ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/zorn-list/archive/zorn-list.9605

Internet Message Format | 1997-05-26 | 230KB

From: [e-mail]
Subject: Free Improvisation (was: New Jon Rose?)
Date: 01 May 1996 00:18:12 -0400

In a message dated 96-04-30 22:07:02 EDT, [e-mail] (plantarm)
wrote:

>about this talentless improvising thing: this is actually not a
>phenomenon without historical precedent.  this is the Cage generation
>finally getting their doctorates and getting settled into colleges,
>where they teach the young and impressionable to screw around freely
>in "new music ensembles", even if they can't play a lick on anything.
>how do i know this?  because i'm a college senior now, and our just
>ex-music chair was a middle aged Cage freak who started a new music
>ensemble that i was in.  it's very joe populism stuff: anyone can and
>should be able to play if they want.  it was a fucking blast every time
>we got together, whether doing pieces or just screwing off; and i
>learned a lot about how to improvise, just by listening to other people
>while i played every friday afternoon.  we had our theatrical moments,
>too.  i wrote a piece for the group called "thor"; in a concert
>performance, we improvised an "ending" of putting away our instruments
>and cleaning up the stage while the music tapered off to one lonely
>guy, wailing on the dijeridoo.  i'd recommend to anyone that whether
>they can "play" or not, they get a group together and improvise as
>best they can.  it's eddicational and stuff
>
>eric M.

I'm totally with you on this.  There is a large, amorphous group of
improvisors in the Denver/Boulder area.  We started playing together in the
mid-80's, especially after saxophonist Jack Wright moved here.  At any of our
sessions, anyone is invited to play.  We've had everything from "serious
musicians" who couldn't loosen up to non-musicians who wouldn't shut up.  The
one thing that always made a session great was the level of communication
that could develop between players.  When there are good listeners present,
the connection between players is on a level unlike any I've ever experienced
anywhere else.  We strive to create a safe environment where musicians aren't
judged on their level of "chops", but on how well they listen.  Knowing when
not to play is as, if not more important than knowing what, when or how to
play.
We've done performances in shopping malls, in coffee houses, under freeway
overpasses and in concert halls. We've jammed with famous musicians,
non-musicians, dancers, film-makers and poets.  The group membership is never
the same and consists of anywhere fro three to 25 people.  Almost everyone
does other things musically and we all have very different tastes in music,
but when we play together we have tons of fun. We start to have a hard time
finding where the music ends and the "non-music" begins. These experiences
have opened my mind up to possibilities in music that only Cage has been able
to explain or demonstrate.
I'm glad to hear that you and your school mates have had similar experiences.

Barry Gilbert
Boulder, CO


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

From: [e-mail]
Subject: Re: ruins
Date: 01 May 1996 12:29:53 -0400

"Burning Stone" is the move. Tzadik title very good but not amazing.


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

From: N Vassiliou <[e-mail]>
Subject:  ruins
Date: 01 May 1996 17:40:58 BST


Can somebody give me a brief description of the Ruins?I really don't know what to expect.

Thanks



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

From: john shiurba <[e-mail]>
Subject: Re: anybody knows the magazine CARBON 14?
Date: 01 May 1996 13:23:06 +0000

Patrice L. Roussel wrote:
>
>         I just got a copy of the magazine CARBON 14 (issue #7, with an
> interview of Elliott Sharp and a 7" with Wayne Horvitz, Zeena Parkins,
> William Hooker, etc). Two questions:
>
>         1/ when was this issue released?
>         2/ who else has appeared in the previous issues/7" (I also
>            have the issue #4)?


I have their address as:
Carbon 14
PO Box 29247
Philadelphia PA 19125

Eskimo was featured in Issue 4, which came out last summer. That would
make issue #7 about Jan/96 since it's bi-monthly.

shiurba


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Downtown scene & King Crimson
Date: 01 May 1996 12:42:47 -0700


On Mon, 29 Apr 96 19:47:35 CET  [e-mail] wrote:
>
>  Hello,
>  There is one thing i cannot understand. Why is there no connection (at least,
> i don't know of any) between Robert Fripp and Zorn, Frisell etc.? what is more
> strange (for me)is that there is practically no talk about RF&kc here, and not
                        ^^^^^^^^^^^^^^^^^^^^
Why should it be any? Two completely different kinds of music for two (mainly)
different kinds of audiences.

Is Fripp ever mentioned on lists/threads about Incus/Bailey/Parker? No, and
they are all British and live in the same town :-). I think it is exactly
the same with the NY downtown scene. Fripp music just does not fit at all
in the genre.

> a single word on Zorn etc. on Elephant talk, the crimso list.
> Don't you find it strange? Does everybody here leaves a party when he hears, fo
    ^^^^^^^^^^^^^^^^^^^
That's the opposite that would surprise me.

> r example , 'discipline'(which is, btw my favourite record)? I can't beleive it
> !
> Imagine a Fripp-Frisell Band!!!
        ^^^^^^^^^^^^
Fripp-Frisell? Yes, I can imagine that.

    Patrice.


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

From: Alain Potvin <[e-mail]>
Subject: Re: ruins
Date: 01 May 1996 20:58:07 -0400

At 21:06 30/04/96 -0500, you wrote:
>a question again: i've found a mail order source for ruins cd's.  which
>would be a better purchase, "burning stone" or "hyderomastgroningem"?
>i've read a quite favorable review of the latter in alternative press,
>a magazine i trust at least moderately...

I just heard Derek (Bailey) and the Ruins (tzadik). Like many improv CD's
some moments are great and some are boring...
>
>alain
>
>
>


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

From: [e-mail]
Subject: Re: Downtown scene & King Crimson
Date: 02 May 1996 00:22:54 -0400

In a message dated 96-05-01 12:05:12 EDT, you write:

> There is one thing i cannot understand. Why is there no connection (at
>least,
>i don't know of any) between Robert Fripp and Zorn, Frisell etc.?

I don't consider the two musical styles to be very similar, but your question
reminds me of a weird thing that happened to me a few years ago.  On a visit
to NYC in the early 80's, I stopped into Lunch For Your Ears, a record shop
where, I believe, Zorn once worked. I asked the owner, Manny, for whatever
Zorn records he had.  The store was an absolute pig-stye, records scattered
everywhere, in no particular order.  It was actually a coincidence that he
was there because, he told me, he was having medical problems and his store's
schedule was fairly hit and miss.  He pointed me to some excellent recordings
and insisted I buy a few things I had never heard before, like Musci and
Venosta, Annette Peacock, Carbon, et.al.  He was trying to get me out of the
store quickly so he could close back up again when another guy came into the
store (I later learned he was a well-known music critic for the Village Voice
or Musician or something).  Manny started talking to him about King Crimson
(their 'reunion' records had just come out) and how amazing Fripp is.  He
told this other guy and me that he had a concert video tape of Fripp and that
we would have to watch it.  He pulled up two stools, sat us down on them,
turned off the lights and started the tape.  Just after it started playing,
Manny told us that he'd be back in a few minutes, that we should keep an eye
on the store and watch the whole concert. We sat there in the dark afraid to
leave and captivated the whole scene and the video tape.  Well, yes the
concert was amazing, but the entire experience is what is burned into my
memory.  I walked away with about $200 worth of records and CD's, some of
which have become my all-time favorites.

I know this has nothing to do with your original question, but it brought
back a weird memory that I thought you might appreciate.

Barry Gilbert
Boulder, CO


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

From: [e-mail] (Jeff Spirer)
Subject: Re: Downtown scene & King Crimson
Date: 01 May 1996 23:06:22 -0700

At 9:22 PM 5/1/96, [e-mail] wrote:

>I don't consider the two musical styles to be very similar, but your question
>reminds me of a weird thing that happened to me a few years ago.  On a visit
>to NYC in the early 80's, I stopped into Lunch For Your Ears, a record shop
>where, I believe, Zorn once worked. I asked the owner, Manny, for whatever

Had to be far later than that.  In the early 80s, Manny ran a store inside
of Soho Comix, and in the mid 80s, inside of Rocks In Your Head.

>Zorn records he had.  The store was an absolute pig-stye, records scattered
>everywhere, in no particular order.  It was actually a coincidence that he
>was there because, he told me, he was having medical problems and his store's
>schedule was fairly hit and miss.

This was early 90s.

Zorn gave a "thank you" to Manny on the cover of the first Naked City Cd.


Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: various
Date: 02 May 1996 17:37:53 -0700


On Tue, 30 Apr 1996 12:55:30 -0500 (EST)  [e-mail] wrote:
>
> hey y'all.  how can i contact tzadik for ordering purposes?  i am
> now seriously frothing over some ruins cd's, but wouldn'tcha know it,
> they don't exist anywhere within 100 miles of here.... i have phone,
> e-mail (obviously), netscape, and lots of paper and envelopes, just
> tell me how!

You cannot contact Tzadik directly. There are three mail order distributor:


        WAYSIDE MUSIC
        P.O. Box 8427
        Silver Spring, MD 20907-8427
        Tel: [phone] (new release info (recording))
        Fax: [phone]
        e-mail: [e-mail]


        Forced Exposure
        PO Box 9102
        Waltham, MA 02254-9102
        Tel: [phone] (To reach FE and specifically Jimmy Johnson)
        Fax: [phone].


        Downtown Music Gallery
        211 East 5th Street
        New York, N.Y. 10003
        Tel: [phone]
        Fax: [phone]
        e-mail: [e-mail]


    Patrice.


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

From: Stickman <[e-mail]>
Subject: Re: Downtown scene & King Crimson
Date: 02 May 1996 11:55:09 -0700

Patrice L. Roussel wrote:
>
> On Mon, 29 Apr 96 19:47:35 CET  [e-mail] wrote:
> >
> >  Hello,
> >  There is one thing i cannot understand. Why is there no connection (at least,
> > i don't know of any) between Robert Fripp and Zorn, Frisell etc.? what is more
> > strange (for me)is that there is practically no talk about RF&kc here, and not
>                                                 ^^^^^^^^^^^^^^^^^^^^
> Why should it be any? Two completely different kinds of music for two (mainly)
> different kinds of audiences.
>
> Is Fripp ever mentioned on lists/threads about Incus/Bailey/Parker? No, and
> they are all British and live in the same town :-). I think it is exactly
> the same with the NY downtown scene. Fripp music just does not fit at all
> in the genre.
>
> > a single word on Zorn etc. on Elephant talk, the crimso list.
> > Don't you find it strange? Does everybody here leaves a party when he hears, fo
>         ^^^^^^^^^^^^^^^^^^^
> That's the opposite that would surprise me.
>
> > r example , 'discipline'(which is, btw my favourite record)? I can't beleive it
> > !
> > Imagine a Fripp-Frisell Band!!!
>                 ^^^^^^^^^^^^
> Fripp-Frisell? Yes, I can imagine that.
>
>         Patrice.


Hi- just wanted to add my biased two cents. I was an avid
Fripp/Crimson/Yes/Bruford/etc & all prog. rock fan for many years. I've
ammassed quite a monsterous collection over the years- all of which
collects dust now. You see, what happened to me was that I based my
opinion on the worth of music in its ability to be pre-programmed
"complex" (ie-Crimson post 1980, Yes "Close to the Edge" or "sound
chaser") or in a musician's ability to have incredible chops(Bruford,
Fripp).
      Well, anyway, i'm somewhat of a musician myself(guess what I play,
duh), and I thank John Zorn from setting me free from thinking of music
in the way stated above. Nothing bores me more now than a prog. rock
band. When I started listening to Zorn I realized that my way of
aproaching music was so constrictive, I remember hearing the 1st Naked
City CD Thinking, "these guys are great players", and then halfway
through the CD I heard bits of "free-jazz" and "thrash"...and I felt like
"what's going on???" Since then, i've sought every Zorn/downtown CD I can
find. The Downtown/zorn stuff is huge & vast, dare I say, an open system
for those of you with degrees in philosophy. Its freedom for someone
trapped by prog. rock.
      I auditioned for a band last year that were prog. rock, but didn't
tell me, they were just so excited about having a stick player in their
little world(you know the Tony Levin trip). I said, "what are your
influences?" they:" Oh, lots of Jazz, rock, a focus on weird improv,
diff. time signatures. we're indescribable." Well, needless to say, they
were a didactic prog rock band. I brought a copy of some Naked City &
Painkiller, & Last Exit. They were like, "We don't like that stuff
because anything goes". I realized, they were playing with what they
thought was a large spectrum, when in fact they had created huge walls
around their ability as players.

      So anyway, I don't think the Crimso & Zorn world will meet any time
soon, though I do realize that there were a lot of elements to Fripp that
would classify as "downtown". I remember Fripp living in NYC and doing
all those little concerts of completely improved "Frippertronics",
Starless & Bible Black (side 2) still smokes. In fact those Crimso
years(72-75) were wonderful for imrovised rock, and i don't think they
ever surpassed them.

     So anyway, I hope I haven't pissed anybody off. Remember its just my
2 cents, & like i'm not hurting anybody by thinking these thoughts, i
think.   -Jim


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

From: Torsten Nielsen <[e-mail]>
Subject: Masada translations
Date: 03 May 1996 09:55:54 +0200 (METDST)

I few weeks ago somebody from this list, emailed me about the
translations of the Masada titles, and some jewish culture stuff. Could
he please email me again (I lost your adress)

Jonas


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: naked city
Date: 03 May 1996 08:43:21 -0400 (EDT)


From reading various interviews with jz about how he recorded naked
city,  it seems like all of those amazing changes weren't done in 'real
time', but recorded sequentially onto the master tape.  Maybe i was a bit
naive for thinking they were actually playing all of that in one take...
but i'd like to think that humans could actually play like that if they
wanted to.  Alas, i never got to see them as i live in Canada, but could
someone who's seen naked city live tell about it?  Do they manage to play
those insane songs like 'speedfreaks' and the other torture garden songs
live?

I know the subject of bootlegs has been raised...were any 'official' live
recordings of naked city made?  (same goes for other zorn bands,
especially Masada).


-jascha


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

From: "Peter Risser" <[e-mail]>
Subject:       Crimson vs Downtown
Date: 03 May 1996 09:07:46 +500


Frankly, I like both schools, for different reasons.  Liking only one
thing, I think, is more constrictive than anything a prog band could think
of.  Also, my favorite moments from both schools are when they cross.
For example, when Crimson manages a great improvish jam or the moments
on Soft Machine's Vol. 2 When they are making all kinds of noise.  Also,
I like the Naked City and Painkiller stuff and some of Zorn's compositions
because it's got a little bit of score to it and it's not completely "free".
So, yeah, like all things, I like lots of different stuff, in moderation and
the best parts are the intersections, I think.  The best of both worlds.

So, there's another 2 cents.

---
     Train thy digits in the making of music that you may sing these
      verses at weddings and banquets, and gaze dumbly at the guest
               who hisses when you strum these chords.

Peter Risser                                        [e-mail]
Systems Engineer                                    1-800-888-1140 x17


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

From: [e-mail]
Subject: Anyone see Zorn in Northampton?
Date: 03 May 1996 09:31:47 -0400

Anyone see Zorn perform at the Loud Festival in Northampton? What was the
format, and with whom did he jam? I was in NYC that weekend to see some truly
amazing shows (Orchestra Carbon's "Rheo-Umbra" at the Knitting Fact on 4/18,
Gawk and Carbon on 4/20, and the ST-X Xenakis Ensemble on 4/21) Why does it
always happen that good NY players only come to your area when your going
down to THEIR area?  Oh well, no regrets...

Jonathan LaMaster
[e-mail]


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

From: Dave Keffer <[e-mail]>
Subject: Zubi Zuva, PSF, & FW III
Date: 03 May 1996 08:51:06 -0500 (CDT)

I have some thoughts/info  regarding topics of recent discussion in the list.


First off, there was expressed some dissatisfaction with the Zubi Zuva
(a cappella record featuring Tatsuya Yoshida + 2) release on Tzadik. I
picked it up and I think it's a very clever recording.  The record
explores the idea of voice as an instrument and not just as a word-former
in an unusual, novel, and, over the course of the record, diverse way.
There are some hymn-like tunes, some spaz-chants, and some
unintelligible gobbledygook mumbling.  I have found myself listening to
it alot.  <-- just a second opinion on the record.

A note on the PSF label.  PSF is a label without compare.  By far the
most outstanding releases on PSF, IMO, are the Keiji Haino related
projects: Haino solo, Fushitsusha, Lost Aaraaff, Niujumu.
If you are thinking about exploring PSF (they have about 70 records), you
ought to start with the Tokyo Flashback compilations they have.  There
are four volumes to date.  Start with number two.  It has Fushitsusha,
High Rise, Ghost, and others.  All four of these compilations are
incredible, as compilations go.
As for availability, all the PSF are available from forced exposure for
about $18 bucks a pop, that is if you can get them to send you a recent
catalog.  All the Haino-related PSF releases are also available through
Ear/Rational music on the internet.
Lastly, there is an unofficial Keiji Haino web site located at
http://www.cems.umn.edu/~keffer
There are some audio samples there (but you need an mpeg player like
maplay to check them out).

Lastly, Filmworks III (on Toys Factory or evva) has 56 tracks.  the first
12 are Masada, one of which has QUine playing with them and is
fantastic.  There is one track of cartoon cues from "cynical hysterie
hour" or something like that.  THere are about 12 tracks of Zorn/Ribot
duets, which are also spectacular.  THen there are about 30 pieces of
music for a commercial advertising firm, which are a mixed bag of tricks.
(the liner notes are in english).

dave k.


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

From: Stickman <[e-mail]>
Subject: Re: naked city
Date: 03 May 1996 11:04:19 -0700

Yeah-shure, Nah...er...ve'-so'n wrote:
>
> >From reading various interviews with jz about how he recorded naked
> city,  it seems like all of those amazing changes weren't done in 'real
> time', but recorded sequentially onto the master tape.  Maybe i was a bit
> naive for thinking they were actually playing all of that in one take...
> but i'd like to think that humans could actually play like that if they
> wanted to.  Alas, i never got to see them as i live in Canada, but could
> someone who's seen naked city live tell about it?  Do they manage to play
> those insane songs like 'speedfreaks' and the other torture garden songs
> live?
>
> I know the subject of bootlegs has been raised...were any 'official' live
> recordings of naked city made?  (same goes for other zorn bands,
> especially Masada).
>
> -jascha


I'm sure others will also testify to this. I have, shall we say, an
illegal recording of Naked City(please refer to the Taping at the Knit.
thread from a few weeks back on this list, rather than re-discuss it),
and though the recording is non-good, I was amazed that they pulled the
stuff off. I thought it was just improv in some sections, or maybe it
was, and they just went and learned what they played.
     Regardless, recording techniques are vast and extreme. I think that
even if they did multi-track, it was only for clarity, not for
deception, then again, there is that track on Radio(whose title I
forget) where you can actually hear a lose wire in the mixing board or
somewhere in the studio. My guess is that was the best take, and they
were doing it live, & decided to keep it. You know the trend these days
in recording is to not play the song all together, it seems that Masada
was a "live" all together, non edit, non multitrack recording. But I
don't know this for sure.

     I don't know how many of you have used the new digital a-dat
recorders, but you can do some amazing punches, that would be dificult to
pull off with an analog system.  Does Zorn record digital? I know the
Barondown stuff is digital & live( by the way I just got the 3rd
Barondown CD). But I don't know, or think Naked City was digital, and i'm
to lazy to go check the CD's right now.  - STICKMAN


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: naked city
Date: 03 May 1996 08:28:24 -0700


On Fri, 3 May 1996 08:43:21 -0400 (EDT)  [e-mail] wrote:
>
>
> >From reading various interviews with jz about how he recorded naked

You might have to go back to your articles and read them again :-).

> city,  it seems like all of those amazing changes weren't done in 'real
> time', but recorded sequentially onto the master tape.  Maybe i was a bit
> naive for thinking they were actually playing all of that in one take...
> but i'd like to think that humans could actually play like that if they
> wanted to.  Alas, i never got to see them as i live in Canada, but could
> someone who's seen naked city live tell about it?  Do they manage to play
> those insane songs like 'speedfreaks' and the other torture garden songs
> live?

What you say relates more to the way pieces like SPILLANE, GODARD, were
done (one chunk after another and only Zorn having the global picture).

As far as NC is concerned, what you hear on record is what they used to
play. As you see, life is not as desperate as you thought :-).

> I know the subject of bootlegs has been raised...were any 'official' live
> recordings of naked city made?  (same goes for other zorn bands,
> especially Masada).

There is a live Masada (of bootleg nature) on Jazz Door (Italy).

    Patrice.


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

From: Stickman <[e-mail]>
Subject: Re: Crimson vs Downtown
Date: 03 May 1996 11:22:09 -0700

Peter Risser wrote:
>
> Frankly, I like both schools, for different reasons.  Liking only one
> thing, I think, is more constrictive than anything a prog band could think
> of.  Also, my favorite moments from both schools are when they cross.
> For example, when Crimson manages a great improvish jam or the moments
> on Soft Machine's Vol. 2 When they are making all kinds of noise.  Also,
> I like the Naked City and Painkiller stuff and some of Zorn's compositions
> because it's got a little bit of score to it and it's not completely "free".
> So, yeah, like all things, I like lots of different stuff, in moderation and
> the best parts are the intersections, I think.  The best of both worlds.
>
> So, there's another 2 cents.


so, all together, if i'm counting correctly, we have 4 cents. cool. You
have good perspective on this issue. What I'm in total absolute rebellion
against is the prog. musicians i've come into contact with that create a
total dichotomy  between the two schools & place a value judgement on the
improv. school as somehow "inferior". And I can bet all of you have met
those people. But, the reason I don't listen to too much prog. rock
anymore is that I haven't heard anything that i've found any listening
pleasure in. The lastest Crimson stuff is well,  YAWN. There are some
good moments, but for me, those moments are few.  But then again, I think
i've just added another 2 cents, so now were up to 6 cents.- STICKMAN


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

From: Alain Potvin <[e-mail]>
Subject: Masada scores
Date: 03 May 1996 11:12:00 -0400

I desesperately searching for Masada's scores (parts). If you have some info...

Thanks

A young alto player! (Louis Potvin)


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

From: N Vassiliou <[e-mail]>
Subject: Re: naked city
Date: 03 May 1996 14:21:54 BST


> >From reading various interviews with jz about how he recorded naked
> city,  it seems like all of those amazing changes weren't done in 'real
> time', but recorded sequentially onto the master tape.  Maybe i was a bit
> naive for thinking they were actually playing all of that in one take...
> but i'd like to think that humans could actually play like that if they
> wanted to.  Alas, i never got to see them as i live in Canada, but could
> someone who's seen naked city live tell about it?  Do they manage to play
> those insane songs like 'speedfreaks' and the other torture garden songs
> live?
>
> I know the subject of bootlegs has been raised...were any 'official' live
> recordings of naked city made?  (same goes for other zorn bands,
> especially Masada).
>
>
> -jascha



I think Zorn himself(in the Spillane notes)  said that he's not using edits and everything we hear are live musicians. I
am sure i've read this on the Naked City stuff(how else would they play live if they could not play their stuff that way?)

N Vassiliou




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

From: Stickman <[e-mail]>
Subject: re: Crimson vs. Downtown scene
Date: 03 May 1996 14:18:09 -0700

> Perhapse i just know some reallybitter people, but my life has been a lot easier since i've decided to
stop having opinions on how other people should play music and just enjoy
music on it's own terms.>
7.4 cents and counting,
                        -jascha

Well, I obviously have a lot a "free" time today. I should be practising.
But anyway...I've never met anyone with the structured classical vs.
improvised /freedom thing, yet. Though I have spoken with some who don't
recognize any of the "Post-Classsical" or "Neo-Classical" stuff as
important contributions to  creative culture, or even "classical" at all.
I mean, even, Classical radio here in the NYC area doesn't recognize it,
though I don't think we have a full time 24 hour Classical station
anymore (side note-we had one, but now they play alternative/hard rock-
ozzy/pearl jam/soundgarden, etc). You know they play only 200 year old
classical stuff.

     I liked your statement, "enjoy music on its own terms". I owe you 2
cents for that one, and i'm taking it out of the Zorn list fund to give
to you, so now were down to 5.4 cents. Maybe if we can charge 2 cents per
opinion the Zorn list could have enough cash to purchase some of the
import only Zorn releases. I myself could use the triple Painkiller
"Execution Ground". -STICKMAN


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

From: Stickman <[e-mail]>
Subject: Re: naked city]/actually Masada
Date: 03 May 1996 14:33:34 -0700

Yeah-shure, Nah...er...ve'-so'n wrote:
>
> >
> The Masada stuff must have been done live, because it sounds too
> increadible to have been pieced together on a multitrack.

