I have everything else by NAKED CITY, except for the
> > 'Torture Garden' CD on EARACHE...
>
> So...
>
> Is my cd copy of Torture Garden on Shimmy Disc a reissue?  Or is it the
> other way around?

In fact Shimmy-Disc and Earache released the first pressings of the record.
Toy's Factory's one came one year later. I don't think that we can talk about
reissues for these, it is more like pressings sharing different regions
(US, Europe, and Asia).

    1990 - Shimmy-Disc (USA), S-039-CS (CT)
    1990 - Shimmy-Disc (USA), Shimmy 0...039 (45RPM 12")
    1990 - Earache (UK), Mosh 28 (LP)
    1990 - Earache (UK), Mosh 28 CD (CD)
    1990 - Earache (UK), Mosh 28 MC (CT)
    1991 - Toy's Factory Records (Japan), TFCK-88557 (CD)
    1993 - Shimmy-Disc (USA), 039 (CD)
    1997 - Tzadik (USA), TZ 7312-2 (2xCD)

    Patrice.

-



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

From: [e-mail]
Subject: Re: ordinary fanfares playlist #4
Date: 19 Apr 2001 13:16:03 EDT

In a message dated 4/18/01 2:10:43 PM Eastern Daylight Time,
[e-mail] writes:

<< sorry about any inconvenience. >>

Wouldn't worry about it.  Some people forget that the usage of the delete key
works wonders when receiving mail they're not interested in reading.
Besides, I doubt that the Zornlist address base is one that's given out to
anyone who requests it.

--
=dg=

-



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

From: "Arthur Gadney" <[e-mail]>
Subject: Re: NAKED CITY video
Date: 19 Apr 2001 17:21:40 -0000

>NAKED CITY 'Live at the Marquee Club, NYC 4/9/92' VHS
>Video (120mins) is available to buy for $30 from:

Has anybody seen this and would care to coment? How good is the quality?
...and performance?!

Thanks!
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com


-



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

From: [e-mail]
Subject: Zornheads
Date: 19 Apr 2001 15:51:33 EDT

How's the Book of Heads?

David

rp: Richard and Mimi Farina, Reflections in a Crystal Wind


-



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

From: patRice <[e-mail]>
Subject: Re: Zornlist T-Shirts
Date: 19 Apr 2001 21:55:57 +0200

Benito Vergara wrote:
>
> > Reminds me of the times when I used to always run 'round in my Naked City
> > t-shirt; which had a rather "violent" image on it...
>
> This wouldn't happen to be the one with the sailor-suited girl with the
> ripped-open face, whose eyeball is being tongued by that guy, is it? I stil
> can't wear that T-shirt around here in San Francisco...

That is exactly the one I was talking about!!! :-)

And you say you CAN'T WEAR that in San Francisco?!?! I can hardly
believe that...

patRice

np: Craig David, Born To Do It (Another guilty thing...)
nr: Skin&Ink Mag

-



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

From: "=?iso-8859-1?Q?Efr=E9n_del_Valle?=" <[e-mail]>
Subject: Wyatt/Soft Machine recommendations
Date: 19 Apr 2001 22:27:49 +0200

This is a multi-part message in MIME format.

------=_NextPart_000_0004_01C0C91F.F77E69C0
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    charset="iso-8859-1"
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Hi everyone!

Thank you so much for all the Wyatt/Soft Machine recommendations. I just =
bought "Schleep" and sounds really good. I'll bear all your advise in =
mind.

Best regards,

Efr=E9n del Valle

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<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.72.3110.7"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>Hi everyone!</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>Thank you so much for all the =
Wyatt/Soft Machine=20
recommendations. I just bought "Schleep" and sounds really =
good. I'll=20
bear all your advise in mind.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>Best regards,</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>Efrén del=20
Valle</FONT></DIV></BODY></HTML>

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

From: alberta <[e-mail]>
Subject: insane coho lip army
Date: 19 Apr 2001 16:38:57 -0400 (EDT)

> "My Sharona," which was common enough currency
> that Weird Al Yankovic did a send-up, "My Bologna"

And don't forget "Ay-ay-ay-ay-Ayatolla," the immortal soundtrack to the Iran hostage crisis. Who did *that* take-off? I don't think I ever knew.

that would be steve dahl, chicago wlup dj, who also did the rod stewart send-up 'do ya think i'm disco' and blew up 1000s of disco records at wrigley field.

his tribute to john wayne gacey, 'another kid in the wall', was another dahl classic. with 'cta' (to ac/dc's 'tnt') he turned to city politics. there were others. i just don't remember. (i wonder if i still have all those singles...)

kurtg

FREE! The World's Best Email Address @email.com
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-------------------------------------------------------------------------------

From: alberta <[e-mail]>
Subject: insane coho lip army
Date: 19 Apr 2001 16:40:48 -0400 (EDT)

>> "My Sharona," which was common enough currency
>> that Weird Al Yankovic did a send-up, "My Bologna"

>And don't forget "Ay-ay-ay-ay-Ayatolla," the immortal
>soundtrack to the Iran hostage crisis. Who did *that* take-off? >I don't think I ever knew.

"you know you got a real nice beard
a real nice beard
you know it really caught-a my eye-atollah.
but you know your mind is weird
your mind is weird
you really are a nutty kind of guy-atollah"

that would be steve dahl, chicago wlup dj, who also did the rod stewart send-up 'do ya think i'm disco' and blew up 1000s of disco records at wrigley field.

his tribute to john wayne gacey, 'another kid in the wall', was another dahl classic. with 'cta' (to ac/dc's 'tnt') he turned to city politics. there were others. i just don't remember. (i wonder if i still have all those singles...)

kurtg

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From: "=?iso-8859-1?Q?Efr=E9n_del_Valle?=" <[e-mail]>
Subject: =?iso-8859-1?Q?S=F3nar_Festival_2001?=
Date: 19 Apr 2001 22:59:34 +0200

This is a multi-part message in MIME format.

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    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

Hi everyone!

Since I read some time ago about the Sonar Festival in Barcelona in the =
list, here go some of the confirmed artists for this year's edition (if =
anybody's crazy enough to travel to Spain):=20

More than worthwhile:  Sonic Youth; Terry Riley
Maybe interesting??: Amon Tobim
For those who care about club DJ's: Carl Cox, Laurent Garnier, Jeff =
Mills

There's no further info available so far or worthwhile enough to =
mention. Thanks God about SY - probably an improv show- and Riley, but =
the rest of the line-up doesn't seem too promising.

Greetings,

Efr=E9n del Valle




------=_NextPart_000_0082_01C0C924.66A0E540
Content-Type: text/html;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.72.3110.7"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>Hi everyone!</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Since I read some time ago about the Sonar Festival =
in=20
Barcelona in the list, here go some of the confirmed artists for this =
year's=20
edition (if anybody's crazy enough to travel to Spain): </FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2><U>More than worthwhile:</U>  Sonic Youth; =
Terry=20
Riley</FONT></DIV>
<DIV><FONT size=3D2><U>Maybe interesting??:</U> Amon Tobim</FONT></DIV>
<DIV><FONT size=3D2><U>For those who care about club DJ's:</U> Carl Cox, =
Laurent=20
Garnier, Jeff Mills</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2>There's no further info available so =
far or=20
worthwhile enough to mention. Thanks God about SY - probably an improv =
show- and=20
Riley, but the rest of the line-up doesn't seem too =
promising.</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Greetings,</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Efrén del Valle</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV> </DIV>
<DIV><FONT size=3D2></FONT> </DIV></BODY></HTML>

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

From: Greg Mills <[e-mail]>
Subject: Re: new John Oswald
Date: 19 Apr 2001 14:21:52 -0700

You can supposedly pre-order it on Amazon ( it's listed as "69
Plunderphonics 96") for $23.72. They don't list a release date. Fishy, that.


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From: "Steve Smith" <[e-mail]>
Subject: RE: new John Oswald
Date: 19 Apr 2001 17:26:58 -0400

Thanks for the tip.  You can find out how to order the box here:

http://www.negativland.com/nmol/seeland.html

It's going for $33.33 U.S., $36.36 Canada, and $39.39 in the rest of the
world.  Gotta order that sucker quick... my cassette dub of 'Plunderphonics'
is gonna wear out sooner or later...

After reading Oswald's statement and seeing this drastically lower price,
anyone get the feeling this "authorized theft" from "Fony" records might
have been a little more than just authorized?  ;-)

Steve Smith
[e-mail]
NP - New York Contemporary Five, "Where Poppies Bloom," 'Bill Dixon/Archie
Shepp' (Savoy)

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Scott Handley

--- [e-mail] wrote:
> After hearing about the impending release of
> Oswald's "Plunderphonic 69/96" it has now shown up
> on the new WFMU playlist.  However, I can't find it
> listed in the usual mailorder sources.  Anybody know
> when it might turn up and more importantly how much
> it'll cost?

I'm not sure what good it does one to have one's work
"stolen" in complicity, except perhaps Seeland's
lawyers are top-notch.  This came through a while back
on the plunderphonics group (a yahoogroup, for those
interested).  It's actually great news, though it
doesn't really answer Lang's question.  Maybe try
Seeland mail order?


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From: Jeroen de Boer <[e-mail]>
Subject: Re: S=?ISO-8859-1?B?8w==?=nar Festival 2001
Date: 19 Apr 2001 23:29:51 +0200

Hi all,

At this year's Holland Festival (http://www.hollandfestival.nl/), Sonic
Youth will give a concert with their Goodbye 20th Century repertoire.

Jeroen

> More than worthwhile:  Sonic Youth; Terry Riley

Jeroen de Boer
content director Cyberslag Content Providing
Damsterdiep 15  9711SG Groningen    The Netherlands

t   [phone]
m   [phone]
f   [phone]
[e-mail]

www.cyberslag.com


-



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From: "Nirav Soni" <[e-mail]>
Subject: Re: Guilty Choices
Date: 19 Apr 2001 19:13:49 -0400

> If I still owned anything by the Thompson Twins - and I do consider it
from
> time to time - then it would definitely qualify as a guilty pleasure.
Same
> with Culture Club (who I didn't have to drive nearly as far to see live).

Yes!!! I *loved* Culture Club (and still do in fact.) I used to run around
the house with a scarf on my head singing "Karma Chameleon" (sp. for sure.)
I found the lp a few years ago at a record sale and it frequents my record
player more often then I admit. I *so* wanted to be Boy George when I was
younger. I still do, but w/out all the coke.

I'm also a not-so-devoted G'n'R fan.

Nirav
--
AIM: Icefactory37
OnNow- Coil- Black Light District (1000 Lights in a Darkned Room)
"Undocumented recollections are rarely disappointing." -Derek Bailey






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From: konrad <[e-mail]>
Subject: Re: Distances driven to concerts
Date: 19 Apr 2001 19:42:05 -0400 (EDT)


Almost willing to hop a flight from SF to NYC to see Bloedow/Charles
(Elysian Fields) tonight at Makor.  They'll probably never play here.


konrad

^Z


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From: [e-mail]
Subject: Company @ Tonic
Date: 19 Apr 2001 20:20:41 EDT


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Any word on this?
Thanks.

Chow,
               Marcus



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<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>Any word on this?
<BR>Thanks.
<BR>
<BR>Chow,
<BR>               Marcus
<BR>
<BR></FONT></HTML>

--part1_d8.515d162.2810dad9_boundary--

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From: Brian Olewnick <[e-mail]>
Subject: Re: Company @ Tonic
Date: 19 Apr 2001 20:29:33 -0400

Well, not quite "Company" but I did catch IST the other night--Simon
Fell (bass), Mark Wastell (cello) and Rhodri Davies (harp) and they are
one pretty amazing group. All the pieces played were, I believe,
improvisations. I don't want to get too much into their technical doings
at the expense of their fine overall conception, but....just when you
think you've seen every possible extended technique someone like Wastell
comes along and with the fingers of his left hand pressed hard into the
strings, he bows his own damn fingers! Ouch! All three exhibited
awe-inspiring technical range, great listening abilities and a real nice
sense of compositional structure. Davies (using a smaller, borrowed harp
--couldn't get his regular ax into the country) is all over the place on
the instrument, using bows, mallets, styrofoam eggs, corks, tambourines
and much more. Fell, who also on occasion would use his head and ear as
a damper on the strings, has a deep, rich tone and an unerring sense of
direction in the improvs, cutting things short when they felt too
comfortable and prolonging stretches the listener thought, wrongly, void
of further riches. Wonderful show

Bailey opened the evening in duo with tap dancer Will Gaines. It was OK,
maybe a bit hokey. Gaines, actually older than Bailey, is an able dancer
and, while it was clear that his affinities lay with straighter jazz,
seemed to genuinely enjoy "bantering" with Bailey. The highlights were
when Gaines would attmept to sit out for a while and Bailey would begin
playing straightahead jazz chords to lure him back onto the floor--only,
of course, to revert to his normal mode once he had succeeded.

Brian Olewnick

NP: Jerome Cooper - Outer and Interactions

-



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

From: Matt Plummer <[e-mail]>
Subject: Re: composition, no zorn
Date: 19 Apr 2001 19:29:28 -0600 (MDT)

This doesn't exactly answer your question... but I would highly recommend
HARMONIC EXPERIENCE by W.A. Mathieu.  it isn't specifically about
composition, but is an incredibly thorough book which deals with listening
experience as it relates to different types of harmony/temperments/musical
 systems.  It is the most impressive book that i've ever seen on that subject,
because of its approach and its depth.  it can lead you to hear completely new
 things in music... and therefore would be helpful for composition.

Matt Plummer
Coalition for Creative Music

On Tue, 17 Apr 2001 [e-mail] wrote:

> This might be a question best suited for a list with a different title, but i
> know there are some composers on the list who could answer.
> so, here it is: could someone here provide me with a list of books that a
> composer would deem important to an understanding of both classical and
> modern composition?
> the books i am looking for need not be under any specific banner, or only
> dealing with modern creative music. i am just interested in what people
> assume to be THE most essential books on composition/theory/harmony etc.
>
> if this will clutter the list, send the reply privately.
>
> thanks,
> ben
>
> -
>


-



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

From: [e-mail]
Subject: =?ISO-8859-1?Q?Re:=20S=F3nar=20Festival=202001?=
Date: 19 Apr 2001 22:51:05 EDT

amon tobin aka cujo?  mr "what if dance hall drum n bass followed jazz
improvisational, formulaic and instrumentational laws?"

ive heard good stuff about him

what else do we know?

-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: Guilty Choices
Date: 19 Apr 2001 11:54:39 +0200

I'll put something quite rare, but really strong ;-) - John Lord's
solo albums. I do not listen to them anymore, but in my teens I used
to see 'Sarabande' as Beauty and 'windows' as Adventure.

Marcin Gokieli
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem
you are working on, tell him to go climb a tree - Jerry Fodor


-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: =?iso-8859-1?Q?Odp:_S=F3nar_Festival_2001?=
Date: 20 Apr 2001 11:50:04 +0200


> amon tobin aka cujo?  mr "what if dance hall drum n bass followed
jazz
> improvisational, formulaic and instrumentational laws?"
> ive heard good stuff about him

A friend of mine is a big d'n'b fan, and he plays me those things
quite often. I can't say for sure which one of them Amon Tobim was,
but I'm pretty sure that he was one of those by whom I was most
impressed.
Marcin Gokieli



-



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

From: Theus <[e-mail]>
Subject: Re: Odp: S≤nar Festival 2001
Date: 20 Apr 2001 14:31:12 +0200

amon tobin: usually he is just dj-ing, mostly playing his own records and
other ninja tune stuff. some of his records are excellent, but what 's the
point playing your own records for an eager audience and call it a live show?
so: does anyone know if he really plays his stuff 'live' sometimes? and:
will he do so at Sonar?
Theus


-



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

From: fred fred <[e-mail]>
Subject: Vancouver/Victoria new & experimental music list
Date: 20 Apr 2001 09:34:17 -0700 (PDT)

* The oscillations monthly calendar is a comprehensive
calendar covering new music and sonic art events in
the Vancouver and Victoria area. It is compiled by
Jordan Nobles, sponsored by Vancouver New Music
(www.newmusic.org) and is released monthly through the
Vancouver Contemporary Music Email List. If you wish
to be added to this email list just visit the online
version of the oscillations calendar, hosted by earsay
productions, at
http://earsay.com/Pages/resources/calendar.html and
subscribe with the link there.



__________________________________________________
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Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: Odp: =?iso-8859-1?Q?S=F3nar?= Festival 2001
Date: 20 Apr 2001 10:38:09 -0700

At 11:50 AM 4/20/01, Marcin Gokieli wrote:
>From: <[e-mail]>
>
>> amon tobin aka cujo?  mr "what if dance hall drum n bass followed
>jazz
>> improvisational, formulaic and instrumentational laws?"
>> ive heard good stuff about him
>
>A friend of mine is a big d'n'b fan, and he plays me those things
>quite often. I can't say for sure which one of them Amon Tobim was,
>but I'm pretty sure that he was one of those by whom I was most
>impressed.
>Marcin Gokieli
>
All of Tobin's solo discs (I believe he has 3) plus the disc he did under
the name Cujo are extremely worthwhile. I know a few jazz drummers that
I've tried to get interested in drum 'n bass, and Tobin is the only artist
that regularly makes them take notice. However, I believe the original
poster was taking about a live performance. I saw Tobin DJ-ing a few years
back, and it was pretty thoroughly underwhelming. Hopefully, he's gotten
better.

____________________________________________
Dave Trenkel : [e-mail]
New & Improv Media
http://www.newandimprov.com
Now available: Admiral Twinkle Devil: Wabi Dub
____________________________________________



-



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

From: Scott Handley <[e-mail]>
Subject: RE: new John Oswald
Date: 20 Apr 2001 12:01:49 -0700 (PDT)

--- s.HANDLEY <[e-mail]>:
> I'm not sure what good it does one to have one's
> work
> "stolen" in complicity, except perhaps Seeland's
> lawyers are top-notch.

