Apparently the qualifier that I took care to add to my post - that I was not making a blanket statement about *all* of Brotzmann's playing - was a waste, since it was snipped out and ignored in the response. But probably I did not say emphatically enough that I wasn't generalizing.
I was just referring to my own experience of Brotzmann the few times I've seen him play live, some years ago at the Knit in fact (I think once was with Crispell). It came to mind as I was listening to AMM there because the contrasts were so obvious: unparalleled sonic reticence vs. uninterrupted ear-splitting volume (courtesy also of what I felt to be totally excessive amplification - well beyond the needs of the space and the capacity of the Knit's system to deliver undistorted sound), and extraordinary listening and interplay among the musicians versus - well, when I saw B-mann with Crispell, I didn't get any sense that he was playing *with* her at all (and I don't think she did either), as he just barreled along doing his uber-ferocity thing. (I think one of the other times I saw him may have been with Borah Bergman - could that be right? - and there I thought that at least the energy levels and intents of the players were better-matched.)
It's not that I never like his "thing." That old bass sax record of his (was it "Low Life"?) gave me a stone blast when I picked it up - which fortuitously was right around the time I read Skvorecki's novelette - and is still a valued part of my collection. But when I heard him live (this was several years later, and after my Brotzmann collection had grown), it was just like, "OK, got it, you said that before. A bunch. What are you saying by reaming it into my ears again NOW?"
But you're absolutely right, I shouldn't single Brotzmann out, especially on the basis of a few performances. The first time AMM came up for discussion here since I joined the list was after Barry Guy's gig at Tonic (with that Crispell woman again!); AMM was the cannon that Brian aimed at Guy & co. while complaining that the latter fell at times into free improv cliches and conventions. I myself thought that the Guy set was splendid - but for me "blow-til-I'm deaf" *can* - like anything else - get pretty old sometimes. I repeat, sometimes.
But that's just me. I'd be curious to know, though, if anyone else ever feels that our creative "out" or "free" (or whatever) gods - not specifically Brotzmann, OK? NOT Brotzmann - sometimes end up playing, in effect, quite conservatively (or Conservator-il-y) when they're taking us to the (same old?) Dionysian limits...
Is anyone here familiar with Real World Records, or
have any favorite artists from this label?
=====
Mike Brooker
e-Commerce Associate
Hope to see you at Skillgames soon!
$ http://www.skillgames.com $
"The test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function."-F. Scott Fitzgerald
In a message dated 5/6/01 10:45:50 AM Eastern Daylight Time,
jzitt@metatronpress.com writes:
> But it's an odd thing about Crimson -- few of the members have ever
> quite hit the peaks that they did in the band when they played outside
> of it.
>
I assume you'd make Ian McDonald's work with Foreigner one of those
exceptions?
Dale.
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<HTML><FONT FACE=arial,helvetica><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0">In a message dated 5/6/01 10:45:50 AM Eastern Daylight Time,
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">But it's an odd thing about Crimson -- few of the members have ever
<BR>quite hit the peaks that they did in the band when they played outside
<BR>of it.
<BR></FONT><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0"></BLOCKQUOTE>
<BR>I assume you'd make Ian McDonald's work with Foreigner one of those
I was at the Friday night premier of the new trio at Tonic. Here's most of what I wrote in a state of blissed-out semi-coherence to Rick afterwards:
"Absolutely stunning. Best Susie by far, stellar playing by all. I liked the Cooper-Moore/Chas. Burnham lineup, but Taborn and Choi bring a whole new dimension of virtuosity and subtlety to the proceedings. And Susie just keeps growing as a writer. Highlights: a thing called "Bug" where Susie directed Jenny and Craig with hand signals a la Zorn and laid down absolutely the most furious groove I've ever heard, and a calypso ("As Is" I think) that could have gone on for...ever...
"One of those nights you live for."
Alas, I don't think the Tonic gig was taped (no Bruce that night). I can't imagine that the trio won't record. Susie said they'd been working very hard leading up to the premier, and it's obvious that this isn't some one-off group. They've gone right to the upper echelon of my select must-see-every-time-in-town list.
I guess I'm still state of blissed-out semi-coherence...
David
rp: Muhal Richard Abrams, The Visibility of Thought
I've seen on Napster, Bill Frisell listings with a title/band called "Power Tools"... Does anyone know about this project? What is the line-up and where can I get the CD?