I just did some digital recording last week. The Masada stuff was probably live
recordings, though unedited, i'm not sure. The digital punch in is a wonderful tool.
What I especially liked about the Masada shows in NYC last month was that the improv
sections were a lot longer, whereas on the CD they have brief sections. I've always felt
that a band that you think is great, is really great when you see them live and they're
greater( wow-what an awkward thought). And Masada definately meet this.
>
> I missed the Barondown gig at christmas because i arrived in NYC too
> late...that was the one opening act i was really interested in , too.
> How do they sound (tough question, i know).  I didn't realise they
> already had three discs out...which one is best to start with?
>
> -jascha

I like all the Barondown CD's. They all sound somewhat similar since all three contain
the same musical colours(drums,sax,trombone).
1st cd: Tongue in Groove (JMT)
2nd cd:Raised Pleasure Dot(New World Records)
3rd cd:Crackshot (Avant, Disk Union)

      You'd be safe getting any of them. Joey sounds great!-   STICKMAN


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

From: Torsten Nielsen <[e-mail]>
Subject: Marc Ribot
Date: 03 May 1996 22:09:54 +0200 (METDST)

What's the title on the book by William Duckworth which has a interview with
Zorn?
I have "Rootless Cosmopolitans" by Marc Ribot and I think it's pretty good,
but it sound to me like he is able of doing much better. Any opinions on
"Shrek" or "Painted Desert" (by Ikue Mori)? Is "Painted Desert" improvised?

Jonas


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

From: [e-mail]
Subject: Re: naked city
Date: 03 May 1996 16:48:00 -0400

They played them even better live! Naked Citys "thrash segments" were a real
hoot as the group would spend more time setting up charts and instruments
than playing the actual songs. Seeing Naked City live was an amazing
experience.


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Crimson vs. Downtown scene
Date: 03 May 1996 12:16:36 -0700


jascha wrote:
>
> > Perhapse i just know some reallybitter people, but my life has been a lot easier since i've decided to
> stop having opinions on how other people should play music and just enjoy
> music on it's own terms.>
> 7.4 cents and counting,

When I eat a sandwich, I guess is the closest I can be on this "enjoy things on
their own terms".

Concerning music, I know people who do enjoy "music on it's own terms", these are
people who basically don't care about music. Music is just a way to make their
wall paper look less dreary.

Anyway (and specially on a list about Zorn), I find hard to believe such
a statement. Can I turn off the "history switch" when I listen to challenging
music? No. Can I ask my brain to just enjoy and not question when I listen
to music? Sometimes, when I know the songs so well that I don't even know
to play them (like Beatles songs). Unfortunately, when it comes to music
in "progress", I find hard to ask my brain to forget asking questions and
enjoy just the moment :-).

I know that asking too many questions is not good about music, but music is not
only a 100% sensual experience. The brain has something to do with it,
specially with challenging music.

With food or sex, I might follow you :-).

    Patrice.


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

From: [e-mail]
Subject: Re: Re: Crimson vs. Downtown scene
Date: 03 May 1996 18:07:42 -0400

On Fri, May 3, 1996 12.16.36 pm, Patrice L. Roussel wrote:

>
>jascha wrote:
>>
>> > Perhapse i just know some reallybitter people, but my life has been a
lot easier since i've decided to
>> stop having opinions on how other people should play music and just
enjoy
>> music on it's own terms.>
>> 7.4 cents and counting,
>
>When I eat a sandwich, I guess is the closest I can be on this "enjoy
things on
>their own terms".
>
>Concerning music, I know people who do enjoy "music on it's own terms",
these are
>people who basically don't care about music. Music is just a way to make
their
>wall paper look less dreary.
>
>Anyway (and specially on a list about Zorn), I find hard to believe such
>a statement. Can I turn off the "history switch" when I listen to
challenging
>music? No. Can I ask my brain to just enjoy and not question when I listen

>to music? Sometimes, when I know the songs so well that I don't even know
>to play them (like Beatles songs). Unfortunately, when it comes to music
>in "progress", I find hard to ask my brain to forget asking questions and
>enjoy just the moment :-).

thats what rock music is for!  i assume most of you are older than your
teenage years like myself.  my roommate and i were talking the other night
about, for example, the fact that there's a new rage against the machine
record out, and we were  nostalgic for the times when we used to be excited
about music and going to see rock (indie, punk, metal, you name it) shows
and just being totally sent into ecstasy upon hearing it...there wasnt
much, if any critical aspect to it.  like swing music, it just did
something indescribable that you had no choice but to go with it.  does
that make sense?

>I know that asking too many questions is not good about music, but music
is not
>only a 100% sensual experience.

not sober, anyway.  but you're right--i think there's a point at which if
you try to think about music too much, you don't necessarily ruin it but
you do cross a line from the enjoyment level to the critical level.
luckily, most of us are somewhere in between.

>With food or sex, I might follow you :-).

agreed on that one!

so, what are we at, 9.4 ?

chow





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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: naked city
Date: 03 May 1996 13:03:12 -0400 (EDT)

> in recording is to not play the song all together, it seems that Masada
> was a "live" all together, non edit, non multitrack recording. But I
> don't know this for sure.

The Masada stuff must have been done live, because it sounds too
increadible to have been pieced together on a multitrack.


> pull off with an analog system.  Does Zorn record digital? I know the
> Barondown stuff is digital & live( by the way I just got the 3rd
> Barondown CD). But I don't know, or think Naked City was digital, and i'm

I missed the Barondown gig at christmas because i arrived in NYC too
late...that was the one opening act i was really interested in , too.
How do they sound (tough question, i know).  I didn't realise they
already had three discs out...which one is best to start with?

-jascha


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

From: [e-mail]
Subject: Re: Crimson vs. Downtown scene
Date: 03 May 1996 20:29:37 -0400

In a message dated 96-05-03 17:19:56 EDT, you write:

>Concerning music, I know people who do enjoy "music on it's own terms",
these
>are
>people who basically don't care about music. Music is just a way to make
>their
>wall paper look less dreary.
>
>Anyway (and specially on a list about Zorn), I find hard to believe such
>a statement. Can I turn off the "history switch" when I listen to
challenging
>music? No. Can I ask my brain to just enjoy and not question when I listen
>to music? Sometimes, when I know the songs so well that I don't even know
>to play them (like Beatles songs). Unfortunately, when it comes to music
>in "progress", I find hard to ask my brain to forget asking questions and
>enjoy just the moment :-).
>
>I know that asking too many questions is not good about music, but music is
>not
>only a 100% sensual experience. The brain has something to do with it,
>specially with challenging music.

Two cents:
I have had exactly the opposite experience.  I used to try to "figure out"
what jazz musicians and improvisors were doing.  I tried to do this as a
player and as a listener.  It really detracted from experiencing the music.
 For this reason, I stopped playing for about ten years. I gave up on jazz
and listened to punk, reggae/dub and funk.  It was music which seemed to come
more from the stomach and crotch than from the brain. I rediscovered jazz
after I was exposed to free improv and the idea that I didn't have to figure
music out in order to enjoy playing it.  I just had to enjoy.  I learned to
listen to music that I like.  This also pushed me to want to listen to music
that I don't understand.  Very simply put, I like the sounds that Zorn makes
and the sounds that Ornette makes and the sounds that Cage makes (or doesn't
make).  Historical context is interesting and helps me find other music (the
liner notes from Radio has pointed me to some interesting things, e.g.) but
it doesn't necessarily enhance my "understanding" of the music.  Quite
frankly, once I understand a piece of music, it becomes boring to me.  That's
why there are very few recordings which I can listen to more than two or
three times.



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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: Crimson vs Downtown
Date: 03 May 1996 13:24:19 -0400 (EDT)



On Fri, 3 May 1996, Stickman wrote:

> Peter Risser wrote:
> >
> > Frankly, I like both schools, for different reasons.  Liking only one
[edit edit edit]
> >
> > So, there's another 2 cents.
>
> so, all together, if i'm counting correctly, we have 4 cents. cool. You
> have good perspective on this issue. What I'm in total absolute rebellion
> against is the prog. musicians i've come into contact with that create a
> total dichotomy  between the two schools & place a value judgement on the
> improv. school as somehow "inferior". And I can bet all of you have met
[edit edit edit]
> i've just added another 2 cents, so now were up to 6 cents.- STICKMAN

If i may add a couple of more cents (they're canadian, though, so it's
really more like 1.4 cents) i think music and politics make for an uneasy
mixture.  I've generally found that people espousing really strong points
of view against an entire way of looking at music, be it against the
western classical tradition or free jazz or whatever, usually take a more
political stance than a musical one.  A lot of people hate aspects of
western society (we've all heard this before) and so, therefore, all
classical music must be bad because we, as a culture, have killed and
enslaved and marginalised lots of people and done many other horrible
things.  I've listened to people rail against classical music because of
some theory they have about the dictatorial aspect of following a score
exactly and having no room to improvise, therefore it's fascist and
against the freedom of the human soul and etc...  I've heard people rail
against improv because music is exalted and must have thought put into it,
and must have structure and form.  I fail to see the connection, however,
because to be 'free' as a musicaian should mean that you can play what you
will how you will, and freedom can be found anywhere, in interpreting a
score or making something up, or both.  Perhapse i just know some really
bitter people, but my life has been a lot easier since i've decided to
stop having opinions on how other people should play music and just enjoy
music on it's own terms.

7.4 cents and counting,
            -jascha


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: naked city
Date: 03 May 1996 12:56:54 -0400 (EDT)

Yeah, i'd like to think that the songs on the recordings are live, and i
think that's probably true.  It is a bbit vague in the Spillane notes,
though, because he says he doesn't use *tape* edite, ie: he won't take
two pre-rehearsed sections and splice them together, but it did sound
like what he'd do is pre-rehearse each section of a song, and then (to
quote, more or less, from what i remember of the notes) "punch it
directly on to the master tape".  So, this could mean they do one
section, rewind the tape, listen to the song in progress, and get ready
to play the next section when the time comes.

I don't doubt that they could play it all live if they wanted to.  I've
only ever seen zorn play in the context of Masada, but Joey Baron is
without a doubt the most increadible drummer i've ever seen; he could do
the naked city stuff live no problem, and i'm sure all the others could
as well (and have...sniff, i never saw them...).

But in the studio, they might take a different approach...i don't know...

-jascha



On Fri, 3 May 1996, N Vassiliou wrote:

>
> > >From reading various interviews with jz about how he recorded naked
> > city,  it seems like all of those amazing changes weren't done in 'real
> > time', but recorded sequentially onto the master tape.  Maybe i was a bit
> > naive for thinking they were actually playing all of that in one take...
> > but i'd like to think that humans could actually play like that if they
> > wanted to.  Alas, i never got to see them as i live in Canada, but could
> > someone who's seen naked city live tell about it?  Do they manage to play
> > those insane songs like 'speedfreaks' and the other torture garden songs
> > live?
> >
> > I know the subject of bootlegs has been raised...were any 'official' live
> > recordings of naked city made?  (same goes for other zorn bands,
> > especially Masada).
> >
> >
> > -jascha
>
>
>
> I think Zorn himself(in the Spillane notes)  said that he's not using edits and everything we hear are live musicians. I
> am sure i've read this on the Naked City stuff(how else would they play live if they could not play their stuff that way?)
>
> N Vassiliou
>
>
>
>


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

From: Stickman <[e-mail]>
Subject: Re: Crimson vs. Downtown scene
Date: 03 May 1996 18:12:58 -0700

Patrice L. Roussel wrote:
>
> jascha wrote:
> >
> > > Perhapse i just know some reallybitter people, but my life has been a lot easier since i've decided to
> > stop having opinions on how other people should play music and just enjoy
> > music on it's own terms.>
> > 7.4 cents and counting,
>
> When I eat a sandwich, I guess is the closest I can be on this "enjoy things on
> their own terms".
>
> Concerning music, I know people who do enjoy "music on it's own terms", these are
> people who basically don't care about music. Music is just a way to make their
> wall paper look less dreary.

I'm not sure I understand what you're saying Patrice, But, since you have
the best info on Zorn (and the Discography is awesome), Maybe you could
clarify?

> Anyway (and specially on a list about Zorn), I find hard to believe such
> a statement. Can I turn off the "history switch" when I listen to challenging
> music? No. Can I ask my brain to just enjoy and not question when I listen
> to music?

 I remember seeing Bailey/Zorn/Parker/Bowne at the Knit a while back.
Funny thing. The whole row in front of me got up & left because they
thought it was a joke. I guess they were all visiting NYC & thought they
were at the Blue Note. Now those were either:

a)People who enjoy music on it's own terms
                  or:
b)People in search of a reference point, or something familiar to grasp
on to. Hence, a framework.
               or:
c)Someone better was playing at the Alterknit that night downstairs so
they went there.
               or:
d)musical barbarians.

     my guess is both B & D

>Sometimes, when I know the songs so well that I don't even know
> to play them (like Beatles songs). Unfortunately, when it comes to music
> in "progress", I find hard to ask my brain to forget asking questions and
> enjoy just the moment :-).

Which questions does your brain ask?

> I know that asking too many questions is not good about music, but music is not.
> only a 100% sensual experience. The brain has something to do with it,
> specially with challenging music.

I'm of the school that says everything is the brain.

>
> With food or sex, I might follow you :-).
>
>         Patrice.

By the way Patrice, what are Zorn's future Masada plans? Will there be a
7 & 8, or maybe even a box set? They did new material when I saw them
last month.


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

From: Stickman <[e-mail]>
Subject: Cobra live at the Knit. CD site
Date: 04 May 1996 10:03:38 -0700

Hey I just found this site about The Knitting Factory's Cobra release:
http://www.voyagerco.com/cdlink/voyager/zorn/zorn.html

It's a good interview. check it out- STICKMAN


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: import madness
Date: 04 May 1996 14:04:39 -0400 (EDT)

>      I liked your statement, "enjoy music on its own terms". I owe you 2
> cents for that one, and i'm taking it out of the Zorn list fund to give
> to you, so now were down to 5.4 cents. Maybe if we can charge 2 cents per
> opinion the Zorn list could have enough cash to purchase some of the
> import only Zorn releases. I myself could use the triple Painkiller
> "Execution Ground". -STICKMAN

triple Excecution Ground???  As in, it has more music than the double one
released here?  I saw Excecution Ground whilst in Japan, but i just
thought it was the Japanese release version, with the pretty packaging,
and didn't realise it had an extra disc...

maybe i should go and study P.R.'s discography a bit...

-jascha


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: Marc Ribot
Date: 04 May 1996 14:08:42 -0400 (EDT)

On Fri, 3 May 1996, Torsten Nielsen wrote:

> What's the title on the book by William Duckworth which has a interview with
> Zorn?

Well, i remember seeing a book called 'musique actuelle' (i think), which
had interviews with zorn, the residents, john oswald, and people like
that (like what? they all sound completely different!).  This could be it.
That may not, however, be the title actuelle...

-jascha


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: Crimson vs. Downtown scene
Date: 04 May 1996 14:18:32 -0400 (EDT)

> Concerning music, I know people who do enjoy "music on it's own terms", these are
> people who basically don't care about music. Music is just a way to make their
> wall paper look less dreary.
>
> Anyway (and specially on a list about Zorn), I find hard to believe such
> a statement. Can I turn off the "history switch" when I listen to challenging
> music? No. Can I ask my brain to just enjoy and not question when I listen
> to music? Sometimes, when I know the songs so well that I don't even know
> to play them (like Beatles songs). Unfortunately, when it comes to music
> in "progress", I find hard to ask my brain to forget asking questions and
> enjoy just the moment :-).

Tricky topic, this!  Yes, music is definitely much more than wall paper.
It is also much more than a large territory to be sectioned off and
fought over, with the improv people over here and the score people over
here and the... well, anyway, yes: tricky topic!

-jascha


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

From: Tom Benton <[e-mail]>
Subject: Two Questions
Date: 04 May 1996 13:41:10 -0500 (CDT)

Okay, here's two inquiries that probably don't have a lot to do with
what's going on at the moment, but here goes anyway...

Does anyone know about:

1) The new Loungle Lizards album, 'Queen of All Ears'?
2) A Bill Frisell tour?

Ok, that's it.  Thanks all.  Carry on...

--Tom--


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Filmworks 2 & 3?
Date: 04 May 1996 14:51:13 -0400 (EDT)


A while ago someone mentioned Filmworks 3, which leads to believe that
there is a Filmworks 2 [...mind like a steel trap :)...].  I thought there was
only volume one...so what label(s) are these on, are they hard to
get, and, if they're imports right now, are they going to get reissued to
Tzazdik or some north american label?

-jascha


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

From: Stickman <[e-mail]>
Subject: EXECUTION GROUND
Date: 04 May 1996 15:00:36 -0700

>triple Excecution Ground???  As in, it has more music than the double
>one
>released here?  I saw Excecution Ground whilst in Japan, but i just
>thought it was the Japanese release version, with the pretty packaging,
>and didn't realise it had an extra disc...

>maybe i should go and study P.R.'s discography a bit...


the 3rd disk is live & has Eye on it also, hard to get, but possible. Yes
studying the discography is quite helpful.-STICKMAN


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

From: Stickman <[e-mail]>
Subject: Re: Filmworks 2 & 3?
Date: 04 May 1996 15:09:35 -0700

Yeah-shure, Nah...er...ve'-so'n wrote:
>
> A while ago someone mentioned Filmworks 3, which leads to believe that
> there is a Filmworks 2 [...mind like a steel trap :)...].  I thought there was
> only volume one...so what label(s) are these on, are they hard to
> get, and, if they're imports right now, are they going to get reissued to
> Tzazdik or some north american label?
>
> -jascha

I have Filmworks 2(music for untitled film by Walter Hill). It's on Toys
Factory from japan. Word has it it will be reissued on Tzazdik (i
think-someone correct me if i'm wrong). I like this one- musicians
include Anthony Coleman & Mark Ribot to name a few. I don't think Zorn
actually plays on it. But it's great stuff that really moves. I got mine
from Tower Records for about 40 bucks.-STICKMAN


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

From: [e-mail]
Subject: Duckworth Book
Date: 04 May 1996 15:24:37 -0400

I think the title is Talking Music.
LT


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

From: [e-mail]
Subject: Re: EXECUTION GROUND
Date: 04 May 1996 15:25:28 -0400

Tower stocks the 3-CD Japanese version.

Lang Thompson
http://members.aol.com/wlt4/index.htm


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

From: [e-mail]
Subject: Re: Filmworks 2 & 3?
Date: 04 May 1996 16:14:00 -0400

In a message dated 96-05-04 15:22:48 EDT, you write:

>I have Filmworks 2(music for untitled film by Walter Hill). It's on Toys
>Factory from japan. Word has it it will be reissued on Tzazdik (i
>think-someone correct me if i'm wrong). I like this one- musicians
>include Anthony Coleman & Mark Ribot to name a few. I don't think Zorn
>actually plays on it. But it's great stuff that really moves. I got mine
>from Tower Records for about 40 bucks.-STICKMAN

Out on Tzadik 7306, $13.96 from CD Now (Not really now. It's on backorder!)

Barry Gilbert


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

From: Stickman <[e-mail]>
Subject: Tzadik
Date: 04 May 1996 17:10:17 -0700

This is a great site to see a description of all the Tzadik releases:
http://kochint.com/tzadik.html   -STICKMAN


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

From: [e-mail] (Jeff Spirer)
Subject: Re: EXECUTION GROUND
Date: 04 May 1996 18:18:21 -0700

At 12:25 PM 5/4/96, [e-mail] wrote:
>Tower stocks the 3-CD Japanese version.
>
>Lang Thompson
>http://members.aol.com/wlt4/index.htm

Tower locations buy independently, so it is highly possible that only a few
carry the 3CD version.  I have only seen it in two Towers - San Mateo (CA)
and the LA one on Sunset.  Getting CDs between Towers is next to
impossible, it has to go through Sacramento which means it can take months.

You should post the location so that other people can know which Tower(s)
may be carrying it.

Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: Stickman <[e-mail]>
Subject: re:Execution Ground
Date: 04 May 1996 22:33:36 -0700

Jeff Spirer wrote:
>
> At 12:25 PM 5/4/96, [e-mail] wrote:
> >Tower stocks the 3-CD Japanese version.
> >
> >Lang Thompson
> >http://members.aol.com/wlt4/index.htm
>
> Tower locations buy independently, so it is highly possible that only a few
> carry the 3CD version.  I have only seen it in two Towers - San Mateo (CA)
> and the LA one on Sunset.  Getting CDs between Towers is next to
> impossible, it has to go through Sacramento which means it can take months.
>
> You should post the location so that other people can know which Tower(s)
> may be carrying it.
>
> Jeff
> [e-mail]
> http://www.hyperreal.com/axiom/

I only have a tape of the 3rd disk that someone did for me, and I would
love to track down the real thing. PLease do post which Tower you've been
able to get this CD from, or if anyone knows a good cyber spot or mail
order spot to get this- please post.-STICKMAN

ps-Jeff I think the axiom is site is great, and i've been enjoying the
Laswell discography. Thanks


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

From: Stickman <[e-mail]>
Subject: Mystic Fugu Orchestra
Date: 04 May 1996 22:43:12 -0700

Has anybody seen this?


 TZADIK 7106 Mystic Fugu Orchestra: Zohar
An intimate and original duo project from the inventive minds of John
Zorn and Yamantaka Eye, inspired by historical recordings of ancient
Judaica.Humorous, touching, traditional, irreverent, perplexing and
soulful. 30 minutes of music released at a special low price. Rav Yechida
(Eye), voice; Rav Tzizit (Zorn), harmonium.

Please post if you've seen this- STICKMAN


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

From: N Vassiliou <[e-mail]>
Subject: Re: Mystic Fugu Orchestra
Date: 05 May 1996 15:17:31 +0100 (BST)



On Sat, 4 May 1996, Stickman wrote:

> Has anybody seen this?
>=20
>=20
>  TZADIK 7106 Mystic Fugu Orchestra: Zohar
> An intimate and original duo project from the inventive minds of John=20
> Zorn and Yamantaka Eye, inspired by historical recordings of ancient=20
> Judaica.Humorous, touching, traditional, irreverent, perplexing and=20
> soulful. 30 minutes of music released at a special low price. Rav Yechida=
=20
> (Eye), voice; Rav Tzizit (Zorn), harmonium.
>=20
> Please post if you've seen this- STICKMAN
>=20


I have seen it in a specialist store here in York and it costs =A314.99=20
(sorry but i have no idea what the dollar correspondance is.it is quite=20
expensive though)

N Vassiliou=20


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

From: Matthew Ross Davis <[e-mail]>
Subject: Re: Mystic Fugu Orchestra
Date: 05 May 1996 10:43:45 -0400

Yup. Have seen it in Borders in White Flint Mall, Rockville, MD.