--- Steve Smith <[e-mail]> wrote:
> After reading Oswald's statement and seeing this
> drastically lower price,
> anyone get the feeling this "authorized theft" from
> "Fony" records might
> have been a little more than just authorized?  ;-)

Certainly, schizo-marketing at its most subversive.
BUT....any constraints applied to Oswald's (self)
publication of the PLUNDERPHONICS materials would also
apply to Seeland, no?  Doesn't this clever move just
shift the liability to Seeland, thereby endangering
all its operations?  (As opposed to Oswald, who as far
as I can tell, releases hardly anything?)  Of course,
I'm thrilled that's unfolding this way; but I'm
curious how this "theft" would help.  I could see
Oswald being entitled to sue over his stolen
intellectual property, then collecting a large
settlement, then Seeland beginning to receive large
checks from an "anonymous" donor.  How rich!  Mise en
abyme!

----s

__________________________________________________
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Yahoo! Auctions - buy the things you want at great prices
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-



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

From: HirakeMike <[e-mail]>
Subject: Seeland/Deconstructing Beck
Date: 20 Apr 2001 12:13:07 -0700 (PDT)

I was just browsing the Seeland site and came across
the cd "Deconstructing Beck".  After reading a few
articles about it, it's been mentioned that this cd is
"impossible to find", "no record stores would want to
carry it"...Though contrary to these facts, I stared
at this cd for a few minutes, wondering what it was,
at my local Borders store.  That was a few months ago
so I don't know if its still there...Anyone heard this??

__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Seeland/Deconstructing Beck
Date: 20 Apr 2001 12:17:51 -0700


On Fri, 20 Apr 2001 12:13:07 -0700 (PDT)  HirakeMike wrote:
>
> I was just browsing the Seeland site and came across
> the cd "Deconstructing Beck".  After reading a few
> articles about it, it's been mentioned that this cd is
> "impossible to find", "no record stores would want to
> carry it"...Though contrary to these facts, I stared
> at this cd for a few minutes, wondering what it was,
> at my local Borders store.  That was a few months ago
> so I don't know if its still there...Anyone heard this??

I have seen also the records in many stores.

The "impossible to find" is just wishful thinking.

    Patrice.

-



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

From: [e-mail]
Subject: Re: Seeland/Deconstructing Beck
Date: 20 Apr 2001 16:26:00 -0400

>"no record stores would want to carry it"...

The key word is probably "want" though obviously some stores do, most would not.  I've seen this sold on eBay a few times with big notices about how it was suppressed by Beck (not true) and withdrawn from sale (not true either).  But then many eBay sellers can have a dubious relationship with truth.

-



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

From: [e-mail]
Subject: Re: Seeland/Deconstructing Beck
Date: 20 Apr 2001 16:47:41 EDT

FWIW, although I haven't listened to it in years, I recall Deconstructing
Beck as being much more interesting in concept than reality.

Jon
www.erstwhilerecords.com

-



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

From: konrad <[e-mail]>
Subject: Re: Seeland/Deconstructing Beck
Date: 20 Apr 2001 17:30:35 -0400 (EDT)

On Fri, 20 Apr 2001 [e-mail] wrote:

> FWIW, although I haven't listened to it in years, I recall Deconstructing
> Beck as being much more interesting in concept than reality.
>

That seems to be how the Geffen attorneys felt also.  The rtmark pages
show an interesting story of how this appeared to have been a dud of a
provocation, with letters back and forth from attorney's and advisors and
the Illegal Arts/Negativland people.


konrad

^Z


-



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

From: "Steve Smith" <[e-mail]>
Subject: Upcoming Tzadik releases
Date: 20 Apr 2001 23:19:12 -0400

Hi, Gang:

In my incredibly long, tedious and self-induglent review of night one of
Company in New York (which for some reason, perhaps gratefully, hasn't been
forwarded by the server), I mentioned that I'd picked up a new Tzadik
catalog and would mention the new upcoming releases mentioned therein.  No
additional information was given for any of these but the very last one,
just a list of names on the back cover.  The last one, however, appeared
with cover art and a blurb in the regular section of the catalog.  Here
goes...

Steve Smith
[e-mail]
NP - King Crimson, "In the Court of the Crimson King," 'The Court of the
Crimson King' (Virgin)

COMPOSER SERIES
Gordon Mumma
Christian Wolff
Alvin Singleton
Peter Garland
John Zorn

RADICAL JEWISH CULTURE
Sephardic Tinge
Roberto Rodriguez
Jewlia Eisenberg
Andy Statman
Jenny Scheinman

NEW JAPAN
Yuka Honda
Hikashu
Otomo Yoshihide
Tamura Aki
Fushitsusha
Yamamoto Atsunori

ARCHIVAL SERIES
Cobra
Bosch/Beuys
Filmworks X

ORACLES
Xtatica
Rebecca Moore
Carla Kihlstedt
Ikue Mori
Susie Ibarra

KEY SERIES
Fred Frith: Clearing (Tzadik 7605)
Fred Frith is one of the world's greatest originals on the guitar, a
composer/performer who has been straddling the boundaries of rock, folk,
classical and improvisation since the early '70s.  'Clearing' is his first
solo guitar recording in over twenty years (since his classic 'Live in
Japan' of 1981), and his first solo studio recording since his
groundbreaking 'Guitar Solos' of 1974.  Of the three existing solo
recordings by this quirky musical master, 'Clearing' is undoubtedly the most
dynamic, the most direct and sonically the best recorded.


-



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

From: "Steve Smith" <[e-mail]>
Subject: FESTIVAL
Date: 20 Apr 2001 23:30:57 -0400

Hi again, gang:

Got this message earlier today from Matrin Davidson at Emanem.  Looks to be
a great festival, with highlights including the London Improvisers
Orchestra, Evan Parker & John Tilbury, and much more.  Best of all, as you
can see, there's a BBC webcast involved, which will be available for the
next year if I remember correctly.  Check it out.

Steve Smith
[e-mail]
NP - King Crimson, "Cadence and Cascade," 'In the Wake of Poseidon' (Virgin)

-----Original Message-----
Sent: Friday, April 20, 2001 2:07 PM

For exciting festival news see http://www.emanemdisc.com/festival.html

Even if you can't get to London, you'll be able to hear and see most of it
on
the web.

Hope to see you there
Martin Davidson


-



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

From: patRice <[e-mail]>
Subject: Amon Tobin (was: Re: Odp: S≤nar Festival 2001)
Date: 21 Apr 2001 08:39:37 +0200

Dave Trenkel wrote:
> I saw Tobin DJ-ing a few years
> back, and it was pretty thoroughly underwhelming. Hopefully, he's gotten
> better.

I read an interview with Tobin some time ago - he said that he doesn't
consider himself a technically good DJ. Said he's not even interested in
becoming good at it. He feels that what's important is the programming
of his DJ sets; and he said that he considers himself pretty good in
that field. (On another list I've subscribed to - for DJs - that's the
point of discussion currently: technically good DJ vs. DJ who knows how
to programme his sets.)

patRice

np: The Melvins, The Maggot
nr: Various, Japanese Tattoo Artist Horiyoshi's World

-



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

From: patRice <[e-mail]>
Subject: Maruo Suehiro
Date: 21 Apr 2001 08:54:10 +0200

Hi y'all...

Has anyone ever seen one of the books available by Maruo Suehiro? (The
guy who made the illustrations used inside the Naked City Elektra debut
CD booklet.)

Comments would be very much appreciated.

patRice

-



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

From: "Chad Mairn" <[e-mail]>
Subject: RE: Maruo Suehiro
Date: 21 Apr 2001 11:09:15 -0400

I have 'Mr. Arashi's Amazing Freak Show'  by Suehiro Maruo. Basically, it is
about a lost orphan girl who decides to travel with a freak show. The
graphic novel is in black and white and has its surreal and violent
qualities, which everyone is probably familiar with. However,
there are some fairly beautiful scenes as well.

The characters are certainly unique.  For instance, the story introduces the
human worm, Kanabun the boy-girl, Hohichi the human pretzel, the snake woman
etc. etc.  It is definitely worth checking out!



Original Message-----
[mailto:[e-mail]]On Behalf Of patRice
Sent: Saturday, April 21, 2001 2:54 AM


Hi y'all...

Has anyone ever seen one of the books available by Maruo Suehiro? (The
guy who made the illustrations used inside the Naked City Elektra debut
CD booklet.)

Comments would be very much appreciated.

patRice

-



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From: patRice <[e-mail]>
Subject: Re: Maruo Suehiro
Date: 21 Apr 2001 17:53:16 +0200

Hi Chad...

Thanks a lot for your comment.
I think you convinced me to order a copy.

Recently I also discovered another Japanese illustrator/painter, named
Toshio Saeki. Very good stuff, but his first two books are no longer
published. Can only be found on Bookfinder - at rather high prices. :-(

patRice

np: Naked City, Naked City
nr: s.f.a

Chad Mairn wrote:
>
> I have 'Mr. Arashi's Amazing Freak Show'  by Suehiro Maruo. Basically, it is
> about a lost orphan girl who decides to travel with a freak show. The
> graphic novel is in black and white and has its surreal and violent
> qualities, which everyone is probably familiar with. However,
> there are some fairly beautiful scenes as well.
>
> The characters are certainly unique.  For instance, the story introduces the
> human worm, Kanabun the boy-girl, Hohichi the human pretzel, the snake woman
> etc. etc.  It is definitely worth checking out!

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From: Tosh <[e-mail]>
Subject: Suehiro Maruo
Date: 21 Apr 2001 11:23:45 -0700

Whenever I go to Japan I try to pick up his mangas (Japanese comic books).
I  think his work is fantastic.  They are sort of a combination of retro
Japan (20's era), pornography with a big Georges Bataille aesthetic thrown
in.

As far as I know there is only one title in English, but still it is worth
picking up the Japanese books because they are so beautiful.  I am kind of
surprise that there is not a big cult for him in the West.

Also an additional 'cultural' note about Maruo's work - some of the models
used in his stories/images are actual Japanese showbiz figures from the
Twenties and Thirties.   So there is that aspect of Japanese pop culture
that is missing in the translation.

The comics in Japan are only about $18.00 (well worth it).  I wonder if
there is a store in the U.S. that carries them?


--
Tosh Berman
TamTam Books
http://www.tamtambooks.com

>
>


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From: [e-mail]
Subject: Re: Suehiro Maruo
Date: 21 Apr 2001 15:26:17 EDT


--part1_f.131d1548.281338d9_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

I've been able to order quite a few through Kino Kinea here in New York.
Usually $20 bucks a pop, and a bargain. Amazing work.

--part1_f.131d1548.281338d9_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

<HTML><FONT FACE=arial,helvetica><FONT  SIZE=2>I've been able to order quite a few through Kino Kinea here in New York.
<BR>Usually $20 bucks a pop, and a bargain. Amazing work. </FONT></HTML>

--part1_f.131d1548.281338d9_boundary--

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From: [e-mail]
Subject: Re: Zornheads
Date: 21 Apr 2001 23:27:45 EDT

In a message dated 4/19/01 3:53:18 PM Eastern Daylight Time,
[e-mail] writes:

>  How's the Book of Heads?

You know, the Zorn guitar etudes played by Ribot. Anybody?

David

np: Epiphany by Company

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From: "Francesco Martinelli" <[e-mail]>
Subject: accents and sounds
Date: 22 Apr 2001 10:57:14 +0200

.> >(And
> > Francesco, if you're out there reading this, how am I going to identify
you
> > at Tonic this week?)

I didnt read it - I was at Tonic only for the Thursday gig though. I met
Brandon Evans, Bruce Gallanter, saw Kevin Norton, Bruce Eisenbeil, Mark
Dresser, Steve Dalachinsky, besides the musicians and the Master of
Ceremonies of course.

> Steve, look for the guy who looks just like Lopez but speaks with a
> charming Italian accent!

Thanks - I had mixed reviews, so to speak, about that in my recent trip. Of
course when someone mentions it I tend to become self conscious and it gets
worse. Or maybe in an American speaking context it does sound different.


NP - Pat Martino, the recent reissue of Live! and Consciousness on 32 Jazz.
That's what a week in Philly does....



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From: "Arthur Gadney" <[e-mail]>
Subject: book of heads
Date: 22 Apr 2001 12:34:42 -0000

>How's the Book of Heads?

Essential. I would call it a classic. Probably the most revolutionary and
original thing Zorn has ever done. Ribot's playing is unbelievable as well.

Not easy listening though. Very chaotic. If you can get the full score, do
so, and follow it while listening.
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-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: Upcoming Tzadik releases
Date: 21 Apr 2001 12:48:09 +0200

----- Original Message -----

> Filmworks X

Anyone has any more precise info?
Marcin Gokieli
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem
you are working on, tell him to go climb a tree - Jerry Fodor


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From: "Marcin Gokieli" <[e-mail]>
Subject: G- Force? G- team?
Date: 22 Apr 2001 18:17:39 +0200

Hi,
Anyone remembers a japanese cartoon called G-force or G - team (it was
called 'zaloga g' in Poland)? A kind of super cheesy sf cartoon about
a group of brave people fighting the evil Zoltar?
A friend of mine wants to cover the music from that glorious movie, it
was a classic in Polnd some 20 years ago... maybe the first such thing
here. If anyone could help in finding the tune, i'd be extremely
grateful.

PS: I sent this message from another account, so two copies of it may
arrive on the list. But it's VERY important ;-)
Marcin Gokieli
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem
you are working on, tell him to go climb a tree - Jerry Fodor

Marcin Gokieli
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem
you are working on, tell him to go climb a tree - Jerry Fodor




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From: "thomas chatterton" <[e-mail]>
Subject: Mao's Moon
Date: 22 Apr 2001 17:49:44 -0000


Well, here in Canada, where it appears to be a (thought) crime to sell John
Zorn CDs, I managed to find a copy of 'The Gift', oddly enough at a
classical music speciality shop, on the first day I started working there as
the jazz/world music buyer. However, listening to the haunting 'Mao's Moon'
(track 6) with its gorgeous Dave Douglas trumpet solo, I can't help but
think that I've heard this theme somewhere before, even though it is
credited to Mr. Zorn. Anyone else notice this? Any ideas where that theme
originates?

np: The Gift (but I promise I won't look at the pictures!)

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

From: Rob Allaert <[e-mail]>
Subject: unwrapping the gift
Date: 22 Apr 2001 22:33:12 +0200

Zorn-agains,

I've unwrapped the Gift and somehow succeeded to not interpret the
pictures in a bad way. But still, that picture with the beaten girl with
the eye bandage with hands all over. How do the 'yeah'-sayers deal with
this one ?

    greetings,
      Rob @ risk
        np: a 1000 evenings - Dave Douglas

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From: konrad <[e-mail]>
Subject: Re: Upcoming Tzadik releases
Date: 22 Apr 2001 21:48:00 -0400 (EDT)


>
> RADICAL JEWISH CULTURE

> Jewlia Eisenberg

I believe this will be the a capella version of the band Charming Hostess,
Jewlia accompanied by Carla Kihlstedt and Nina Rolle.  They're from
Oakland and also play as a larger ensemble with guys backing them who used
to be in the Oakland art/punk band Idiot Flesh.  One time this lineup
played a gigue where Frith joined them for a half a set, and they even
performed some Art Bears songs.

> ARCHIVAL SERIES

> Bosch/Beuys

Does anyone know anything about this Beuys one?  Are we talking Heironymus
Bosch here or the tool company?


> ORACLES

> Carla Kihlstedt

This i suspect will be Carla's solo violin and voice songs.  She's pretty
incredible, and if you live in the Bay Area you can see her play pretty
often.  You may know her from Tin Hat Trio fame.


konrad



^Z


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From: Ricardo Reis <[e-mail]>
Subject: disc review and a Lounge Lizard experience...
Date: 23 Apr 2001 09:13:11 +0100 (WET DST)


Hi Z-people!

    One disc and one weird concert:

    1st, the disc:

Mao Morta is a portuguese group who carved a niche on rock-underground
world here, using their work to express a political statement (to the
music, this is unimportant as far i'm concerned). Their last disc,
"Primavera de Destrocos" ("spring of wreckage" in a free translation) is
out. I thought on given it a light review for the list, maybe some of you
would be interested in listening to it (and i would be very interested in
knowing your opinion, especially because i doubt you understand portuguese
and so are not influenced by lyrics):

# Mao Morta, "Primavera de Destrocos", EMI/Valentin de Carvalho:

    The disc uses a lot of guitar riff, simple figures to accentuate
the declamation of the vocal lider, Adolfo Luxuria Canibal. It's
interesting this use, like a companion in his "singing" (like walking) or
to give emphasis to his silence. Canibal's voice is deep, going in grave
tones, it sometimes remembers me of Sepultura vocalist  (first song)
although i can understand all he says :). He doesn't sings but you can
rather compare this to a spoken word with music.
    Although i make some association with Trent Reznor's NiN it's only
a slight feeling in some of the songs (the first basically) due to the
evolution of expressed feelings (Downward spiral). The lyrics (and so the
"reading"), goes through some pain, rage, the silent kind, growing up,
exploding or dying away but the motives (musical and lyrics) are
particular to the group.
    They used some oriental motives, tibetan like, on one of the songs
(3, "tu disseste") and a cricket singing sampler, and, on the background
of another (4, "penso o que penso") use some ambient motives, like water
running (read it was a sampling of water drums), for instance. On the song
"Humano" a sampler of W.S.Bourrougs reading "Bradley the buyer" is used to
a good effect, responding with a question to the Canibal's musings. This
song also has an effective use of strings through the use of sampling.
Another, homage to a portuguese author's book (Mario Henrique Letria
"Tales of the Tonic-Gin") obeys to a cabaret style evolution.
    Another instruments that appear in some songs (through sampling or
direct playing): bass, drums, hammond, sax, vibraphone, piano, trumpet,
whistle, water drums, violin, berimbau...)

    Oh, yeah... I started this afternoon (i'm writing this the 22th)
thinking that I should write a review of John Lourie and the Lounge
Lizards concert here at Lisbon.  Then i realised that the concert is only
in late June and i've dreamt it this night... gurk, someone has been
pouring things on my food...

            greets,

                              Ricardo Reis

                  "NON SERVIAM"


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From: Andy Marks <[e-mail]>
Subject: Re: Book of Heads
Date: 23 Apr 2001 03:56:39 -0700 (PDT)

I've always wondered why the score wasn't
included with this. Sure, there's a little but
it's barely legible. Anybody know where to get
the score?
>>How's the Book of Heads?