-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! Auctions - Click and bid on cool stuff like Dave Matthews Band Tickets & more!
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I've seen on Napster, Bill Frisell listings with a title/band called "Power Tools"... Does anyone know about this project? What is the line-up and where can I get the CD?<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><hr size=1><b>Do You Yahoo!?</b><br>
<a href="http://auctions.yahoo.com/">Yahoo! Auctions</a> - Click and bid on cool stuff like <a href="http://user.auctions.yahoo.com/show/auctions?userID=dave_matthews_band_tickets&u=%3adave_matthews_band_tickets">Dave Matthews Band Tickets</a> & <a href="http://auctions.yahoo.com">more!</a>
<BR></FONT><FONT COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">I've got in on LP, not sure if it came out on CD.</FONT><FONT COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR></BLOCKQUOTE>
<BR></FONT><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0">
<BR>It did, I have the CD. As far as I know, its been long out of print.
In a message dated 5/7/01 9:19:23 AM Pacific Daylight Time,
proussel@ichips.intel.com writes:
>>> Is it so bad? I don't think so. You have to remember that the movie was
> done as
> a challenge. She did not know anything about tango before the idea of the
> movie
> came. It was her intent in throwing herself totally in this movie, by
> almost
> doing everything. The result might not be to the level of the concept and
> effort than went in, but knowing that helps to appreciate the movie. <<
Not that I don't find your assessment valid, but what made me go from
enjoying this movie to just about hating it was when Potter kept talking
about making a movie and what it would be like. When the movie went from her
taking tango lessons to where everything centered around her making a movie,
it went straight down the drain. Also she had a very narrow range of emotions
and seemed to wear a smirk throughout the film. The Sundance Channel has
been showing this recently. I really enjoyed Potter's "Orlando" but was
pretty disappointed with this one.
John Threadgould
NP nothing
NR Unzipped Souls-William Minor
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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT SIZE=2>In a message dated 5/7/01 9:19:23 AM Pacific Daylight Time,
<BR>proussel@ichips.intel.com writes:
<BR>
<BR>>><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Is it so bad? I don't think so. You have to remember that the movie was
<BR>done as
<BR>a challenge. She did not know anything about tango before the idea of the
<BR>movie
<BR>came. It was her intent in throwing herself totally in this movie, by
<BR>almost
<BR>doing everything. The result might not be to the level of the concept and
<BR>effort than went in, but knowing that helps to appreciate the movie. <<</FONT><FONT COLOR="#000000" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR>
<BR></FONT><FONT COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"> Not that I don't find your assessment valid, but what made me go from
<BR>enjoying this movie to just about hating it was when Potter kept talking
<BR>about making a movie and what it would be like. When the movie went from her
<BR>taking tango lessons to where everything centered around her making a movie,
<BR>it went straight down the drain. Also she had a very narrow range of emotions
<BR>and seemed to wear a smirk throughout the film. The Sundance Channel has
<BR>been showing this recently. I really enjoyed Potter's "Orlando" but was
In a message dated 5/8/01 2:52:45 AM Eastern Daylight Time,
chatterton23@hotmail.com writes:
> Actually, I also quite liked (at the time!) the self-titled McDonald & Giles
> LP...
>
>
You're right! I found this on CD a year ago or so, and couldn't resist. It
holds up surpringly well, unlike most of the music from my "youth" of this
vintage that I've revisited. And since we're (I'm?) on the subject, I would
say the same and maybe more for Audience's House On the Hill album from the
same era, which I'm sure is in more than a few collections and history from
people on this list. Except that (and I REALLY hope I'm not going to ruin
this record for any fan of it) Howard Werth's vocals now sound uncannily like
Axl Rose!!
Dale.
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<HTML><FONT FACE=arial,helvetica><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0">In a message dated 5/8/01 2:52:45 AM Eastern Daylight Time,
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Actually, I also quite liked (at the time!) the self-titled McDonald & Giles
<BR>LP...