At 10:43 PM 5/4/96, Stickman wrote:
>Has anybody seen this?
>
>
> TZADIK 7106 Mystic Fugu Orchestra: Zohar
>An intimate and original duo project from the inventive minds of John
>Zorn and Yamantaka Eye, inspired by historical recordings of ancient
>Judaica.Humorous, touching, traditional, irreverent, perplexing and
>soulful. 30 minutes of music released at a special low price. Rav Yechida
>(Eye), voice; Rav Tzizit (Zorn), harmonium.
>
>Please post if you've seen this- STICKMAN


        ---------------------------------------------------
        Matthew Ross Davis                        HuskyLabs
        [e-mail]                    12C Parkway
        PGP Key on request              Greenbelt, MD 20770
        1-800-SKY-PAGE, pin 2125354          [phone]
        http://butterfly.net/mozart          1-888-HUSKY-US
        ---------------------------------------------------



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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: EXECUTION GROUND
Date: 05 May 1996 11:42:15 -0400 (EDT)

> >triple Excecution Ground???  As in, it has more music than the double
> >one
> >released here?  I saw Excecution Ground whilst in Japan, but i just
> >thought it was the Japanese release version, with the pretty packaging,
> >and didn't realise it had an extra disc...
>
> >maybe i should go and study P.R.'s discography a bit...
>
>
> the 3rd disk is live & has Eye on it also, hard to get, but possible. Yes
> studying the discography is quite helpful.-STICKMAN

but it isn't the same live one as the 'live in tokyo' disc, is it?
-jascha


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: re:Execution Ground
Date: 05 May 1996 11:45:11 -0400 (EDT)

> I only have a tape of the 3rd disk that someone did for me, and I would
> love to track down the real thing. PLease do post which Tower you've been
> able to get this CD from, or if anyone knows a good cyber spot or mail
> order spot to get this- please post.-STICKMAN

have any friends in tokyo willing to mail things to you?  That would be
the easiest way...
-jascha


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: Mystic Fugu Orchestra
Date: 05 May 1996 11:54:07 -0400 (EDT)


> Has anybody seen this?
>
>
>  TZADIK 7106 Mystic Fugu Orchestra: Zohar
> An intimate and original duo project from the inventive minds of John
> Zorn and Yamantaka Eye, inspired by historical recordings of ancient
> Judaica.Humorous, touching, traditional, irreverent, perplexing and
> soulful. 30 minutes of music released at a special low price. Rav Yechida
> (Eye), voice; Rav Tzizit (Zorn), harmonium.
>
> Please post if you've seen this- STICKMAN

Yes, i have it.  It is about half an hour, and consists of very quiet
pseudo-jewish music with goofy eye-isms covered in walls of scratchy
record surface noise. I think this is because the only way you can hear
old jewish music is on scratchy 78's in libraries, and they were going for
that 'authentic' feel (tee hee!).  When i first listened to it, i chuckled
and thought 'yeah, well, that's what you get for buying a Zorn/Eye project
without hearing it first', but now i actually like it.  It's a very
clever, funny piece of conceptual art on an abstract level, but it's also
a cozy album, good for listening to at night.  I must admit that i haven't
really listened to it critically yet, as the music is really minimal and
is burried under scratchy noise; this is, so far, more of a background
music thing for me...
-jascha


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Marc Ribot
Date: 05 May 1996 09:27:28 -0700


On Sat, 4 May 1996 14:08:42 -0400 (EDT)  [e-mail] wrote:
>
> On Fri, 3 May 1996, Torsten Nielsen wrote:
>
> > What's the title on the book by William Duckworth which has a interview with
> > Zorn?
>
> Well, i remember seeing a book called 'musique actuelle' (i think), which
> had interviews with zorn, the residents, john oswald, and people like
> that (like what? they all sound completely different!).  This could be it.
> That may not, however, be the title actuelle...

  * Talking Music: Conversations with American Experimental Composers, by
    William Duckworth

    Interview by William Duckworth (pp. 444-475)

    Schirmer Books, 1995 (ISBN 0-)


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

From: [e-mail] (Jeff Spirer)
Subject: Re: EXECUTION GROUND
Date: 05 May 1996 10:00:00 -0700

At 8:42 AM 5/5/96, "Yeah-shure, Nah...er...ve'-so'n"
<[e-mail] wrote:
>> >triple Excecution Ground???  As in, it has more music than the double
>> >one
>> >released here?  I saw Excecution Ground whilst in Japan, but i just
>> >thought it was the Japanese release version, with the pretty packaging,
>> >and didn't realise it had an extra disc...
>>
>> >maybe i should go and study P.R.'s discography a bit...
>>
>>
>> the 3rd disk is live & has Eye on it also, hard to get, but possible. Yes
>> studying the discography is quite helpful.-STICKMAN
>
>but it isn't the same live one as the 'live in tokyo' disc, is it?
>-jascha

If you are referring to _Rituals_, the answer is no.  The live disc with
the Japanese _Execution Ground_ only appears with that CD.


Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: Jeff Schwartz <[e-mail]>
Subject: re:Execution Ground
Date: 05 May 1996 14:49:46 -0400 (EDT)

http://cdeurope.com has the 3-CD Execution Ground for around $65. Eeeeek!




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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Execution Ground
Date: 05 May 1996 11:59:18 -0700


On Sun, 5 May 1996 14:49:46 -0400 (EDT)  [e-mail] wrote:
>
> http://cdeurope.com has the 3-CD Execution Ground for around $65. Eeeeek!
>

I got mine from:

        Ear-Rational Music
        1592 Kilkenny St.
        Boulder, CO 80303-1646
        Tel: [phone]
        Fax: (303) 665-DEAL
        e-mail: [e-mail]

You might check with them first.

    Patrice.


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

From: Sean Terwilliger <[e-mail]>
Subject: Re: EXECUTION GROUND
Date: 05 May 1996 17:12:01 -0700

Yeah-shure, Nah...er...ve'-so'n wrote:
>
> > >triple Excecution Ground???  As in, it has more music than the double
> > >one
> > >released here?  I saw Excecution Ground whilst in Japan, but i just
> > >thought it was the Japanese release version, with the pretty packaging,
> > >and didn't realise it had an extra disc...
> >
> > >maybe i should go and study P.R.'s discography a bit...
> >
> >
> > the 3rd disk is live & has Eye on it also, hard to get, but possible. Yes
> > studying the discography is quite helpful.-STICKMAN
>
> but it isn't the same live one as the 'live in tokyo' disc, is it?
> -jaschaNo. It's completely different...


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: news about Zeena Parkins
Date: 05 May 1996 14:40:22 -0700


    Some news about what Zeena is up to these days:

  * list of upcoming records below
  * She wrote a piece for orchestra that will be played by the Bang On A Can
    orchestra in June.

    Patrice.


*** - MOUTH = MAUL = BETRAYED: Zeena Parkins

  Zeena Parkins; Sara Parkins; Margaret Parkins; Mark Stewart; Jim Pugliese.

    1996 - Tzadik (USA), ??? (CD)

  Note: not released yet (planned for September 1st, 1996).
  Note: this record is about Jewish gangsters (!).


*** - LA MER: Zeena Parkins

  A very personal interpretation of Debussy's famous orchestral piece.

    1996 - ???, ??? (CD)

  Note: not released yet (postponed to an undeterminate date).


*** - OPIUM WAR: Zeena Parkins

  A radio play with songs, incidental music...

  Zeena Parkins; Ikue Mori; Tenko; Joe Trump; Chris Cochrane; Margaret
  Parkins.

    1996 - label unknow at this time, ??? (CD)

  Note: not released yet (planned in Fall 1996).


*** - SHARK: Zeena Parkins, Chris Cutler

  Zeena Parkins; Chris Cutler.

    1996 - ReR Megacorp (UK), ??? (CD)

  Note: not released yet (planned soon).


*** - ???: Zeena Parkins

  Zeena Parkins.

    1996 - label unknown at this time, ??? (CD)

  Note: not released yet.


*** - ???: Psycho-Acoustic

  Zeena Parkins; Elliott Sharp.

    1996 - Victo (Canada), ??? (CD)

  Note: not released yet.



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

From: [e-mail] (James Lawrence Kirchmer)
Subject: FYI: ENDLESS RECORDS CD RELEASE
Date: 05 May 1996 15:08:11 -0700


Hello there - a new label here in Seattle called ENDLESS RECORDS has
JUST put out a COMPILATION CD, appropriately titled as follows:

- ENDLESS RECORDS - complication one - collected sounds f/the northwest
** The album features studio tracks by the following groups/artists:
   PIGPEN(w/WAYNE HORVITZ), Sadhappy(feat. Skerik), Critters Buggin',
   The Craig Flory Jazz Story(feat. members of Pigpen; Eyvind Kang),
   Jet City 5(feat. Eyvind Kang, Tim Young), FREESTYLE CANDELA(great
   band!- feat. Skerik), "Spoonhappy" (feat. Artis the Spoonman &
   Sadhappy members), P.E.G., The Deformations(feat. Eyvind Kang),
   The Scallywags(feat. Pigpen's Mike Stone), Utterance Tongue,
   Gillnet(feat. Skerik), Eyeball(feat. Eyvind Kang), Richard
   Hinklin, Man in a Can, and: .....Bow Down to NULL.....
   [Note: CD is 74m long...]

** NOTE: only the Pigpen track is currently avail. on another CD,
   namely on their EXCELLENT release "Miss Ann" on Tim Kerr Records.

** Eyvind Kang is currently in Bill Frisell's NEW band(& CD!), btw.
   I also read here a while back that his debut album was released by
   Tzadik. (or is about to be?)

ORDERING INFORMATION: Send a check or MONEY ORDER for 12(US$) to:
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
                           ENDLESS RECORDS
                           17 1/2  W. Dravus
                           Seattle, Wa 98119

* The TWELVE dollars includes postage!!! (Money Order ensures faster
  service, naturally.  Make M.O.'s or checks out to Endless Records)

* Mention where you saw this information!(not essential, of course!)
  - just remember to include your address if not on the M.O./check!

Peace, and btw- I am not affiliated with this label.
Just figure y'all might be interested in this... :)

- James Kirchmer, Seattle, Wa

p.s. - If you have any questions feel free to contact me by email.
       And also: ENDLESS RECORDS can be reached at [phone].


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

From: "{[andrew~patrick~ralston]}" <[e-mail]>
Subject: Re: Mystic Fugu Orchestra
Date: 05 May 1996 17:34:37 -0500 (CDT)

On Sat, 4 May 1996, Stickman wrote:

> Has anybody seen this?
>
>
>  TZADIK 7106 Mystic Fugu Orchestra: Zohar
> An intimate and original duo project from the inventive minds of John
> Zorn and Yamantaka Eye, inspired by historical recordings of ancient
> Judaica.Humorous, touching, traditional, irreverent, perplexing and
> soulful. 30 minutes of music released at a special low price. Rav Yechida
> (Eye), voice; Rav Tzizit (Zorn), harmonium.

     Yes, I saw and listened to it in the store. It is horrible, but
in a humorous way. The CD has a constant hiss, periodic
scratches, pops and fuzz as if it truly was an ancient recording from an
unearthed album. The music itself consists of minimal melody (what else if
new) with Eye creating soft nonsense noises rather than his usual onslaught
of pain. I can't say whether you'd like it or not.

     ~ANDREW


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

From: [e-mail]
Subject: Execution Ground
Date: 05 May 1996 23:11:34 -0400

A store here in Chicago called Evil Clown (Halsted/Belmont) carries the three
CD "Execution Ground" package for $45... not a bad price.  Has anybody
checked out any of the titles on the new Sub Meta label?  I'm interested in
hearing about the Divination and Buckethead recordings.


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

From: Stickman <[e-mail]>
Subject: Buckethead
Date: 05 May 1996 23:17:10 -0700

[e-mail] wrote:
>
> A store here in Chicago called Evil Clown (Halsted/Belmont) carries the three
> CD "Execution Ground" package for $45... not a bad price.  Has anybody
> checked out any of the titles on the new Sub Meta label?  I'm interested in
> hearing about the Divination and Buckethead recordings.

I know someone posted this previously, but is the new Buckethead out?
Also what are the new releases on Sub-meta? It took a while, but I
tracked down a copy of Bucketheadland & I think it's pretty good (even
though the 1st track sounds like a blatant ozzy rip-off, and i'm not
totally able to deal with drum machines.) If you've never heard this CD
and enjoy Bucket's playing, and the humor of Bootsy, try to pick this one
up, not to mention the executive producer is Zorn.- STICKMAN


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

From: [e-mail]
Subject: Arto's The Subtle Body
Date: 06 May 1996 01:31:34 -0400

Arto Lindsay's The Subtle Body is scheduled for a US release from Bar/None
(it had previously been out on Ryuichi Sakamoto's label in Japan).  Don't
know the exact due date.  I've heard a tape and it's certainly low-key, sort
of Arto's Brazilian album (one song is even in Portugeuse).

Lang Thompson
http://members.aol.com/wlt4/index.htm


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

From: [e-mail] (Jeff Spirer)
Subject: Re: Buckethead
Date: 06 May 1996 00:11:17 -0700

At 11:17 PM 5/5/96, Stickman wrote:

>I know someone posted this previously, but is the new Buckethead out?

Yes.  However, for some strange reason, Caroline, the largest distributor
of indie labels, is not getting it into stores very well.

>Also what are the new releases on Sub-meta? It took a while, but I

There are now four releases on Sub-Meta.  See the URL below to find info
and cover art for all of them.

>tracked down a copy of Bucketheadland & I think it's pretty good (even
>though the 1st track sounds like a blatant ozzy rip-off, and i'm not
>totally able to deal with drum machines.) If you've never heard this CD
>and enjoy Bucket's playing, and the humor of Bootsy, try to pick this one
>up, not to mention the executive producer is Zorn.- STICKMAN

Anyone can be an executive producer with the right connection to the label.
_Bucketheadland_ was basically just Buckethead and Bootsy in Bootsy's
studio.  I don't think Zorn had anything to do with it other than getting
it released on his label.  _Giant Robot_, which was released on Sony Japan,
is much better musically and in terms of production/recording and has some
of the same music but no drum machines.   (There is also a cassette that
appears to be called _Giant Robot_ but is very different.  It can sometimes
be purchased at Buckethead shows.)

_Day of the Robot_ is quite different from the earlier CDs, for one thing
most tracks have jungle beats.  For another, there are no voice samples.
Great guitar and very well recorded.


Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: painkiller
Date: 06 May 1996 10:34:31 -0400 (EDT)


Does PAINKILLER exist, or have they gone the way of NAKED CITY?

-jascha



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Buckethead
Date: 06 May 1996 07:43:27 -0700


On Sun, 05 May 1996 23:17:10 -0700  [e-mail] wrote:
>
> [e-mail] wrote:
> >
> > A store here in Chicago called Evil Clown (Halsted/Belmont) carries the three
> > CD "Execution Ground" package for $45... not a bad price.  Has anybody
> > checked out any of the titles on the new Sub Meta label?  I'm interested in
> > hearing about the Divination and Buckethead recordings.
>
> I know someone posted this previously, but is the new Buckethead out?

Saw it in store last Saturday.

> Also what are the new releases on Sub-meta? It took a while, but I
> tracked down a copy of Bucketheadland & I think it's pretty good (even
> though the 1st track sounds like a blatant ozzy rip-off, and i'm not
> totally able to deal with drum machines.) If you've never heard this CD
> and enjoy Bucket's playing, and the humor of Bootsy, try to pick this one
> up, not to mention the executive producer is Zorn.- STICKMAN

It is the first time that I read a positive comment about this record...
Even fans of Buckerhead are fairly quite about it :-).

    Patrice.


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Buckethead
Date: 06 May 1996 07:53:49 -0700


On Mon, 6 May 1996 00:11:17 -0700  [e-mail] wrote:
>
> At 11:17 PM 5/5/96, Stickman wrote:
>
> >tracked down a copy of Bucketheadland & I think it's pretty good (even
> >though the 1st track sounds like a blatant ozzy rip-off, and i'm not
> >totally able to deal with drum machines.) If you've never heard this CD
> >and enjoy Bucket's playing, and the humor of Bootsy, try to pick this one
> >up, not to mention the executive producer is Zorn.- STICKMAN
>
> Anyone can be an executive producer with the right connection to the label.
                        ^^^^^^^^^^^^^^^^

And specially money :-).

> _Bucketheadland_ was basically just Buckethead and Bootsy in Bootsy's
> studio.  I don't think Zorn had anything to do with it other than getting
> it released on his label.  _Giant Robot_, which was released on Sony Japan,
> is much better musically and in terms of production/recording and has some
> of the same music but no drum machines.   (There is also a cassette that
> appears to be called _Giant Robot_ but is very different.  It can sometimes
> be purchased at Buckethead shows.)
>
> _Day of the Robot_ is quite different from the earlier CDs, for one thing
> most tracks have jungle beats.  For another, there are no voice samples.
> Great guitar and very well recorded.
>
>
> Jeff
> [e-mail]
> http://www.hyperreal.com/axiom/
>
>
>


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

From: [e-mail]
Subject: Re: Execution Ground
Date: 06 May 1996 11:18:23 -0400

Earational has them for under $35.00. At the recent Tzadik fest in New York a
table was set up selling all the releases ($10!) and a nifty catalog was
available. In the catalog many new titles were announced including the
re-issue of the 3 cd Execution Ground.


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

From: [e-mail]
Subject: Re: Buckethead
Date: 06 May 1996 11:20:41 -0400

I think Buckethead is really Eddie Van Halen and the new Sub Meta CD is
WONDERFUL!!!!


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Arto's The Subtle Body
Date: 06 May 1996 07:48:30 -0700


On Mon, 6 May 1996 01:31:34 -0400  [e-mail] wrote:
>
> Arto Lindsay's The Subtle Body is scheduled for a US release from Bar/None

Darn it! And I paid a fortune for it as import at Tower Records in Hollywood :-(.

> (it had previously been out on Ryuichi Sakamoto's label in Japan).  Don't
> know the exact due date.  I've heard a tape and it's certainly low-key, sort
> of Arto's Brazilian album (one song is even in Portugeuse).

No skronk, mainly melody. Not my favorite, but enjoyable.

    Patrice.


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Crimson vs. Downtown scene
Date: 06 May 1996 15:11:12 -0700


On Fri, 03 May 1996 18:12:58 -0700  [e-mail] wrote:
>
> Patrice L. Roussel wrote:
>
> > I know that asking too many questions is not good about music, but music is not.
> > only a 100% sensual experience. The brain has something to do with it,
> > specially with challenging music.
>
> I'm of the school that says everything is the brain.

From a physiological point of view you might be right. All the nerves are
connected to the brain, right?

But brain surgeons have not been able yet to explain what makes the difference
between somebody who has some creative skills and the others.

For that reason, the physiological point of view does not bring a lot of
water to our mill. At least, that's the way I think.

Hence I will stick to a theory of perception point of view. I believe (and I
am not the only one), that our appreciation of things is a subtle mix between
sensual and intellectual perceptions. There are things that I mainly
appreciate from a sensual point of view, like eating; and things that are
so complex that my senses are of no recourse to appreciate it.

Anyway, this debate is old like the world...

> > With food or sex, I might follow you :-).
> >
> >         Patrice.
>
> By the way Patrice, what are Zorn's future Masada plans? Will there be a
> 7 & 8, or maybe even a box set? They did new material when I saw them
> last month.

As you know, there are few Masada projects, but no idea when they will be out:

*** - ???: Chamber Masada (1996 - Tzadik (USA), ??? (CD or 2xCD))
  might be out in July 1996
*** - LIVE IN JERUSALEM: Masada (???? - Tzadik (USA), ??? (CD))
*** - LIVE AT MOGADOR: Masada (???? - Tzadik (USA), ??? (CD))

    Patrice.


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

From: plantarm <[e-mail]>
Subject: ruins
Date: 06 May 1996 15:55:22 -0500 (EST)

i just got the ruins latest cd in my mailbox.  man is it strange!
i can safely say, the second listen made a lot more sense than the
first one; and with luck, subsequent listens will continue to do their
magic.  it seems like they are highly talented guys who fill space
extremely well for being a bass/drums duo; it also seems that their
sense of humor is warped and very funny.  the intro/outro to
"speedball" just kill me.


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

From: [e-mail] (Marc R. Schoenen)
Subject: Re: opinions
Date: 06 May 1996 20:45:49 -0500 (EST)

>On Mon, 29 Apr 1996 11:47:46 -0500 (EST)  [e-mail] wrote:
>>
>> hi, i'm looking for opinions on a few recordings.  i figured this might
>> be a good list to ask...
>>
>> melt banana- anything by them
>
>There is not too much by them. One CD on a US label (Touch and Go?). They
>play on CHIPFARM, a Hoppy Kamiyama project. They are (like any Japanese
>band) on numerious compilations. Their US CD is fairly faithful to their
>live performance.
>

Melt Banana actually has a cd out called Speak Squeak Creak.  It is great
Japanese noise music.  Heavy bass, cool voice, sometimes sounds like death
metal.  Quick transitions.  Very cool stuff if you haven't heard it yet.
Don't mean to shamelessly plug a friend, but the only place that i have
ever found this cd is from Aquarius Records/3961 24th St./ San Fransisco,
CA 94114.  Telephone: [phone].   It is a very good cd.  IF you are
interested in buying it, this might be the place to find it.


Marc

Marc R. Schoenen  922 Wedgewood Rd. Bethlehem, PA 18017-3039
        [e-mail]  or [e-mail]
        [phone]

"Love is something eternal; the aspect may change, but not the essence."
        -Vincent Van Gogh



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

From: [e-mail]
Subject: Re: Eyind Kang
Date: 06 May 1996 22:18:55 -0400

In a message dated 96-05-05 18:14:21 EDT, (James Lawrence Kirchmer) wrote:

>** Eyvind Kang is currently in Bill Frisell's NEW band(& CD!), btw.
>   I also read here a while back that his debut album was released by
>   Tzadik. (or is about to be?)

I just got it. It's truly amazing!  This guy's all over the map and somewhat
twisted.

BTW, anyone know how to pronounce his first name?





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

From: [e-mail]
Subject: Re: Eyvind Kang
Date: 07 May 1996 08:50:35 -0400

In a message dated 96-05-07 02:44:03 EDT, you write:

>I gained from the Zorn mailing list that you have purchased the new Eyvind
>Kang
>album. I was wondering whether Trey Spruance is playing on it as well?
>Trey is the guitarist/keyboardist for Mr. Bungle, and it has been rumoured
>that
>he recorded with Eyvind Kang, so I am speculating that he might be on his
>debut
>album.
>
>

No sign of Trey Spruance on this one.  In fact I've never heard of any of the
other players on this CD.




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

From: [e-mail]
Subject: Re: Eyvind Kang
Date: 07 May 1996 09:49:20 -0400

Kang is apparently quite prolific, and is involved in numerous (Seattle
based, I think) projects at any given time, and I wouldn't be surprised if he
crossed paths with Spruance at some point.  Spruance is involved with some of
the San Fran avant garde jazz scene by way of his association with Ben
Goldberg (they play in a quartet with Trevor Dunn and Dougie Bowne), and I'm
not sure what else (but there is probably more).  Aside from the Frisell
disc, Kang also appears on the new quintet recording by Joe McPhee, which I
recall also features Stuart Dempster (and is released through the Deep
Listening label).  Anything by McPhee is pretty much guaranteed to be superb
(I have yet to be disappointed with any of his works), and once Kang is
thrown in to the mix, the possibilities seem limitless.


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

From: "James A. Ross" <[e-mail]>
Subject: Re: Execution Ground
Date: 07 May 1996 13:15:04 -0500 (CDT)

Does any one know if this place has a web site or an address where I can
get the catalogue...
J-

On Mon, 6 May 1996 [e-mail] wrote:

> Earational has them for under $35.00. At the recent Tzadik fest in New York a
> table was set up selling all the releases ($10!) and a nifty catalog was
> available. In the catalog many new titles were announced including the
> re-issue of the 3 cd Execution Ground.
>
>


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

From: john shiurba <[e-mail]>
Subject: Re: Eyvind Kang
Date: 07 May 1996 15:25:29 +0000

> Kang is apparently quite prolific, and is involved in numerous (Seattle
> based, I think) projects at any given time, and I wouldn't be surprised if he
> crossed paths with Spruance at some point.  Spruance is involved with some of
> the San Fran avant garde jazz scene

yes, i saw kang and spruance together in a 'mr. bungle attempts free improv' show
in s.f. i must admit, however, that it was pretty lame, epecially kang's
contribution. he played without any noticeable regard for the other musicians.
i've since heard all these great things about him, so maybe he was just having a
bad night.

spruance is less involved with the avant jazz scene here as he is with the noise
scene, as a member of faxed head and other more adhoc groups.


shiurba


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

From: Damien Cassidy/Acton/NFSA
Subject: Re: Mike Patton Question
Date: 08 May 1996 10:21:41 EAT

>I got ADult Themes for Voice today, and it has a little bio on Mike and says
>" Mike hasworked with various ensembles and composers such as Mr. Bungle,
>Kronos Quartet, Faith No More, Bob Ostertag, Arto Lindsay, Bil Laswell,
>Boo-Yaa Tribe, Rova Saxophone Quartet, David Shea, Sepultura and John Zorn."
>I was wondering about the many projects and what was available on CD and how
>to get it all (the ones that aren't the obvious). If anyone knows, please
>post here and/or e-mail myself. Thanks.

Me Too!!!
[e-mail]


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: Eyvind Kang
Date: 08 May 1996 09:30:23 -0400 (EDT)

On Tue, 7 May 1996 [e-mail] wrote:

> Kang is apparently quite prolific, and is involved in numerous (Seattle
> based, I think) projects at any given time, and I wouldn't be surprised if he
[chop chop]

All this talk about Eyvind Kang has gotten me curious as to who he is.
I've never heard of him before; could someone tell me a bit about him?
-jascha


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

From: plantarm <[e-mail]>
Subject: subharmonic
Date: 08 May 1996 13:07:28 -0500 (EST)

does anyone have an e-mail address or phone number for subharmonic?
my copy of "execution ground" is having a problem and i'd like to
get a replacement.

eric M.