>Essential. I would call it a classic. Probably the
most revolutionary and
>original thing Zorn has ever done. Ribot's playing is
unbelievable as well.

>Not easy listening though. Very chaotic. If you can
get the full score, do
>so, and follow it while listening.


__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: "& c." <[e-mail]>
Subject: Pharmacopia
Date: 23 Apr 2001 09:35:50 -0400

Has any one else recieved an email from a band called Pharmacopia?  I don't
know how I got on their mailing list.  I wonder if this is connected with
the list on any one on it.

Zach
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-



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

From: David Beardsley <[e-mail]>
Subject: The Well-Tuned Piano DVD
Date: 23 Apr 2001 10:38:26 -0400

Some folks here might be interested:

The Well-Tuned Piano in The Magenta Lights DVD
Installation Opens in Germany
and
Just Dreams Announces Release of La Monte Young / Marian Zazeela
DVD of The Well-Tuned Piano in The Magenta Lights

http://lamonteyoung.com

--
* D a v i d         B e a r d s l e y
* 49/32  R a d i o "all microtonal, all the time"
* http://www.virtulink.com/immp/lookhere.htm
* hint hint ---> http://mp3.com/davidbeardsley

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From: "thomas chatterton" <[e-mail]>
Subject: Re: Book of Heads
Date: 23 Apr 2001 15:27:12 -0000

>From: Andy Marks <[e-mail]>

> >>How's the Book of Heads?
>
> >Essential. I would call it a classic. Probably the
>most revolutionary and original thing Zorn has ever done. Ribot's playing
>is unbelievable as well.

Well, I beg to differ on this one, I found it boring and predictable,
Ribot's attempt at 'outside' guitar playing is too derivative of Fred
Frith...

np:Burnt Friedman Con Ritmo


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-



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

From: patRice <[e-mail]>
Subject: Re: Book of Heads
Date: 23 Apr 2001 17:35:12 +0200



thomas chatterton wrote:

> >From: Andy Marks <[e-mail]>
>
> > >>How's the Book of Heads?
> >
> > >Essential. I would call it a classic. Probably the
> >most revolutionary and original thing Zorn has ever done. Ribot's playing
> >is unbelievable as well.
>
> Well, I beg to differ on this one, I found it boring and predictable,
> Ribot's attempt at 'outside' guitar playing is too derivative of Fred
> Frith...

So it's Zorn who's to "blame" really, isn't it?
I mean - he wrote all the pieces...
Wasn't "The Book of Heads" also originally written for some other guitar
player?

patRice


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From: patRice <[e-mail]>
Subject: Fantomas - live in Europe
Date: 23 Apr 2001 18:06:03 +0200

Hi ther...

Thought some of you might be interested:

Looks as if FANTOMAS will be touring Europe in July.
I'll definitely go check them out...

patRice

np: Depeche Mode, 101
nr: Eiji Yoshikawa, Taiko


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From: "thomas chatterton" <[e-mail]>
Subject: Re: Book of Heads
Date: 23 Apr 2001 17:03:48 -0000

>From: patRice <[e-mail]>
>
>So it's Zorn who's to "blame" really, isn't it?
>I mean - he wrote all the pieces...
>

Interesting point...not being familiar with the parameters of the score, I
am unable to discern how much the performer brings into this work...in any
case, no blame!


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

From: patRice <[e-mail]>
Subject: Re: Book of Heads
Date: 23 Apr 2001 19:08:30 +0200

thomas chatterton wrote:
>
> >From: patRice <[e-mail]>
> >
> >So it's Zorn who's to "blame" really, isn't it?
> >I mean - he wrote all the pieces...
> >
>
> Interesting point...not being familiar with the parameters of the score, I
> am unable to discern how much the performer brings into this work...in any
> case, no blame!

Well - I don't know neither.
But as far as I remember, most of it is rather clearly written out.
Somebody else might know better...?!

patRice

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From: [e-mail]
Subject: Zorn's "Songs for the Hemetic Theatre"
Date: 23 Apr 2001 17:34:20 EDT

    Anyone have any information on this upcoming release?
from,
matt

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From: [e-mail]
Subject: Re: Book of Heads
Date: 23 Apr 2001 23:24:13 EDT

It's published by Carl Fischer:

http://www.carlfischer.com/

I hope this helps. I count myself among those who like this recording. I may
consider getting the score some day.

                                                Yours truly,

                                                David K.

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

From: Matt Plummer <[e-mail]>
Subject: Michael Cain (fwd)
Date: 23 Apr 2001 22:12:02 -0600 (MDT)


---------- Forwarded message ----------

The Coalition for Creative Music presents...

MICHAEL CAIN,
solo jazz piano

In Concert:    Friday, April 27th, 8:00 PM

Location:    Grace Lutheran Church
        13th and Euclid, Boulder

Admission:    $5 (CU students are free w/ID)

Clinic:        Sat, April 28 11:00 AM (free)
        c-199, Imig Music, CU-Boulder campus

Call the Coalition Hotline @ 303.735.3163






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From: "Andreas Dietz" <[e-mail]>
Subject: Re: Book of Heads
Date: 24 Apr 2001 10:19:37 +0200

>From: patRice <[e-mail]>
>
>So it's Zorn who's to "blame" really, isn't it?
>I mean - he wrote all the pieces...
>Wasn't "The Book of Heads" also originally written for some other guitar
>player?

it was originally written for Eugene Chadbourne around 20 years ago.

Andreas
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-------------------------------------------------------------------------------

From: patRice <[e-mail]>
Subject: Re: Fantomas - live in Europe
Date: 24 Apr 2001 10:29:16 +0200

Well - I only know they'll be playing in Austria on 5 July.
Maybe someone knows their website's URL? (If they have one...)

patRice

np: Pantera, Far Beyond Driven
nr: Various, Horiyoshi's World



Theus wrote:

> Any news on dates, cities, etc.
> Thanks, Theus.
>
> At 06:06 PM 4/23/2001 +0200, you wrote:
> >Hi ther...
> >
> >Thought some of you might be interested:
> >
> >Looks as if FANTOMAS will be touring Europe in July.
> >I'll definitely go check them out...
> >


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From: patRice <[e-mail]>
Subject: Naftule's Dream Live?
Date: 24 Apr 2001 10:30:50 +0200

Hi there...

Has anyone from the list ever seen Naftule's Dream live?

If yes: recommendable? Or not?

They're playing Switzerland this coming Thursday - and I thought maybe I
should check them out...

Thanks for your comments.

patRice


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From: Skip Heller <[e-mail]>
Subject: Re: Naftule's Dream Live?
Date: 25 Apr 2001 01:54:48 -0700



> Hi there...
>
> Has anyone from the list ever seen Naftule's Dream live?
>
> If yes: recommendable? Or not?
>
> They're playing Switzerland this coming Thursday - and I thought maybe I
> should check them out...
>
> Thanks for your comments.
>
> patRice
>
>
> -
>
I saw them open for Uri in December of, I think, 98, and they were really
good.  The trombone player -- was it David Harris? -- was especially
formidable.

My suggestion -- GO.

Then again, I live in LA, where that type of thing is so infrquent that my
fiancee and I are about to drive about 4 hrs to San Luis Obispo to see Don
Byron play BUG MUSIC, so I'm not as selective about such matters as I was
when I lived in Philly.  Desparate, yes.  Selective, hardly.

Skip H

np: Thelonious Monk, Criss Cross


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

From: "Andreas Dietz" <[e-mail]>
Subject: Re: Naftule's Dream Live?
Date: 24 Apr 2001 11:02:16 +0200

>From: patRice <[e-mail]>
>
>Has anyone from the list ever seen Naftule's Dream live?
>
>If yes: recommendable? Or not?
>
>They're playing Switzerland this coming Thursday - and I thought maybe I
>should check them out...
>
>Thanks for your comments.

Hi patRice,

I┤ve seen them last year and they are strongly recommendable. The only
problem were some traditional klezmer fans who were repeated calling for
turning down - obviously misinformed what to expect. Now you know what they
are NOT doing and go see it - it┤s a pleasure!

Andreas
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-



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

From: "Andreas Dietz" <[e-mail]>
Subject: Re: Fantomas - live in Europe
Date: 24 Apr 2001 11:09:45 +0200

the tour can be seen at http://home.collegeclub.com/retrovertigo/

Andreas

np: Hamid Drake/Joe McPhee - Emancipation Proclamation (Okka)
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-------------------------------------------------------------------------------

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: Book of Heads
Date: 24 Apr 2001 11:51:01 +0200

----- Original Message -----

> So it's Zorn who's to "blame" really, isn't it?
> I mean - he wrote all the pieces...
> Wasn't "The Book of Heads" also originally written for some other
guitar
> player?

I have the impressio that it was written for Chadbourne

Marcin Gokieli
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem
you are working on, tell him to go climb a tree - Jerry Fodor


-



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

From: "Jeton Ademaj" <[e-mail]>
Subject: Re: Gee Force
Date: 24 Apr 2001 06:57:43 -0400

Hi All,

I believe the cartoon your looking for is called "Battle of the Planets",
where everybody has their own scooter that can transform into a
mini-phoenix, and then when all the scooters are on the mothership they can
transform into "full fiery phoenix"? Where 'everyone' includes people like
Cheops, Tiny, Jason and Princess. Where they eventually discover that Zoltar
(deep in the Crab Nebula) is a woman? Try napster under "Battle Of The
Planets". As a kid I always called it "G-Force" anyway (the name of the
team)...

Peace

>Date: Sun, 22 Apr 2001 18:17:39 +0200
>From: "Marcin Gokieli" <[e-mail]>
>Subject: G- Force? G- team?

>Hi,
>Anyone remembers a japanese cartoon called G-force or G - team (it was
>called 'zaloga g' in Poland)? A kind of super cheesy sf cartoon about
>a group of brave people fighting the evil Zoltar?
>A friend of mine wants to cover the music from that glorious movie, it
>was a classic in Polnd some 20 years ago... maybe the first such thing
>here. If anyone could help in finding the tune, i'd be extremely
>grateful.

>PS: I sent this message from another account, so two copies of it may
>arrive on the list. But it's VERY important ;-)
>Marcin Gokieli
>[e-mail] [e-mail]
>Generally speaking, if a philosopher offers to 'dissolve' the problem
>you are working on, tell him to go climb a tree - Jerry Fodor


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-



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

From: jmcazurin <[e-mail]>
Subject: Re: Gee Force
Date: 24 Apr 2001 19:34:49 +0800


It was called G-Force here too.


>I believe the cartoon your looking for is called "Battle of the Planets",
>where everybody has their own scooter that can transform into a
>mini-phoenix, and then when all the scooters are on the mothership they
>can transform into "full fiery phoenix"? Where 'everyone' includes people
>like Cheops, Tiny, Jason and Princess. Where they eventually discover that
>Zoltar (deep in the Crab Nebula) is a woman? Try napster under "Battle Of
>The Planets". As a kid I always called it "G-Force" anyway (the name of
>the team)...
>
>>Hi,
>>Anyone remembers a japanese cartoon called G-force or G - team (it was
>>called 'zaloga g' in Poland)? A kind of super cheesy sf cartoon about
>>a group of brave people fighting the evil Zoltar?
>>A friend of mine wants to cover the music from that glorious movie, it
>>was a classic in Polnd some 20 years ago... maybe the first such thing
>>here. If anyone could help in finding the tune, i'd be extremely
>>grateful.


-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: Gee Force
Date: 24 Apr 2001 16:55:34 +0200

----- Original Message -----

> I believe the cartoon your looking for is called "Battle of the
Planets",
> where everybody has their own scooter that can transform into a
> mini-phoenix, and then when all the scooters are on the mothership
they can
> transform into "full fiery phoenix"? Where 'everyone' includes
people like

Yes, that's the one!It was wonderful... How do you menage to remember
all those things? Is it broadcasted somewhere now?
Thanks for reminding me of the title 'battle of the planets' - in fact
it was called 'wojna planet' in Poland, but everyone called it 'zaloga
G'.
Transformation,
Marcin Gokieli
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem
you are working on, tell him to go climb a tree - Jerry Fodor


-



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

From: "marc elzweig" <[e-mail]>
Subject: Re: Naftule's Dream Live?
Date: 24 Apr 2001 12:43:41 -0400


>Has anyone from the list ever seen Naftule's Dream live?
>
>If yes: recommendable? Or not?
>
>They're playing Switzerland this coming Thursday - and I thought maybe I
>should check them out...


i'd say definitely check them out.  i've seen them a bunch of times in
boston, and they're a personal favorite of mine among the 'post-klezmer'
groups.

live they're a sight to behold and behear, all excellent players.  glenn
dickson (clarinet) is fairly monstrous.


-marc



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

From: "Arthur Gadney" <[e-mail]>
Subject: the ex sound files
Date: 24 Apr 2001 16:53:53 -0000

does anybody know of a webpage were I can listened to excerpts from the new
cd by The Ex "DIZZY SPELLS"? I'd like to listen before buying.
thanks!
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-



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

From: Zachary Griffin <[e-mail]>
Subject: The Book of Heads/Suehiro Mauro/Victoriaville
Date: 24 Apr 2001 12:53:10 -0400

<html><head></head><body>Book Of Heads: Since I get this in digest form this
question might have been answered already and I haven't recieved it yet.
If so I apologize.  To the person who asked if "Book Of Heads" was written
for someone other than Marc Ribot.  I believe it was written for Eugene Chadbourne
in the late 70's.<br>
<br>
Suehiro Mauro: I can't help give more props to this great artist.  Probably
one of if not the best comic book/manga artists of our time.  I have one
graphic novel (don't ask me the title, it's in japanese).  Judging by the
pictures I would say that it is a vampire story.  And it is brutal and berautiful
at the same time, just like the Naked City CD jackets, but in black and white.
Even if you don't understand japanese, which I don't, it's worth a look at
least.<br>
<br>
Victoriaville: I am going this year.  I am visiting Montreal for a couple
of days before the festival.  Yes it's the obligitory "anything to do...record
store...club...museum" question.  You can write me offlist if you wish.
I will appreciate any information.<br>
<br>
Thanks   <br>
Zach Griffin<br>
<br>
np: V/A---Bad Sun Rising<br>
nr: Fixed Chao by Han Ong    </body></html>


-



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

From: [e-mail]
Subject: AMM/Globe Unity/Murakami
Date: 24 Apr 2001 17:30:32 EDT

some quick notes, in between AMM shows...

the first Globe Unity Orchestra record has been reissued, on Japanese MPS,
available through Dusty Groove (www.dustygroove.com). there's personnel
listed at the EFI site, and they include Jaki Leibezeit and Mani Neumaier,
for the krautrockers among you. what I'm especially excited about though is
that one of the two days of recording was the day I was born.

there's an new Haruki Murakami novel out this week, Sputnik Sweetheart.

I'll probably post some sort of collected thoughts after all the AMM shows
are over, but for now I wanted to mention one thing. they played Sunday night
at Dartmouth with Christian Wolff, who taught there for decades and is now
retired. they played in a classroom in the bowels of the music building, and
there were less than 10 people there, including my friend, myself, and the
three people recording it for eventual release on Matchless. it took a little
while to get going, but the ending was magical. for the last five minutes,
Prevost and Tilbury had stopped playing entirely. Rowe was slowly, slowly,
slowly fading his feedback out, and Wolff was quietly whistling to himself.
unbelievably riveting stuff.

Jon
www.erstwhilerecords.com

-



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

From: "z~S" <[e-mail]>
Subject: Re: AMM/Globe Unity/Murakami
Date: 24 Apr 2001 14:37:25 -0700

>>>but the ending was magical. for the last five minutes,
Prevost and Tilbury had stopped playing entirely. Rowe was slowly, slowly,
slowly fading his feedback out, and Wolff was quietly whistling to himself.
unbelievably riveting stuff.<<<

I just love this quote.



-



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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: Re: Fantomas - live in Europe
Date: 25 Apr 2001 12:57:24 +0200 (CEST)

All Fantomas/Bungle/Patton/etc-related info at
www.ipecac.com.

Greetings,
EfrΘn del VAlle
--- patRice <[e-mail]> escribi≤: > Fecha: Tue,
24 Apr 2001 10:29:16 +0200
> De: patRice <[e-mail]>
> Responder a: [e-mail]
> Para: Theus <[e-mail]>, Zornlist
> <[e-mail]>
> Asunto: Re: Fantomas - live in Europe
>
> Well - I only know they'll be playing in Austria on
> 5 July.
> Maybe someone knows their website's URL? (If they
> have one...)
>
> patRice
>
> np: Pantera, Far Beyond Driven
> nr: Various, Horiyoshi's World
>
>
>
> Theus wrote:
>
> > Any news on dates, cities, etc.
> > Thanks, Theus.
> >
> > At 06:06 PM 4/23/2001 +0200, you wrote:
> > >Hi ther...
> > >
> > >Thought some of you might be interested:
> > >
> > >Looks as if FANTOMAS will be touring Europe in
> July.
> > >I'll definitely go check them out...
> > >
>
>
> -
>


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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: Re: Book of Heads
Date: 25 Apr 2001 13:03:02 +0200 (CEST)



> >
> > Interesting point...not being familiar with the
> parameters of the score, I
> > am unable to discern how much the performer brings
> into this work...in any
> > case, no blame!
>
> Well - I don't know neither.
> But as far as I remember, most of it is rather
> clearly written out.
> Somebody else might know better...?!
>
> patRice
>
> -
>
As I commented on in my sort-of-review of Ribot's solo
performance in Barcelona, the repertoire was largerly
based on "The Book of Heads".
I had the chance to see a video recording of Ribot's
sound check for that same concert and he performed a
couple of compositions from The Book. In comparison to
what we saw/heard later, it was pretty much the same,
I would say even "note" by "note" of what I saw in
that video. It seems that everything is written, then,
although it may seem impossible.