<BR>
<BR></BLOCKQUOTE>
<BR></FONT><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0">You're right! I found this on CD a year ago or so, and couldn't resist. It
<BR>holds up surpringly well, unlike most of the music from my "youth" of this
<BR>vintage that I've revisited. And since we're (I'm?) on the subject, I would
<BR>say the same and maybe more for Audience's House On the Hill album from the
<BR>same era, which I'm sure is in more than a few collections and history from
<BR>people on this list. Except that (and I REALLY hope I'm not going to ruin
<BR>this record for any fan of it) Howard Werth's vocals now sound uncannily like
Subject: Re: KC alumni association (was RE: Odp: Soft Machine)
Date: 08 May 2001 09:54:31 EDT
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In a message dated 5/8/01 3:22:43 AM Eastern Daylight Time,
ssmith36@sprynet.com writes:
> I personally would not pay to hear any cover band, no matter how glamorous
> its constitution, play the music of King Crimson without Fripp. I don't
> care if it has his sanction or not - I'm just not interested. But it has
> been a longstanding fantasy of mine to see Fripp book a week of shows at a
> Broadway theater (like the Longacre Theatre shows of '96), with a different
> lineup reuniting each night. We'd have (at least as of the time I
> originally hatched this plan) the Double Trio on Monday night, the '80s
> quartet on Tuesday, the '74 band on Wednesday, the '72 band on Thursday, and
> the '69 band on Friday night. I guess now we could add the current lineup
> as the Monday night show and bump everything back a night.
>
>
Well Steve, if you're going to go that far, I guess you'd have to add Giles
Giles and Fripp on Saturday....<G>
Dale.
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<HTML><FONT FACE=arial,helvetica><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0">In a message dated 5/8/01 3:22:43 AM Eastern Daylight Time,
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I personally would not pay to hear any cover band, no matter how glamorous
<BR>its constitution, play the music of King Crimson without Fripp. I don't
<BR>care if it has his sanction or not - I'm just not interested. But it has
<BR>been a longstanding fantasy of mine to see Fripp book a week of shows at a
<BR>Broadway theater (like the Longacre Theatre shows of '96), with a different
<BR>lineup reuniting each night. We'd have (at least as of the time I
<BR>originally hatched this plan) the Double Trio on Monday night, the '80s
<BR>quartet on Tuesday, the '74 band on Wednesday, the '72 band on Thursday, and
<BR>the '69 band on Friday night. I guess now we could add the current lineup
<BR>as the Monday night show and bump everything back a night.
<BR>
<BR></BLOCKQUOTE>
<BR></FONT><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0">Well Steve, if you're going to go that far, I guess you'd have to add Giles
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">It was an ironic comment on how clanish poetry has become. You get sometimes
<BR>the impression that the quality of a poet has more to do with which side of
<BR>the fence he/she is than really his/her poetry. You are part of the group
<BR>and
<BR>your poetry is fantastic; you are not part of the group and its quality is
<BR></FONT><FONT COLOR="#0000ff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">so if you're a Frisell fan and you see it, do not hesitate.</FONT><FONT COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
<BR></FONT><FONT COLOR="#0000ff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">T<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">he band soldiered on for a while, but a European tour eventually resulted
<BR>in some bad blood between Frisell and Jackson (they're polar opposites,
<BR>personality-wise). Frisell left, and was replaced by Pete Cosey, augmented
<BR>by a second guitarist, maybe David Gilmore or Ronnie Drayton (my tape of
<BR>that latter band is in storage, so I can't check at the moment). But this
<BR>was a more pedestrian blues-rock affair, not even close to the inspiration
<BR>of the original, though it might have been impressive live and in person.</FONT><FONT COLOR="#0000ff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></BLOCKQUOTE>
<BR></FONT><FONT COLOR="#0000ff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">Did anyone hear the Vernon Reid/Gibbs/Jackson reunion trio at the Bell
<BR>Atlantic Festival year before last?</FONT><FONT COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">
In a message dated Wed, 9 May 2001 2:01:40 PM Eastern Daylight Time, Joseph Zitt <jzitt@metatronpress.com> writes:
> > If paper was expensive, the average quality
> > of poetry would raise :-).
>
> Ah, so by that logic you appear to believe
> that rich people intrinsically write better
> poetry.
I've been making it a point to steer clear of this argument, but I feel constrained to point out that you've got the logic of Patrice's comment exactly backward: if, as he says, there'd be less crappy poetry if you had to make real material sacrificies to produce it (so that only people who were really prepared to pay their dues would become poets), then it would precisely *not* be the rich who'd intrinsically write better poetry; for the rich, after all, would sacrifice the least to obtain expensive paper. And would therefore be the biggest source of non-dues-paying poetic dilettantes...