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

From: john shiurba <[e-mail]>
Subject: Re: Zorn/Masada
Date: 08 May 1996 16:31:51 +0000

> I'm a poor graduate student interested in checking out the work of
> Zorn/Masada.  Does anyone have a recommendation as to which disk I should
> buy if only buying one?

i'd say start with alef (1) or gimel (3). there's not a huge difference between
any of them, they all have the same lineup, same production, consistent soloing,
so it pretty much boils down to which tunes you like best.



shiurba


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

From: "Kotaro.O" <[e-mail]>
Subject: What is your favorite Anthony Braxton album?
Date: 08 May 1996 22:14:28 -0500

Hey everybody.

I started getting into the music of Antony Braxton and what are your favorite Braxton
albums?  These are three of my favorite:
Circle Paris-Concert.
Town Hall (Trion & Quinte) 1972.
Dortumnd (Quartet) 1976.

Also, how many albums did Circle made?
--
Kotaro Otake
Chicago, IL. USA.
Bassist, Arranger, Composer.
"More you see, more you know. More you know, less you understand."


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

From: [e-mail] (James Lawrence Kirchmer)
Subject: Re: Eyvind Kang
Date: 09 May 1996 01:23:16 -0700 (PDT)

At 05:35 PM 5/8/96 -0600, [e-mail] wrote:

>>** Eyvind Kang is currently in Bill Frisell's NEW band(& CD!), btw.
>>   I also read here a while back that his debut album was released by
>>   Tzadik. (or is about to be?)
>I just got it. It's truly amazing!  This guy's all over the map and somewhat
>twisted.
>BTW, anyone know how to pronounce his first name?

I believe his name is pronounced like this:
1. take the h out of "hey" and say "ey"....
2. add on "vind" pronounced as in the word "vindicate"....

>Aside from the Frisell
>disc, Kang also appears on the new quintet recording by Joe McPhee, which I
>recall also features Stuart Dempster (and is released through the Deep
>Listening label).  Anything by McPhee is pretty much guaranteed to be superb
>(I have yet to be disappointed with any of his works), and once Kang is
>thrown in to the mix, the possibilities seem limitless.

This new quintet recording is a LIVE recording, of a show they played
here in Seattle at the EARHSOT jazz festival in the fall of 1995.
The show was voted the HIGHLIGHT of the festival, and is considered
by many to even be the best improv show of ALL OF 1995 IN SEATTLE!!!!
There is a reunioun show scheduled for May 14th at the Tractor Tavern,
Seattle, WA, where copies of this LIVE CD will be on sale.(It's the
CD release party, so to speak.....and I will certainly go check it!)

>yes, i saw kang and spruance together in a 'mr. bungle attempts free
improv' show
>in s.f. i must admit, however, that it was pretty lame, epecially kang's
>contribution. he played without any noticeable regard for the other musicians.
>i've since heard all these great things about him, so maybe he was just
having a
>bad night.

Yeah, I would say he was probably having a bad night.  Or, maybe the other
musicians were having a bad night.  The bottom line is that the jam wasn't
happening, for whatever reasons, and that's just the nature of live improv
sometimes.  Anyways, I would like to say that I have seen Kang in very good
form more often than not, esp. in one of his appearances with the SUN CITY
GIRLS, a BRILLIANT group of madmen that live in Seattle these days.(formerly
from the southwest somewhere) The Sun City Girls are fabulous these days....
....and they are all over the map.  Eyvind once did a "middle-eastern"
flavored jam with them that was wonderful......I love it when the SUN CITY
GIRLS do this type of jamming.....as they are VERY good in this context...
Another wonderful Kang appearance was his guest slot with PIGPEN a long
time ago('93), where he sat in and played Frisell's parts during a SET of
NAKED CITY tunes.  He made his violin-like electric instrument(homemade)
squeal and screech in such a wonderful way......very nicely indeed....

>All this talk about Eyvind Kang has gotten me curious as to who he is.
>I've never heard of him before; could someone tell me a bit about him?
>-jascha

Well, Eyvind is a YOUNG man(20's) who is originally from Canada,
and came to Seattle to attend the CORNISH College of the Arts.  He was
educated there by a wonderful violinist named MICHAEL WHITE, who has
played with SUN RA and PHAROAH SANDERS in the past, among many others.
I believe MR. WHITE appears on Sanders' latest CD!(and had a mighty
fine jam with Mr. Sanders during one of the nights of his last Seattle
appearance.) I ASSUME it's because of Mr. White that he chose Cornish.
Anyways, Eyvind was mentored by a great violinist, and he is a very
talented improvisor.  He has a bright future ahead of him, IMO.....

p.s.- the Endless Records compilation I mentioned in the most recent
      digest features Eyvind on a number of cuts.  The CD is alot of
      fun, and FYI: can be purchased by sending 12$ to: Endless Rec.'s,
      17 1/2 W. Dravus, SEATTLE, WA 98119.  A bargain indeed!!!!!!!!!!
      (sorry for the duplicate post in the last digest regarding this!)
 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
 Seattle SONICS are FOR REAL this year!  Beware of "Da Glove" !!!!!!
 -------------------------------------------------------------------
 * <[e-mail]> James Lawrence Kirchmer, Seattle, WA *
 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~


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

From: [e-mail]
Subject: Re: What is your favorite Anthony Braxton album?
Date: 09 May 1996 08:06:18 -0400

>I started getting into the music of Anthony Braxton and what >are your
favorite Braxton  albums?

1. For Alto (Delmark)
2. 3 Compositions for the New Jazz (Delmark)
3. The Coventry Concerts, Vols 1 &2 (Leo)
4. Ne Plus Ultra (Hat)


Thom Jurek


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

From: Matt Walsh <[e-mail]>
Subject: Re: Mike Patton Question
Date: 09 May 1996 10:24:00 PDT


>>I got ADult Themes for Voice today, and it has a little bio on Mike and
says
>>" Mike hasworked with various ensembles and composers such as Mr. Bungle,
>>Kronos Quartet, Faith No More, Bob Ostertag, Arto Lindsay, Bil Laswell,
>>Boo-Yaa Tribe, Rova Saxophone Quartet, David Shea, Sepultura and John
Zorn."
>>I was wondering about the many projects and what was available on CD and
how
>>to get it all (the ones that aren't the obvious). If anyone knows, please
>>post here and/or e-mail myself. Thanks.
>
>Me Too!!!
>[e-mail]

I don't know about all of them, but I can give you what I do know. Other
than the obvious (FNM & Mr. Bungle), He worked with Boo-Yaa Tribe together
with Faith No More on the soundtrack to "Judgment Night". The soundtrack is
completely tracks in which rock bands team up with Rap artists, and actually
it is a very good disc. The FNM/Boo-Yaa Tribe Song, "Another Body Murdered"
is one of the better tracks, though I think just the thought of Slayer and
Ice-T together was worth checking the disc out. With Sepultura he does
backing vocals on their new album "Roots". The album is pretty good, kind of
thrash/death metal with a tinge of tribal influence. I can't remember the
name(s) of the song(s) that  Patton does vocals on, and also Jonathan of
Korn also contributes on the album. As for Zorn, I know that Patton did
vocals on his "Elegy" album, as well as touring with Naked City. As for the
other artists I'm not too sure, so hopefully someone can fill in the other
blanks.

Hey, how about telling us what "Adult Themes" is like for those of us who
have not gotten it yet!

Also, not all the messages are getting to us. I've noticed replys to
messages I've never seen before (like this one), and none of my last few
messages has made it's way to the digest list. What's going on with this new
list?


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

From: Alain Potvin <[e-mail]>
Subject: Phil Minton/Veryan Weston
Date: 09 May 1996 10:53:18 -0400

Hi!


  Last years i recorded (FM broadcast)the Victoriaville (Festival de musique
actuelle)show of the duo Minton/Weston. It's excellent and i know they made
some  CD's together. Does anybody know if these CD's are still available
somewhere? I dont thing they are available in Canada.(Except ''Song from a
prison diary'')

The 96 edition of the festival is next week!!!

Thanks

Alain


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

From: [e-mail]
Subject: Re: What is your favorite Anthony Braxton album?
Date: 09 May 1996 11:09:17 -0400

>4. Ne Plus Ultra (Hat)

This is a Warne Marsh record, not a Braxton record. My favorite Braxton of
the forty or so I have is Willisau (Hat Art). It's his classic quartet, with
Marilyn Crispell, Mark Dresser, and Gerry Hemingway. It's 4 CDs but it's
probably not that expensive if you get it from North Country, with their
recent Hat Art sale.

Jon


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: Mike Patton Question
Date: 09 May 1996 14:55:02 -0400 (EDT)

> Also, not all the messages are getting to us. I've noticed replys to
> messages I've never seen before (like this one), and none of my last few
> messages has made it's way to the digest list. What's going on with this new
> list?

Yes, i've noticed this, too.  I think a auestion i had about painkiller
never got through, so here it is again:

Is PAINKILLER a finished project, like naked city, or might it be
possible to still see them live in the future?

-jascha


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: jim o'rourke
Date: 09 May 1996 15:00:40 -0400 (EDT)


does anyone have jim o'rourke's 'TERMINAL PHARMACY' disc (the Tzadik
one)?  What's it like?  I only have a live improv show for prepared
guitar, so i expect a pre-planned piece would sound very different.

-jascha



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

From: "N.D." <[e-mail]>
Subject: M.Fugu.Orch
Date: 09 May 1996 17:10:07 -0300

I was actually pretty disappointed by _Zohar_: worth a listen, but it
wasn't that funny at $14.98 Canadian.  However, I spotted a second Eye/Zorn
duo in the shop yesterday, _Nami Nami_ (on Tzadik): anyone heard this?  It
looks considerably more promising (among other things it's a full-length CD
instead of _Zohar_'s 28 minutes), but I've not yet convinced myself to pick
it up.... --N


Nate Dorward                    Nobody steps on
e-mail:  [e-mail]            a mine of information
web:  http://ac.dal.ca/~ndorward/        twice.
        homepage.html                      (Alan Halsey)


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

From: [e-mail] (m. rizzi)
Subject: Re: Mike Patton Question
Date: 09 May 1996 16:29:33 -0700 (PDT)

>> Also, not all the messages are getting to us. I've noticed replys to
>> messages I've never seen before (like this one), and none of my last few
>> messages has made it's way to the digest list. What's going on with this new
>> list?
>
>Yes, i've noticed this, too.  I think a auestion i had about painkiller
>never got through, so here it is again:

    Howdy folks!

    It is true, we've been having problems with the
    zorn-list mail program (especially for digests)
    ever since our generous hosts as xmission
    switched us to SmartMail. Just when we think it
    is fixed a new bug pops up. Urgg!

    SO, xmission has decided to move everything
    back to the majordomo mailing list server.
    This will be happening sometime in the next
    two weeks.

    A thousand apologies...but your consolation is
    that you haven't had to process 1.5 Megs of
    error messages.

    Let's keep our fingers crosses. Thanks
    again for everyone patience.

    mike rizzi
    zorn-list maintainer

--
[e-mail] ------------------------------------------- [e-mail]
-=work=-             "Another nerd with a soulpatch"              -=home=-
                      http://www.meer.net/~browbeat/
-------- browbeat magazine, po box 11124, oakland, ca 94611-1124 ---------


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

From: [e-mail]
Subject: Re: Mike Patton Question
Date: 09 May 1996 20:03:14 -0400

In a message dated 96-05-09 10:35:53 EDT, you write:

>Also, not all the messages are getting to us. I've noticed replys to
>messages I've never seen before (like this one), and none of my last few
>messages has made it's way to the digest list. What's going on with this new

>list?
>
>

Ditto!  I seem to miss several per week. The happens occasionally with a few
newsgroups, so I thought it was a problem with my browser.  Any ideas?





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

From: Stickman <[e-mail]>
Subject: Bootsy & Bernie in NYC  7/4/96
Date: 09 May 1996 18:38:47 -0700

Hi- Just read in todays paper that George Clinton  & his P-Funk All-Stars
are playing Central Park, NYC on July 4th. Included will be Bootsy
Collins & Bernie Worell.  -STICKMAN


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

From: Teemu <[e-mail]>
Subject: Re: Mike Patton Question
Date: 10 May 1996 00:15:58 +0200 (GMT+0200)

On Thu, 9 May 1996, Yeah-shure, Nah...er...ve'-so'n wrote:

> > Also, not all the messages are getting to us. I've noticed replys to
> > messages I've never seen before (like this one), and none of my last few
> > messages has made it's way to the digest list. What's going on with this new
> > list?
>
> Yes, i've noticed this, too.  I think a auestion i had about painkiller
> never got through, so here it is again:
>
> Is PAINKILLER a finished project, like naked city, or might it be
> possible to still see them live in the future?
>
> -jascha

At least I do remember seeing this one before. It made its way to
Finland.

teemu


        from: Teemu ---> [e-mail]
    'I can't forget...
             but I don't remember what'
             -Leonard Cohen-


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

From: john shiurba <[e-mail]>
Subject: Re: What is your favorite Anthony Braxton album?
Date: 09 May 1996 13:32:19 +0000

thom jurek:

> >I started getting into the music of Anthony Braxton and what >are your
> favorite Braxton  albums?

the hatart 4 cd set "willisau (quartet) 1991" is the essential braxton
recording of the past 10 years, i can't recommend it highly enough, it
captures one of the finest groups in the history of jazz at their
pinnacle. 2 live cds and two studio. totally profound, heavily
spiritual. i know it's expensive, but it's so worth it!

>
> 1. For Alto (Delmark)
> 2. 3 Compositions for the New Jazz (Delmark)

these are both essential documents of his early (pre 1970) music. "for
alto" literally changed the face of saxophone music forever. zorn, steve
lacy, evan parker etc, all point to this as a prime influence.

> 3. The Coventry Concerts, Vols 1 &2 (Leo)

i've never seen this as two volumes, only as a dbl cd. this is the same
group as the willisau set, 6 years earlier. i would say get this (and
the london and birmingham sets on leo) only if you need more after
hearing willisau.

> 4. Ne Plus Ultra (Hat)
>
are you sure this is a braxton album, i've never heard of this, what is
it?


some other aspects of braxton's music that aren't covered above:

70's quartet with dave holland:
-"new york, fall 1974"(arista) or
-"the montreux/berlin concerts" (arista)

with british guys:
-"first duo 1974" (w/ derek bailey) (emanem)
-"duo(london) 1993" (w/evan parker) (leo)

notated/classical stuff:
-"4 (ensemble) compositions 1992" (black saint)
-"composition 96" (leo)


shiurba


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

From: Damien Cassidy/Acton/NFSA
Subject: Re: Bootsy & Bernie in NYC 7/4/96
Date: 10 May 1996 15:08:05 EAT

>Hi- Just read in todays paper that George Clinton  & his P-Funk All-Stars
>are playing Central Park, NYC on July 4th. Included will be Bootsy
>Collins & Bernie Worell.  -STICKMAN

 Why Oh Why do I live in Australia. Anyone got some free Sydney-NY return air
tickets???



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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Zorn/Eye projects
Date: 10 May 1996 12:04:18 -0400 (EDT)

> I was actually pretty disappointed by _Zohar_: worth a listen, but it
> wasn't that funny at $14.98 Canadian.  However, I spotted a second Eye/Zorn
> duo in the shop yesterday, _Nami Nami_ (on Tzadik): anyone heard this?  It
> looks considerably more promising (among other things it's a full-length CD
> instead of _Zohar_'s 28 minutes), but I've not yet convinced myself to pick
> it up.... --N


Beware of Zorn/Eye duos!  I like them, but for the price of a Tzadik CD,
you could get something with actual musicality going on, rather than the
sonic jokes to be found on Zohar and Nani Nani.  Nani Nani is more varied
than Zohar, and many of the songs, although completely inane and stupid
(on purpose, of course) are funny.  'Bad Hawkwind', the (chuckle)
'ambient' track is an 18 minute long scream, thanks to long delay
settings.  If you subtract that from the total length, it's 42minutes
minus 18...so actualy there's only 24 minutes or so of music which does
anything.  Purchase at your own risk.

-jascha


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

From: Alain Potvin <[e-mail]>
Subject: Phil Minton/Veryan Weston
Date: 11 May 1996 02:01:43 -0400

Hi!


  Last years i recorded (FM broadcast)the Victoriaville (Festival de musique
actuelle)show of the duo Phil Minton/Veryan Weston. It's excellent and i
know they made some  CD's together. Does anybody know if these CD's are
still available somewhere? I dont thing they are available in Canada.(Except
''Song from a prison diary'')

The 96 edition of the festival is next week!!!

Thanks

Alain


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

From: [e-mail]
Subject: Re: Phil Minton/Veryan Weston
Date: 11 May 1996 12:16:20 -0400

In a message dated 96-05-11 02:12:40 EDT, you write:

>
>  Last years i recorded (FM broadcast)the Victoriaville (Festival de musique
>actuelle)show of the duo Phil Minton/Veryan Weston. It's excellent and i
>know they made some  CD's together. Does anybody know if these CD's are
>still available somewhere? I dont thing they are available in Canada.(Except
>''Song from a prison diary'')

Cadence lists three collaborations: "Ways", "Ways Past", and "Songs From a
Prison Diary".  I only have this last one and I like it.




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

From: [e-mail]
Subject: buckethead
Date: 11 May 1996 12:58:45 -0600


What's the mask all about ? Is he shy ? Wish to remain anonymous ? Does he wear
the mask in a "live" setting ? He's definitely a monster guitarist but perhaps a
bit eccentric ? just curious............any comments Patrice ?


glenn


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

From: [e-mail]
Subject: Re: Buckethead
Date: 11 May 1996 19:10:50 -0400

I just got Bucketheadland the other day....i have seen that DAY OF THE ROBOT
is available on Sub-meta so pick itup and tell me what it's like.....does
anyone have anythoughts on Death Cube K? (buckethead project...note the
anagraming of his name).

matt


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

From: [e-mail]
Subject: Who is Buckethead?
Date: 11 May 1996 19:14:38 -0400

now I KNOW who is is meaning i know that he is a guy who plays guitar with a
bucket on his head....but who is the man BEHIND the bucket.....i remeber
seeing his name in a guitar player magazine but was the magazine hiding a
identity of somebody more faumous than a regular joe scmoe??????????????? I
am creating this tag to get an interesting response to see who YOU think he
is.....write.

matt


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: Who is Buckethead?
Date: 11 May 1996 19:21:09 -0400 (EDT)



And is he, perchance, any relation to pailhead?

-jascha



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

From: scott morgan <[e-mail]>
Subject: unsubscribe
Date: 10 May 1996 15:30:07 -0800

Could someone either unsubscribe me from the zorn list or post
instructions on how/where to send unsubscribe messages.

Thanks!
--
Scott Morgan
http://www.sfu.ca/~smorgan/
email: [e-mail]
phone: [phone]


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

From: [e-mail]
Subject: Re: Who is Buckethead?
Date: 11 May 1996 19:57:12 -0400

In a message dated 96-05-11 19:25:29 EDT, you write:

>.i remeber
>seeing his name in a guitar player magazine but was the magazine hiding a
>identity of somebody more faumous than a regular joe scmoe??????????????? I
>am creating this tag to get an interesting response to see who YOU think he
>is.....write.

My guess is that the role is shared by several people; a concoction devised
so that Buckethead can change his guitar styles from record to record, show
to show; If he gets sick or dies the legend can continue.  They have
different famous players sit in and then try out up-and-comers. The first
Buckethead show was Frank Zappa and for the last few months it's been back
and forth between The Edge and Les Paul.

This is starting to sound like a good idea for a comic book...

Barry



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

From: [e-mail] (Herb Levy)
Subject: Re: Who is Buckethead?
Date: 11 May 1996 17:31:17 -0700

Barry Gilb writes:
>
>This is starting to sound like a good idea for a comic book...


A good idea for a bad comic book.  Maybe.

Bests


Herb Levy
[e-mail]



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

From: [e-mail]
Subject: Re: Who is Buckethead?
Date: 11 May 1996 22:35:24 -0400

Eddie Van Halen. Really.


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

From: john shiurba <[e-mail]>
Subject: Re: Zorn/Masada/Bailey
Date: 11 May 1996 20:12:34 +0000

> > On Wed, 8 May 1996, Miles Egan wrote:
> >
> > > I was about to ask the same question myself.  While I'm asking, where's a
> > > good place to start with Derek Bailey?
> >
> I would try "Banter" with Gregg Bendian...

i wouldn't. i think of all the duos with percussionists that bailey has done this is
the least representative. he made several duo recordings with han bennink which are
good, but his recordings with john stevens (perc) and/or evan parker (sax) are really
the place to start. many of these are not in print, but some great ones have been
reissued, or are still available, including the duo with john stevens "playing" the
trio with stevens and kent carter "one time" and most importantly the "music
improvisation company 1968-71" (w/parker, hugh davies and jamie muir), which is one
of the best free improv records, in my opinion.

shiurba


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

From: john shiurba <[e-mail]>
Subject: Re: Who is Buckethead?
Date: 11 May 1996 19:58:52 +0000

buckethead is the long lost brother of butthead



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

From: [e-mail] (Jeff Spirer)
Subject: Re: Who is Buckethead?
Date: 11 May 1996 20:39:13 -0700

At 4:14 PM 5/11/96, [e-mail] wrote:
>now I KNOW who is is meaning i know that he is a guy who plays guitar with a
>bucket on his head....but who is the man BEHIND the bucket.....i remeber
>seeing his name in a guitar player magazine but was the magazine hiding a
>identity of somebody more faumous than a regular joe scmoe??????????????? I
>am creating this tag to get an interesting response to see who YOU think he
>is.....write.
>


Assuming that this was a serious question (most of the replies weren't), I
know the answer to this because I know him.  He doesn't like his real name
to be used, although it appeared on his first recorded performance (on a
Henry Kaiser album.)  He always performs with the mask and the bucket on
his head.

He is not famous outside of the stage persona, and he is especially not
Eddie Van Halen, or Steve Vai, for that matter.  Neither of those guys can
play the jazz stuff he plays.  He knows the editor of Guitar Player, which
is how he ended up writing the column.

He plays more or less regularly in three bands, Giant Robot (Buckethead and
Brain), Praxis (Buckethead, Bill Laswell, Brain, and occasionally others),
and the Deli Creeps (Buckethead, Pinchface, and two guys whose names I
don't know.)

He has recorded with George Winston (!), Henry Kaiser, Bootsy Collins,
Jonas Hellborg, Michael Shrieve, Bernie Worrell, Bill Laswell, and others.
He has also done soundtrack work.


Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: [e-mail] (Jeff Spirer)
Subject: Re: Buckethead
Date: 11 May 1996 20:44:58 -0700

At 4:10 PM 5/11/96, [e-mail] wrote:
>I just got Bucketheadland the other day....i have seen that DAY OF THE ROBOT
>is available on Sub-meta so pick itup and tell me what it's like.....does
>anyone have anythoughts on Death Cube K? (buckethead project...note the
>anagraming of his name).


_Day of the Robot_ is one track that is very Praxis-like, intense
jackhammer guitar into ambient cycles.  Then four tracks with insane jungle
rhythm tracks, some with a lot of guitar, and some without much guitar.  If
you like jungle, this is great, but if you don't, you may not find this to
your liking.

The Death Cube K CD is ambient, mostly dark ambient, with one truly
standout track (the third.)

In my opinion, the best thing to get after _Day_ and the unavailable _Giant
Robot_ (the one on Sony Japan, not the more recent recording only available
on cassette), assuming that you have all the Praxis CDs, is _Octave of the
Holy Innocents_ with Jonas Hellborg and Michael Shrieve.  Bucket plays
acoustic guitar only on this, and it is incredible.


Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: [e-mail]
Subject: Re: Buckethead
Date: 12 May 1996 00:18:43 -0400

I first heard Buckethead on the "Bucketheadland" recording, and was under
impressed.  I had read a number of great reviews for that CD, but somehow was
never able to hear what was so amazing about it.  Soon after I got hooked in
to the Praxis vibe, which was pretty cool throughout "Mutatis Mutandis" and
"Sacrifist," but again left me cold once "Metatron" rolled around.  "Giant
Robot" (which is still available here in Chicago, at least) sounded to me
like little more than "Bucketheadland Version 1.5," and the Death Cube K
project did nothing for me, either.  "Day Of The Robot" is at least fairly
listenable, although for jungle I'll stick with masters like Astral Pilot.
 So why, you may ask, after consistently being let down by his CD's do I
continue to listen to what the Buckethead is up to?  Easy... because on
"Octave of the Holy Innocents" and the three volumes of Company recordings
from 1991, it is obvious that Buckethead harbours some serious talent,
although not all of his recordings showcase this as well as others.  I'd be
interested in hearing his work with the Deli Creeps, and I'd love to hear him
teamed up with Zorn again, as their 11 minute duet on the first volume of the
Company recordings is absolutely mind blowing.
As for the person who inquired about the current status of Painkiller, I
believe that they are still an existing unit, as I just read something about
them in Alternative Press (something about contributing to a soundtrack for a
CD Rom), although I could be wrong.