Regards,
EfrΘn



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

From: "Arthur Gadney" <[e-mail]>
Subject: new dave douglas + ribot theater
Date: 25 Apr 2001 16:21:36 -0000

hello

has the new Dave Douglas cd with Brad Jones, Han Bennik and Mischa
Mengleberg been released yet? Any comments?

and

Could anybody comment on the Marc Ribot theater performance "As So Much As
Life Is Borrowed"?

Thanks!
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-



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

From: "thomas chatterton" <[e-mail]>
Subject: Ligeti
Date: 25 Apr 2001 16:27:30 -0000

np:Volume I of The Ligeti Project from Teldec New Line is now out (ahead of
its scheduled release date). To my ears, the sound quality is noticeably
better than the Sony releases, more expansive and detailed, especially in
the upper register sound. The first piece, Melodien, is one of his strongest
compositions. Great performances here from both the Asko and Schonberg
Ensembles. This new label is off to a strong start, there are also releases
from Nono (Al gran sole carico d'amore), Sharon Isbin & Matthias Pintscher.
Is anyone familiar with the last 2 releases? Comments?


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-



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

From: [e-mail]
Subject: more knitting factory
Date: 25 Apr 2001 12:41:10 -0400

http://villagevoice.com/issues/0117/sotc.shtml

Story about the Knit's future and Kramer's lawsuit against it.

-



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

From: Les Henderson <[e-mail]>
Subject: Terry Ex + Han Bennink
Date: 25 Apr 2001 11:38:18 -0500 (CDT)

Has any one heard the collaboration between Terrie Ex and Han Bennink that
was just released on Atavistic?  I think that it is called _The Laughing
Owl_ and is part of the unheard music series.  What is it like?

Les Henderson
[e-mail]


-



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

From: [e-mail]
Subject: can anybody ID this?
Date: 25 Apr 2001 12:47:40 -0400

I've heard parts of this piece twice on the radio but don't know any info (the station hasn't returned any inquiries).  It resembles a radio drama with a bit of atmospheric sound/music sometimes in the background.  Several voices mostly (all?) women tell bits of their part in the story which has something to do with a secret research facility and an interrogation of some kind.  ("Do you think she's lying?"  "Of course she's lying.")  One of them talks about how she couldn't discuss the work with anybody else and how she was always afraid.  This makes it sound a bit silly but what I heard was pretty unnerving.

-



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

From: [e-mail]
Subject: Re: can anybody ID this?
Date: 25 Apr 2001 13:09:31 -0400

Miranda July - The Binet-Simon Test

1. Medical wonder / 2. Lena Beamish / 3. I can-Japan / 4. WSNO / 5. The
co-star
KILL ROCK STARS, 1998.


At 12:47 25/04/01 -0400, you wrote:
>I've heard parts of this piece twice on the radio but don't know any info
>(the station hasn't returned any inquiries).  It resembles a radio drama
>with a bit of atmospheric sound/music sometimes in the
>background.  Several voices mostly (all?) women tell bits of their part in
>the story




-



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From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: Terry Ex + Han Bennink
Date: 25 Apr 2001 19:12:55 +0200 (CEST)

I listened to that record a couple of months ago.

As you may suppose, it's about Terrie and Bennink's
free improvisations. Although IMHO both are terrific
performers, I found their duo a little boring, maybe
too slow. Such a tough listen.

The sound was good, and I'm sure that The Laughing Owl
requires repeated listenings to be appreciated in
accordance and I could play it just a couple of times
since I borrowed it.

Can't provide futher help.

Best regards,
EfrΘn del Valle


--- Les Henderson <[e-mail]>
escribi≤: > Fecha: Wed, 25 Apr 2001 11:38:18 -0500
(CDT)
> De: Les Henderson <[e-mail]>
> Para: [e-mail]
> Asunto: Terry Ex + Han Bennink
>
> Has any one heard the collaboration between Terrie
> Ex and Han Bennink that
> was just released on Atavistic?  I think that it is
> called _The Laughing
> Owl_ and is part of the unheard music series.  What
> is it like?
>
> Les Henderson
> [e-mail]
>
>
> -
>


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

From: alberta <[e-mail]>
Subject: retheex
Date: 25 Apr 2001 14:08:46 -0400 (EDT)

i heard a track off "dizzy spells" on the radio this morning (wfmu, man), and it was quite good. pretty similar to the "starters alternators" stuff.

i have "the laughing owl" (terre'n'han), tho not the atavistic reissue, and it's really good. i just bought it at the icp sets last year. is it really that "unheard"?

your humble servant,

kurt

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-



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

From: "Robert A. Pleshar" <[e-mail]>
Subject: field recording equipment
Date: 25 Apr 2001 14:11:06 -0500

Hi all,

Don't know if this is the best place to ask but I figure someone can point
me in the right direction at least. Anyone know about recording devices
suitable for field recordings and them subsequent mixing together. I guess
I'm imagining some sort of reasonably good analog or digital recorder and a
4 track mixer or something like that. Any ideas about this or where to
start looking for info on this stuff?

Thank you for indulging me,
Rob


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Ligeti
Date: 25 Apr 2001 15:10:53 -0400

Thomas, you're posting from the UK, aren't you?

The reason I ask is because none of Teldec's "New Line" recordings are out
in the USA as yet.  The Sharon Isbin disc, with guitar concerti by
Christopher Rouse and Tan Dun, is out here on May 15, as is a disc by Bang
on a Can and Friends titled 'Lost Objects.'  That second release will likely
prove interesting in that it features the BoaC composers writing for a
baroque instrumental ensemble using period instruments, the excellent
Concerto Koln, as well as the much-hyped DJ Spooky (remember him?).

The Ligeti release is due here on June 19, along with the Nono and the
Pintscher.  I haven't heard anything by Pintscher, but he's the newest,
hottest young thing out of Germany and already composer in residence at the
Cleveland Orchestra.

I got advance copies of the Ligeti, Nono and Isbin in the mail today, along
with a keen little Ligeti interview disc which includes comments on his
pieces, his style (which he dubs "perverse" at one point), Stanley Kubrick
and more.

I agree with what you say about the quality of the Ligeti recording.  The
sound is excellent, and I find the recording balance on the Chamber Concerto
better than those of Ensemble Intercontemporain on DG and Ensemble Modern on
Sony.  The harpsichord is not unduly spotlit, for once.  The Piano Concerto,
with Ligeti's favorite pianist, Pierre-Laurent Aimard, is superb, and the
little trumpet concerto Mysteries of the Macabre is a lot of daffy fun.

Of course, the thing that should have us all holding our breath is the
closing of Teldec's office in Germany by its corporate parent, AOL Time
Warner.  The label is clearly still active, but without its German
repertoire center, I'm somewhat skeptical that the "New Line" will be seen
as an imperative for very long.  I'd love to be proven wrong, but in the
mean time, if this repertoire is of interest, the discs should be snapped
up.  Thankfully, if Ligeti's any indication, they're worth it.

Steve Smith
[e-mail]
NP - Christopher Rouse, 'Concert de Gaudi,' Sharon Isbin, Gulbenkian
Orch/Tang (Teldec)
... which is so far a silly po-mo Rodrigo pastiche...


-



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

From: "Francesco Martinelli" <[e-mail]>
Subject: Re: field recording equipment
Date: 25 Apr 2001 21:16:21 +0200

I can tell you how I organized myself: after looking at different
technologies (minidisc, DAT, CDR) I settled for DAT at it gives in my
opinion the better quality and the option to a quick, hassle-free transfer
to Cd for ease of reference and conservation. Among the DAT machines, I
choose the Tascam (Teac professional division) DA-P1 as I do not think the
cheap small stereo jack connection to microphones available in the Sony
machines does justice to the format; Tascam connects with XLR pro
connectors. As for microphones, I have a couple of Shure to be used if the
concert is in my hometown or nearby; for traveling I just bought a couple of
the recommended Core Sound (Teaneck) stealth microphones, very handy - you
can clip them on a music stand for example. They need their battery unit to
operate well; I have the medium range model, they have a cheap type that
sells for 75 dollars and the top sells for one thousand. (the recorder,
which doubles as a first class home DAT, costs between 1.300 and 1500
dollars).
This way there's no mixing option, but I havent heard of any field recording
mad on 4 channels.
Francesco


-



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

From: "thomas chatterton" <[e-mail]>
Subject: RE: Ligeti
Date: 26 Apr 2001 02:24:27 -0000

>From: "Steve Smith" <[e-mail]>

>Thomas, you're posting from the UK, aren't you?
>
No, I'm in Canada. And the Sharon Isbin disc showed up at our shop
today...are there other works of Pintscher available?

sp:Ligeti Project I
nr: Neal Stephenson Cryptonomicon
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-



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

From: [e-mail]
Subject: zorn scores
Date: 25 Apr 2001 22:24:19 EDT

hey,
awhile ago, i was considering buying some of zorn's scores, but the prices
were a little steep considering i'm a poor high school student. anyway, i
figured the quotes might be interesting to you all, considering we were
talking about "the book of head"s and all.
Memento Mori: $65
Untitled: $45
The Book of Heads: $110

from,
matt

-



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

From: "Steve Smith" <[e-mail]>
Subject: Pintscher (was RE: Ligeti)
Date: 25 Apr 2001 23:14:31 -0400

Yes, there's a disc of Pintscher's music on the Kairos label.  It includes
part of his opera 'Thomas Chatterton,' which was evidently highly acclaimed
and comes out of a Berg-style expressionist idiom, plus the Five Orchestral
Pieces, about which an overwhelmingly positive New York Times review still
manages to say almost nothing about what the actual music sounds like except
little descriptive notes about the ways in which it moves about, and a
smaller, shorter work called 'Choc,' after a line by Rimbaud.

I note that the single consumer who "reviewed" this at Amazon gave it only
one star, stating, "You have to love the likes of Cage, Ligeti, Webern etc
to like this music."  Well, that sounds like a recommendation to me...

http://www.amazon.com/exec/obidos/ASIN/B00002DDUG/qid=988254380/sr=1-2/ref=s
c_m_3/107-3117655-5999701

There's also some record company puffery about Pintscher and the upcoming
disc at http://www.warnerclassics.com/teldec/newline/pintscher.html

(If you keep digging around from there, you'll find information about the
other four "New Line" releases.  No sound samples as yet, though.)

Steve Smith
[e-mail]
(who found the Isbin disc intermittently entertaining, sometimes very much
so, but mostly derivative on first listen... and this as a major fan of
Chris Rouse's music, less so Tan Dun's recent work...)


-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: AMM/Globe Unity/Murakami
Date: 25 Apr 2001 23:24:49 -0400

Just picked up the new Murakami tonight - thanks for the heads up.  I
finally read his 'South of the Border, West of the Sun' last week, and even
if it's not considered his best, it made me want to read more.

You'll also want to note that Murakami's first non-fiction book is due out
any time now as well, according to Time Out New York.  It's called
'Undareground,' and it deals with the aftermath of the Aum Shinrikyo sarin
nerve gas attack on the Japanese subway system in 1995.  The reviewer in
Time Out liked it a lot.  It seems to have gone straight to paperback, and
while Time Out said it would be coming in May, Amazon seems to say that it
came out two weeks ago.  Adding to the confusion, there's a reader review
from February - maybe someone who read it in Japanese?  I didn't see it in
the bookstore tonight, but then, I wasn't looking in the paperback section.

Thanks, too, for the tantalizing description of the AMM/Wolff date.

Steve Smith
[e-mail]


-



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

From: "Steve Smith" <[e-mail]>
Subject: Murakami typo
Date: 25 Apr 2001 23:31:58 -0400

What a nasty typo THAT was!  Of course, the name of Murakami's new
non-fiction book is 'Underground.'

Steve Smith
[e-mail]


-



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

From: [e-mail]
Subject: Re: AMM/Globe Unity/Murakami
Date: 25 Apr 2001 23:40:12 EDT


In a message dated 4/25/01 11:28:40 PM, [e-mail] writes:

<< You'll also want to note that Murakami's first non-fiction book is due out

any time now as well, according to Time Out New York.  It's called

'Undareground,' and it deals with the aftermath of the Aum Shinrikyo sarin

nerve gas attack on the Japanese subway system in 1995.  The reviewer in

Time Out liked it a lot.  It seems to have gone straight to paperback, and

while Time Out said it would be coming in May, Amazon seems to say that it

came out two weeks ago.  Adding to the confusion, there's a reader review

from February - maybe someone who read it in Japanese?  I didn't see it in

the bookstore tonight, but then, I wasn't looking in the paperback section. >>

actually, Underground was released in England last year. I ordered it from
Amazon UK, along with Norwegian Wood, when neither of them were scheduled for
release here. I never made it too far into Underground. Murakami rounded up
everyone he could find who was anywhere near the subway system at the time,
interviewed them, and printed the results, a Studs Terkel-esque approach.
it's interesting for a while, but I found it became repetitive pretty
quickly, and I lost interest.

the new novel, on the other hand, Sputnik Sweetheart, I inhaled over the
course of last night. it's very good; my favorite of his shorter, less
ambitious books.

<<Thanks, too, for the tantalizing description of the AMM/Wolff date.>>

sure. Brian and I are off to Bard tomorrow afternoon for their last pre-NYC
shows.

Jon
www.erstwhilerecords.com

-



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

From: Tosh <[e-mail]>
Subject: Re: AMM/Globe Unity/Murakami
Date: 25 Apr 2001 21:44:27 -0700


I just finished reading 'Underground' and thought it was interesting.  A
good snapshot view of Tokyo and its citizens.   Murakami I think has done a
good job in getting these everyday people describing a day in hell.
Actually quite chilling.  The weakest part of the book are the interviews
with Aum members.
> -
>
>


-



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

From: Whit Schonbein <[e-mail]>
Subject: minneapolis, usa, may 2-5?
Date: 25 Apr 2001 23:56:02 -0500 (CDT)


people here seem to know what's going on, musically speaking.  I'll be in
minneapolis, minnesota, usa, from the 2nd through the night of the 5th,
and am wondering if there is any intersting music going on.  suggestions
regarding local musicians welcome.

thanks!
whit
http://artsci.wustl.edu/~wwschonb/


-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Stravinsky
Date: 26 Apr 2001 13:24:19 +0200

Hi all,
As I am trying to complete my Stravinsky collection, I'm looking for
good versions of Apollo, Agon, Pulcinella&Firebird SUITES. I've got
the 'igor stravinsky edition' versions - which are btw excellent - but
I'd like to have some newly recorded versions. I did not listen to
those seriously until now - but currently I start to dig them intesly.
Any ideas?
Marcin Gokieli
(who starts again to listen to stravinsky 98% of the time)
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem
you are working on, tell him to go climb a tree - Jerry Fodor




-



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

From: Julien Quint <[e-mail]>
Subject: Re: Stravinsky
Date: 26 Apr 2001 14:44:37 +0200

> Hi all,
> As I am trying to complete my Stravinsky collection, I'm looking for
> good versions of Apollo, Agon, Pulcinella&Firebird SUITES. I've got
> the 'igor stravinsky edition' versions - which are btw excellent - but
> I'd like to have some newly recorded versions. I did not listen to
> those seriously until now - but currently I start to dig them intesly.

There is a new recording of the Firebird suite just released this month on
Harmonia Mundi, directed by Josep Pons. It is a performance of the most
recent version of this work, and it got very good reviews. I picked it up but
haven't listened to it yet.

Julien

-



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

From: "& c." <[e-mail]>
Subject: Jazz Musicians
Date: 26 Apr 2001 09:44:53 -0400

I'm working on sociology paper about jazz musicians as a subculture.
Hopefully, some one could answer this question off-list: Are there or were
there any offenses that would cause a musician to be ostrecized from the
mainstream establishment?

Zach
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-



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

From: Rick Lopez <[e-mail]>
Subject: Re: Jazz Musicians
Date: 26 Apr 2001 09:44:49 +0000

on 01.04.26 1:44 PM, & c. at [e-mail] wrote:

> I'm working on sociology paper about jazz musicians as a subculture.
> Hopefully, some one could answer this question off-list: Are there or were
> there any offenses that would cause a musician to be ostrecized from the
> mainstream establishment?

Creativity.
Self-expression.


There's more, but those two will suffice.

RL
----------
[All of the below and much more at: http://www.velocity.net/~bb10k]

Sessionographies :
CRISPELL;  IBARRA; Wm. PARKER; RIVERS; SHIPP; D.S. WARE.
Discographies :
COURVOISIER; ENEIDI; MANERI,; MORRIS; SPEARMAN; THREADGILL; WORKMAN.

Also :
 --Samuel Beckett Eulogy--Baseball & the 10,000 Things--Time Stops
 --LOVETORN--HARD BOIL-- ETC.,

WHERE THE HELL HAVE I BEEN??? :
LUCILLE / A Reverential Journal of the Care of the Beloved Hag


-



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

From: "& c." <[e-mail]>
Subject: Re: Jazz Musicians
Date: 26 Apr 2001 10:08:19 -0400

That's what I thought.  Ornette Coleman and Zorn I think would be prime
examples?

Zach
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-



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

From: Ken Waxman <[e-mail]>
Subject: Re: Stravinsky & David (R)
Date: 26 Apr 2001 11:03:12 -0400 (EDT)

Off topic, but:

Stanvinsky was reported to have said Richard Davis was
his favorite bassist after he worked with him in some
NY Phil concerts. Any idea of Mr. D. ever recorded
with Mr. S.?

Ken Waxman

--- Marcin Gokieli <[e-mail]> wrote:
> Hi all,
> As I am trying to complete my Stravinsky collection,
> I'm looking for
> good versions of Apollo, Agon, Pulcinella&Firebird
> SUITES.

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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: The Shell Game
Date: 26 Apr 2001 17:15:13 +0200 (CEST)

Hi everyone!

I don't remember if this has been discussed here
before.
Anybody heard the Berne/Taborn/Rainey album "The Shell
Game" on Thirsty Ear Records?
I'd like to order it but some opinions would be
greatly appreciated.

In the meantime, looking forward to the Alasnoaxis
concert in Barcelona next Wednesday 2.

Thanks in advance.