Subject: Something NEW: Thursday @ Knit (& Company Comments)
Date: 09 May 2001 16:25:17 EDT
thanks, Steve, for your review of Company. I was there too, the first night, and I was TOTALLY disapointed. I thought Bailey was the only really brilliant one of the bunch, in regards to his concept. many of the others--not naming names--either (A) have put no thought into their 'concept' of improv, or (B) are really fighting too hard to get small, non-traditional sounds from their instruments. as a bassist very interested in 'extended tecniques.' compare the 'extended' facility of Guy, Parker, Phillips, Kowald, Reijseger, etc. with the string players in Company. there was just very little to hold all those tricks together... (certain musicians that night also made me crazy, to the point of pulling hair out! they should take some kind of improv class before they jump in there with Derek...)
well, that said, I feel foolish promoting an upcoming Knit gig, Thursday night starting at 9pm. I'm playing bass in the 11pm set. I really think it'll be great; some of these guys are total motherfuckers, I think just as good as almost any of the 'big names.' Hope to see you there.
In a message dated Thu, 10 May 2001 10:22:21 AM Eastern Daylight Time, Scott Handley <thesubtlebody@yahoo.com> writes:
> Since we've touched on this, I was going to
> ask if anyone has recommendations or examples
> of excellent meetings of avant-garde music
> with poetry or prose.
I'm surprised nobody's mentioned yet Steve Dalachinsky's "Incomplete Directions" CD (Knitting Factory Records, 1999). Poetry with accompanments by William Parker, Matthew Shipp, Susie Ibarra, Mat Manari, Assif Tsahar, etc. Excellent? I dunno, but definitely interesting.
I'm not really sure what you mean by "fusion rhythm thing," but you might
want to try weather report's I Sing the Body Electric. The last half is a
live show in Japan that absoloutely burns. I'm not sure how much of it is
free, but it certainly sounds very minimally composed.
~eriedell
In a message dated 5/11/01 10:00:38 PM, parksplace@hotmail.com writes:
<< I heard a band on the radio the other day that had a free jazz vibe and a
fusion rhythm thing going on under it. It wasn't very good, but it got me
thinking. Are there recordings and/or groups that effectively do this?
Zach
PS Sorry for the naivety of my question >>
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>This person wrote "Hole in Our Soul: The Loss of Beauty and
>Meaning in American Popular Music," which is an absolute toilet rag.
My piece on her book is at http://wlt4.home.mindspring.com/books/holesoul.htm (though it needs some slight revision; for instance, Greil Marcus told me of another error: The Mayflower didn't carry Puritans).
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">n.p. Brian Eno and J. Peter Schwalm: Drawn from Life
<BR></BLOCKQUOTE>
<BR></FONT><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0">What is this one?
As far as music utilizing toy instruments, there's a rock band out there called Self. Fairly Prince-influenced in conception, albums are quite varied from song to song. Their newest album, Gizmodgery, happens to be recorded exclusively using toy instruments. Drums, Keyboards, Guitars, Basses, noisemakers, all of the toy variety. All originals, with the exception of What of Fool Believes by the Doobies, and its a really good version of that tune. I'd recommend for the pop-inclined among you.
Has anyone heard this album yet? There hasn't been
many comments on it, though it's only been available
for a couple weeks.....
Myself, I'm waiting for Songs of the Hermetic Theater
instead....
np: Conet Project
=====
Mike Brooker
e-Commerce Associate
Hope to see you at Skillgames soon!
$ http://www.skillgames.com $
"The test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function."-F. Scott Fitzgerald
Subject: the artist formerly known as the artist formerly known as prince
Date: 15 May 2001 13:59:11 -0400 (EDT)
thanks to whomever it was who suggestd the retroactively (later rescind'd) epinonymously entitled prince record, that being, more or less, 0)+->. hadn't listened to that one in a while, and it's better than i recalld. (and for those who don't know, he had good enough, interesting reasons for his name game, tho he didn't do much to make them known.)
couldn't say that disc, even with great cuts like 'my name is prince,' '7' and 'sexy mf', is my fave. his all time best remains 'lovesexy', with honorable mention to 'come' 'the black album' '1999' 'parade' oh gosh others...
a really, really nice one, one of his really, really best, is 'the truth' which, unfortunately, can only be had as the fourth disc in the 'crystal ball' set. the other 3 are a bunch of half-baked vamps and jams and blither.
and original poster: i'm glad you're going to the show. it'll be dead solid on it. contrary to some well-meaning menace who posted previous, he does not miss live. and keep your ears open for the after set. you'll have to pay through the nose, and it'll be worth it.
content: like jz, p does himself no favors in the public eye by refusing to explain his motives in the media. be it name changes or pictures of young asian women, an artist can't always get the argument out without the help of evil journalists. i understand they don't always care about getting their reasoning to the public at large, but i think both suffer for it.