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

From: Jeff Schwartz <[e-mail]>
Subject: Re: Who is Buckethead?
Date: 12 May 1996 00:40:17 -0400 (EDT)

Buckethead is Brian Carroll-he appears under his real name on Henry
Kaiser's Hope You Like Our New Direction. I know, it'd be really cool if
he was Ritchie Blackmore or Tal Farlow or Thomas Pynchon, but...
And Death Cube K is awesome. Laswell's ambient trip at its best, since the
sounds are coming from Buckethead's guitar & Laswell's bass. No burning
leads (get Praxis or Zillatron...), but really beautiful stuff. I'd love
to know details of how this album was made-how much of the sampling &
delay stuff was done in real time, how the pieces were defined, etc. So
much of Laswell's stuff mixes extreme studio technique with live playing
that it's difficult for me to concieve of how it's put together. A
step-by-step account of the making of Hallucination Engine or Sacrifist
would be incredible!




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

From: Jeff Schwartz <[e-mail]>
Subject: Re: Who is Buckethead?
Date: 12 May 1996 02:12:21 -0400 (EDT)

In light of Jeff Spirer's recent post, I withdraw my identification of
Buckethead as Brian Carroll for 4 reasons:
1. There is no reason not to suspect that "Brian Carroll" is another alias
and that the credit on the Kaiser album is a hoax by HK and The
Artist Currently Known as Buckethead.
2. If he doesn't want us to know, then it's none of our business. For all
the pleasure his music has given us, we at least owe him this bit o' respect.
3. If his playing can "make vehicles fly about like toys," I don't want to
imagine what it could do to some snotty fan who revealed his secret identity.
4. He's really Henry Kaiser/Prince/Greg Ginn/Elliot Sharp/Michael
Hampton/John Frusciante/Syd Barrett...

 On Sun, 12 May 1996, Jeff Schwartz wrote:

> Buckethead is Brian Carroll-he appears under his real name on Henry
> Kaiser's Hope You Like Our New Direction. I know, it'd be really cool if
> he was Ritchie Blackmore or Tal Farlow or Thomas Pynchon, but...
> And Death Cube K is awesome. Laswell's ambient trip at its best, since the
> sounds are coming from Buckethead's guitar & Laswell's bass. No burning
> leads (get Praxis or Zillatron...), but really beautiful stuff. I'd love
> to know details of how this album was made-how much of the sampling &
> delay stuff was done in real time, how the pieces were defined, etc. So
> much of Laswell's stuff mixes extreme studio technique with live playing
> that it's difficult for me to concieve of how it's put together. A
> step-by-step account of the making of Hallucination Engine or Sacrifist
> would be incredible!
>
>
>




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

From: [e-mail] (Jeff Spirer)
Subject: Re: Buckethead
Date: 11 May 1996 23:35:49 -0700

At 9:18 PM 5/11/96, [e-mail] wrote:

>although not all of his recordings showcase this as well as others.  I'd be
>interested in hearing his work with the Deli Creeps, and I'd love to hear him

If you didn't like _Giant Robot_, you won't like Deli Creeps.  FWIW,
Buckethead told me that Deli Creeps are his favorite live venue.

>As for the person who inquired about the current status of Painkiller, I
>believe that they are still an existing unit, as I just read something about
>them in Alternative Press (something about contributing to a soundtrack for a
>CD Rom), although I could be wrong.

As far as I can tell, Painkiller just sort of happens rather than exists as
a band.  As a result, not existing isn't really possible either.  (Maybe
this is what defines existentialism in music.)


Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: Torsten Nielsen <[e-mail]>
Subject: Buckethead/Eyvind Kang
Date: 12 May 1996 13:18:30 +0200 (METDST)

What about the "Buckethead Plays Disney"? When will that be released?
I've heard one of the tunes and it was pretty good.

Isn't the T-shirt Eyvind Kang wears on the picture in the new Frisell cd,
a Boredoms T-shirt? Has he worked with them?

Jonas

BTW When will the new Arto Lindsay cd be released?


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

From: "R. Lynn Rardin" <[e-mail]>
Subject: Re: What is your favorite Anthony Braxton album?
Date: 12 May 1996 10:02:23 -0500 (EST)

>>4. Ne Plus Ultra (Hat)
>
>This is a Warne Marsh record, not a Braxton record...

Great recording, though. :)

>My favorite Braxton of
>the forty or so I have is Willisau (Hat Art). It's his classic quartet, with
>Marilyn Crispell, Mark Dresser, and Gerry Hemingway. It's 4 CDs but it's
>probably not that expensive if you get it from North Country, with their
>recent Hat Art sale.

Unfortunately, the Cadence/North Country Hat Hut sale has been over for
awhile now.  But it's worth the $$ even at full price.  Tower may still
have their Hats priced cheap.  It would definitely be worth checking there.

-Lynn ([e-mail])


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

From: [e-mail]
Subject: Re: What is your favorite Anthony Braxton album?
Date: 12 May 1996 11:03:35 -0600



On Sun, 12 May 1996, "R. Lynn Rardin" <[e-mail]>
wrote:
>>>4. Ne Plus Ultra (Hat)
>>
>>This is a Warne Marsh record, not a Braxton record...
>
>Great recording, though. :)
>
>>My favorite Braxton of
>>the forty or so I have is Willisau (Hat Art). It's his classic quartet, with
>>Marilyn Crispell, Mark Dresser, and Gerry Hemingway. It's 4 CDs but it's
>>probably not that expensive if you get it from North Country, with their
>>recent Hat Art sale.
>
>Unfortunately, the Cadence/North Country Hat Hut sale has been over for
>awhile now.  But it's worth the $$ even at full price.  Tower may still
>have their Hats priced cheap.  It would definitely be worth checking there.
>
>-Lynn ([e-mail])
>
>
>I picked up Gerry Hemmingway's "Demon Chaser" (Hat Art) a few weeks back for
$13.99 at Tower. I believe they marked them down permanetly. At least that's
what I heard.

glenn


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

From: Marcin Gokieli <[e-mail]>
Subject:      Crimson/Downtown
Date: 12 May 1996 18:20:39 CET

Hello,
There's been some talk about Crimson/downtown musician collaboration. A few opi
nions really surprised me.
1) many people treated KC & Fripp solo records as typical 'progressive rock'
recordings. in the late 60's & early 70's bands were called 'progressive' when
they were playing music beyond precise styles. Kc would very nicely suit this d
efinition. But, somewhere around '74 it became a name for just another musical
style: a lot of keyboards, technical perfectionsm, long tunes, etc. The term ha
s lost its initial meaning. Nowdays, bands like marillion are called prog rock
bands, and i do not think that any marillion fan would say that, for example, h
enry cow plays ' progressive rock'. Crimson was one of the first bands which pl
ayed this kind of music. they have, however, disapeared in 1974. They did not
continue playing what they used to, after recording a few really GREAT albums (
starless&bible black, which is a live album- although not 'officially-, for exa
mple. those who like this kind of improvised rock should check out the 'great d
eceiver' 4 cd set). And Fripp has moved into entirely different stuff - he was
one of the pioneers of ambient (his albums with Eno, solo albums like 'god save
 the queen', etc.). And he continued playing progressive music- not 'progressiv
e rock'. Check out Fripp&League of gentleman album.Check out 'exposure'. Play t
hem to a marillion fan. And keep safe distance ...
Fripp is a 'progressive' musician in the same way Zorn, Frisell, etc. are. Thos
e are people who try to go beyond styles, trying to make something new.
There is a big difference, though. IMHO, Zorn is mixing styles in a very 'avant
-guarde' way. Fripp (IMHO, of course) has another approach. He tries to put his
mad polyrythmic ideas into 'pop' music('darshan', a 17-minute 'techno' track sh
ould be a good example). He tries to see where can you go with the stuff which
is popular- and new. He always plays 'top 10' kind of music- but in such a way
that he never gets there ...
   So there are differencies. But THIS IS THE REASON i would like to see them
play together. I'd like to see Fripp playing some solos on 'execution ground'.
Add some guitar synth riffs... And Zorn introducing his mad arrangements into
 such mad compositions as 'neurotica', 'Frame by frame'...
Btw, a Fripp-Frisell collaboration would be possible in quite a different way.
Their approach to guitar playing is, IMHO again, very similar. Their duets woul
d be ... no,i can't imagine that. Too beautiful.
What occured to me as a graet idea right now, is maybe even better then collabo
rations: mutual (downtown-crimson) tribute albums. And live shows together...wo
w.
2) If i understood well, many people treated Zorn as an 'improvising' artist,
and fripp as an 'composer'. This is not true- for example ' filmworks' or some
naked city tunes (for example some of the 'radio' album) are not improvised.
and Crimson's new album tHRAKk aTTACk, which will be out on 25 may , will be, a
s far as i know, nearly entirely improvised.
I'm afraid nobody reads such long letters...
Keep on hunting for the snark,
Marcin Gokieli
[e-mail]


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

From: Torsten Nielsen <[e-mail]>
Subject: Zillatron
Date: 12 May 1996 18:52:38 +0200 (METDST)

Is the Zillatron cd "Lord Of The Harvest" as good as it sound to be?
Is Grandmaster Melle Mel's vocals better than the ones he did on "Holy
Terror" (which were horrible!).


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

From: [e-mail]
Subject: Re: Who is Buckethead?
Date: 12 May 1996 12:56:32 -0400

It's no big secret that Brian Carroll is Buckethead.   When his column first
started in Guitar Player, they played up the hype about him being mute and
raised in a chicken coop, etc.  But two or three years ago there was an
article in guitar player where his identity was revealed, and there was some
insight into the real person.  I dont have the article handy to give you the
exact date.  Henceforth in the article he was referred to as Brian.

Does anybody know where to get the "Company" recordings?

Yes, "Ocatave of the Holy Innocents" is incredible, as are all of Jonas
Hellborg's recordings.  If you are into Buckethead's fiery playing, then you
should definitely check out Jonas' recent collaborations with Shawn Lane, who
is a guitarist with a much broader palette of skills.  Check out Jonas'
"Abstract Logic" and "Temporal Analogues of Paradise" and Michael Shrieve's
"Two Doors" (also featuring Bill Frisell and Wayne Horvitz).


[e-mail]


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: buckethead
Date: 12 May 1996 10:44:02 -0700


On Sat, 11 May 96 12:58:45 -0600  [e-mail] wrote:
>
>
> What's the mask all about ? Is he shy ? Wish to remain anonymous ? Does he wear
> the mask in a "live" setting ? He's definitely a monster guitarist but perhaps a
> bit eccentric ? just curious............any comments Patrice ?

No idea but Jeff Spirer should have an opinion, right?

    Patrice.


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

From: [e-mail] (Jeff Spirer)
Subject: Re: Zillatron
Date: 12 May 1996 10:53:24 -0700

At 9:52 AM 5/12/96, Torsten Nielsen wrote:
>Is the Zillatron cd "Lord Of The Harvest" as good as it sound to be?
>Is Grandmaster Melle Mel's vocals better than the ones he did on "Holy
>Terror" (which were horrible!).

Mel's vocals are not particularly recognizable on Zillatron.

I like Zillatron a lot, but as the liner notes say, it is basically a silly
album.  Bootsy does some amazing things with the bass.


Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Buckethead
Date: 12 May 1996 11:14:49 -0700


On Sun, 12 May 1996 00:18:43 -0400  [e-mail] wrote:
>
> I first heard Buckethead on the "Bucketheadland" recording, and was under
> impressed.  I had read a number of great reviews for that CD, but somehow was
            ^^^^^^^^^^^^^^^^^^^^^^

Strange, most of the reviews I read were fairly wishy-washy: not bad but
lacking such enthusiasm that you rapidly got the feeling that you might be
better off not buying it. Even die-hard Buckethead lovers are surprisingly
quiet when asked about BUCKETHEADLAND.

> never able to hear what was so amazing about it.  Soon after I got hooked in
> to the Praxis vibe, which was pretty cool throughout "Mutatis Mutandis" and
> "Sacrifist," but again left me cold once "Metatron" rolled around.  "Giant
> Robot" (which is still available here in Chicago, at least) sounded to me
> like little more than "Bucketheadland Version 1.5," and the Death Cube K
> project did nothing for me, either.  "Day Of The Robot" is at least fairly
> listenable, although for jungle I'll stick with masters like Astral Pilot.
>  So why, you may ask, after consistently being let down by his CD's do I
> continue to listen to what the Buckethead is up to?  Easy... because on
> "Octave of the Holy Innocents" and the three volumes of Company recordings
> from 1991, it is obvious that Buckethead harbours some serious talent,
> although not all of his recordings showcase this as well as others.  I'd be
> interested in hearing his work with the Deli Creeps, and I'd love to hear him
                    ^^^^^^^^^^^^^

You might be very disappointed. All the songs (from a musical point of view)
look the same:

    1/ beginning: strong and catchy with Buckethead relying heavily on
       speed metal riffs; on the first song, you immediately feel that the
       concert will be killer
    2/ middle: strickly nothing most of the time or, once in a while, 3mn
       of guitar exhibition; on the first song, you immediately feel that
       it is a trick and he is just teasing the audience; on the first
       show, you just think that Buckethead was not in great form and
       decided to "economize" his great skills
    3/ end: Buckethead is back with the same set of riffs and that's all

After three songs, you start to get really frustrated. If, like me, you don't
aspire to be an arena rock guitar player, the interest is fairly minor.
Musically the content is close to zero. As a performance, I can just say that
it is not my cup of tea :-).

> teamed up with Zorn again, as their 11 minute duet on the first volume of the
> Company recordings is absolutely mind blowing.

I saw him with Pain Killer and was really impressed (although the level was so
high that I thought I lost my hearing capabilities :-).

> As for the person who inquired about the current status of Painkiller, I
> believe that they are still an existing unit, as I just read something about
> them in Alternative Press (something about contributing to a soundtrack for a
> CD Rom), although I could be wrong.

I love Buckethead as a sideman where he really shines but I am still not very
impressed by his projects. Deli Creeps has been a big disappointment to me. In
fact they are playing again in town (Portland, OR) in few days and I am not
sure I will go.

    Patrice.


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

From: [e-mail]
Subject: Re: Company Recordings
Date: 12 May 1996 14:15:28 -0400

In a message dated 96-05-12 13:04:07 EDT, you write:

>Does anybody know where to get the "Company" recordings?

Try Cadence.


Barry Gilbert


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

From: john shiurba <[e-mail]>
Subject: Re: Who is Buckethead?
Date: 12 May 1996 12:08:18 +0000

> Does anybody know where to get the "Company" recordings?
>

these are available from incus, for $20 ppd, make sure you specify
company _91_ because there are many company recordings.

Incus
14 Downs Rd
London E5 8DS
England


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

From: [e-mail]
Subject: Re: Who is Buckethead?
Date: 12 May 1996 15:08:28 -0400

Last time I ordered from Forced Exposure (more than 1 year ago) they had the
 Company 91 albums. The Company album I have is #3 which has a 12:28 feedback
improv from Buckethead/Derek Bailey which should be of some interest to those
following this thread.


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

From: [e-mail]
Subject: Re: buckethead
Date: 12 May 1996 20:20:07 -0600



On Sun, 12 May 1996, "Patrice L. Roussel" <[e-mail]> wrote:
>
>On Sat, 11 May 96 12:58:45 -0600  [e-mail] wrote:
>>
>>
>> What's the mask all about ? Is he shy ? Wish to remain anonymous ? Does he
wear
>> the mask in a "live" setting ? He's definitely a monster guitarist but
perhaps a
>> bit eccentric ? just curious............any comments Patrice ?
>
>No idea but Jeff Spirer should have an opinion, right?
>
>    Patrice.
>
>BTW, The new cd "Day of the Robot" is mighty interesting. Buckethead could
probably make mega bucks playing top 40 heavy metal ! I give the guy credit for
being somewhat eccentric and creative. Actually, I've never heard anything quite
like this. A very compelling cd.

glenn


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

From: [e-mail]
Subject: Re: Buckethead
Date: 12 May 1996 20:23:34 -0600




>
>I love Buckethead as a sideman where he really shines but I am still not very
>impressed by his projects. Deli Creeps has been a big disappointment to me. In
>fact they are playing again in town (Portland, OR) in few days and I am not
>sure I will go.
>
>    Patrice.
>
>Well, Octave of the Holy Innocents with Shrieve and Hellborg is great as Jeff
pointed out. Also, Praxis' "Metatron" is destined to be a classic.. The new one
"...Robot" is inventive and quite daring. I agree ...Buckethead Land consisted
of lots of noodling and lacked direction.....

glenn
>


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

From: [e-mail] (Jeff Spirer)
Subject: Re: Buckethead
Date: 12 May 1996 20:01:47 -0700

At 7:23 PM 5/12/96, [e-mail] wrote:

>>Well, Octave of the Holy Innocents with Shrieve and Hellborg is great as Jeff
>pointed out. Also, Praxis' "Metatron" is destined to be a classic.. The
>new one
>"...Robot" is inventive and quite daring. I agree ...Buckethead Land consisted
>of lots of noodling and lacked direction.....

My own take on _Bucketheadland_ is that when he gets in the studio without
strong direction he doesn't do all that well.  _Bucketheadland_ is really
just Buckethead and Bootsy fooling around in Bootsy's basement studio.  The
Giant Robot recording that is not the Sony Japan release produced by
Laswell is similarly lacking in focus, although it is better than
_Bucketheadland_ in that department.  Hopefully it will sound better on CD
than on cassette because the sound on the cassette is awful.


Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: [e-mail]
Subject: Re: jim o'rourke
Date: 13 May 1996 19:15:40 -0600



On Thu, 9 May 1996, "Yeah-shure, Nah...er...ve'-so'n"
<[e-mail]> wrote:
>
>does anyone have jim o'rourke's 'TERMINAL PHARMACY' disc (the Tzadik
>one)?  What's it like?  I only have a live improv show for prepared
>guitar, so i expect a pre-planned piece would sound very different.
>
>-jascha
>
>
>
>
>No, but is this the same Jim O'Rourke who appears on Tony Conrad's "Slapping
Pythagorus" ?

glenn


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: jim o'rourke
Date: 13 May 1996 18:28:08 -0700


On Mon, 13 May 96 19:15:40 -0600  [e-mail] wrote:
>
>
>
> On Thu, 9 May 1996, "Yeah-shure, Nah...er...ve'-so'n"
> <[e-mail]> wrote:
> >
> >does anyone have jim o'rourke's 'TERMINAL PHARMACY' disc (the Tzadik
> >one)?  What's it like?  I only have a live improv show for prepared
> >guitar, so i expect a pre-planned piece would sound very different.
> >
> >-jascha
> >
> >
> >
> >
> >No, but is this the same Jim O'Rourke who appears on Tony Conrad's "Slapping
> Pythagorus" ?

Yes, the same.

    Patrice.


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

From: [e-mail] (Marc Kate)
Subject: Mr. Patton's Adult Voices
Date: 14 May 1996 18:55:00 -0800

'ello all

The question of Mike Patton's solo album, Adult Themes for Voice, has been
floating for too long.

The album is Patton's solo voice.  Very affected.  It is start/stop,
multitextural.  34-indistinguishable-from-the-next pieces, because they are
all so frenetic in themselves.  It was recorded in hotel rooms across this
fine planet of ours, which gives the album a nice narrative context.  I
would place it somewhere between Phil Minton and Masonna.  It is a joy to
own.

and also he is a babe (that is, without a panty on his head)


and also he was on Bob Ostertag's Fear No Love.  It's the only album of
Ostertag's that I do not own. Very disappointing.  It's a dance album, very
queer positive, with an all star cast, but the beats are tired.  Sorry Bob.
Peace out.

                                        Marc Kate
                                   415-826-4012
                             [e-mail]



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Marc Ribot
Date: 15 May 1996 08:04:11 -0700


On Fri, 3 May 1996 22:09:54 +0200 (METDST)  [e-mail] wrote:
>
> What's the title on the book by William Duckworth which has a interview with
> Zorn?

  * Talking Music: Conversations with American Experimental Composers, by
    William Duckworth

    Interview by William Duckworth (pp. 444-475)

    Schirmer Books, 1995 (ISBN 0-)


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

From: "R. Lynn Rardin" <[e-mail]>
Subject: Re: Hat prices at Tower
Date: 15 May 1996 11:55:10 -0500 (EST)

I wrote:
>>Unfortunately, the Cadence/North Country Hat Hut sale has been over for
>>awhile now.  But it's worth the $$ even at full price.  Tower may still
>>have their Hats priced cheap.  It would definitely be worth checking
>>there.

Glenn replied:
>I picked up Gerry Hemmingway's "Demon Chaser" (Hat Art) a few weeks back
>for $13.99 at Tower. I believe they marked them down permanetly. At least
>that's what I heard.

I believe the markdown is only permanent until Bayside runs out of Hat Hut
stock.  At that point, Tower will have to obtain Hat CDs from another
distributor like North Country and prices are sure to shoot back up when
that happens.

-Lynn


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Mike Patton Question
Date: 15 May 1996 09:33:35 -0700


On 8 May 96 10:21:41 EAT  [e-mail] wrote:
>
> >I got ADult Themes for Voice today, and it has a little bio on Mike and says
> >" Mike hasworked with various ensembles and composers such as Mr. Bungle,
> >Kronos Quartet, Faith No More, Bob Ostertag, Arto Lindsay, Bil Laswell,
> >Boo-Yaa Tribe, Rova Saxophone Quartet, David Shea, Sepultura and John Zorn."
> >I was wondering about the many projects and what was available on CD and how
> >to get it all (the ones that aren't the obvious). If anyone knows, please
> >post here and/or e-mail myself. Thanks.

Does anybody know about the following tape?

Review of a tape by Mr. Bungle in Option March/April 1987 (pp. 23):
*** - THE RAGING WRATH OF THE EASTER BUNNY: Mr. Bungle
 (1987 (?) - Ladd-Frith (USA), ??? (CT)

I don't remember any Mr. Bungle fan mentioning it and I even wonder if it is
really a tape by Mike Patton's group.

    Patrice.


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

From: john shiurba <[e-mail]>
Subject: Re: David Shea and other collaborators
Date: 15 May 1996 11:18:00 +0000

N Vassiliou wrote:
>
> On different note, has anyone listened to volume 1 in the Sub
> Rosa/Subsonic series(Fred Frith/Marc Ribot)?I am really interested to know
> if it is any good.

this is an interesting disc. at first i was disappointed because i thought it
was going to be guitar duos, instead there's a frith solo acoustic piece and a
piece for multiple overdubbed electric guitars by frith. the ribot stuff is in
the vein of the "shrek" cd on avant. there's one piece where ribot
simultaneously plays guitar and Eb horn. he should've gone on letterman with
this.

overall i'd say good, perhaps not essential.


shiurba


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

From: john shiurba <[e-mail]>
Subject: Re: Zubi Zuva, PSF, & FW III
Date: 15 May 1996 11:22:46 +0000

Dave Keffer wrote:

> Lastly, Filmworks III (on Toys Factory or evva) has 56 tracks.  the first
> 12 are Masada, one of which has QUine playing with them and is
> fantastic.  There is one track of cartoon cues from "cynical hysterie
> hour" or something like that.

one track? so this probably isn't the same as the cbs cd of "c.h.h"?

> THere are about 12 tracks of Zorn/Ribot
> duets, which are also spectacular.  THen there are about 30 pieces of
> music for a commercial advertising firm, which are a mixed bag of tricks.
> (the liner notes are in english).

sounds good!


shiurba


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Zubi Zuva, PSF, & FW III
Date: 15 May 1996 11:34:33 -0700


On Wed, 15 May 1996 11:22:46 +0000  [e-mail] wrote:
>
> Dave Keffer wrote:
>
> > Lastly, Filmworks III (on Toys Factory or evva) has 56 tracks.  the first
> > 12 are Masada, one of which has QUine playing with them and is
> > fantastic.  There is one track of cartoon cues from "cynical hysterie
> > hour" or something like that.
>
> one track? so this probably isn't the same as the cbs cd of "c.h.h"?
>
> > THere are about 12 tracks of Zorn/Ribot
> > duets, which are also spectacular.  THen there are about 30 pieces of
> > music for a commercial advertising firm, which are a mixed bag of tricks.
> > (the liner notes are in english).
>

No THE ELEGANT SPANKING?

    Patrice.