Best regards,

EfrΘn del Valle

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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Stravinsky
Date: 26 Apr 2001 08:20:09 -0700


On Thu, 26 Apr 2001 13:24:19 +0200  "Marcin Gokieli" wrote:
>
> Hi all,
> As I am trying to complete my Stravinsky collection, I'm looking for
> good versions of Apollo, Agon, Pulcinella&Firebird SUITES. I've got

Not new, but Dutoit's version of PULCINELLA is fantastic (in fact like
almost anything I know conducted by him).

    Patrice.

-



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

From: Nicholas Shortway <[e-mail]>
Subject: Booking info
Date: 26 Apr 2001 11:31:06 -0400

Hey everyone,

    This is my first post to the list, and I too am a BIG Zorn fan.  My
question is this:  Does anyone have or know where I can get information
about John's booking agent?  The reason I ask is that I am the president of
the Jazz Club at Penn State and we are interested in finding out how much
the he plays for, when he's available, etc.  Any info would be helpful.
Thanks

Nick

-



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

From: Herb Levy <[e-mail]>
Subject: Richard Davis/Igor Stravinsky
Date: 26 Apr 2001 10:49:45 -0500


>Off topic, but:
>
>Stanvinsky was reported to have said Richard Davis was
>his favorite bassist after he worked with him in some
>NY Phil concerts. Any idea of Mr. D. ever recorded
>with Mr. S.?

I'm pretty sure that Davis is among the freelancers in the Columbia
Symphony Orchestra (I may have the name of this agglomeration wrong)
pulled together for some old CBS records. As far as I know there's
nothing by Davis as a soloist with Stravinksy, though he may have
some exposed parts in some of the orchestral works.
--
Herb Levy
Mappings on Antenna Internet Radio
http://www.antennaradio.com/avant/mappings/
[e-mail]

Mappings
P O Box 9369
Forth Wort, TX 76147

-



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

From: Ricardo Reis <[e-mail]>
Subject: Re: Stravinsky
Date: 26 Apr 2001 18:13:25 +0100 (WET DST)


    By the way, any recommendations on a good interpertration of "le
histoire du soldat"? (sorry for bad spelling).

            greets,

                              Ricardo Reis

                  "NON SERVIAM"


-



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

From: "Francesco Martinelli" <[e-mail]>
Subject: Re: Jazz Musicians
Date: 26 Apr 2001 17:44:50 +0200

ask mr. Anthony Braxton c/o wesleyan U.
----- Original Message -----
Sent: Thursday, April 26, 2001 3:44 PM


> I'm working on sociology paper about jazz musicians as a subculture.
> Hopefully, some one could answer this question off-list: Are there or were
> there any offenses that would cause a musician to be ostrecized from the
> mainstream establishment?
>
> Zach
> _________________________________________________________________
> Get your FREE download of MSN Explorer at http://explorer.msn.com
>
>
> -
>
>


-



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

From: [e-mail]
Subject: In the sack
Date: 26 Apr 2001 13:34:54 EDT

Anyone know if there's any (U.S.) distribution of the Sackville Collection of Creative Improvised Music Classics reissues, apart from phoning or writing Sackville (which is proving to be a pain in the rear)?

Also - here's a dumb question - the Sackville reissue coming out next month, Hemphill's Roi Boye & The Gotham Minstrels (3014/3015) - didn't Screwgun already reisssue that as Blue Boye  (Scrwgn 70008)?  Or does the latter include different material?  I think I knew this at one point, but I just can't dredge anything up from my memory hole.  (Too many crashes, definitely too many crashes...)

David

rp: Company, Epiphany/Epiphanies

-



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

From: Gavin Dunne <[e-mail]>
Subject: Zangles
Date: 26 Apr 2001 10:35:20 -0700 (PDT)

I was listnein to some Masada the other day....and it
got me thinkin. I started analysing Zorns style on his
sax solos and varius compositions. What I came up with
was that he seems to approach whatever genre of music
and change the angle. Its like the music starts from a
fixed point say 12 o clock and Zorns angle is about
12:35. Does anyone see what I'm sayin or have I been
smokin too much?
Gav

__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: In the sack
Date: 26 Apr 2001 14:08:36 -0400

They're two completely different 2LP sets.  'Blue Boye' was earlier and was
originally issued on Hemphill's Mbari imprint (with Tim's help).  'Roi Boye'
was always on Sackville.

Steve Smith
[e-mail]

-----Original Message-----
[mailto:[e-mail]]On Behalf Of
[e-mail]

Also - here's a dumb question - the Sackville reissue coming out next month,
Hemphill's Roi Boye & The Gotham Minstrels (3014/3015) - didn't Screwgun
already reisssue that as Blue Boye  (Scrwgn 70008)?  Or does the latter
include different material?


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Zangles
Date: 26 Apr 2001 11:19:03 -0700


On Thu, 26 Apr 2001 10:35:20 -0700 (PDT)  Gavin Dunne wrote:
>
> I was listnein to some Masada the other day....and it
> got me thinkin. I started analysing Zorns style on his
> sax solos and varius compositions. What I came up with
> was that he seems to approach whatever genre of music
> and change the angle. Its like the music starts from a
> fixed point say 12 o clock and Zorns angle is about
> 12:35. Does anyone see what I'm sayin or have I been
> smokin too much?

Since what you are saying is so vague (at best), I am don't see how we could
even start to argue :-).

    Patrice.

-



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

From: Gavin Dunne <[e-mail]>
Subject: Zangles
Date: 26 Apr 2001 10:35:20 -0700 (PDT)

I was listnein to some Masada the other day....and it
got me thinkin. I started analysing Zorns style on his
sax solos and varius compositions. What I came up with
was that he seems to approach whatever genre of music
and change the angle. Its like the music starts from a
fixed point say 12 o clock and Zorns angle is about
12:35. Does anyone see what I'm sayin or have I been
smokin too much?
Gav

__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: The Shell Game
Date: 26 Apr 2001 11:30:41 -0700

At 5:15 PM 4/26/01, efr=E9n del valle wrote:
>Hi everyone!
>
>I don't remember if this has been discussed here
>before.
>Anybody heard the Berne/Taborn/Rainey album "The Shell
>Game" on Thirsty Ear Records?
>I'd like to order it but some opinions would be
>greatly appreciated.
>
>
I have it and I'm loving it! Typically great Berne tunes, and Craig Taborn
in particular sounds great.

Does anyone else have any recommendations for Craig Taborn? I have Shell
Game, and Carl Craig's Innerzone Orchestra, very different discs that both
feature Taborn. Would love to hear more, he's one of the most interesting
keyboardists I've heard in ages.

____________________________________________
Dave Trenkel : [e-mail]
New & Improv Media
http://www.newandimprov.com
Now available: Admiral Twinkle Devil: Wabi Dub
____________________________________________



-



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

From: Skip Heller <[e-mail]>
Subject: Re: Stravinsky
Date: 27 Apr 2001 11:34:40 -0700



>
> By the way, any recommendations on a good interpertration of "le
> histoire du soldat"? (sorry for bad spelling).
>
> greets,
>
> Ricardo Reis
>
> "NON SERVIAM"
>
>
> -
>
Robert Craft's recording on Musicmasters (w/the Orch of St Luke)

skip h


-



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

From: "Francesco Martinelli" <[e-mail]>
Subject: Re: Jazz Musicians
Date: 26 Apr 2001 17:44:50 +0200

ask mr. Anthony Braxton c/o wesleyan U.
----- Original Message -----
Sent: Thursday, April 26, 2001 3:44 PM


> I'm working on sociology paper about jazz musicians as a subculture.
> Hopefully, some one could answer this question off-list: Are there or were
> there any offenses that would cause a musician to be ostrecized from the
> mainstream establishment?
>
> Zach
> _________________________________________________________________
> Get your FREE download of MSN Explorer at http://explorer.msn.com
>
>
> -
>
>


-



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

From: Ricardo Reis <[e-mail]>
Subject: Re: Stravinsky
Date: 26 Apr 2001 19:39:10 +0100 (WET DST)

On Fri, 27 Apr 2001, Skip Heller wrote:

> > By the way, any recommendations on a good interpertration of "le
> > histoire du soldat"? (sorry for bad spelling).
> >
> Robert Craft's recording on Musicmasters (w/the Orch of St Luke)
>
> skip h

    Thx.

                              Ricardo Reis

                  "NON SERVIAM"


-



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

From: [e-mail]
Subject: In the sack
Date: 26 Apr 2001 13:34:54 EDT

Anyone know if there's any (U.S.) distribution of the Sackville Collection of Creative Improvised Music Classics reissues, apart from phoning or writing Sackville (which is proving to be a pain in the rear)?

Also - here's a dumb question - the Sackville reissue coming out next month, Hemphill's Roi Boye & The Gotham Minstrels (3014/3015) - didn't Screwgun already reisssue that as Blue Boye  (Scrwgn 70008)?  Or does the latter include different material?  I think I knew this at one point, but I just can't dredge anything up from my memory hole.  (Too many crashes, definitely too many crashes...)

David

rp: Company, Epiphany/Epiphanies

-



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

From: "Steve Smith" <[e-mail]>
Subject: RE: Booking info
Date: 26 Apr 2001 14:41:50 -0400

Welcome to the list, Nick.  Zorn books himself in the USA.  Try sending an
e-mail through the Tzadik website: [e-mail].  It'll get forwarded
to him.

Steve Smith
[e-mail]

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Nicholas
Shortway

    This is my first post to the list, and I too am a BIG Zorn fan.  My
question is this:  Does anyone have or know where I can get information
about John's booking agent?  The reason I ask is that I am the president of
the Jazz Club at Penn State and we are interested in finding out how much
the he plays for, when he's available, etc.  Any info would be helpful.


-



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

From: [e-mail]
Subject: AMMMMM
Date: 26 Apr 2001 14:56:33 EDT

OK, here's an even more ridiculous one.  I can (barely) afford to go see only *ONE* AMM set at the Knit this weekend.  Assuming there still some choice in the matter, should I shoot for that last Sunday late set?  Saturday or Sunday early? Does it make any difference in terms of when the lads might stretch out and/or peak?  There's no way the Knit doesn't clear the room after the early show, right?

(Damn, this reminds me of when I was making pilgrimages down to the Fillmore East to see zee Dead.  But then you pretty much always went for the late show if ya could.)

Truckin' and slidin'...

David

-



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

From: [e-mail]
Subject: Re: AMMMMM
Date: 26 Apr 2001 15:22:26 EDT


In a message dated 4/26/01 2:57:57 PM, [e-mail] writes:

<< OK, here's an even more ridiculous one.  I can (barely) afford to go see
only *ONE* AMM set at the Knit this weekend.  Assuming there still some
choice in the matter, should I shoot for that last Sunday late set?  Saturday
or Sunday early? Does it make any difference in terms of when the lads might
stretch out and/or peak?  There's no way the Knit doesn't clear the room
after the early show, right?  >>

someone else asked me this yesterday. I might go for the late set Sunday,
just because it'll be the last set of the tour. the first set Saturday might
be a bit on the tentative side, because I have a feeling NYC might be a
little overwhelming after the relatively sedate surroundings they've been in
for at least the last week or so. anyway, I'm sure none of them will
disappoint.

really the show to see is the set at Bard tomorrow night, but that's probably
not an option for you.

now I'm off to Bard myself....

Jon
www.erstwhilerecords.com

-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: Stravinsky
Date: 26 Apr 2001 21:43:13 +0200

> Not new, but Dutoit's version of PULCINELLA is fantastic (in fact
like
> almost anything I know conducted by him).

What label  is it on? Any other good stravinsky by him?


> By the way, any recommendations on a good interpertration of "le
> histoire du soldat"? (sorry for bad spelling).


I like very much the Stravinsky version on Ballets, vol I. There's
also a version by Lorrin Maazel that's quite nice.
That's for the full suite version, which I treat as the definitive
one.  I've got the full version with text by Boulez on Erato. It's
very well played,  but I can't listen to the whole text very often.
The piano - clarinet - violin version is on a a decca disc by
askenazy. The whole disc is very good.
    But, as (almost) always, the stravinmsky version is the best: very
dynamic


Marcin Gokieli
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem
you are working on, tell him to go climb a tree - Jerry Fodor



-



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

From: "matt krefting" <[e-mail]>
Subject: Michael Hurley at Hampshire 4-29
Date: 26 Apr 2001 15:46:52 -0400

hi all
we wanted to let you know of this upcoming event. bring a friend:

MICHAEL HURLEY
SUNBURNED HAND OF THE MAN
JOSHUA

SUNDAY, APRIL 29, 2001
HAMPSHIRE COLLEGE TAVERN
AMHERST, MA
8pm $3

pls email off-list for more info. thanks...

mk
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com


-



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

From: Ken Waxman <[e-mail]>
Subject: Re: In the sack
Date: 26 Apr 2001 16:14:07 -0400 (EDT)

Sackville may be distributed by North Country, but I
think the Classics are *only* available by mail order
from Sackville itself.

And yes (or no) the two Boyes are completely different
records.

Ken Waxman

--- [e-mail] wrote:
> Anyone know if there's any (U.S.) distribution of
> the Sackville Collection of Creative Improvised
> Music Classics reissues, apart from phoning or
> writing Sackville (which is proving to be a pain in
> the rear)?
>
> Also - here's a dumb question - the Sackville
> reissue coming out next month, Hemphill's Roi Boye &
> The Gotham Minstrels (3014/3015) - didn't Screwgun
> already reisssue that as Blue Boye  (Scrwgn 70008)?
> Or does the latter include different material?  I
> think I knew this at one point, but I just can't
> dredge anything up from my memory hole.  (Too many
> crashes, definitely too many crashes...)
>
> David
>
> rp: Company, Epiphany/Epiphanies
>
> -
>


_______________________________________________________
Do You Yahoo!?
Get your free @yahoo.ca address at http://mail.yahoo.ca

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: The Shell Game
Date: 26 Apr 2001 16:16:36 -0400 (EDT)

He has a solo session out on DIW, recorded at least
five years ago and another recorded (I think) but
delayed to be released by Thirsty Ear eventually.

Ken Waxman

--- Dave Trenkel <[e-mail]> wrote:
> At 5:15 PM 4/26/01, efrΘn del valle wrote:
> >Hi everyone!
> >
> >I don't remember if this has been discussed here
> >before.
> >Anybody heard the Berne/Taborn/Rainey album "The
> Shell
> >Game" on Thirsty Ear Records?
> >I'd like to order it but some opinions would be
> >greatly appreciated.
> >
> >
> I have it and I'm loving it! Typically great Berne
> tunes, and Craig Taborn
> in particular sounds great.
>
> Does anyone else have any recommendations for Craig
> Taborn? I have Shell
> Game, and Carl Craig's Innerzone Orchestra, very
> different discs that both
> feature Taborn. Would love to hear more, he's one of
> the most interesting
> keyboardists I've heard in ages.
>
> ____________________________________________
> Dave Trenkel : [e-mail]
> New & Improv Media
> http://www.newandimprov.com
> Now available: Admiral Twinkle Devil: Wabi Dub
> ____________________________________________
>
>
>
> -
>


_______________________________________________________
Do You Yahoo!?
Get your free @yahoo.ca address at http://mail.yahoo.ca

-



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

From: hatta <[e-mail]>
Subject: Re: ...Murakami and then Tomita
Date: 26 Apr 2001 17:46:39 -0700

I also read 'Sputnik Sweetheart' last night and would like to second
the recommendation. However I (also) got 'Underground' via the UK and
found it totally engaging. It of course in no Murakami novel, he
keeps his writing to a minimum, it gives a lot of insight into
Japanese culture.  Plus it is interesting to read more about places
in Japan that you read about in the novels.  I found it very moving
and deeply engaging.  I found the multiple descriptions of the same
gas attack in a subway to have an almost 'Rashomon' quality --the
variance of individual perspective.  There really is no reason to
read this book as a Murakami fan, since there is little of him in it,
but a a cultural document it is worth reading.

Speaking of Japanese art I just got Yann Tomita " an Adventure of
Inevitable Chance (or "How Time Passes") which is one of the greatest
bits of musical satire I have ever seen/heard.  Fantastic packaging
that incudes a fake second CD, with a whole booklet for it. There are
introductions and spoken word stuff like 60's electronics cds, and
strange sampling.  It purports to be a live CD when it clearly isn't.
It really is hard to describe, but absolutely wonderful. I'm curious
what people know of this guy or this project.

-Robert

<snip>
>actually, Underground was released in England last year. I ordered it from
>Amazon UK, along with Norwegian Wood, when neither of them were scheduled for
>release here. I never made it too far into Underground. Murakami rounded up
>everyone he could find who was anywhere near the subway system at the time,
>interviewed them, and printed the results, a Studs Terkel-esque approach.
>it's interesting for a while, but I found it became repetitive pretty
>quickly, and I lost interest.
<snip>

--
"My mind was a blank, a rice paddy in the middle of a rainstorm..."
-Haruki Murakami 'Sputnik Sweetheart'

-



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

From: "Martin Wisckol" <[e-mail]>
Subject: Indonesian literature (no JZ)
Date: 26 Apr 2001 18:11:46 -0700

anyone suggest good books set in indonesia? for my book bag of reading
during the four weeks i'll be spending there....

martin

np. art pepper -- the hollywood sessions. always did love art's hearty,
souful lyricism....


-



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

From: Rick Lopez <[e-mail]>
Subject: Re: ...Murakami and then Tomita
Date: 26 Apr 2001 21:14:13 +0000

on 01.04.27 12:46 AM, hatta at [e-mail] wrote:

> Speaking of Japanese art

Does anyone know of any video existing of the Butoh group SHANKAI JUKU ???

Just dreaming...
RL

NW: Pilobolus, Dance in America

----------
[All of the below and much more at: http://www.velocity.net/~bb10k]

Sessionographies :
CRISPELL;  IBARRA; Wm. PARKER; RIVERS; SHIPP; D.S. WARE.
Discographies :
COURVOISIER; ENEIDI; MANERI,; MORRIS; SPEARMAN; THREADGILL; WORKMAN.