Subject: Re: the artist formerly known as the artist formerly known as prince
Date: 15 May 2001 12:33:54 -0500
On Tue, May 15, 2001 at 01:59:11PM -0400, alberta wrote:
> couldn't say that disc, even with great cuts like 'my name is prince,' '7' and 'sexy mf', is my fave. his all time best remains 'lovesexy', with honorable mention to 'come' 'the black album' '1999' 'parade' oh gosh others...
Hmm, I hadn't seen anyone mention "Come" before as a fave. I thought the
contractual-fulfillment albums ("Come", "The Gold Experience", and
"Chaos and Destruction") were kinda weak, though "Come" does include
one of my favorite of his tracks, "Solo".
> a really, really nice one, one of his really, really best, is 'the truth' which, unfortunately, can only be had as the fourth disc in the 'crystal ball' set. the other 3 are a bunch of half-baked vamps and jams and blither.
Hmm, I don't remember anything at all about that disc -- I was
probably numbed by listening to the whole set in order :-) Now queued
in my CD player...
> and original poster: i'm glad you're going to the show. it'll be dead solid on it. contrary to some well-meaning menace who posted previous, he does not miss live. and keep your ears open for the after set. you'll have to pay through the nose, and it'll be worth it.
I did see one mediocre show, his NYC performance from the "Parade" tour,
which just didn't connect for me. I may have hit concert burnout then
though, having seen Neil Diamond (don't ask) and Meredith Monk the two
previous nights.
n.p.: Serial Experiments Lain: Cyberia Mix
--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
Subject: Re: the artist formerly known as the artist formerly known as prince
Date: 15 May 2001 16:36:36 EDT
Actually, I find the Gold Experience album to be overall one of his stronger more 'recent' efforts. There are many, many wonderful songs on that album. Then again, I doubt one could find any two Prince fans that agree completely on what are the good records. After all, I think Emancipation has mostly great stuff, and Crystal Ball has a large proportion of high quality stuff as well.
A friend of mine once posited that 1999 defined the sound that Prince was to use for the rest of his career, and that every texture contained on every subsequent album was essentially a slight variation on the 1999 album in some way.
-matt mitchell
>>Hmm, I hadn't seen anyone mention "Come" before as a fave. I thought the
contractual-fulfillment albums ("Come", "The Gold Experience", and
"Chaos and Destruction") were kinda weak, though "Come" does include
<BR></FONT><FONT COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0">i don't think this message is appropriate, being that it actually has SOME
<BR>Zorn content :) but um.. I picked it up the other day, and while I must say
<BR>I'm personally eagearly awaiting Songs of the Hermetic Theater, the pieces
<BR>presented on this album are definitely worth hearing.
<BR>As I've mentioned a lot before, I'm a very big fan of Zorn's semi-classical
<BR>compositions, maybe just a little bit more than his other projects. But don't
<BR>get me wrong, I hold them all in VERY high regard, just ask my girlfriend,
<BR>who thinks I'm a pretentious jerk. :)
<BR>Anyway here are some random thoughts. "Love, Madness, and Mysticism", while
<BR>being a good collection of pieces, is not an excellent collection of pieces.
<BR>Specifically disappointing for me, was the "Untitled" piece for Solo Cello.
<BR>While Friedlander's virtuosity is very well displayed, it was never really in
<BR>question. "Amour Fou", 20 minutes in length, is by far this album's greatest
<BR>achievement. It's hard to point out exactly what's so striking here. The
<BR>instruments mesh perfectly, and his vocabularly of visual sound is as lucid
<BR>as ever. Almost always, I think, he throws in at least one quote from another
<BR>one of his pieces, and I think there's a pretty clear example in this one.