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

From: [e-mail] (jonathan kaye)
Subject: summerstage
Date: 15 May 1996 19:15:16 -0400

today's new york times listed the summerstage schedule for this summer. for
those of you outside new york city, summerstage is new york's premier free
concert series held on weekends in central park. included in the schedule
were the following listings:

july 6: yoko ono, cibo matto, john zorn's masada

july 13: bill laswell with praxis, jah wobble, nicky skopelitis, the last poets

many other wonderful shows but these are the most relevant to this list.

jon



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

From: "Wilson, King of Prussia" <[e-mail]>
Subject: mr. bungle
Date: 15 May 1996 19:11:40 -0500

>Does anybody know about the following tape?
>
>Review of a tape by Mr. Bungle in Option March/April 1987 (pp. 23):
>*** - THE RAGING WRATH OF THE EASTER BUNNY: Mr. Bungle
> (1987 (?) - Ladd-Frith (USA), ??? (CT)
>
>I don't remember any Mr. Bungle fan mentioning it and I even wonder if it is
>really a tape by Mike Patton's group.


  Mr. Bungle has a few demo tapes floating around.  I have "Raging Wrath"
(or used to) which has mostly demo versions of songs off their first
albums.  The different arrangements make it worth getting, though.  It has
one or two new songs, including a really good song called OU818, ten
minutes of pure, unreleased bungle.
  I have heard one other demo tape of theirs, too, but I can't recall the
name.  I have been told their are four tapes floating around....





















                                read icculus



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

From: [e-mail] (Jeff Spirer)
Subject: Re: summerstage
Date: 15 May 1996 18:45:59 -0700

At 4:15 PM 5/15/96, jonathan kaye wrote:
>today's new york times listed the summerstage schedule for this summer. for
>those of you outside new york city, summerstage is new york's premier free
>concert series held on weekends in central park. included in the schedule
>were the following listings:
>
>july 6: yoko ono, cibo matto, john zorn's masada
>
>july 13: bill laswell with praxis, jah wobble, nicky skopelitis, the last poets

This was called off last week but reinstated this week with a somewhat
smaller crew of artists.  I hope to have the exact lineup in the next few
days and will post at the Axiom Web Site (URL below.)


Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: [e-mail]
Subject: "make the subject relevant"
Date: 15 May 1996 23:17:18 -0400

Allright, allright, now I am the last person who would make a suggestion
on proper posting etiquette (or "netiquette", if you like), but if I open a
piece
of mail with the subject "crimson vs. the dowtown scene", then damnit thats
what
I want to read about! :)  Just like a recent post with the subject "Marc
Ribot", and
it had nothing to do with him.  I was crushed.  If I reply to a post but the
subject
matter has completely changed, then I change the "subject".  Now I sound like
a whiner,
but lets all comply, or else.

I also hate posts that have nothing to do with the list in general, so now I
must
come up with something relevant to talk about....

Does anyone know how long Kermit Driscoll played in Naked City?


[e-mail]







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

From: [e-mail]
Subject: Re: summerstage
Date: 15 May 1996 23:48:44 -0400

Unfortunately, Axiom (Laswell's WWW page) notes that the 7/13 Summerstage
show with Praxis has been cancelled.


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

From: [e-mail]
Subject: Re: Buckethead
Date: 16 May 1996 00:06:10 -0400

anyone know where i might be able to order Deli Creeps and Giant Robot from?
I'm very very interested in them.  thanks


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

From: [e-mail]
Subject: Toy Factory Records
Date: 16 May 1996 00:07:23 -0400

Does someone have the address/catalog/phone number/www address whree i can
look and order CDs from this label? I really want to get ahold of Filmworks 3
and other cool goodies. thanks tons.

matt


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

From: [e-mail]
Subject: Re: Mike Patton Question
Date: 16 May 1996 00:10:52 -0400

that would be a demo that Bungle recorded back then. i think that they sold
it in San Franciscan record stores @ the time they put it out.


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

From: [e-mail]
Subject: Cibbo Matto/Zorn Connection
Date: 16 May 1996 00:14:26 -0400

I remember Matt Plinkton on Mtv's 120 Minutes mentioning somehting about John
Zorn doing something with the girls known as Cibbo Matto... I was wondering
if anyone knew anything about the connection there or what....

matt


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

From: Me <[e-mail]>
Subject: Re: summerstage
Date: 15 May 1996 23:54:52 -0500 (CDT)


On Wed, 15 May 1996, jonathan kaye wrote:

> july 6: yoko ono, cibo matto, john zorn's masada

Well now, I'm going to be in New York from July 3rd-7th (mainly to see
the Mothership return on the 4th) and I was really dissapointed to find
out that I would miss Laswell & Co. on the 13th.  I still am, but I
suppose seeing John Zorn live for the first time will make up for that.
Or, to put it another way:

YES! YES! YES! YES! YES! YES! YES! YES! YES! YES! YES! YES! YES! YES!
YES! YES! YES! YES! YES! YES! YES! YES! YES! YES! YES! YES! YES! YES!

Ah, that felt good.  Seven weeks from today I'm on the plane East...

Thanks for the info,

Paul
[e-mail]
Orgasming all over myself (no, not literally!)


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

From: [e-mail] (Jeff Spirer)
Subject: Re: Buckethead
Date: 16 May 1996 07:10:52 -0700

>anyone know where i might be able to order Deli Creeps and Giant Robot from?
>I'm very very interested in them.  thanks

There are no released recordings of the Deli Creeps.

_Giant Robot_, the Bill Laswell-produced CD, is out of print.  There may be
copies available but I haven't heard of any for a while.  Giant Robot, the
band (Buckethead and Brain), have a pre-release cassette that is sold at
Buckethead shows.  There may be a CD pressed, but there is no distribution
in place.


Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Naked Kermit City
Date: 16 May 1996 15:44:01 -0400 (EDT)



Who oh who is Kermit Driscol, and when did he play with Naked City?


-jascha


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: Toy Factory Records
Date: 16 May 1996 15:47:10 -0400 (EDT)

> Does someone have the address/catalog/phone number/www address whree
i can
> look and order CDs from this label? I really want to get ahold of Filmworks 3
> and other cool goodies. thanks tons.

Yeah, i'd like to know, too.  Does anyone know if FW3 will get reissued
on Tzadik, or some other nice, friendly non-import label for those of us
living in N.A.?

-jascha


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

From: john shiurba <[e-mail]>
Subject: Re: Naked Kermit City
Date: 16 May 1996 13:08:51 +0000

Yeah-shure, Nah...er...ve'-so'n wrote:
>
> Who oh who is Kermit Driscol, and when did he play with Naked City?

kermit driscoll was the bass player the bass player in bill frisell's
group from about 85-95, and still plays with "new & used". i hadn't been
aware that he was in naked city. he seems much too low key for the
group, but then again you might say the same of frisell.


shiurba


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

From: [e-mail]
Subject: Re: mr. bungle
Date: 16 May 1996 16:36:29 -0400

wrath was there first demo. i just read so guy saying he had heard it and
them decribed there fourth demo 0U818.  there first demo is by far my
favorite.  it is hard core death metal with insane screaming by patton.  very
hard to come by.  worth checking out


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

From: [e-mail]
Subject: Re: Naked Kermit City
Date: 16 May 1996 22:45:23 -0400

Yes,  Kermit was the bassist in Bill Frisell's various bands over the last
decde.  In my opinion he is a very underated player.

I know that he played with Naked City at the Saalfelden Jazz fest on 8/26/88.
 But they also played festivals in Europe a few months after that and Frith
was there, so I guess Kermit just filled in?  Or maybe 8/88 was around the
time Naked City first played live and Kermit was the first bassist..

[e-mail]





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

From: [e-mail]
Subject: Raging Wrath of the Easter Bunny
Date: 17 May 1996 04:05:13 -0400

Yes this is indeed a demo tape by Mr. Bungle.  I've heard it, but on a
intolerably bad bootleg.   I believe this was the first Bungle demo.   The
music is death metal mostly, at incredible speeds, with some ska, yet like
most Bungle it's all irreverent.  I 've read interviews with the band about
this period, and they said one of their main objectives with death metal
music was to piss people off and start fights.  Here's the list of tracks as
I have seen it:
Grizzly Adams
Anarchy Up Your Anus
Thighs of Death
Hypocrite
Evil Satan (which also appears on the Bowel of Chiley demo)
Bunglegrind
Raping

So, to answer your question, yes it is real.

On another note, has anybody heard David Shea's Tower of Mirrors? I'd like
some more info on that.


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

From: [e-mail]
Subject: Re: Raging Wrath of the Easter Bunny
Date: 19 May 1996 15:21:03 -0400

If this is the tape i'm thinking of, it was released by Ladd/Frith in the
mid-80s and is not a demo but a tape-only release.  The L/F label was one of
numerous cassette labels (aka home tapers, etc) that thrived then.

Lang Thompson
http://members.aol.com/wlt4/index.htm


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

From: star leigh wall <[e-mail]>
Subject: Re: Mike Patton question
Date: 19 May 1996 16:58:17 -0700 (PDT)

As others have said, Raging Wrath was Mr. Bungle's first demo and it came
out in 1986.  It is not, as someone else claimed, the demo that has songs
that appeared on the self-titled Warner Bros. debut.  For complete
information on all the Bungle demos (and basically every other release
that any Bungle member has participated on in any way), see the WWW
discography at http://www.radix.net/~kreinsch/mrb.html.

---  s t a r   l e i g h   w a l l



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

From: [e-mail]
Subject: Divination
Date: 19 May 1996 20:24:47 -0600



The new Divination 2 cd set is "Fantastic"///! A collective of various ambient
gods who perform solo pieces which fill up 2 discs ! A must for Laswell
collectors....Sheer beauty ! And quite innovative !


glenn


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

From: Paul Jacobson <[e-mail]>
Subject: Re: Divination
Date: 20 May 1996 11:40:39 +1000

[e-mail] wrote:
>
> The new Divination 2 cd set is "Fantastic"///! A collective of various ambient
> gods who perform solo pieces which fill up 2 discs ! A must for Laswell
> collectors....Sheer beauty ! And quite innovative !
>
> glenn

I'd second this recommendation. The set is quite stunning. Tracks that may be of
particular interest to ZornListers are Mick Harris's _There_, Anton Fier's _Blue
Filter_ and Laswell's 30 minute epic _Black Dangers_. Other track's are by
Laswell FAX collaborators Pete Namlook and Tetsu Inoue, ex-YMO member Haruomi
Hosono, Paul Schutze and Thomas Koner.

Paul


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

From: [e-mail] (Norman Yamada)
Subject: Gig at KF 5/28
Date: 23 May 1996 03:56:00 GMT

Going public to plug my gig with Zeena Parkins and Anthony Coleman at the
Knitting Factory on Tuesday (May 28).

Zeena is premiering a new piece for the Gangster Band called "Maul" which
will be on her upcoming Tzadik release; I'm reviving a version of Shrek
with Ribot and Mark Dresser to play two new pieces (which will be recorded
this summer for my Tzadik release; and Anthony's debuting a new project --
Lechoneria.

Set starts at 9 pm. Come if you can...


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

From: scott mclemore <[e-mail]>
Subject: JJJoey
Date: 23 May 1996 17:12:58 -0400 (EDT)

Just thought all you folks who aren't drummers would like to know that
Joey Baron made it to the cover of modern drummer this month. The
interview is cool.  But there is one peculiar thing.  When talking about
the specific nature of Zorn's Naked City, the interviewer chimes in, "But
you do some interesting things with his music. On 'Tag' [from Zorn's This
Land], for instance, are you playing with your hands?  And are you
playing a concert bass drum?"

Scott McLemore - Drummer/Composer



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

From: Matthew Ross Davis <[e-mail]>
Subject: Re: JJJoey
Date: 23 May 1996 17:25:04 -0400

At 5:12 PM 5/23/96, scott mclemore wrote:
>Just thought all you folks who aren't drummers would like to know that
>Joey Baron made it to the cover of modern drummer this month. The
>interview is cool.  But there is one peculiar thing.  When talking about
>the specific nature of Zorn's Naked City, the interviewer chimes in, "But
>you do some interesting things with his music. On 'Tag' [from Zorn's This
>Land], for instance, are you playing with your hands?  And are you
>playing a concert bass drum?"

Did you make a typo in the album artist, or is the interviewer an idiot?
*This Land* is a Bill Frisell album that John Zorn doesn't have anything to
do with (but that does contain the tune "Tag"). Jeez. What was Joey's
response?

Did the interview mention his work with Laurie Anderson at all, btw?


        ---------------------------------------------------
        Matthew Ross Davis                        HuskyLabs
        [e-mail]                    12C Parkway
        PGP Key on request              Greenbelt, MD 20770
        1-800-SKY-PAGE, pin 2125354          [phone]
        http://butterfly.net/mozart          1-888-HUSKY-US
        ---------------------------------------------------



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

From: [e-mail]
Subject: Kermit with Naked City
Date: 24 May 1996 08:30:51 -0400


>Date: Mon, 20 May 1996 11:43:47 -0500 (EST)
>From: Jason Caulfield Bivins <[e-mail]>
>To: [e-mail]
>cc: [e-mail]
>Subject: Re: zorn-list-digest Digest V96 #23
>
>Kermit Driscoll actually appears, as I'm sure many of you know, on a
>number of Naked City recordings. Two that spring to mind are the
>eponymous Elektra disc from 1990 and, I believe, Grand Guignol on Avant.


Oh really?  Thats funny, because Kermit isn't on my copy of "Naked City",
or "Grand Guignol"... or any other Naked City recording for that matter.
A minor oversite on your part?  Or do you know something the rest of us
don't?
Or are you completely nuts?!

[e-mail]




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

From: Brian Alldredge <[e-mail]>
Subject: Lunch for Your Ears
Date: 25 May 1996 14:05:38 +0000

>Re: the recent interesting story posting regarding Lunch for Your Ears;
>I had an almost identical experience in the late 1980s on a visit
>to NYC.  After knocking, I was let in by Manny who was in a
>state of serious disrepair.  The store was absolutely trashed - he
>was walking over lp's and cd's to get to the stuff I had asked
>him for.  He insisted I buy something and when I declined, he closed
>shop and ran across the street to meet someone.
>
>Later that night, at the Knitting Factory, I talked to a fellow who
>indicated that Manny had developed a fairly serious drug problem
>and that friends, including JZ, were trying their best to get him
>some help.  Hope he pulled through.  Your e-mail triggered this
>strange memory for me too.


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

From: [e-mail] (Jeff Spirer)
Subject: Re: Lunch for Your Ears
Date: 24 May 1996 14:52:47 -0700

I really wish people would stop talking about Manny's personal life.

Manny lives in Canada now.

At 7:05 AM 5/25/96, Brian Alldredge wrote:
>>Re: the recent interesting story posting regarding Lunch for Your Ears;
>>I had an almost identical experience in the late 1980s on a visit
>>to NYC.  After knocking, I was let in by Manny who was in a
>>state of serious disrepair.  The store was absolutely trashed - he
>>was walking over lp's and cd's to get to the stuff I had asked
>>him for.  He insisted I buy something and when I declined, he closed
>>shop and ran across the street to meet someone.
>>
>>Later that night, at the Knitting Factory, I talked to a fellow who
>>indicated that Manny had developed a fairly serious drug problem
>>and that friends, including JZ, were trying their best to get him
>>some help.  Hope he pulled through.  Your e-mail triggered this
>>strange memory for me too.

Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: [e-mail] (Jeff Spirer)
Subject: Re: summerstage
Date: 24 May 1996 14:52:50 -0700

At 8:48 PM 5/15/96, [e-mail] wrote:
>Unfortunately, Axiom (Laswell's WWW page) notes that the 7/13 Summerstage
>show with Praxis has been cancelled.

This concert is back on again, although fewer people will be playing than
originally planned.  No details yet, and it could fall apart again, but for
now it is on.


Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: "N.D." <[e-mail]>
Subject: locus solus
Date: 24 May 1996 18:57:11 -0300

So I just got my hands on the _Locus Solus_ rerelease, and wanted to know
if anyone knew what connection the project has to the writer Raymond
Roussel (the title's one of his novels, and there's an uncredited photo of
Roussel in the liner notes): he's never mentioned inside.  Do the original
liner notes explain this?  (The most obvious link is Zorn's confession of
delusions of wild popularity in his note, rather like Roussel's....)  And
is there perhaps a link in the title to the "New York School" of poets
(_Locus Solus_ was the title of an expatriate journal edited by John
Ashbery, Kenneth Koch and Harry Mathews)?  --N


Nate Dorward                    Nobody steps on
e-mail:  [e-mail]            a mine of information
web:  http://ac.dal.ca/~ndorward/        twice.
        homepage.html                      (Alan Halsey)


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Lunch for Your Ears
Date: 24 May 1996 15:01:43 -0700


On Fri, 24 May 1996 14:52:47 -0700  Jeff Spirer wrote:
>
> I really wish people would stop talking about Manny's personal life.
>
> Manny lives in Canada now.

I thought he was dead. I might have confused him with somebody else.

    Patrice.


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

From: [e-mail] (Jeff Spirer)
Subject: Re: Cibbo Matto/Zorn Connection
Date: 24 May 1996 14:52:54 -0700

At 9:14 PM 5/15/96, [e-mail] wrote:
>I remember Matt Plinkton on Mtv's 120 Minutes mentioning somehting about John
>Zorn doing something with the girls known as Cibbo Matto... I was wondering
>if anyone knew anything about the connection there or what....

For what it's worth, Cibbo Matto is on the cover of the most recent Option
magazine.  I haven't read the article, so ...


Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Cibbo Matto/Zorn Connection
Date: 24 May 1996 15:55:19 -0700


On Fri, 24 May 1996 14:52:54 -0700  Jeff Spirer wrote:
>
> At 9:14 PM 5/15/96, [e-mail] wrote:
> >I remember Matt Plinkton on Mtv's 120 Minutes mentioning somehting about John
> >Zorn doing something with the girls known as Cibbo Matto... I was wondering
> >if anyone knew anything about the connection there or what....
>
> For what it's worth, Cibbo Matto is on the cover of the most recent Option
> magazine.  I haven't read the article, so ...
        ^^^^^^^^^^^^^^^^^^^^

It is fun. In fact they are *EVERYWHERE* (including Pulse!). Not often that NY
downtowners can get famous so fast :-).

    Patrice.


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

From: [e-mail] (m. rizzi)
Subject: ATTENTION: "lost" mail
Date: 24 May 1996 16:51:21 -0700 (PDT)


    Hello everyone,

    I've been investigating the lost mail problem on
    the zorn-list and have discovered two things that
    everyone should be aware of:

    1. the zorn-list will only allow messages to be
       sent out from its subscribers (this is to avoid
       junk mail spamming). Unfortunately, some of
       you have sent mail from different computers
       and/or accounts, effectively "losing" the
       message.

       I have notified a few individuals privately,
       but some of those mails have bounced back
       to me.
       (in particular from [e-mail])

    2. some folks have been sending their messages
       to either
        [e-mail]
        [e-mail]
        [e-mail]

       instead of the proper address
        [e-mail]


    These two cases seem to explain most of the lost
    emails...Please take care before sending out
    your messages. Thanks....we're still waiting for
    the majordomo conversion, which should make everything
    even smoother.

    Also, you can always look at the zorn-list archives
    via a web browser (or ftp) at

    ftp://ftp.xmission.com/pub/lists/zorn-list/archive/

    cheers,
    mike rizzi  zorn-list maintainer

--
[e-mail] ------------------------------------------- [e-mail]
-=work=-             "Another nerd with a soulpatch"              -=home=-
                      http://www.meer.net/~browbeat/
-------- browbeat magazine, po box 11124, oakland, ca 94611-1124 ---------


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

From: [e-mail] (Jeff Spirer)
Subject: Re: ATTENTION: "lost" mail
Date: 24 May 1996 20:14:37 -0700

At 4:51 PM 5/24/96, m. rizzi wrote:
>        Hello everyone,
>
>        I've been investigating the lost mail problem on
>        the zorn-list and have discovered two things that
>        everyone should be aware of:
...

So maybe you can answer: why is Patrice's stuff showing up double?

Or is he making sure we don't miss a word?



Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: ATTENTION: "lost" mail
Date: 25 May 1996 15:30:11 -0700


On Fri, 24 May 1996 20:14:37 -0700  Jeff Spirer wrote:
>
> At 4:51 PM 5/24/96, m. rizzi wrote:
> >        Hello everyone,
> >
> >        I've been investigating the lost mail problem on
> >        the zorn-list and have discovered two things that
> >        everyone should be aware of:
> ...
>
> So maybe you can answer: why is Patrice's stuff showing up double?

One day, I got plenty of mails dating back one month. After anwering a
couple (that sounded familiar), I realized that something might have
been wrong with the Zorn mailing list :-). I just answered, one month
apart, twice the same couple mails!

> Or is he making sure we don't miss a word?

Far from me the feeling that what I say is worth repeating...

    Patrice.


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

From: [e-mail] (m. rizzi)
Subject: Re: ATTENTION: "lost" mail
Date: 25 May 1996 17:37:17 -0700 (PDT)


    WARNING: Boring geek talk ahead...NO MUSIC CONTENT.

Patrice L. Roussel, demi-God and Icon sez:
>
>> So maybe you can answer: why is Patrice's stuff showing up double?
>
>One day, I got plenty of mails dating back one month. After anwering a
>couple (that sounded familiar), I realized that something might have
>been wrong with the Zorn mailing list :-). I just answered, one month
>apart, twice the same couple mails!

    Heh heh. The xmission mail server was backed up recently
    so they bought a fancy new SPARCserver to deal with the
    new mail load. At that point, it cranked thru over 20,000
    pieces of old mail and sent them on their way. THAT was
    the batch of backdated mail that came through zorn-list
    recently.

    Maybe that explains the duplicates...Jeff, please send
    me a couple of these duplicate e-mails and I'll see
    if they provide any insight.

    Thanks,
    mike rizzi
    zorn-list maintainer and hack


--
[e-mail] ------------------------------------------- [e-mail]
-=work=-             "Another nerd with a soulpatch"              -=home=-
                      http://www.meer.net/~browbeat/
-------- browbeat magazine, po box 11124, oakland, ca 94611-1124 ---------


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

From: Stickman <[e-mail]>
Subject: Big John Patton & others...
Date: 26 May 1996 13:36:32 -0700

When i'm not practicing the Chapman Stick, I have a hard time not going
out buying CD's. This weekend's finds:

1)Big John Patton: Does anyone have this? I thought it would be lame, but
it reminds me of the Sonny Clark Memorial quartet. Really smooth stuff,
and Zorn is very identifiable on it. the liner notes say:

     " The gutty playing Zorn certainly ranks among this CD's highlights
....his work consists almost entirely of  vocal effects-shrieks and
quacks..."


2.Bill Laswell:" Hear No Evil"  Where was I when this came out in 1988?
I've never seen it.  The stuff is ok, a bit lackluster, kind of a
precurrsor to "Hallucination Engine", very middle eastern, a little on
the "yawn" side. Also, funny thing, Laswell's bass isn't very prominent.

3.Buckethead: "Day of the Robot"- Some good stuff, but i think the energy
dwindled down after the first two or three tracks. Still cool, but I
think there's better Buckethead to be heard. Question: Who play's the
computer like super inhumanly fast monster funk Bass parts?. It sounds
like a computer/sampler or possibly a midi electric played by Bucket. No
way that's Laswell, or a "human" Bass player.

4.Material "Live from Soundscape"-  improv stuff, could've been better with a better
recording, or a better mix.  The idea of 3 drummers ryhmically trying to confuse each
other is interesting. The drums make it really difficult to hear Laswell & Frith.

            Any comments on these? - STICKMAN


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

From: Stickman <[e-mail]>
Subject: Frisell/Sylvian
Date: 26 May 1996 13:41:45 -0700

Hi- I pulled this off the David Torn list:

"A couple of weird bits of collaboration news: Bill Frisell is working =
with David Sylvian on new material, and the same applies to Harold Budd =
and John Foxx, original singer with Ultravox! (info from the Sylvian & =
Ultravox lists.)"

I cannot verify it's correctness, but Frisell/Sylvian would be cool. I
enjoyed the Sylvian/Fripp record from a few years ago, So I guess David
is going through his "guitarist's whose last name starts with "F" faze">-

I remember reading here about a new Frisell CD. When? Who with? If I
recall, Joey Baron isn't in the band anymore. Also, is it true that Joey
Baron is on the cover of this month's Modern Drummer? It's about f**king
time.

               -STICKMAN


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

From: "D.J. Toman" <[e-mail]>
Subject: Joey/Masada in Taipei
Date: 27 May 1996 03:30:30 GMT


>I remember reading here about a new Frisell CD.

If you mean, "Quartet," it's out already, unless there's something even newer.