Also :
 --Samuel Beckett Eulogy--Baseball & the 10,000 Things--Time Stops
 --LOVETORN--HARD BOIL-- ETC.,

WHERE THE HELL HAVE I BEEN??? :
LUCILLE / A Reverential Journal of the Care of the Beloved Hag


-



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

From: Les Henderson <[e-mail]>
Subject: Re: Indonesian literature (no JZ)
Date: 26 Apr 2001 21:50:51 -0500 (CDT)

Max Havelaar by Multatuli is a classic in Dutch colonial literature,
pretty fucked up from a contemporary perspective though.  BTW, Multatuli
is a pseudonym for Eduard Douwes Dekker, you might need to check under
this name to find the book.

On Thu, 26 Apr 2001, Martin Wisckol wrote:

> anyone suggest good books set in indonesia? for my book bag of reading
> during the four weeks i'll be spending there....
>
> martin
>
> np. art pepper -- the hollywood sessions. always did love art's hearty,
> souful lyricism....
>
>
> -
>

Les Henderson
[e-mail]


-



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

From: "Jesse Kudler" <[e-mail]>
Subject: Re: AMMMMM
Date: 27 Apr 2001 00:20:53 -0400


----- Original Message -----
Sent: Thursday, April 26, 2001 3:22 PM

> really the show to see is the set at Bard tomorrow night

Why's that?

-Jesse


-



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

From: [e-mail]
Subject: Re: Indonesian literature (no JZ)
Date: 27 Apr 2001 00:48:36 EDT

Not "Indonesian literature" per se, but chunks of Neal Stephenson's
Cryptonomicon are set there.  Awesome book.

David

np: Daniele D'agaro, Lingua Franca --->
      Satako Fuji (w/ Mark Feldman),  April Shower

PS.  See ya'll at the AMM Sunday late show.

In a message dated 4/26/01 9:13:45 PM Eastern Daylight Time,
[e-mail] writes:

>  anyone suggest good books set in indonesia? for my book bag of reading
>  during the four weeks i'll be spending there....


-



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

From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Fwd: Zangles
Date: 27 Apr 2001 09:20:41 +0200 (CEST)






> I was listnein to some Masada the other day....and
> it
> got me thinkin. I started analysing Zorns style on
> his
> sax solos and varius compositions. What I came up
> with
> was that he seems to approach whatever genre of
> music
> and change the angle. Its like the music starts from
> a
> fixed point say 12 o clock and Zorns angle is about
> 12:35. Does anyone see what I'm sayin or have I been
> smokin too much?
> Gav
>

You have definitely been smokin' too much. :)

EfrΘn
> __________________________________________________
> Do You Yahoo!?
> Yahoo! Auctions - buy the things you want at great
> prices
> http://auctions.yahoo.com/
>
> -
>


_______________________________________________________________
Do You Yahoo!?
Envφa mensajes instantßneos y recibe alertas de correo con
Yahoo! Messenger - http://messenger.yahoo.es

-



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

From: Jeroen de Boer <[e-mail]>
Subject: Re: Zangles
Date: 27 Apr 2001 09:37:16 +0200

And 'zangles' in Dutch means 'singing lesson'.. What do you mean with it?

Jeroen


>> Does anyone see what I'm sayin or have I been
>> smokin too much?
>> Gav
>>=20
>=20
> You have definitely been smokin' too much. :)
>=20
> Efr=E9n=20

Jeroen de Boer
content director Cyberslag Content Providing
Damsterdiep 15  9711SG Groningen    The Netherlands

t   [phone]
m   [phone]
f   [phone]
[e-mail]

www.cyberslag.com
-


-



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

From: Ricardo Reis <[e-mail]>
Subject: and by the way... (NZC)
Date: 27 Apr 2001 09:10:51 +0100 (WET DST)


NZC - no zorn content...

    A friend of mine is starting to explore Prokofievs and is looking
for the OST of "Ivan Grozni" from Eisenstein. Does anyone know if this was
isssued on record?

            Many thanx,

                              Ricardo Reis

                  "NON SERVIAM"


-



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

From: Whit Schonbein <[e-mail]>
Subject: Re: Richard Davis/Igor Stravisky
Date: 27 Apr 2001 08:32:35 -0500 (CDT)



>Off topic, but:
>
>Stanvinsky was reported to have said Richard Davis was
>his favorite bassist after he worked with him in some
>NY Phil concerts. Any idea of Mr. D. ever recorded
>with Mr. S.?

Well, this doesn't actually add any info, but the 'story' i heard was that
Stravisnky heard davis performing in a duo with ???.  Turning to his
companion, he remarked, "these men play like gods."  Then he asked davis
to play with him.

Stravinsky did seem to admire his playing.  According to a biographical
blurb on davis' homepage, " Onstage after a 1975 concert in Boston, the
great composer Igor Stravinsky walked through the orchestra to lay his
hand on Mr. Davis' shoulder in a tribute rarely accorded a bassist--or any
other orchestra member--by the Maestro himself."

Davis does indeed play like a god.  I had the gift of being able to see
him play solo in a small club in madison, wisconsin.  his lion-headed bass
was so close to where i was sitting, i could have reached out and stopped
the strings from vibrating.  i've never heard a bass player manage to
maintain the melody of a song through an extended improvistion the way
davis did that night (the song i have in mind was 'all blues').  Someone
ought to record davis in a solo performance before it's too late.

enough rambling,
whit


-



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

From: "circumlocutionist" <[e-mail]>
Subject: Re: Indonesian literature (no JZ)
Date: 27 Apr 2001 10:35:47 -0400

I've been observing the Zorn list for some time but this query compels me to contribute.  Without a doubt, you have to read the novels
of PRAMOEDYA  ANANTA  TOER, particulary his "quartet":

This Earth of Mankind
Child of All Nations
Footsteps
House of Glass

What follows are some words pulled randomly from the Web for flavor (although for clarity, I believe these books are no longer banned
in Indonesia):

The novels become progressively heavier with historical and political exposition as the
series progresses; they will appeal most obviously to those curious about Indonesian
history or the politics of colonialism. But they also retain an easy flow and a vividness
which remind one that the first two were originally spoken, in a prison camp where
Pramoedya was denied access to writing materials. This Earth of Mankind is,
deservedly, among the foremost works of Indonesian literature - but Pramoedya's
works are banned in Indonesia!


---- Begin Original Message ----
 From: "Martin Wisckol" <[e-mail]>
Sent: Thu, 26 Apr 2001 18:11:46 -0700

anyone suggest good books set in indonesia? for my book bag of reading
during the four weeks i'll be spending there....

martin

np. art pepper -- the hollywood sessions. always did love art's hearty,
souful lyricism....


-


---- End Original Message ----


http://www.care2.com - Get your Free e-mail account that helps save Wildlife!

-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: Richard Davis/Igor Stravisky
Date: 27 Apr 2001 17:46:15 +0200

Can you enlighten me as to who is Richard Davis?
Marcin Gokieli
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem
you are working on, tell him to go climb a tree - Jerry Fodor


-



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

From: Gavin Dunne <[e-mail]>
Subject: Re: Zangles
Date: 27 Apr 2001 09:01:11 -0700 (PDT)

thats a funny coincidence....i meant nothing though -
I just took  the Z from Zorn and put it front of the
topic of angles. True genius hehe
Gav
--- Jeroen de Boer <[e-mail]> wrote:
> And 'zangles' in Dutch means 'singing lesson'.. What
> do you mean with it?
>
> Jeroen
>
>
> >> Does anyone see what I'm sayin or have I been
> >> smokin too much?
> >> Gav
> >>
> >
> > You have definitely been smokin' too much. :)
> >
> > EfrΘn
>
>
> Jeroen de Boer
> content director Cyberslag Content Providing
> Damsterdiep 15  9711SG Groningen    The Netherlands
>
> t   [phone]
> m   [phone]
> f   [phone]
> [e-mail]
>
> www.cyberslag.com
>
>
>
> -
>


__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - buy the things you want at great prices
http://auctions.yahoo.com/

-



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

From: Whit Schonbein <[e-mail]>
Subject: Re: Odp: Richard Davis/Igor Stravisky
Date: 27 Apr 2001 11:40:48 -0500 (CDT)


hello marcin (and anyone else who is interested),

Richard Davis is a bass player, currently residing in Madison, Wisconsin
as a member of the faculty in the department of music at the university of
wisconsin.  He's performed with many jazz greats (and let us not forget
John Lennon and Bruce Springsteen...and frank sinatra) and led his own
groups. I'm not sure when he first started gigging, but he was with Jamal
in 1953.

His most well known recording as a leader is probably 1972's "Now's the
time", which i haven't heard in years, but has two long (~20 minutes each)
avant-garde renditions of two be-bop standards, if i recall correctly.

here's a list of jazz groups with which he has performed, culled from his
online vita at http://www.globaldialog.com/~rdavis/cosmo/vita.htm :

Ahmad Jamal, Archie Shepp, Ben Sidran, Benny Carter, Bud Powell,
CharlieRouse, Clifford Jarvis, Cy Coleman, David Murray, Don Cherry, Don
Moye,Elvin Jones Jazz Machine, Eric Dolphy, Freddie Waits, Gene Ammons,
J.J.Johnson, Joanne Brackeen, Joe Williams, John Carter, John Lewis, John
Tchaii,Kenny Dorham, Koolfest All Stars with Nat Adderly, Miles Davis,
MingusDynasty, Morgana King, Peggy Lee, Philly Joe Jones, Sir Roland
Hanna, SarahVaughan, Sauter Finnegan, Shelley Manne, Spencer Barefield,
Stella Marrs,Sun Ra All Stars, Tatsuya Nakamura, Thad Jones  Mel Lewis
Orchestra,Young People's Concert at N.Y. Philharmonic.

and here's a list of conductors he performed under:

Tauno Hannaikainen, Igor Stravinsky, Gunther Schuller, Leopold
Stowkowski,Leonard Bernstein, George Szell, Pierre Boulez, Harry
Rabinowitz.

more info can be had from his homepage:
http://www.globaldialog.com/~rdavis/

cheers,
whit

On Fri, 27 Apr 2001, Marcin Gokieli wrote:

> Can you enlighten me as to who is Richard Davis?
> Marcin Gokieli
> [e-mail] [e-mail]


-



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

From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Indonesian literature (no JZ)
Date: 27 Apr 2001 19:30:14 -0400

At 10:35 AM 4/27/01 -0400, circumlocutionist wrote:
>I've been observing the Zorn list for some time but this query compels me
to contribute.  Without a doubt, you have to read the novels
>of PRAMOEDYA  ANANTA  TOER, particulary his "quartet":
>
>This Earth of Mankind
>Child of All Nations
>Footsteps
>House of Glass

A strong second on the recommendation for this.  A fascinating set of
novels by an Indonesian writer who has been deeply involved in Indonesian
politics in various ways for years.  Read them in order.

--
Caleb Deupree
[e-mail]


-



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

From: [e-mail]
Subject: Re: Odp: Gee Force
Date: 27 Apr 2001 21:24:54 EDT

in the states the cartoon was called g-force, i believe they still have
re-runs on cartoon network if u get the station.  i think it was illustrated
and developed by this japanese artist named yoshitaka amano, a few years back
he had an exhibition here in new york city.  turns out he's a brilliant
painter

-



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

From: "Jeton Ademaj" <[e-mail]>
Subject: Re: Odp: Gee Force
Date: 27 Apr 2001 21:32:21 -0400

Hi all

it's funny, because now that u mention it, i do believe i read that
Yoshitaka Amano had something to do with "Battle Of The Planets" (when i
attended his thing with Neil Gaiman at the Orensanz), but I'm not sure if it
was "creator/developer". I do believe that it's been rerun on the Cartoon
Network here in the US, BUT the one thing I can claim with ABSOLUTE
certainty is that the series ran originally in the US as "Battle Of The
Planets". I've simply had too many bloody fights with my siblings over this
very issue to EVER forget that!

peace


>in the states the cartoon was called g-force, i believe they still have
>re-runs on cartoon network if u get the station.  i think it was
>illustrated
>and developed by this japanese artist named yoshitaka amano, a few years
>back
>he had an exhibition here in new york city.  turns out he's a brilliant
>painter

_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com


-



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

From: [e-mail]
Subject: Re: AMMMMM
Date: 28 Apr 2001 01:48:30 EDT


In a message dated 4/27/01 12:20:17 AM, [e-mail] writes:

<< > really the show to see is the set at Bard tomorrow night


Why's that? >>

I thought there would be a better atmosphere than the Knitting Factory. I
neglected to factor in a poor acoustical venue, subpar equipment (a baby
grand piano for Tilbury, and no gong or bass drum for Prevost), and a
relatively noisy audience (including a baby crying occasionally, people
walking around, the door loudly opening and closing repeatedly). the night
was so amateurishly run that they asked for money for tickets after the show
had ended.

Jon
www.erstwhilerecords.com



-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: Odp: Gee Force
Date: 28 Apr 2001 08:27:51 +0200

----- Original Message -----

> Network here in the US, BUT the one thing I can claim with ABSOLUTE
> certainty is that the series ran originally in the US as "Battle Of
The
> Planets". I've simply had too many bloody fights with my siblings
over this
> very issue to EVER forget that!

In Poland it also went as 'wojna planet' - and we also querelled
whether the true title is 'wojna planet' (battle of planets) or 'G
force'. And even now when I tolsd my friends (what I learned by your
posts  - namely what the title was - there was some serious
disagreement...
Transformation,
Marcin Gokieli
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem
you are working on, tell him to go climb a tree - Jerry Fodor


-



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

From: "Jesse Kudler" <[e-mail]>
Subject: Re: AMMMMM
Date: 28 Apr 2001 02:41:03 -0400


----- Original Message -----

> I thought there would be a better atmosphere than the Knitting Factory. I
> neglected to factor in a poor acoustical venue, subpar equipment (a baby
> grand piano for Tilbury, and no gong or bass drum for Prevost), and a
> relatively noisy audience (including a baby crying occasionally, people
> walking around, the door loudly opening and closing repeatedly). the night
> was so amateurishly run that they asked for money for tickets after the
show
> had ended.

Hi Jon,
Well, it's good to see I at least didn't miss anything then. Did you (or
anyone else) see the night before?  I'm really curious what the solo sets
were like, particularly Rowe's and Prevost's (he was leading a student
ensemble, right?).  I think I'm going to try to make it to the Knit for one
of the Sunday shows.  Anyone have any idea how many tickets are left?

Thanks,
Jesse


-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: Indonesian literature (no JZ)
Date: 28 Apr 2001 08:14:35 -0400

[e-mail] wrote:
>
> Not "Indonesian literature" per se, but chunks of Neal Stephenson's
> Cryptonomicon are set there.  Awesome book.

Strongly seconded. Anyone with intimate (or second-hand) knowledge of
the Philippines (like, say, having been married to a filipina for 21
years) will get an extra charge from this one. Wonderful book.

Brian Olewnick

-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: AMMMMM
Date: 28 Apr 2001 08:29:53 -0400

Jesse Kudler wrote:

> Well, it's good to see I at least didn't miss anything then. Did you (or
> anyone else) see the night before?  I'm really curious what the solo sets
> were like, particularly Rowe's and Prevost's (he was leading a student
> ensemble, right?).

Tilbury played several Cornelius Cardew works from 1959-61, the February
pieces plus one other and closed with his arrangement of "Croppy Boy".
He gave a brief summation of Cardew's career and its idealogical arc.

Prevost led seven Bard students (guitar, Roweian tabletop guitar, piano,
clarinet, computer, violin and drums) in an improv that lasted about 45
minutes. It wasn't nearly as bad as one might have feared, the students
playing with pretty decent sensitivity (except for the drummer, who
seeemd to think he was in a chamber jazz band) and there were brief
stretches where I though it actually sounded quite good.

Rowe closed out with his solo set, masterful and fascinating, if not
quite up to the level of the one in Boston last year. Rich, loud drones
predominated, abetted by the interaction between his guitar and several
small, hand-operated electronics like a portable fan and a small
neck-massage device. His radio dredging was typically (fortuitously?)
inspired, including the emergence, from beneath waves of dense sound, of
"Black Magic Woman".

Jon's comments on the AMM show the next day kinda summed it up, though I
was put off by the annoying amateurishness a bit less than he. The
members of the band were true pros and, aside from a stinging intro from
Prevost aimed at the Bard faculty and their total lack of interest in
the event, they (at least as far as the actual performance) appeared to
shrug off their aggravation and play as close to "usual" as they could
in the circumstances. Afterwards, I mentioned to Tilbury that the
problems might be good prep for the Knit and hoped he didn't mind
playing electric piano... ;-)

Brian Olewnick

-



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

From: Gamantyo Hendrantoro <[e-mail]>
Subject: Re: Indonesian literature (no JZ)
Date: 28 Apr 2001 08:55:13 -0400

> From: "circumlocutionist" <[e-mail]>
> Subject: Re: Indonesian literature (no JZ)
>
> but Pramoedya's
> works are banned in Indonesia!

I don't currently live in Indonesia, but AFAIK with the fall of Suharto's
regime, the ban has been subsequently removed.

Regards,
Gamantyo

-



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

From: "Martin Wisckol" <[e-mail]>
Subject: concert travel stories
Date: 28 Apr 2001 08:22:28 -0700

periodically, i forward a post from my longtime companero Michael J.
Williams, who subscribes to the zornlist but for some reason can post
himself. i think you'll agree that these stories, reviving a recent
thread, merit the effort of forwarding many times over:

Circa 1975, I drove from Cincinnati to Bloomington, Indiana in the
immediate aftermath of a blizzard in a beat-up Karmann Ghia with dead
windshield
wipers, no heat and a dead battery to see Dizzy at the Bluebird Cafe. I'd
leave
the Ghia running in the parking lots of fast-food joints to warm up and get
coffee.
     Diz was caught up in a snowstorm in Indianapolis and didn't arrive at
the
gig until about midnight, but he was in a great mood and blew his ass off.
Micky
Roker on drums, I can't remember the name of the guitar player, a European
guy I
think, and I can't envision the bass player at all.
     There were absolutely no hills in the Indiana University visitors
parking
lot and the Ghia was iced in, but fortunately IU student and friend, Shaky
Dave
Flege, had some jumper cables. Last time I saw him. Heard he gave up
playing the
fender bass and partying for a slide rule and a family.