<BR>This album is very different mood-wise from his other written works. I don't
<BR>really have any other ideas on the subject now, I'll listen to it some more,
Sad to say, Experimental Musical Instruments is no longer publishing their magazine. It is not out of business though. See http://www.windworld.com/emi/
the first 15 minutes or so of last night's Jah Wabble/Evan Parker gig was great. Evan was on fire, kind-of doing his shtick (a shtick I happen to love) and livening-up the drum & bass groove. it was pretty hypnotic and intense. after that, Jah Wabble's sound guy, probably the worst I've ever heard, took the controls and went haywire. some folks were watching him move the controls up and down with the groove, get insane feedback, then throw his headphones down, as if blaming them for not being able to do sound. rumor has it the Jah Wabble gig with Laswell had *really* bad sound. glad I missed it.
Following that cool 15 or so minutes, two horn players got on stage (I guess they're with Jah Wabble), and a few minutes into it I fel asleep in the first row (sorry Evan). he was playing great, but I guess it wasn't enough to tune everything else out, probably because the stupid sound guy had such a huge reverb/delay on Evan the whole time that... argh.. I don't wanna think about it. there were quite a few people around that, like me, had either fallen asleep and walked out or just walked out.
I can't imagine the nightmare if I find that it's the same sound guy doing the next 2 nights of Evan at the Knit (no chance, because he works for J-W, but it's fun imagining the nightmare nonetheless).
In a message dated Thu, 17 May 2001 1:17:21 PM Eastern Daylight Time, konrad <konrad@panix.com> writes:
> From my vantage it appears these posts are
> actually making Jeton's original point all the
> more, which was that there is hostility towards
> certain kinds of interpretation.
There's hostility towards intellectually vaccuous interpretation that adds nothing to the understanding of art because, as Bill and others have ably pointed out, it simply postulates what it needs to demonstrate, and then deflects challenges by attacking the moral bona fides of the people who bring them rather than by meeting the substance of their arguments. It's by no stretch only folks coming out of gender politics bags who try to run the table in debates this way. Just seems that this is the context this time around. And around. And around.
David
rp: Matthew Shipp String Trio, Expansion Power Release
In a message dated Thu, 17 May 2001 3:33:45 PM Eastern Daylight Time, Skip Heller <velaires@earthlink.net> writes:
>> My favorite "playing inside the piano" memory
>> is when Count Basie played the strings directly,
>> during his birthday concert @ Filmore <snip>
>> (1967). Keith Jarrett did a long inside the
>> piano solo at the end of Lloyd's set.
>
> There are also examples of this technique in various
> parts of the Beach Boys' PET SOUNDS.
To my knowledge, the first jazzer to do this kind of stuff on record was Roger Kellaway, on the composition "Brats" on his 1965 trio album. Actually, that was a prepared piano; don't know if he went inside it during the performance. Anybody know of earlier significant examples involving jazzers (yes, genre lines would be problematic), live or on record? When did Jarrett start diving in?
In terms of contemporary inside-the-box playing that's cliche-free and totally musical, I award the palm to Sylvie Courvoisier. The things that that woman can do with duct tape...
I'm in Bologna on a lousy computer, so pardon the combined answers.
Caleb's right, the Cellule D'Intervention D'Metamkine has not recorded, and they won't, because it can't be captured on a CD or probably even a DVD. they played early this week at the festival Giuseppe Ielasi organized in Florence, with nmperign, Dean Roberts, Giuseppe, Michael Schumacher, and more than one jaded listener told me it was the best set they'd ever seen. they're supposedly playing montreal later this year.
as for my Rowe comments, I'm sorry if they offended. feel free to slam Rowe, AMM, Erstwhile, me, or any or all of the above. seriously, go ahead.
but I'm entitled to my opinions too, and I thought that specific comparison was silly, although after the clarification by the original poster, I probably wouldn't have posted what I did. it was what I thought was the Rowe/Sonic Youth comparison that triggered my post.
I've seen Evan Parker several times, but last night's solo gig at the Knit was one for the books. More than anything, it sounds like he's been practicing his ass off with that tenor. he's finally got the concept and the fluidity to do on tenor what he does on soprano. shit. I was expecting it to be great, but it just floored me-- easily the best show I've seen since Barry Guy at Tonic. He told me after the show, "it seems the tenor was working tonight." pff.
He also mentioned a gig in France where the Parger-Guy-Lytton trio recently played, saying it was their best playing ever. "Barry wants the tape to put out, but I'm putting it out as soon as I can!"