If I recall, Joey Baron isn't in the band anymore. Also, is it true that Joey
>Baron is on the cover of this month's Modern Drummer? It's about f**king
>time.

Before I post a more complete report, I just want to say that Joey was
mind-boggling in his imagination and colorful musicality, not to mention
humor and technique, during all four Masada shows in Taipei this past
Wed.-Sat.  The entire band was killin', and it just wouldn't be the same
without any one of the members, but Joey was astounding.  Once, his floor
tom tipped over with the hollow side facing the audience, and without
missing a beat he just reached down and proceeded to accept the challenge of
playing the bottom rim of the tom for all it was worth.

I talked to Dave Douglas afterwards yesterday, and he said we can look
forward to a new Myra Melford release on Gramavision soon, with DD on
trumpet and Chris Speed on saxes (and I think clarinet), among others.

I'm still reeling from the final show.  I thought the first three were
spectacular, and each had a quite different set and vibe, but the fourth and
final night reached some kind of celestial plane.  Gasp...

-- David in Taipei


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

From: [e-mail] (Jeff Spirer)
Subject: Re: Big John Patton & others...
Date: 26 May 1996 12:34:13 -0700

At 1:36 PM 5/26/96, Stickman wrote:

>2.Bill Laswell:" Hear No Evil"  Where was I when this came out in 1988?

Virgin ditched it.  It didn't fit in with their pop dreams.

>I've never seen it.  The stuff is ok, a bit lackluster, kind of a
>precurrsor to "Hallucination Engine", very middle eastern, a little on
>the "yawn" side. Also, funny thing, Laswell's bass isn't very prominent.

Many of us fans think this is his finest work.  Nicky Skopelitis, who plays
on it, told me this was the best thing he had ever played on when I was
complimenting one of his solo albums from around the same time.

It may take time - what is there is very subtle.  The bass is there but he
didn't use all the subharmonic synthesizer stuff he sometimes uses.

>
>3.Buckethead: "Day of the Robot"- Some good stuff, but i think the energy
>dwindled down after the first two or three tracks. Still cool, but I
>think there's better Buckethead to be heard. Question: Who play's the
>computer like super inhumanly fast monster funk Bass parts?. It sounds
>like a computer/sampler or possibly a midi electric played by Bucket. No
>way that's Laswell, or a "human" Bass player.

It's Bucket.  I happen to like this, but after the first track, it's
jungle.  If you don't like jungle, don't buy this.

>
>4.Material "Live from Soundscape"-  improv stuff, could've been better
>with a better
>recording, or a better mix.  The idea of 3 drummers ryhmically trying to
>confuse each
>other is interesting. The drums make it really difficult to hear Laswell &
>Frith.
>

I agree that the mix isn't great on this.

Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Joey/Masada in Taipei
Date: 26 May 1996 12:44:42 -0700


On Mon, 27 May 1996 03:30:30 GMT  "D.J. Toman" wrote:
>
>
> >I remember reading here about a new Frisell CD.
>
> If you mean, "Quartet," it's out already, unless there's something even newer.
>
> If I recall, Joey Baron isn't in the band anymore. Also, is it true that Joey
> >Baron is on the cover of this month's Modern Drummer? It's about f**king
> >time.
>
> I talked to Dave Douglas afterwards yesterday, and he said we can look
> forward to a new Myra Melford release on Gramavision soon, with DD on
> trumpet and Chris Speed on saxes (and I think clarinet), among others.

Could it be:


*** - SAME RIVER TWICE: Myra Melford Quintet

  Dave Douglas: trumpet; Chris Speed: tenor, clarinet; Myra Melford: piano;
  Erik Friedlander: cello; Michael Sarin: drums.

    1996 - ???, ??? (CD)

  Note: not released yet.


initially planned on Hat Hut?

    Patrice.


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

From: [e-mail]
Subject: Douglas/Clusone
Date: 26 May 1996 17:02:09 -0400

>I talked to Dave Douglas afterwards yesterday,

I talked with Ernst Reijseger briefly at the recent Victoriaville festival.
He told me that the Clusone Trio (himself, Michael Moore, and Han Bennink)
had recorded a record with Dave Douglas that would be released on Gramavision
at some point this year. I'm pretty psyched for this one. Anyway, thought
some of you might like to know.

Jon


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: VARIOUS 10% -- Burroughs tribute?
Date: 26 May 1996 15:46:37 -0700


    Does anybody know about this record? I found the reference in the
Verge distribution catalog.


DUTCH EAST INDIA USA


Various 10% File Under Burroughs


DEI-12040-2CD Spoken Word ($26.00 2CD)
This record was inspired by the readings and performances which were part of
the Here To Go Show , held in Dublin in 1992. The paramount theme of the show
was the connection between cut-ups and the use of samples in contemporary
dance and traditional Moroccan trance. Includes a deluxe 36 page booklet and
all tracks are unreleased and exclusive to this collection. Artists are:
Islamic Diggers, Divination, Bomb the Bass, Scanner, Material, Your Nemesis,
Brion Gysin, Joujouka & Hamri, Herbert Huncke & Chuck Prophet, Marianne
Faithful & the Master Musicians of Joujouka, William S. Burroughs, John Cale,
Terry Wilson, Paul Bowles, Gnoua Brotherhood, Joe Ambrose, and Stanley Booth.


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

From: [e-mail]
Subject: Re: VARIOUS 10% -- Burroughs tribute?
Date: 26 May 1996 19:49:19 -0400

Its been out for about six weeks. I believe the album was put together by the
folks at Sub Rosa, then licensed in the U.S. I've seen it in several chain
stores here in NYC. It's easy to miss as the cover has a 10% in large type
and the rest of the info is really tiny. For all you Mr. Bill fans, their is
a new Laswell dub CD on ROIR that is excellent.


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

From: [e-mail] (Paul Jacobson)
Subject: Re: VARIOUS 10% -- Burroughs tribute?
Date: 28 May 1996 00:46:03 +1000

Patrice L. Roussel wrote:

> Includes a deluxe 36 page booklet and
> all tracks are unreleased and exclusive to this collection. Artists are:
> Islamic Diggers, Divination, Bomb the Bass, Scanner, Material, Your Nemesis,
> Brion Gysin, Joujouka & Hamri, Herbert Huncke & Chuck Prophet, Marianne
> Faithful & the Master Musicians of Joujouka, William S. Burroughs, John Cale,
> Terry Wilson, Paul Bowles, Gnoua Brotherhood, Joe Ambrose, and Stanley Booth.

The Divination track appeared on Ambient Dub Volume One and the Material
track Ineffect was originally on Seven Souls. The track lengths are
identical to the original releases so I don't think they are remixes (they
don't sound like it).

The main tracks of value/intrest for me were the archival recordings of
Brion Gysin _Cut Up_ and _From Here To Go_ documenting early cut up
experiments. The Islamic Diggers tracks are nice without really doing
anything new.

Scanner produces the most interesting tracks looping fragments of the
Master Musicians to trance inducing effect.

I found the recordings of the Gnoua and Joujouka musics totally irriating
(I like the laswell produced recordings) in the low budget documentary way
they are recorded. The result is totally unbalanced and sounds extremely
disjointed.

Overall I feel it's a very patchy compliation, with the filler outweighing
the *good stuff*. Laswellophiles won't find anything new on here and the
overall the set is disappointing. I'd recommend listening to it before
splashing the cash.

A far better purchase would be the underwood comp on sub rosa, which
features new material from a forthcoming Laswell disc, also new Mick Harris
a track from David Shea's _the tower of mirrors_ plus a few suprises like
Nus's _lament_ from a cd titled _all the vertical angels_ which is
apparently *another* Laswell production.

Paul



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

From: Marcin Gokieli <[e-mail]>
Subject:      Weather Clear, Track fast
Date: 27 May 1996 16:49:51 CET

Hello everyone,
I ' ve just bought Bobby Previte's Weather Clear Track Fast 'Hue and Cry' CD.
I love it!!! Can somebody tell how many records this band released? And maybe s
ome info about other Previte's projects...
Keep on hunting fir the snark,
Marcin Gokieli


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

From: Vegetable Man <[e-mail]>
Subject: Re: VARIOUS 10% -- Burroughs tribute?
Date: 27 May 1996 16:39:31 +0100 (BST)



On Sun, 26 May 1996, Patrice L. Roussel wrote:

>
>     Does anybody know about this record? I found the reference in the
> Verge distribution catalog.
>
> ------------------------------------------------------------------------------
>
> DUTCH EAST INDIA USA
>
>
> Various 10% File Under Burroughs
>
>
> DEI-12040-2CD Spoken Word ($26.00 2CD)
> This record was inspired by the readings and performances which were part of
> the Here To Go Show , held in Dublin in 1992. The paramount theme of the show
> was the connection between cut-ups and the use of samples in contemporary
> dance and traditional Moroccan trance. Includes a deluxe 36 page booklet and
> all tracks are unreleased and exclusive to this collection. Artists are:
> Islamic Diggers, Divination, Bomb the Bass, Scanner, Material, Your Nemesis,
> Brion Gysin, Joujouka & Hamri, Herbert Huncke & Chuck Prophet, Marianne
> Faithful & the Master Musicians of Joujouka, William S. Burroughs, John Cale,
> Terry Wilson, Paul Bowles, Gnoua Brotherhood, Joe Ambrose, and Stanley Booth.
>
i am afraid i have it...it is a sub rosa release and it is really awful.
The first CD is the best with Scanner and Bomb The Bass playing some
decent dance tracks(although i have been told these tracks have
already been released elsewhere).Divination is really boring but then
again i don't like Lasswell's dance stuff very much... The second is
virtually useless, unless you are interested in listening to Paul Bowles
describing Brion Gysin's studio(it is more boring than it sounds) or marianne faithfull saying that
Brion Gysin was her only friend....not to mention Burroughs himself saying
something i cannot understand about Gysin. The only thing i can listen to
is John Cale's "On The Vine"(apparently included because he mentions
Burroughs in it) but i think it has also being released before.
If somebody is interested i will sell it for half the price just to get
rid of it.

N Vassiliou


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

From: [e-mail] (Jeff Spirer)
Subject: Re: VARIOUS 10% -- Burroughs tribute?
Date: 27 May 1996 08:54:15 -0700

At 7:46 AM 5/27/96, Paul Jacobson wrote:
>Patrice L. Roussel wrote:
>
>> Includes a deluxe 36 page booklet and
>> all tracks are unreleased and exclusive to this collection. Artists are:
>> Islamic Diggers, Divination, Bomb the Bass, Scanner, Material, Your Nemesis,
>> Brion Gysin, Joujouka & Hamri, Herbert Huncke & Chuck Prophet, Marianne
>> Faithful & the Master Musicians of Joujouka, William S. Burroughs, John Cale,
>> Terry Wilson, Paul Bowles, Gnoua Brotherhood, Joe Ambrose, and Stanley Booth.
>
>The Divination track appeared on Ambient Dub Volume One and the Material
>track Ineffect was originally on Seven Souls. The track lengths are
>identical to the original releases so I don't think they are remixes (they
>don't sound like it).
>

The Bomb the Bass track appears elsewhere also, although it had a vocal and
appears without the vocal here.


Jeff
[e-mail]
http://www.hyperreal.com/axiom/



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

From: Richard Ladew <[e-mail]>
Subject: Re: VARIOUS 10% -- Burroughs tribute?
Date: 27 May 1996 18:38:50 -0400

At 03:46 PM 5/26/96 -0700, you wrote:
>
>    Does anybody know about this record? I found the reference in the
>Verge distribution catalog.
>
>------------------------------------------------------------------------------
>
>DUTCH EAST INDIA USA
>
>
>Various 10% File Under Burroughs
>
>
>DEI-12040-2CD Spoken Word ($26.00 2CD)
>This record was inspired by the readings and performances which were part of
>the Here To Go Show , held in Dublin in 1992. The paramount theme of the show
>was the connection between cut-ups and the use of samples in contemporary
>dance and traditional Moroccan trance. Includes a deluxe 36 page booklet and
>all tracks are unreleased and exclusive to this collection. Artists are:
>Islamic Diggers, Divination, Bomb the Bass, Scanner, Material, Your Nemesis,
>Brion Gysin, Joujouka & Hamri, Herbert Huncke & Chuck Prophet, Marianne
>Faithful & the Master Musicians of Joujouka, William S. Burroughs, John Cale,
>Terry Wilson, Paul Bowles, Gnoua Brotherhood, Joe Ambrose, and Stanley Booth.
>
>
    10% File Under burroughs is a pretty good 2 disc set.  I don't own it,
although I played it on a radio show I did last week (It was the
Laswell/Material track).  the track sounded familiar to the "hallucination
engine" cd (which is the only material cd I own).  Interspersed in the
music, is of course, the junk genious Nike pitch-meister himself.  I'd like
to buy my own copy, but haven't located it yet......


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

From: [e-mail] (Allan Horrocks)
Subject: Ruins split
Date: 27 May 1996 23:25:43 -0700

For those on this list who are fans of the Japanese band Ruins (I know many
are), some sad news:  Long-time Ruins bassist Ryuichi Masuda has quit the
band!  I heard this as a rumor a week or so ago, via a friend who heard it
from someone in the band A.C., and hoped it wasn't true because Masuda,
although he was the third (!) bassist that drummer/mastermind Tatsuya
Yoshida has played with in the duo, was my favorite, playing on their
penultimate album "Burning Stone" and making songwriting contributions on
their more recent Tzadik relase.  Plus I've met him and seen him play and
he's a great guy, really nice (as is Yoshida, although he's a bit more
reserved, at least in America).  Anyway, it apparently is true, this was
confirmed for me by the A&R guy at God Mountain records in Japan, who put
out the Ruins-side project band Hundred Sights of Koenji, in which Masuda
played guitar.  He's quit that too.  I have no idea (yet) why, maybe he had
a fight with Yoshida?  Or, more likely, he just wanted to do his own thing.
Any further info anybody else has on this would be appreciated!  And, as
far as I know, the Ruins will continue, Yoshida will just have to find
another insane bass player, teach him 50+ songs, etc.  But he's done that
before...

                                ---Allan Horrocks---
                                        ---Hoe 'zine---
                               [e-mail]---



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

From: Steve Smith <[e-mail]>
Subject: Bobby Previte's "Weather Clear, Track Fast"
Date: 28 May 1996 09:51:55 -0400

At 04:49 PM 5/27/96 CET, Marcin Gokieli wrote:
>Hello everyone,
>I ' ve just bought Bobby Previte's Weather Clear Track Fast 'Hue and Cry' CD.
>I love it!!! Can somebody tell how many records this band released? And maybe s
>ome info about other Previte's projects...

There is currently one other disc by this band, the one from which it got
its name, "Weather Clear, Track Fast" on enja.  It's another stomper, like
"Hue and Cry."

A slightly different version of the band has just recorded a live album in
Germany, for release in September.  That band includes bassist Lindsey
Horner, saxophonist Andrew d'Angelo, and others I can't recall off the top
of my head.  Don't be afraid of the strange names, though... it's Bobby's
working band and they mesh like you wouldn't believe.

As for other projects, there's a pretty densely composed suite of long
pieces on Zorn's Avant label called "Slay the Suitors" that's worth hearing.
The early electronic soundtrack "Dull Bang, Gushing Sound, Human Shriek" is
now reissued on Koch Jazz but is really best for the converted fan.
(There's PROBABLY more early Bobby coming from the same source...)  And
Bobby has most recently been gigging with a big ensemble of rotating
membership including the likes of Marty Ehrlich and Dave Douglas in the
Knitting Factory's Tap Room, playing early fusion things like "Bitches Brew"
and "Mwandishi"... as the band is a reaction to the somewhat stale offerings
found in most of the other jazz clubs in New York, the band is called "The
Horse You Rode In On."

And of course Bobby's Gramavision stuff is essential.

Bobby will have his own website soon, and within a year he's also going to
be running a label along the lines of Zorn's Tzadik.

BTW as for all the news about Dave Douglas projects, you may be interested
to know that he's just signed to Arabesque, and the first record will be a
followup to his Dolphy tribute on New World... this one's to be a Wayne
Shorter tribute.  The second will be a live Tiny Bell Trio disc to be
recorded on his next European tour.

Hope this is helpful!

Steve Smith
[e-mail]


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Bobby Previte's "Weather Clear, Track Fast"
Date: 28 May 1996 07:43:54 -0700


On Tue, 28 May 1996 09:51:55 -0400  Steve Smith wrote:
>
> At 04:49 PM 5/27/96 CET, Marcin Gokieli wrote:
> >Hello everyone,
> >I ' ve just bought Bobby Previte's Weather Clear Track Fast 'Hue and Cry' CD.
> >I love it!!! Can somebody tell how many records this band released? And maybe s
> >ome info about other Previte's projects...
>
> There is currently one other disc by this band, the one from which it got
> its name, "Weather Clear, Track Fast" on enja.  It's another stomper, like
> "Hue and Cry."
>
> A slightly different version of the band has just recorded a live album in
> Germany, for release in September.  That band includes bassist Lindsey
> Horner, saxophonist Andrew d'Angelo, and others I can't recall off the top
> of my head.  Don't be afraid of the strange names, though... it's Bobby's
> working band and they mesh like you wouldn't believe.
>
> As for other projects, there's a pretty densely composed suite of long
> pieces on Zorn's Avant label called "Slay the Suitors" that's worth hearing.
> The early electronic soundtrack "Dull Bang, Gushing Sound, Human Shriek" is
> now reissued on Koch Jazz but is really best for the converted fan.
> (There's PROBABLY more early Bobby coming from the same source...)  And
> Bobby has most recently been gigging with a big ensemble of rotating
> membership including the likes of Marty Ehrlich and Dave Douglas in the
> Knitting Factory's Tap Room, playing early fusion things like "Bitches Brew"
> and "Mwandishi"... as the band is a reaction to the somewhat stale offerings
> found in most of the other jazz clubs in New York, the band is called "The
> Horse You Rode In On."
>
> And of course Bobby's Gramavision stuff is essential.

Nothing to add. Total agreement.

> Bobby will have his own website soon, and within a year he's also going to
> be running a label along the lines of Zorn's Tzadik.
>
> BTW as for all the news about Dave Douglas projects, you may be interested
> to know that he's just signed to Arabesque, and the first record will be a
> followup to his Dolphy tribute on New World... this one's to be a Wayne
        ^^^^^^^^^^^^^^^^^

Booker Little, you mean. Right?

> Shorter tribute.  The second will be a live Tiny Bell Trio disc to be
> recorded on his next European tour.

Still the one on Songlines planned?

    Thanks for the good news!

    Patrice.


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

From: Steve Smith <[e-mail]>
Subject: More Bobby, plus Dave and Cibo
Date: 28 May 1996 12:41:52 -0400

After a bit of research, I've come up with the lineup for the upcoming live
disc by Bobby Previte's band Weather Clear, Track Fast, which will be called
"Too Close to the Pole": Lindsey Horner, electric bass, voice; Andy Laster,
baritone sax, clarinet, flute, voice; Cuong Vu, trumpet, voice; Jamie Saft,
piano, Fender Rhodes, Hammond B-3, clavinet, voice; Curtis Hasselbring,
trombone, voice; Andrew d'Angelo, alto sax, bass clarinet, voice; Bobby
Previte, composer, drums, percussion, voice.

So I guess I was a little off the mark in calling this a "slightly"
different lineup of WCTF...:-)

By the way, Patrice was absolutely right, the New World record by Dave
Douglas is a tribute to Booker Little, not Eric Dolphy.  As far as I know,
there may very well be another Tiny Bell Trio disc due on Songlines prior to
any releases by Arabesque.

Someone asked about connnections between Masada and Cibo Matto.  Aside from
the Summerstage berth they share with Yoko Ono on July 6, Cibo sampler
player (samplist?) Yuka Honda plays in a Dave Douglas band, and she has a
solo album coming on Tzadik according to their brochure.  So there are at
least two examples.

Steve Smith
[e-mail]



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

From: [e-mail] (m. rizzi)
Subject: Re: Boredomes/Eyvind Kang (fwd)
Date: 28 May 1996 10:06:02 -0700 (PDT)


    Here's an old email that never made out to the list
    from
        James Lawrence Kirchmer
        [e-mail]

Hello -
to the person who wondered if Eyvind has worked with the Boredoms:
(due to his wearing of a Boredoms t-shirt in the new album) -

I do know this: He played with the Sun City Girls when they opened
for the Boredoms here in Seattle.  And, I BELIEVE he also jammed
with the Boredoms during their set.

Moreover - I saw him play bass once(in the same club), in a hard
rock/punkish/whateva context.  It was rather funny, cause he
accidentally dropped the bass - and the OWNER of the bass(who did
not know Eyvind, but rather someone ELSE in the band) freaked out.
The owner of the bass took it away away from him while the show
was in progress.  Suffice to say, the guy was PISSED....
Oh, and btw, Eyvind can't really play bass well.  But then again,
ya really don't HAVE TO to rock out....and have some fun!

"Never Mind...",
James Kirchmer



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

From: scott mclemore <[e-mail]>
Subject: Re: barondown
Date: 28 May 1996 16:49:06 -0400 (EDT)

To Jasha-I would say start at the beginning.  Tongue in Groove is a good'n.
Scott McLemore - Drummer/Composer



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

From: scott mclemore <[e-mail]>
Subject: Re: JJJoey
Date: 28 May 1996 17:00:05 -0400 (EDT)





On Thu, 23 May 1996, Matthew Ross Davis wrote>
> Did you make a typo in the album artist, or is the interviewer an idiot?
> *This Land* is a Bill Frisell album that John Zorn doesn't have anything to
> do with (but that does contain the tune "Tag"). Jeez. What was Joey's
> response?
>
> Did the interview mention his work with Laurie Anderson at all, btw?
>
>
>         ---------------------------------------------------
>
>
>
His response was to just sit down and play what the guy was asking about.
It could very well be a typo in the article, but I don't think so.  It
appears as if the guy is just a staff reporter, and isn't all that
familiar with Joey's work. Who know's? But I do remember Anderson's name
being mentioned.
Peace out
Scott


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

From: [e-mail]
Subject: Re: Big John Patton & others...
Date: 28 May 1996 20:01:52 -0400

It doesn't have much to do with Zorn but Blue Note just issued a Patton album
that has Blood Ulmer in his early pre-harmolodic days.

Lang Thompson
http://members.aol.com/wlt4/index.htm


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

From: [e-mail]
Subject: Re: VARIOUS 10% -- Burroughs tribute?
Date: 28 May 1996 20:04:16 -0400

There was an ad for it in the current issue of Option.  I got the impression
that the American version was two separate CDs while the European was a
package but that could be completely wrong.

Lang Thompson
http://members.aol.com/wlt4/index.htm


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

From: [e-mail]
Subject: New Sharrock
Date: 28 May 1996 20:08:32 -0400

Does anybody know if the new Sonny Sharrock album on Enemy has come out?  I
saw a release date of May 14.

Lang Thompson


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Dave Douglas, Joey Barron
Date: 29 May 1996 13:26:18 -0400 (EDT)


Question about DD:
Whilst in NYC over the christmas holidays, i saw masada at the knit and a
Dave Douglas project called 'SANCTUARY' opened the third night.  This was
the name of the piece, i'm pretty sure, so i was wondering if this was a
group he put together just for this piece or if this was his 'tiny bell
trio' i've heard about, which just happened to have five extra people in it.

Question about JB:
How much stuff has Joey done? I only know him in the context of Zorn
projects, but i know he's done a lot of dfferent things.  Someone
mentioned Laurie Anderson????!!!!???!!  I'm intrigued.  Where could i get
a list of Joey's work?

-jascha


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

From: Steve Smith <[e-mail]>
Subject: Re: Dave Douglas, Joey Barron
Date: 29 May 1996 14:30:03 -0400

At 01:26 PM 5/29/96 -0400, you wrote:
>
>Question about DD:
>Whilst in NYC over the christmas holidays, i saw masada at the knit and a
>Dave Douglas project called 'SANCTUARY' opened the third night.  This was
>the name of the piece, i'm pretty sure, so i was wondering if this was a
>group he put together just for this piece or if this was his 'tiny bell
>trio' i've heard about, which just happened to have five extra people in it.
>

Nope, there is no personnel overlap between Tiny Bell and Sanctuary.  Don't
know if the latter is another working band or just a special lineup, but
this was the band I mentioned that featured Yuka Honda of Cibo Matto.