     Another time, I hitchhiked from Reno, Nevada to Concord, Calif. for
the
Concord Jazz Festival's guitar explosion night with a cast of wizards
including
Cincy legend Cal Collins. Cal tore it up but I drank too much vodka and
wound up
in Daly City, having lost my backpack I know not where. Had to wash dishes
in
the Guadalara Restaurant when I discovered I had just two dollars left and
kept
it for an emergency, Caught a few hours of cold sleep on an upstairs
apartment
building landing.
     My ride luck that had been with me on the way to Concord ran out:
First
ride was a heavily tattooed, bearded ex-con from Martinez with a 16-year
old
pregnant wife and a bad radiator that required him to pull over to the
side of
the road every 20 miles and refill with water. He dropped me off on a
remote off
ramp to I-80 near Vacaville, where he was going to visit a buddy in the
state
pen.
     I thought I was doomed for eternity, but an old farmer guy got me to
Auburn, where he bought me a cup of coffee, but the next ride was a
demented,
obese, antique (junk) dealer in a rickety station wagon with travel
stickers all
over it who arrived at the conclusion that I was his long lost love sent by
whatever divine entity he worshipped After convincing him that I was
insane with
the old, I love listening to white noise on the radio trick, I jumped ship
somewhere in the mountains when he pulled off onto a rural highway into the
wilderness, saying that he had to pick up his pet dachsund.
     By this time I had sworn off hitchhiking and drinking forever. As I
began
sprinting down the shoulder of I-80, a pick-up pulled over and I hopped
into
find an Indian, probably Paiute, hippy, long hair down to his ass, in the
driver's seat toking on a joint and a cooler completely filled with
ice-cold
Coors on the front seat. He took off careening around mountainsides at 95
MPH,
alternating sucks of reefer and beer with heavy metal screaming over the
radio.
I decided I would have a beer after all.
     But I got back to Reno in time to clean up and make my gig on the
graveyard
shift at John Ascuaga's Nugget down the road in Sparks.

Michael J. Williams






-



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

From: [e-mail]
Subject: Re: r davis + Q abt swt basil
Date: 28 Apr 2001 18:40:21 EDT

In a message dated 4/28/01 8:36:22 AM, you wrote:
<<
more info can be had from his homepage:
http://www.globaldialog.com/~rdavis/
>>

let's not forget the really important work of r davis,
laura nyro's 'christmas and the beads of sweat' and van's 'astral weeks'

i had the mixed delight of seeing him only once live,
at sweet basil 9which i now call deadly nightshade)
because i was entranced during that incredible performance
and the night manager assaulted me for not leaving
quickly enough between sets as we finished our intermission coffee.
this was over a decade ago,
and i think it (the music) was released on swt basil records.
i havent been back since (the police said since i wasnt hurt,
<just a punch to the solar plexus>
all i could do was cite him for a mediation.
i declined and just never spent a dime there siince.)
anyone know how/who it's run these days?
 i still cringe when i walk by, on my way to fun evil deeds.
regards
steve koenig
n.p. paulina rubio: "paulina"


-



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

From: [e-mail]
Subject: re: amm availability
Date: 28 Apr 2001 18:42:49 EDT


In a message dated 4/28/01 8:36:22 AM, you wrote:

<<I think I'm going to try to make it to the Knit for one
of the Sunday shows.  Anyone have any idea how many tickets are left?

Thanks,
Jesse>>

hi jesse
its saturday 6pm and i just phones the knit
and they said theres easy tix for tonight.
im bring the extended familee and needed to be sure.
assume the same for sunday.
not sure if it matters that i asked only re the 10pm show
steve koenig

-



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

From: "thomas chatterton" <[e-mail]>
Subject: Howard Skempton
Date: 29 Apr 2001 03:30:25 -0000

Anyone care to comment on 'Well, Well Cornelius', a collection of Skempton's
piano music on Sony, played by John Tilbury? I understand he was a student
of Cardew and also a member of the Scratch Orchestra. I have heard a number
of conflicting descriptions of this CD...

np: Akos Rozmann: Two, with Three Instruments
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.


-



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

From: [e-mail]
Subject: Re: Howard Skempton
Date: 29 Apr 2001 14:30:18 +0800

Hi,

I bought it a while back and have enjoyed it. What comes to mind - Mompou,
Satie, folk song, English memories ( I lived there for 34 years). It comes
from Cardew's "roots" period maybe?

regards,
Billy





>Anyone care to comment on 'Well, Well Cornelius', a collection of Skempton's
>piano music on Sony, played by John Tilbury? I understand he was a student
>of Cardew and also a member of the Scratch Orchestra. I have heard a number
>of conflicting descriptions of this CD...
>
>np: Akos Rozmann: Two, with Three Instruments
>_________________________________________________________________________
>Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.
>
>
>-




-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: Howard Skempton
Date: 29 Apr 2001 07:30:09 -0400

thomas chatterton wrote:
>
> Anyone care to comment on 'Well, Well Cornelius', a collection of Skempton's
> piano music on Sony, played by John Tilbury? I understand he was a student
> of Cardew and also a member of the Scratch Orchestra. I have heard a number
> of conflicting descriptions of this CD...

I love this disc. Some of the most beautiful Satie-esque melodies you'll
ever hear, with apreciative nods toward composers like Cardew and
Rzewski. I can see people being put off by his "simplicity", but I get
the feeling they'd say the same about Satie. It's also the best I've
heard of Skempton's discs, though there's one with piece for solo
accordion I haven't been able to locate.

Brian Olewnick

-



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

From: Matt Teichman <[e-mail]>
Subject: rene lussier
Date: 29 Apr 2001 17:55:29 -0400

I just heard this album, Le Tresor de la Langue, by a guitarist named Rene
Lussier.  Wild stuff!!  Music based on speech intonations?  What a
brilliant idea.  Who is this guy??  I read he worked with Fred Frith, which
might explain why the album sounds a bit zorny.


-



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

From: "&c." <[e-mail]>
Subject: Miles
Date: 29 Apr 2001 18:32:48 -0400

I pick up a copy of Miles' autobiography.  I didn't realize what an asshole
he could be.  He hated Dolphy's playing and Coltrane's late period, but was
enamored with Prince.  I like Prince, but...

I was amused by him calling Archie Shepp a "no-playing mofo"

Zach

np: John Coltrane - Complete Live at the Village Vanguard

-



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

From: Ken Waxman <[e-mail]>
Subject: Re: RenΘ Lussier
Date: 29 Apr 2001 18:47:46 -0400 (EDT)

FYI:

Lussier is a Quebecois guitarist associated with the
free improvisers in Montreal who are grouped around
the Ambiance Magnetique record label. He has many
other discs on AM plus Victo and other labels,
especially with his close playing partner saxophonist
Jean Derome.He has performed extensively in Canada and
Europe, but not the U.S. AFAIK.

Also while you may see "Music based on speech
intonations" as "Wild stuff". For independantists like
Lussier, concern about the French language's survival
in a North American sea of English speakers is a
political as well as a cultutral concept.

Ken Waxman


--- Matt Teichman <[e-mail]> wrote:
> I just heard this album, Le Tresor de la Langue, by
> a guitarist named Rene
> Lussier.  Wild stuff!!  Music based on speech
> intonations?  What a
> brilliant idea.  Who is this guy??  I read he worked
> with Fred Frith, which
> might explain why the album sounds a bit zorny.
>
>
> -
>


_______________________________________________________
Do You Yahoo!?
Get your free @yahoo.ca address at http://mail.yahoo.ca

-



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

From: "z~S" <[e-mail]>
Subject: Re: Miles
Date: 29 Apr 2001 16:08:19 -0700

>>>I didn't realize what an asshole he could be.<<<

I figure an accurate biography on anyone would include a fair amount of assholery.

Just be thankful you're not famous.


-



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

From: "Matthew W Wirzbicki  (S)" <[e-mail]>
Subject: RE: Miles
Date: 29 Apr 2001 18:16:45 -0600



>He hated Dolphy's playing and Coltrane's late period, but
>was enamored with Prince.

he also hated Ornette's violin playing

Matt Wirzbicki

-



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

From: [e-mail]
Subject: Re: Miles
Date: 29 Apr 2001 21:15:43 EDT

In a message dated 4/29/01 8:19:02 PM Eastern Daylight Time,
[e-mail] writes:

<< he also hated Ornette's violin playing
  >>
 To be fair, I think he tolerated the violin playing, explaining it in the
sense that he could understand O. 'going for a sound,' or something like
that.  It was O.'s TRUMPET playing that he hated, saying that it was
'disrespectful to trumpet players,' or something similar to that.  Its been a
while since I've read that bio, so I don't remember the exact quotes
(obviously).

I've heard through the grapevine that a number of things in that book are to
be taken with a grain of salt.  Exactly what things, I don't know.

-matt mitchell

-



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

From: "William York" <[e-mail]>
Subject: Eugene Chadbourne Radio (sic)
Date: 30 Apr 2001 02:49:19

I haven't listened yet b/c my computer at home doesn't have a good enough
connection, but anyway I though I'd send this before I forget...

<http://www.nr.infi.net/~chadnc/HouseOfChadula/pages/RadioChadula.htm>

"A short note to our listeners:

Radio Chadula is a new experiment for us and we want your help to make it
work in the best possible way for all. The plan is to keep a regular
rotation of fresh shows posted for your listening pleasure. We hope to turn
you on to the new stuff as well as refresh your memory of the classics. As
you will notice, we are using a 'Commercial' service to make this available,
so you will have to tolerate a bit of 'corporate shilling'. We think it's
worth tolerating the minimal interruptions to have free access to the Good
Doctor's archives.

As we proceed we hope to add live shows, interviews, tour announcements,
tidbits of wisdom and anything else that we fancy to scatter across the vast
digital audio radiance..."



_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com


-



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

From: Skip Heller <[e-mail]>
Subject: Re: Miles
Date: 30 Apr 2001 20:03:50 -0700



>
>
>> He hated Dolphy's playing and Coltrane's late period, but
>> was enamored with Prince.
>
> he also hated Ornette's violin playing
>
> Matt Wirzbicki
>
> -
>
... as if Ornette's violin playing is above reproach.

skip h


-



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

From: Skip Heller <[e-mail]>
Subject: Re: Miles
Date: 30 Apr 2001 20:07:35 -0700



> In a message dated 4/29/01 8:19:02 PM Eastern Daylight Time,
> [e-mail] writes:
>
> << he also hated Ornette's violin playing
>>>
> To be fair, I think he tolerated the violin playing, explaining it in the
> sense that he could understand O. 'going for a sound,' or something like
> that.  It was O.'s TRUMPET playing that he hated, saying that it was
> 'disrespectful to trumpet players,' or something similar to that.  Its been a
> while since I've read that bio, so I don't remember the exact quotes
> (obviously).
>
> I've heard through the grapevine that a number of things in that book are to
> be taken with a grain of salt.  Exactly what things, I don't know.
>
> -matt mitchell
>
> -
>
Where did anyone ever get the idea that Miles was tolerant, sanguine in his
opinions, or even polite.

As for the Coltrane quartet, it was McCoy Tyner's playing found particularly
dull, and, in all fairness, he did tend to play one way almost all the time
in that group.

skip h

PS I also happen to think Ornette, as a rule, is not that brilliant, so I
guess negative reviews of him don't offend me.


-



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

From: Perfect Sound Forever <[e-mail]>
Subject: Jackie McLean, Glenn Horiuchi articles
Date: 29 Apr 2001 23:44:33 -0400

Greetings,

In the latest edition of Perfect Sound Forever
<http://www.furious.com/perfect>, you'll find (among other things):

JOHN FAHEY
Tribute to an American Primitive: interviews with Dean Blackwood
(Revenant), Barret Hansen (Dr. Demento) and George Winston

GLENN HORIUCHI
Atonal energy music from the late pianist

JACKIE MCLEAN
The prime Blue Note years for the master saxman

We're always looking for good material so let us know if you have any
writing or ideas for upcoming issues.

See you online,
Jason

Perfect Sound Forever
online music magazine
[e-mail]
http://www.furious.com/perfect


-



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

From: "Matthew W Wirzbicki  (S)" <[e-mail]>
Subject: RE: Miles
Date: 29 Apr 2001 21:56:13 -0600




>... as if Ornette's violin playing is above reproach.

hey, i didn't say I was nuts about it...I'm not.  I was only trying to make
the list of now well known artists which Miles shat upon a bit more
complete.

>I figure an accurate biography on anyone would include a fair amount of
>assholery.
>Just be thankful you're not famous.

sure everyone's a jack ass from time to time but the point here is that
Miles seems - from his autobiography - to behave in a combative and
condescending manner toward others a bit more than most people consider - as
you put it - "fair."

Do you think an accurate biography on Coltrane would contain a "fair amount"
of "assholery."?  If by a "fair amount" you mean ANY then I might agree with
your statments but if by "fair" you mean decent or substancial...

...i just don't think that most people are quite as mean as Miles seems to
be in his autobiography.

Matt Wirzbicki


-



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

From: [e-mail]
Subject: Re: Miles
Date: 30 Apr 2001 00:24:25 EDT

hey man, if his "assholery" as you put it is what made him the aggressive
innovator that he was, then id gladly be the guy on the street that he
bitches out when he's had a few too many if it means i can wake up a few
weeks later and discover bitches brew

~fishy

-



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

From: "thomas chatterton" <[e-mail]>
Subject: RE: Miles
Date: 30 Apr 2001 05:27:13 -0000

>From: "Matthew W Wirzbicki  (S)" ...i just don't think that most people are
>quite as mean as Miles seems to be in his autobiography.

Just listen to the music!

P.S. My favourite Miles story is when Wympie Marsalis got up on stage while
Miles was playing Expo 86 in Vancouver to join the 'Dark Prince' in a duet
(without asking permission); Miles just scowled and told him to fuck off...

np: Ikeda/Nicolai 'Cyclo'
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.


-



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

From: "Marcin Gokieli" <[e-mail]>
Subject: Tippet's Blueprint
Date: 29 Apr 2001 17:40:44 +0200

As Tippets' blueprint is being reissued, I'd like to know what is it
like.' Thanks,
Marcin Gokieli


-



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

From: Tim Blechmann <[e-mail]>
Subject: Re[2]: Miles
Date: 30 Apr 2001 10:00:29 +0200

PaanKu> hey man, if his "assholery" as you put it is what made him the aggressive
PaanKu> innovator that he was, then id gladly be the guy on the street that he
PaanKu> bitches out when he's had a few too many if it means i can wake up a few
PaanKu> weeks later and discover bitches brew

but if you take his period from 1975 to 1980...
i wouldn't say he had been that an innovator that time. and imo in
this time his "assholery" was biggest.
and after that his music was not the intensive fusion music he played
before...

PEACE

 Tim                            mailto:[e-mail]



-



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

From: Andy Marks <[e-mail]>
Subject: Some May Tzadik Descriptions
Date: 30 Apr 2001 03:56:18 -0700 (PDT)

Zorn, John - Songs From The Hermetic Theatre
[TZ7066:f] Tzadik $14.00
"In March 2001 Zorn entered the recording studio to
create four very
different compositions. American Magus is Zorn's first
piece of purely
electronic music, and it is dedicated to the
underground innovator Harry
Smith, whose legendary paintings, groundbreaking
films, eclectic
collections (ranging from Ukranian Easter eggs, string
games, found paper
airplanes to cassettes of New York City ambiences) and
encyclopedic mind
has continued to excite, confound and inspire artists
worldwide.
BeuysBlock, a bizarre meditation on the work of
conceptual/performance
artist Joseph Beuys, is scored for piano, string
orchestra and an
incredible array of homemade sound devices, all
performed by Zorn himself.
Also included is Zorn's tribute to Maya Deren, dancer,
filmmaker,
authority on Haitian voodoo and one of the most
important and influential
figures in the New York underground and the
mindbending sonic hieroglyphs
of Codebreaker, Zorn's first piece of computer music.
An essential
collection of dialogues from one generation of the
underground to
another."

Frith, Fred - Clearing [TZ7605:f] Tzadik $14.00
"Fred Frith is one of the world's greatest originals
on the guitar, a
composer/performer who has been at the forefront of
avant garde music
since the early '70s. Clearing is his first solo
guitar recording in over
twenty years (since his classic Live In Japan of 1981)
and his first solo
studio recording since his groundbreaking Guitar Solos
of 1974. Of the
three existing solo recordings by this quirky musical
master, Clearing is
undoubtedly the most dynamic, the most direct and
sonically the best
recorded. An absolute must have for all fans


__________________________________________________
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-



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

From: "Mansur Mirovalev" <[e-mail]>
Subject: Re: Stravinsky, interpretation of the Soldier
Date: 30 Apr 2001 15:16:23 +0500

Stravinsky took one of the Russian fairy tales from a compilation book by
Afanasyev (whose work on collection of Russian fairy tales is similar to the
German fairy tales compilations of the Grimm brothers).

The Soldier goes back home after completing his service, the Devil hears him
play his fiddle
and proposes to exchange his fiddle to a book of wisdom, then fools the
Devil, takes his fiddle back, cures the ill Princess with the help of the
book, marries her and
becomes King. The Devil condemns him and promises to kill him as soon as he
crosses the border of his kingdom. When the Soldier hears that his morther
is sick, he decides to visit her - and the Devil catches and kills him
(sorry if somebody read this story somewhere on a CD cover, i myself read it
on the back of an old Soviet vynil, my first Stravinsky piece).

Somebody (I dont remember exacly who) compared the story to the Faust
motiff - i think this is the best interpretation of the whole thing.

The Soldier is also reportedly the first piece of classical music with
elements of jazz (dont forget it was written in 1918, and the very word jazz
had become known just a year earlier).

I know many list members hate Wynton Marsalis, but can anybody tell me how
was his performance of the Soldier? I also heard the Soldier was supposed to
be the first classical music edition on Sting's own label.