Also: In a real fuck-up by the Knit, William Hooker's big Billy Higgins tribute concert seemed totally un-advertised. I think maybe 7 people showed up. I split after hearing Hooker set up his drums & tune-- I can't imagine a more *unfitting* drummer to pay tribute to the class and elegance of Billy Higgins' playing. I heard Evan was gonna play, with Joe Lovano, Matt Wilson, etc, and Assif had his horn with him. anyone check that out last night?
In a message dated 5/19/01 10:02:59 AM, jcurwin@hartingdale.com.au writes:
<< A sax-playing friend of mine asked me about what equipment Zorn uses
(saxes,
mouthpieces, reeds, ligatures...). Does someone know all of this stuff? I
realise similar questions have probably been asked many times before, so my
apologies... >>
He uses a selmer MVI sax and alexander superial strength 3 reeds. I'm not
sure what type of mouthpiece and ligature, but it looks like the same set up
that anthony braxton uses.
~Eriedell
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Listened to this one a couple of times already. Good CD, but it's a *very* restrained effort compared to what I expected. Most suprised with Merzbow's involvement--or lack of, to be closer to the truth. Outside of supplying a few sine waves, he practically goes unnoticed. 99% of FMP's catalog offers a more crazed atmosphere than this one, and I'd be lying if I didn't say I was a bit upset that Yoshihide doesn't challenge my senses a bit more here.
Bar Kokhba show: Excellent! Ribot played a epiphone 335 red and Zorn kept mentioning that he was the king of "New Jersey Surf guitar"... Friedlander was on fire... He and Cohen did a number together that was just stunning... Joey and Cyro also did a percussion number that was amazing... Feldman did a solo piece... The project played mostly things from Circle Maker... Zorn directed from the side lines... I was able to meet everyone after the show...
Frith/Laswell/Lombardo/Zorn: Great improvs... What else would one expect? Lombardo was brutal! I'd never had the pleasure of seeing Fred Frith play and he was facinating... "Invintive" maybe the word... Zorn did very little directing but the band seemed to just go places on it's own anyway... Laswell was his usual, and Zorn was usually on the mark... Great show...
Fantomas: Very entertaining... Lombardo stole the show, really... It was hard to stop watching him... Buzz was okay, Trevor Dunn was as tight as can be with Lombardo and Patton seemed to be having the time of his life... Great line-up and great tunes...
Bill Frisell Trio: Bill was the best guitarist I've seen live to date... Amazing!!! The sampler he used was out of this world... Kenny Wollenson was in a trance inspired by the connection between Frisell and Tony Scherr... Great show too!!! What can I say, it was a great festival! I met Frisell and Kenny before the show... Great guys...
Ikue Mori, DJ Olive, Kim Gordon: Someone had given me tickets to this show, so my buds and I went to kill time waiting for Fantomas.... I didn't care for the show at all... In fact we all walked out as did some of the others in the audience... Really bad... Kim looked like she was on Heroin or something... Bad...
Cathode: Good stuff... I didn't expect to enjoy this one as much as I did... Would I go to another show? Sure thing...
-That which is labeled 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.
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<P>Bar Kokhba show: Excellent! Ribot played a epiphone 335 red and Zorn kept mentioning that he was the king of "New Jersey Surf guitar"... Friedlander was on fire... He and Cohen did a number together that was just stunning... Joey and Cyro also did a percussion number that was amazing... Feldman did a solo piece... The project played mostly things from Circle Maker... Zorn directed from the side lines... I was able to meet everyone after the show...</P>
<P>Frith/Laswell/Lombardo/Zorn: Great improvs... What else would one expect? Lombardo was brutal! I'd never had the pleasure of seeing Fred Frith play and he was facinating... "Invintive" maybe the word... Zorn did very little directing but the band seemed to just go places on it's own anyway... Laswell was his usual, and Zorn was usually on the mark... Great show...</P>
<P>Fantomas: Very entertaining... Lombardo stole the show, really... It was hard to stop watching him... Buzz was okay, Trevor Dunn was as tight as can be with Lombardo and Patton seemed to be having the time of his life... Great line-up and great tunes...</P>
<P>Bill Frisell Trio: Bill was the best guitarist I've seen live to date... Amazing!!! The sampler he used was out of this world... Kenny Wollenson was in a trance inspired by the connection between Frisell and Tony Scherr... Great show too!!! What can I say, it was a great festival! I met Frisell and Kenny before the show... Great guys...</P>
<P>Ikue Mori, DJ Olive, Kim Gordon: Someone had given me tickets to this show, so my buds and I went to kill time waiting for Fantomas.... I didn't care for the show at all... In fact we all walked out as did some of the others in the audience... Really bad... Kim looked like she was on Heroin or something... Bad...</P>
<P>Cathode: Good stuff... I didn't expect to enjoy this one as much as I did... Would I go to another show? Sure thing...</P>
<P> </P>
<P> </P><BR><BR><P>-That which is labeled 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="rd.yahoo.com/auctions/tag/?http://promotions.yahoo.com/promotions/yahooauctions/index.html">Yahoo! Auctions $2 Million Sweepstakes </a> - Got something to sell?