Mansur Mirovalev


Sent: Thursday, April 26, 2001 10:13 PM


>
> By the way, any recommendations on a good interpertration of "le
> histoire du soldat"? (sorry for bad spelling).
>
> greets,
>
>                               Ricardo Reis
>
>       "NON SERVIAM"
>
>
> -
>
>



-



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

From: [e-mail]
Subject: miles b brew
Date: 30 Apr 2001 07:39:56 EDT


In a message dated 4/30/01 7:00:01 AM, you wrote:

<<then id gladly be the guy on the street that he
bitches out when he's had a few too many if it means i can wake up a few
weeks later and discover bitches brew>>

always hated miles playing; cant stand lack of vibrato
sound autobio obnoxious and interesting
worse, im starting to, if not like, appreciate his playing.
just what i need; something new to buy.  damn.
am reading advance galleys of 'miles beyond: miles electric period'
inetresting perspectives of miles as teacher/guru...
gues you had to be in the band.. also listening to the legacy
reissue of complete b.brew sessions...
sound is amazingly better than first Cd release even tho
ive read elsewhere theres not much diff.
strating to like it.  ive always hated the title, but reading this book,
am somewhat assuaged that the title refers to the brew made by
the musicians (akin to calling them mofo's).  but with mile's "love" of
women...
i wouldnt call myself unjustified in years of disgust with the title.

facing the audience,
steve koenig
n.p. weather report (sunny, mild, no rain)

-



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

From: [e-mail]
Subject: z-list/mcphee indonesia book
Date: 30 Apr 2001 07:40:43 EDT

im told that the best book on indonesia,
perhaps mentioned already,
is composer colin mcphee's
and i probably have the title mangles,
'life in bali' or a year in bali or somesuch.
are you an ethnomusicologist perchance?
i spent time in papua nuigini with an ethno
and cherish the tapes on the sing-sings we were invited to.

regards
steve koenig
now online; my 2 lastest columns in LaFolia.com
n.p. aretha: lady soul reissue (orig extended version of chain of fools
not to be missed!  long gospel intro + first chorus,
all chopped off on the single/LP cut)

-



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

From: "& c." <[e-mail]>
Subject: Re: Miles
Date: 30 Apr 2001 09:28:01 -0400

I think it all should be taken with a grain of salt.  It's his bio, not an
official account of anything, but HIM.  It's his opinion (as assholic as it
might be), nothing more.  I love his music and I guess I'll have to tolerate
him.

His point of view has been helpful in learning about drugs in the jazz
culture, though.

Zach
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-



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

From: Herb Levy <[e-mail]>
Subject: Re: Zorn List Digest V3 #400
Date: 30 Apr 2001 07:04:02 -0500

Hi y'all,

Here're a few odds & ends in response to this morning's zorndigest.

According to various Web pages on the Indonesian writer Pramoedya
Ananta Toer, the tetralogy & his recent memoir the Mute's Soliloquy
were published in Indonesia in 2000 by Hasta Mitra, so it took awhile
after the fall of Suharto for them to be available in his native
land. Some of his other books, including several now published in
Indonesia from the same press, are technically still banned. The
current administration hasn't acted against the publisher, by they
have not rescinded the laws banning the books either. It's not clear
how stable this administration is and a government could respond very
differently to Pramoedya's works. Details on Pramoedya can be found
here: <http://www.geocities.com/Broadway/Orchestra/9632/>.


Rene Lussier has played in the US at least a little, in the mid-1980s
he performed with clarinetist Robert Lepage in Seattle, one of the
few shows I booked for Soundwork that I had to be out of town for.
He's also played Roulette and, I think, New Langton Arts in San
Francisco & probably a few other venues over the years.


&, for what it's worth, re: the announcement for the new perfect
sound forever issue, I don't recall hearing anything by Glenn
Horiuchi that's atonal, though much of his work IS dissonant. These
two terms get used interchangeably but don't technically mean the
same thing at all. Atonal music is music in which the pitches are not
organized according to a harmonic structure. Serial/twelve-tone music
is one example of this, though there are others, some of which are
less systematized. Dissonant music IS organized harmonically or
modally around a key center, though it includes pitches, chords
and/or sounds that don't fit the harmonic structure or mode. There's
a lot more instances of this than of music that's truly atonal,
especially in music with roots in jazz improvisation.

List readers may also be interested in the Jorge Ben that Jason
didn't list in his blurb on the current issue.

-



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

From:    [e-mail] (Patrick Carey)
Subject: Non-JZ FS: Blind Idiot God, Ensemble Sondarc ...
Date: 30 Apr 2001 10:45:22 +0100

I have the following items for sale that
some on this list may be interested in.

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, make me an OFFER.

$20 -- Blind Idiot God - "Undertow" JAP CD (Tokuma) 1990
       [Japanese pressing of the Laswell produced Enemy CD from 1988.
       Hawkins, Katz & Epstein w/ a George Clinton cover, and the
       track, "Purged Specimen", featuring Zorn on sax.]
$15 -- Brian Lavelle/Richard Youngs - "Radios 1" UK CD (Freek) 1995
$15 -- Ensemble Sondarc - "For Four Rooms" SWI CD (For 4 Ears) 1997
       [66 min. of ensemble-improv from 6 (yes, six) doublebassists.]
$ 7 -- Stefan Jaworzyn - "Disco Death Fury" US 7" (Fusetron) 1995
       [Nice guitar piece from 1983 split over two sides.  Limited
       to 250 copies.  Out of print.]
$14 -- Whitehouse - "Erector" UK CD (Susan Lawly: slcd011) 1995
       [Follow up to "Total Sex" from 1981.  Feat. "Shitfun".  Mint.]
$14 -- Whitehouse - "Thank Your Lucky Stars (special edition)" UK CD
       (Susan Lawly: slcd018) 1997   [Feat. "Neronia", "Sadist" and
       "Still Going Strong" not on first "TYLS" pressing.  Mint.]

Thanks for looking.


-Patrick
[e-mail]




-



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

From: Grey ElkGel <[e-mail]>
Subject: nmperign european tour
Date: 30 Apr 2001 08:06:21 -0700 (PDT)

nmperign european tour:

5/3 Wiesbaden [Ger] @ Kunsthaus
5/4 Cologne [Ger] @ Wundertuete
5/5 Wuppertal [Ger] @ ?? (afternoon)
5/5 Bremen [Ger] @ Zakk (evening)
5/6 Muenster [Ger] @ Cuba-cultur
5/9 Berlin [Ger] @ Kule
5/10 Berlin [Ger] @ Raumschiff Zitrone
5/14, 15 Florence [Ital] @ Festival "Superfici Sonore"
University of Florence School of Architecture, also
including Metamkine, Dean Roberts, Michael Schumacher,
Giuseppe Ielasi & Renato Rinaldi in various groupings.

-other dates TBA-

nmperign:
greg kelley, trumpet (www.geocities.com/greyelkgel)
bhob rainey, soprano saxophone (homepage.mac.com/bhobr)

__________________________________________________
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-



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

From: Ken Waxman <[e-mail]>
Subject: RE: Miles
Date: 30 Apr 2001 11:20:28 -0400 (EDT)

He also didn'tr get along with Symphony Sid.

So? or So What as Miles would say

Ken Waxman


--- "Matthew W Wirzbicki  (S)"
<[e-mail]> wrote:
> >He hated Dolphy's playing and Coltrane's late
> period, but was enamored with Prince.
>
> he also hated Ornette's violin playing
>
> Matt Wirzbicki
>
> -
>


_______________________________________________________
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-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Miles
Date: 30 Apr 2001 08:57:35 -0700


On Sun, 29 Apr 2001 18:16:45 -0600  "Matthew W Wirzbicki (S)" wrote:
>
> >He hated Dolphy's playing and Coltrane's late period, but
> >was enamored with Prince.
>
> he also hated Ornette's violin playing

Infatuation put aside, Ornette's violin playing is not what he is the best
at...

    Patrice.

-



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

From: "thomas chatterton" <[e-mail]>
Subject: Re: miles bitchy crew
Date: 30 Apr 2001 16:34:32 -0000

>From: [e-mail]
  ive always hated the title
>i wouldnt call myself unjustified in years of disgust with the title.

Once again, the music should stand on its own merits!

For a book  that offers more insight on Miles than his autobile (which
wouldn't be difficult!) try 'Round About Midnight by Eric Nisenson (who also
wrote the interesting 'Ascension: John Coltrane and his Quest). The author
actually hung out with Miles from '78-'81 (running errands and scoring for
him) and talked to other musicians like Dexter Gordon and Jimmy Cobb. It
only covers the period up to Miles' retirement in '75, but that's really all
you need to know...there's also 'The Definitive Biography' by U.K. trumpeter
(and Miles acolyte) Ian Carr, haven't read it yet, perhaps someone else on
the list could comment...


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-



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

From: Scott Handley <[e-mail]>
Subject: Re: Some May Tzadik Descriptions
Date: 30 Apr 2001 10:11:47 -0700 (PDT)

>"...is scored for piano, string
> orchestra and an
> incredible array of homemade sound devices, all
> performed by Zorn himself."

Wow, he's really outdoing himself this time.  I didn't
know he could play string orchestra.

---s

NP: Morton Feldman, FOR JOHN CAGE
Next: AMM, NAMELESS UNCARVED BLOCK  (sounded like a
rotten disorganized mess when I listened to it twice
two weeks ago, easily worse than the third disc of
LAMINAL; I'm going to give this another go; listening
tips appreciated)


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-



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

From: Rob Allaert <[e-mail]>
Subject: Re: Some May Tzadik Descriptions
Date: 30 Apr 2001 19:41:30 +0200

You should hear him play homemade bread !

Scott Handley wrote:

>> "...is scored for piano, string
>> orchestra and an
>> incredible array of homemade sound devices, all
>> performed by Zorn himself."
>
> Wow, he's really outdoing himself this time.  I didn't
know he could play string orchestra.

    greetings,
      Rob @ risk
        np: endless shuffling my Avant iTunes music list

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Some May Tzadik Descriptions
Date: 30 Apr 2001 12:48:44 -0500

On Mon, Apr 30, 2001 at 07:41:30PM +0200, Rob Allaert wrote:
> You should hear him play homemade bread !

Hmm.. for all the controversy about his work, I don't think anyone
has accused Zorn of Loafing.

> Scott Handley wrote:
>
> >> "...is scored for piano, string
> >> orchestra and an
> >> incredible array of homemade sound devices, all
> >> performed by Zorn himself."
> >
> > Wow, he's really outdoing himself this time.  I didn't
> know he could play string orchestra.

--
|> ~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: Scott Handley <[e-mail]>
Subject: Re: Miles
Date: 30 Apr 2001 11:46:47 -0700 (PDT)

Regarding all this talk of Miles as Asshole:

A widely published jazz writer acquaintance once told
me that he was tempted to lose his taste for some
musicans' work when he'd had terrible first-person
encounters with them.  In his case, a simple careless
mistake (his fault), led to a pretty severe
ass-chewing by a famous interviewee (a famous
mainstream saxophonist).  My friend felt he could not
listen to this man's music with pleasure after the
incident.  I don't have this problem (i.e. I enjoy
Wagner, Miles Davis, and, well, some John Zorn, now
and again), but frankly it makes more than a little
sense that one' reaction to some work might be
tempered/filtered by knowledge (however limited) of
its creator.  My own opinion is that this is an almost
entirely artificial connection, and it's a shame to
let an artist's personal problems interview with the
pleasures of audition.  Still, cultural productions
_do_ come from people and cultures, so those
connections rise up now and again; and I'm at least as
susceptible as the next guy/girl.

An interesting note: if memory serves, in the newish
1-volume edition of Jack Chambers' Miles Davis bio
(MILESTONES), there is an auhtor's introduction
detailing how (allegedly) Miles read this bio or
portions thereof, then appropriated the information
for use in his own autobiography, even though the
Chambers information turned out (after the public. of
MILES) to be spurious.  Another example of Miles the
Man using media to become Miles the legend.  Advice:
avoid all Miles sycophancy, ill-conceived and
worse-executed "tributes", and half-ass gush (even,
no, ESPECIALLY by those who worked closest to him,
whose careers owe the most to his legacy), which
should include all liner notes, ever.  Except maybe
some insightful notes here and there by whoever did
the original liners to some of the Columbia "electric"
reissues.  God, must we kiss the asses of Great Men?

-----s

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-



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

From: Scott Handley <[e-mail]>
Subject: Re: rene lussier / Craig Taborn
Date: 30 Apr 2001 12:06:06 -0700 (PDT)

--- Matt Teichman <[e-mail]> wrote:
> I just heard this album, Le Tresor de la Langue, by
> a guitarist named Rene
> Lussier.  Wild stuff!!

I really like Lussier's playing.  Somehow, I feel that
people who enjoy Marc Ducret's playing in or around
Tim Berne's game might dig Lussier fun admixture of
rock, noise, free improv, and pop and "ethnic"
inflections, esp. in Jean Derome's (defunct?) Les
Dangereux Zhoms (apologies for mangling the French
there).  I also think the briar-patch of fingers,
cartridge needles, and abused strings on RL's
collaboration with turntablist Martin Tetreault, DUR
NOYAU DUR (Ambiances Magnetiques), is well worth your
time.  They have a newer duo outing, on which Rene
plays daxophone, but I have not heard that.  Has
anyone?

>Music based on speech
> intonations?  What a
> brilliant idea.

If you dig this concept, you might check out any of a
number of records of concrΦte poΘsie, but I'm not the
one to ask about this.  I've only heard a bit of
Pierre Henry's ventures into this.

BTW, just to keep all this together, someone mentioned
an interest in keyboardist Craig Taborn's music; did
anyone mention the "official" Screwgun interview with
said Craig?  Hie thee:
http://www.screwgunrecords.com/taborn.htm

----s

----s

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-



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

From: Ken Waxman <[e-mail]>
Subject: Re: miles bitchy crew
Date: 30 Apr 2001 17:24:08 -0400 (EDT)

Ian Carr's book is overly kind, but well-reseached and
written -- at least the first edition I reas. The
definitive book is sipposed to be Jack Chambers
Milestones Vol. 1 and 2, but it has always seemed to
be too large to attempt.

It always amazes me that Eric Nisenson has written
books on such major figures as Miles and Sonny, His
hanging out seems to be just that. Hanging around
without questioning anything. His research if in
existence at all, is sloppy. And his writing skills
less than deficient.

Ken Waxman

Pardon any typos. I write too quickly when I think of
all the potential waste in EN's books.
--- thomas chatterton <[e-mail]>
wrote:
> >From: [e-mail]
>   ive always hated the title
> >i wouldnt call myself unjustified in years of
> disgust with the title.
>
> Once again, the music should stand on its own
> merits!
>
> For a book  that offers more insight on Miles than
> his autobile (which
> wouldn't be difficult!) try 'Round About Midnight by
> Eric Nisenson (who also
> wrote the interesting 'Ascension: John Coltrane and
> his Quest). The author
> actually hung out with Miles from '78-'81 (running
> errands and scoring for
> him) and talked to other musicians like Dexter
> Gordon and Jimmy Cobb. It
> only covers the period up to Miles' retirement in
> '75, but that's really all
> you need to know...there's also 'The Definitive
> Biography' by U.K. trumpeter
> (and Miles acolyte) Ian Carr, haven't read it yet,
> perhaps someone else on
> the list could comment...
>
>
>
_________________________________________________________________________
> Get Your Private, Free E-mail from MSN Hotmail at
> http://www.hotmail.com.
>
>
> -
>


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-



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

From: "Martin Wisckol" <[e-mail]>
Subject: Re: Zorn List Digest V3 #401
Date: 30 Apr 2001 15:43:04 -0700

Ken waxed, man:
> The
>definitive book is sipposed to be Jack Chambers
>Milestones Vol. 1 and 2, but it has always seemed to
>be too large to attempt.
I find it a dandy reference book -- I use it sort of as a sessionography.
Although it's not complete, it does, for instance, help you sort out what
those familiar bits are in his live recordings of the 1970s.... Lots of
good description about each recording and the circumstances surrounding
them. So, like when you're digging into one album (or one box), it can act
as a supplement to any liner notes....
I rather enjoyed the autobiography. Very readable, reasonably honest --
and, at moments, revealing just how thoroughly Miles loved music....
Martin
np. Michael Blake -- Drift (what a fine suprise from this lounge lizard --
anybody familiar with his other CDs?)


-



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

From: "Bill Ashline" <[e-mail]>
Subject: Re: Indonesian literature (no JZ)
Date: 01 May 2001 01:27:23 -0000

"Islands in the Clouds" by Isabella Tree--a travel lit piece about Irian
Jaya and Papua New Guinea.
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-------------------------------------------------------------------------------

From: "Steve Smith" <[e-mail]>
Subject: Michael Blake (was RE: Zorn List Digest V3 #401)
Date: 30 Apr 2001 21:23:09 -0400

As a player, Blake is all over the last three Ben Allison CDs, all of which
you'll enjoy if you like 'Drift.'  They are, in order, 'Medicine Wheel,'
'Third Eye' and 'Riding the Nuclear Tiger.'  They're all on the Palmetto
label.

As a composer, don't miss Blake's outstanding previous release, 'Kingdom of
Champa,' a rather incredible travelogue of time spent in Vietnam.  The band
there includes Steven Bernstein, Thomas Chapin, Marcus Rojas, David Tronzo,
Rufus Cappadocia, Bryan Carrott, Tony Scherr, Billy Martin and Scott
Neumann - yup, that's all of Spanish Fly, or three-quarters of Slow Poke, or
half of Sex Mob, plus one third of MMW...  One of my personal "unknown"
treasures of contemporary jazz, and even better than 'Drift.'  It's on
Intuition, like 'Drift.'  So's the Slow Poke album, but I never got that one
so I can't comment on it.

Blake recently premiered another large scale suite of works at the Knitting
Factory, which should see release (given past experience) in three years or
so.  Someone needs to get this guy on a quicker-acting label!

Steve Smith
[e-mail]
NP - wind whistlin' down the road...
P.S.  Any reports from the weekend AMM shows at the Knit, all of which I
sadly missed?

-----Original Message-----
[mailto:[e-mail]]On Behalf Of Martin Wisckol

np. Michael Blake -- Drift (what a fine suprise from this lounge lizard --
anybody familiar with his other CDs?)


-