On Thu, May 24, 2001 at 02:03:04PM -0400, richard ladew wrote:
> Does anyone have suggestions for a radio show Im doing next week on great arrangers?
>
> So far I have quite a limited list of the following whom I have been featuring throughout the month and for the last show I want to play nothing but great arrangers and expand my horizons a bit:
>
> Morricone
> Esquivel
> Brian Wilson
> Roland Kirk
Gil Evans, of course!
--
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
some of my favorite arrangers, all doing really great 'avant-garde' stuff within big band jazz of the 30s-60s, especially with vocalists.
Pete Rugolo : listen to June Christy's SOMETHING COOL from '55. that shit fucks your mind. five stars.
Paul Jordan : with Artie Shaw's orchestra, 1938 or thereabouts. the album is EVENSONG on Hep. wow!
Ralph Burns : FREE FORMS (1950?) is on a really amazing 2CD called LEE KONITZ MEETS JIMMY GIUFFRE (verve).
Eddie Sauter : arranger for Mildred Bailey/Red Norvo orchestra in the 1930s, as well as Benny Goodman. try BENNY GOODMAN PLAYS EDDIE SAUTER ARRANGEMENTS (a more representative title I've seldon heard!). also amazing is FOCUS by Stan Getz.
Subject: Avant big bands (was: Arrangers and Victo 2001)
Date: 24 May 2001 16:54:48 EDT
The "great arrangers" thread and Brian's inclusion of Barry Guy's New Orchestra on his Victo 02 wish list got me to thinking...
We've currently got the New Orchestra, and the NOW Orchestra, and ICP, and Satako Fuji's big band(s), and William Parker's Little Huey, and Breuker's Kollektief, and sometimes David Murray's big band, and I guess the Sun Ra Arkestra, and periodically Charlie Haden's Liberation Music Orchestra, and Vinnie Golia's Large Ensemble, and the Italian Instabile Orchestra and (going back a bit) the LJCO and the Berlin Contemporary Orchestra, and...
Who else? And how would you rank 'em, either against each other or against the great big bands of the past? and how 'bout a fest that they ALL come to? ;-)
Me, I'm especially partial to ICP and NOW.
David
rl: Maurice Horsthuis, Amsterdam Drama --> Bradshaw Pack, Alogos
Subject: Re: Avant big bands (was: Arrangers and Victo 2001)
Date: 25 May 2001 15:44:07 EDT
In a message dated Fri, 25 May 2001 1:29:08 PM Eastern Daylight Time, konrad <konrad@panix.com> writes:
> So what is NOW?
New Orchestra Workshop, a Vancouver-based outfit that was started about 15 years ago and whose shifting personnel include Paul Plimley, Peggy Lee, Dylan VanDerSchyff, Coat Cook, Ron Samworth, and others. They've recorded with George Lewis, Barry Guy, Rene Lussier, and Vinnie Golia, as well as doing their own stuff. They remind me of the Ellington orchestra in a way, in that they can give you so many different looks, but all unified by by an unmistakable aural personality. If that makes any kinda sense. They kick major, major ass.
M.O.B. [My Own Band.] Great stuff. I didn't include this earlier 'cause I didn't think the band was, well, Big. More on the level of David Murray's Octet, maybe.
The latest cutout catalog from Nina's Discount Oldies has them selling new copies of the above for $8.99 . I know some CDs on this label were of "questionable" audio quality. Was this one of them? I notice they're also selling some of the other Subharmonic titles for cheap- Valis, Laswell/Namlook, a/o...
Does anybody know the name of a label that was doing CD-R reissues of late 70s/early 80s punk and power pop? They had two or three dozen releases, all collecting seven-inches. The releases were sold through Other Music; apparently there was also an article about them in Spin.