>Question about JB:
>How much stuff has Joey done? I only know him in the context of Zorn
>projects, but i know he's done a lot of dfferent things.  Someone
>mentioned Laurie Anderson????!!!!???!!  I'm intrigued.  Where could i get
>a list of Joey's work?
>

Joey has done lots and lots, from early mainstream work (including a
beautiful 1986 trio record called "Sarabande" with pianist Fred Hersch and
bassist Charlie Haden) to his current avant bent.  The most important ones
to know, besides Zorn, are Bill Frisell, Tim Berne, Miniature (a trio with
Berne and Hank Roberts) and his own Baron Down trio of saxophonist Ellery
Eskelin and trombonist Steve Swell.  The latter band is real important to
Joey and has three records.  If you see the JMT record "Tongue in Groove"
grab it cause it's probably now out of print.  There's also a record on New
World ("Raised Pleasure Dot") and a new one on Zorn's Avant label the name
of which I can't recall.  All of these are worth it if you're in any way
enamored of this amazing musician.  The Laurie Anderson album he played on
is, I believe, "Bright Red," but I don't remember his contribution as being
especially prominent.

Steve Smith
[e-mail]
Steve Smith <[e-mail]>
Manager Publicity & Promotion, KOCH International L.P.
2 Tri-Harbor Court, Port Washington, NY 11050


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

From: Matthew Ross Davis <[e-mail]>
Subject: Re: Dave Douglas, Joey Barron
Date: 29 May 1996 15:11:33 -0400

>The Laurie Anderson album he played on
>is, I believe, "Bright Red," but I don't remember his contribution as being
>especially prominent.

Joey Baron plays on nearly every track on the L. Anderson album "Bright
Red", and Greg Cohen, Masada bassist, not only plays on the album, but is
its musical director as well.


        ---------------------------------------------------
        Matthew Ross Davis                        HuskyLabs
        [e-mail]                    12C Parkway
        PGP Key on request              Greenbelt, MD 20770
        1-800-SKY-PAGE, pin 2125354          [phone]
        http://butterfly.net/mozart          1-888-HUSKY-US
        ---------------------------------------------------



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

From: scott mclemore <[e-mail]>
Subject: Re: Dave Douglas, Joey Barron
Date: 29 May 1996 15:40:36 -0400 (EDT)

Well, I just thought I'd add a couple of things to the Joey Baron
listening guide.  He had a great trio in the eighties with Italian
pianist Enrico Pieranunzi and Marc Johnson.  They put out two records,
but my favorite is "Deep Down" on Soul Note.  Also the record he did with
Jim Hall and Tom Harrel is a keeper.  It's called "These Rooms."  But,
going way back to 1976 is a great record by Carmen McRae on Blue Note
called "At the Great American Music Hall."  Joey is about 20 years old on
this one, and he plays drumset and congas simultaneously.

Scott McLemore - Drummer/Composer



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

From: Steve Smith <[e-mail]>
Subject: Re: Dave Douglas, Joey Barron
Date: 29 May 1996 15:45:59 -0400

At 03:11 PM 5/29/96 -0400, I wrote:
>>The Laurie Anderson album he played on
>>is, I believe, "Bright Red," but I don't remember his contribution as being
>>especially prominent.

And Matthew Ross Davis replied:
>Joey Baron plays on nearly every track on the L. Anderson album "Bright
>Red", and Greg Cohen, Masada bassist, not only plays on the album, but is
>its musical director as well.

Matthew is absolutely right in more accurately pointing out Joey's
participation on "Bright Red," and I also admit that I'd completely
forgotten Greg Cohen's participation.  Thanks for the correction.  I should
watch my choice of wording more carefully.  What I meant to say was that I
didn't think "Bright Red" was really a prominent example of Joey's best
work.  But I also admit to having a real blind spot regarding Laurie's
"song" albums, as opposed to her "monologue" albums.  I'd be glad to hear
other opinions, though...  Does anyone think that I'm missing something
special or important on this album?  I'm perfectly willing to have my bias
reversed... I generally like Laurie!

Steve Smith
[e-mail]



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

From: "Wilson, King of Prussia" <[e-mail]>
Subject: Zorn offer, act quick
Date: 29 May 1996 21:18:48 -0500

  I recently got ahold of a promo disk called 'The John Zorn Radio Hour".
To make a long story short, here's what the disk says
   "Here's the real John Zorn, acting as DJ in a specially produced
one-hour radio program- spinning his favorite discs, revealing his
influences, and discussing Naked City."
  I havn't really listened to it yet, but it sounds just like it is
described, with him talking about his youth, and playing some pretty far
out old stuff.  And that's all in the first 15 minutes or so, which is all
I've heard.
  The point of this all being that I am in a generous mood, and would be
willing to spin copies of this for the first 5-10 people who e-mail me.
The only thing that I ask is that you get me a blank tape, and a SASE, so I
can tape it, throw it in the envelope, and zip it back to you.
  BTW if there is anyone with anything to trade (I'm really looking for
live Zorn or Laswell), I'll make you a copy whether you are in the first
5-10 responses or not.  Also, if you live in the chicago area, e-mail me
and we can set something up.  This is kind of a rare disk, from what I've
seen, and would be willing to go out of my way to get copies into the
public ear.
   Also, let's not start up the 'ethics of bootlegs' talk again.  Music is
meant to be shared.




















                                read icculus



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

From: [e-mail]
Subject: Marc Ribot Question
Date: 30 May 1996 00:35:21 -0400

can anyone tell me about Marc Ribot: Don't Blame Me? What it's like and such.
Iw ant to get it if it's cool.


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

From: Jeff Schwartz <[e-mail]>
Subject: Re: Marc Ribot Question
Date: 30 May 1996 02:20:44 -0400 (EDT)

Don't Blame Me is great. It's all solo guitar, mostly standards, with a
couple of free anthems ("Song for Che" and "Ghosts") and a couple of
originals. It's not a party record, but if you like solo guitar, this is
the missing link between Joe Pass and Derek Bailey. Ribot uses a lot of
wierd timbres and is "out of tune" but he still gets the songs across and
swings. For me, it's the strongest of his solo albums. Like most
unaccompanied solo albums, it shows his style in a clear and naked form.
In short, if you're a fan, this is essential...
I hear Ribot was in an early version of Masada. Anyone got tapes?



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

From: David Newgarden <[e-mail]>
Subject: Re: Dave Douglas, Joey Barron
Date: 30 May 1996 02:28:54 -0400 (EDT)




> Whilst in NYC over the christmas holidays, i saw masada at the knit and a
> Dave Douglas project called 'SANCTUARY' opened the third night.  This was
> the name of the piece, i'm pretty sure, so i was wondering if this was a
> group he put together just for this piece or if this was his 'tiny bell
> trio' i've heard about, which just happened to have five extra people in it.

I've seen Sanctuary 2 or 3 times, and the size of the group and personnel
have varied, but always Dougie Bowne (drums), Josh Roseman (trombone),
Yuka Honda (sampler).  Bowne incidentally has a excellent jazz trio
recording coming out soon on DIW (w/ Fred Hopkins, bass, John Medeski,
piano/organ). Douglas is planning on recording Sanctuary for Avant.


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

From: [e-mail]
Subject: Re: Marc Ribot Question
Date: 30 May 1996 00:07:33 -0700

>can anyone tell me about Marc Ribot: Don't Blame Me? What it's like and such.
>Iw ant to get it if it's cool.

I like it.  It's all solo electric guitar, mostly versions of jazz
standards but in varying degrees of deconstruction.  A few tracks are baths
of feedback and delay.  That's not a complete review, but it will give you
an idea of where it falls in the Ribot spectrum.  Cover is a cool all paper
gatefold sleeve.  Price in Berkeley shops is around US $20.

Alexander



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

From: Michael Newman Carey <[e-mail]>
Subject: Cancellation.
Date: 30 May 1996 02:25:53 -0500 (CDT)


I would like to removed from the Zorn mailing list.
Thanks.


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

From: Marcin Gokieli <[e-mail]>
Subject:      JBaron
Date: 30 May 1996 10:55:50 CET

I have recently heard a fantastic Pat Martino album. It's a live one, and i thi
nk it's just called 'Pat Martino live', but i am not sure. Joey plays there, of
 course. This album is a MUST for all guitarists, and for all those who like gu
itar/bass/drums jazz trios.
Keep on hunting for the snark,
Marcin Gokieli


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

From: James Lawrence Kirchmer <[e-mail]>
Subject: Re: Joey Baron / Re: boot?
Date: 30 May 1996 01:08:15 -0700

Howdy folks-

I thought I'd add to the Joey Baron talk by mentioning his participation
in the comeback album by PAT MARTINO, called "The Return".(Muse Records)
It was recorded LIVE at Fat Tuesdays in NYC in Feb. of '87, and
features Pat Martino on "speed-jazz" guitar, with Steve Laspina on bass.
What a labour of love, so to speak, and what a miracle that Pat was
able to play the guitar again.  He was incapacitated with a brain(tumor?)
in the '70's and suffered for a long time before being able to make this
nice comeback.  He had to relearn to play the guitar, basically, as he
had forgotten QUITE a bit.  Anyways, he seems to be touring these days!
Anyone know how he's doin' these days?  I hope to see him soon.....
(time to check his website!)

And about the Zorn Radio Hour tape offer......since it is a promo,
making copies is perfectly cool!  In fact, you're helping further the
original intention of the CD pressing: to familiarize people with Zorn.
Promo CD's are in a SPECIAL CATEGORY.  Since they were never sold in the
first place, and there are only so many to go around, makin' copies is
perfectly ethical.  (AS LONG as there is NO "profiteering" involved!)
Kudos to you for making such a nice offer!  Zorn would be happy too!

Ciao - James Kirchmer, Seattle, WA



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

From: [e-mail] (Todd Wallar)
Subject: Joey Baron/Misha Mengelberg
Date: 30 May 1996 08:30:56 -0600

In addition to the Joey Baron discography:

I've seen a Misha Mengelberg Trio disc (maybe on Avant) that has Joey Baron on
it (I forget the bass player).  Does anyone know anything about it.  Misha
Mengelberg
seems pretty hard to get a hold of around here (Minneapolis).   Can anyone
recommend any other Mengelberg?



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

From: [e-mail]
Subject: Re: Zorn offer, act quick
Date: 30 May 1996 11:03:24 -0400

Hello.  If you are still making copies of the John Zorn Radio Hour disk, I
much want a copy of it.  I don't really have anything that you were looking
for in terms of trading, but after all, music is meant to be heard, right?
Thanks very much.


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

From: [e-mail] (Denman Maroney)
Subject: Re: Joey Baron/Misha Mengelberg
Date: 30 May 1996 18:20:52 GMT

Dutch Masters (Soul Note '91, recorded '87) with Han Bennink (drums), Ernst
Reyseger (cello), George Lewis (tb), Steve Lacy (sax).

On May 30, 1996 08:30:56, '[e-mail] (Todd Wallar)' wrote:


>In addition to the Joey Baron discography:
>
>I've seen a Misha Mengelberg Trio disc (maybe on Avant) that has Joey
Baron on
>it (I forget the bass player).  Does anyone know anything about it.  Misha

>Mengelberg
>seems pretty hard to get a hold of around here (Minneapolis).   Can anyone

>recommend any other Mengelberg?
>
--
Denman Maroney


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

From: "Wilson, King of Prussia" <[e-mail]>
Subject: re: Zorn Hour
Date: 30 May 1996 14:05:55 -0500

O.K. yall, I've gotton about thirty requests for this tape, and it will
take me a few days to sort through them.  I'm sending out my address to
those who replied, and I will try to fill all of the requests.  I'm not
taking any more 'orders' at the moment (unless you REALLY need a dub of
this, then maybe we can talk.)
   If you sent a request, you will here from me in the next day or so.  If
you don't, send me a note.


















                                read icculus



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

From: scott mclemore <[e-mail]>
Subject: Another Marc Ribot Question
Date: 30 May 1996 16:11:12 -0400 (EDT)

What's the deal with Marc Ribot and Marc Ducret?
Are they the same person?  Is it possible?  They travel in the same circles.
               Both are French, Bald and wear quite similar glasses.
  The thing that got me thinkin' this outrageous thing was a show I saw
at the KF.
There was a film about the Paris Concert of Tim Berne's Bloodcount, and
preceeding it was a KICK ASS solo guitar set by Ribot.  Ducret is in
Bloodcount and... Wow, they really do look like twins!
          Can somebody help me?
Scott McLemore - Drummer/Composer



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Another Marc Ribot Question
Date: 30 May 1996 13:20:53 -0700


On Thu, 30 May 1996 16:11:12 -0400 (EDT)  scott mclemore wrote:
>
> What's the deal with Marc Ribot and Marc Ducret?
> Are they the same person?  Is it possible?  They travel in the same circles.
>                Both are French, Bald and wear quite similar glasses.
        ^^^^^^^^^^^^^^^^

I think you are confusing Marc Ducret with... Marc Ducret :-).

Bald is not an attribute that I would apply to Marc Ribot.

>   The thing that got me thinkin' this outrageous thing was a show I saw
> at the KF.
> There was a film about the Paris Concert of Tim Berne's Bloodcount, and
> preceeding it was a KICK ASS solo guitar set by Ribot.  Ducret is in
> Bloodcount and... Wow, they really do look like twins!

The lineup might have been bogus.

    Patrice.


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: UNDERWOOD: various artists?
Date: 30 May 1996 13:47:02 -0700


    Does anybody have:


*** - UNDERWOOD: various artists

  This record features Scanner, Seefeel, Laibach, Justin Broaderick, Islamic
  Diggers, Mouse on Mars, David Shea, Bill Laswell, Nus, Mick Harris, Silk
  Saw, Nuuk Posse.

    1996 - Sub Rosa (Belgium), SR100 (CD)


I am specially trying to figure out what pieces by Shea are available on the
record.

    Thanks,

    Patrice.


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

From: Steve Smith <[e-mail]>
Subject: Re: Another Marc Ribot Question
Date: 30 May 1996 16:47:36 -0400

At 04:11 PM 5/30/96 -0400, you wrote:
>What's the deal with Marc Ribot and Marc Ducret?
>Are they the same person?  Is it possible?  They travel in the same circles.
>               Both are French, Bald and wear quite similar glasses.
>  The thing that got me thinkin' this outrageous thing was a show I saw
>at the KF.
>There was a film about the Paris Concert of Tim Berne's Bloodcount, and
>preceeding it was a KICK ASS solo guitar set by Ribot.  Ducret is in
>Bloodcount and... Wow, they really do look like twins!
>          Can somebody help me?
>------------------------------------------------------------------------------
>Scott McLemore - Drummer/Composer
>

Actually, Marc Ribot has thick dark hair and is a New Yorker.  It was Marc
Ducret who opened that show during the JMT 10th Anniversary Funeral at the
KnitFac.  Marc has just recorded that solo music for Stefan Winter's new
label (which is going to look a LOT like JMT)... Tim Berne told me last week
that the record is "f**king incredible."

Steve Smith
[e-mail]


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

From: scott mclemore <[e-mail]>
Subject: Re: Another Marc Ribot Question
Date: 30 May 1996 16:50:05 -0400 (EDT)

To Patrice: No, really...Ribot shaved his head.  I never saw him before
this show, so maybe he's usually a little more furry.  I don't know.
Nevermind.

Scott McLemore - Drummer/Composer



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

From: john shiurba <[e-mail]>
Subject: Re: Another Marc Ribot Question
Date: 30 May 1996 13:44:28 +0000

scott:

> What's the deal with Marc Ribot and Marc Ducret?
> Are they the same person?  Is it possible?  They travel in the same circles.
>                Both are French, Bald and wear quite similar glasses.

last time i saw ribot, he wasn't bald, he didn't wear glasses, and he wasn't french. now
the first two can be easily changed, but the 3rd would be rather hard to change.
it's hard to imagine, even in spite of similar appearances, that anyone would confuse
their guitar playing.




[e-mail]

http://www.sfo.com/~shiurba



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

From: scott mclemore <[e-mail]>
Subject: Re: Another Marc Ribot Question
Date: 30 May 1996 16:55:50 -0400 (EDT)

Oh.
Sorry, my bad.

Scott McLemore - Drummer/Composer



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Another Marc Ribot Question
Date: 30 May 1996 13:56:26 -0700


On Thu, 30 May 1996 16:50:05 -0400 (EDT)  scott mclemore wrote:
>
> To Patrice: No, really...Ribot shaved his head.  I never saw him before

That is even worse than what I tought: there are trying to look the same :-).

> this show, so maybe he's usually a little more furry.  I don't know.
> Nevermind.

Funny your story about Marc Ribot... Last September, I was at the Cooler in
New York waiting for a James Chance show with Zorn and Ribot as special
guests. Before the show, Zorn was talking with somebody at the bar and I
was ready to bet 2 months of my pay check that it was Marc Ribot. Later,
just before the show started, I went to the supposed Marc Ribot and made a
fool at myself. He replied with a smile that he was not Ribot. The only
problem is that I knew that face. Since that time, I am convinced that this
person was Paul Auster, the great writer. Could it be the case?

    Patrice.


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Another Marc Ribot Question
Date: 30 May 1996 14:07:13 -0700


On Thu, 30 May 1996 16:47:36 -0400  Steve Smith wrote:
>
> At 04:11 PM 5/30/96 -0400, you wrote:
> >What's the deal with Marc Ribot and Marc Ducret?
> >Are they the same person?  Is it possible?  They travel in the same circles.
> >               Both are French, Bald and wear quite similar glasses.
> >  The thing that got me thinkin' this outrageous thing was a show I saw
> >at the KF.
> >There was a film about the Paris Concert of Tim Berne's Bloodcount, and
> >preceeding it was a KICK ASS solo guitar set by Ribot.  Ducret is in
> >Bloodcount and... Wow, they really do look like twins!
> >          Can somebody help me?
> >------------------------------------------------------------------------------
> >Scott McLemore - Drummer/Composer
> >
>
> Actually, Marc Ribot has thick dark hair and is a New Yorker.  It was Marc
> Ducret who opened that show during the JMT 10th Anniversary Funeral at the
> KnitFac.  Marc has just recorded that solo music for Stefan Winter's new
       ^^^^^^
Marc Ducret?

I guess you mean Wittwer. Is it really a new label? Do you have it's name?

> label (which is going to look a LOT like JMT)... Tim Berne told me last week

If Tim Berne... I guess you are talking about a Marc Ducret record.

> that the record is "f**king incredible."

    Thanks for the exciting news!

    Patrice.


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

From: Richard Ladew <[e-mail]>
Subject: Zorn offer, act quick
Date: 30 May 1996 17:32:08 -0400

  I recently got ahold of a promo disk called 'The John Zorn Radio Hour".
To make a long story short, here's what the disk says
   "Here's the real John Zorn, acting as DJ in a specially produced
one-hour radio program- spinning his favorite discs, revealing his
influences, and discussing Naked City."
  I havn't really listened to it yet, but it sounds just like it is
described, with him talking about his youth, and playing some pretty far
out old stuff.  And that's all in the first 15 minutes or so, which is all
I've heard.
  The point of this all being that I am in a generous mood, and would be
willing to spin copies of this for the first 5-10 people who e-mail me.
The only thing that I ask is that you get me a blank tape, and a SASE, so I
can tape it, throw it in the envelope, and zip it back to you.
  BTW if there is anyone with anything to trade (I'm really looking for
live Zorn or Laswell), I'll make you a copy whether you are in the first
5-10 responses or not.  Also, if you live in the chicago area, e-mail me
and we can set something up.  This is kind of a rare disk, from what I've
seen, and would be willing to go out of my way to get copies into the
public ear.
   Also, let's not start up the 'ethics of bootlegs' talk again.  Music is
meant to be shared.




















                                read icculus





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

From: Stickman <[e-mail]>
Subject: Re: Joey Baron/discography
Date: 30 May 1996 19:37:53 -0700

Hey Patrice, how about putting this topic in order & spoon feeding us a complete Joey
Baron Discography?  I know you have the neccessary info, oh keeper of the Zorn
discography-
                                  sincerely & lazy-  STICKMAN


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Joey Baron/discography
Date: 30 May 1996 16:54:24 -0700


On Thu, 30 May 1996 19:37:53 -0700  [e-mail] wrote:
>
> Hey Patrice, how about putting this topic in order & spoon feeding us a complete Joey
> Baron Discography?  I know you have the neccessary info, oh keeper of the Zorn
> discography-

Don't I take care of enough discographies like that? I had in mind to do a
Joey Baron one day, but not so early :-).

    Patrice.


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

From: "Wilson, King of Prussia" <[e-mail]>
Subject: Medeski, Martin and Wood
Date: 30 May 1996 19:34:21 -0500

A grovel for the masses....
  I'm looking for some live tapes of Medeski, Martin and Wood.  In
particular, I'm looking for their shows with Zorn and Ribot, and for their
recent Chicago shows.  If anyone has anything, I'd really like to trade.
  BTW I live in chicago, and am hoping someone who was taping when MM+W was
here wants to do me a favor, and burn me a great copy off a master.
          but I'm not holding my breath....



















                                read icculus



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

From: Stickman <[e-mail]>
Subject: Re: Zorn offer, act quick
Date: 30 May 1996 21:48:37 -0700

Wilson, King of Prussia wrote:
>
>   I recently got ahold of a promo disk called 'The John Zorn Radio Hour".
> To make a long story short, here's what the disk says
>    "Here's the real John Zorn, acting as DJ in a specially produced
> one-hour radio program- spinning his favorite discs, revealing his
> influences, and discussing Naked City."
>   I havn't really listened to it yet, but it sounds just like it is
> described, with him talking about his youth, and playing some pretty far
> out old stuff.

I have this CD also, actually. Got mine for twenty bucks about 3 months
ago from the CD store that knows I like Zorn & usually massively
overprices things because they know i'll buy it.  They obviously goofed
selling me the CD for twenty bucks.

    I remember putting it on thinking, "this must be the greatest
CD." But,

1) too much music, not enough Zorn insight.
2) too much Naked City, not enough of Zorn's influences.

Anyway, still enjoyable, but don't get too excited.-   STICKMAN


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: suggested albums?
Date: 31 May 1996 01:35:00 -0400 (EDT)


Although i've been listening to John Zorn for a long time, i'm not really
familiar with any other improv/avant-garde jazz artists.  I figure that
anyone who zorn collaborates with a lot probably has a very active solo
career...but beyond some Joey Barron projects, i'm sort of at a loss for
where to start.  Any suggestions for transcendentally brilliant albums
which i would listen to if only i knew about them?

-jascha



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

From: [e-mail]
Subject: Re: UNDERWOOD: various artists?
Date: 30 May 1996 23:36:58 -0700

>        Does anybody have:
>
>------------------------------------------------------------------------------
>
>*** - UNDERWOOD: various artists
>
>  This record features Scanner, Seefeel, Laibach, Justin Broaderick, Islamic
>  Diggers, Mouse on Mars, David Shea, Bill Laswell, Nus, Mick Harris, Silk
>  Saw, Nuuk Posse.
>
>    1996 - Sub Rosa (Belgium), SR100 (CD)
>
>------------------------------------------------------------------------------

All tracks on this disc are taken from previously released or forthcoming
releases.  The Shea track is "The Land of Pure Illusions" from "The Tower
of Mirrors" CD (my favorite of his to date, BTW).

While on the subject of the Underwood comp, I thought I would mention that
I really don't need this disc.  It's a fine introduction to a particular
aspect of the label (the more ambient side), but I know that sooner or
later I'll have all of the tracks on other discs, and I'll sacrifice my
impulse to have a complete Sub Rosa collection to my need to clear out
space.  I paid US $10 for it, it's still in pristine condition, so if
anyone would care to offer approximately that amount, I'll throw in 1st
class postage (within North America, please).  Naturally, it's still in
pristine condition in every way.

The story is about the same for Sub Rosa's "A Man of Sorrows" comp, but
that disc covers a broader spectrum of previously released stuff (e.g. from
Chas Hayward, Martyn Bates, or Peter Blegvad, to Paul Bowles or Ira Cohen,
to Zahava Seewald, to Lilith and Jardin D'Usure).  If anyone would like
this, $7 seems like a nice price (incl. postage).

Alexander



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

From: Robert Pleshar <[e-mail]>
Subject: Re: Another Marc Ribot Question
Date: 31 May 1996 10:20:02 CDT

I don't believe Marc Ribot is French, and I think I've seen him with hair.
Ralph

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

From: scott mclemore <[e-mail]>
Subject: Re: Another Marc Ribot Question
Date: 31 May 1996 14:56:07 -0400 (EDT)





On Fri, 31 May 1996, Robert Pleshar wrote:

> I don't believe Marc Ribot is French, and I think I've seen him with hair.
> Ralph
>
Just to lay this whole thing to rest, I think I figured out what happened.
I had never seen either Marcs before, so I had no idea what they looked
like.  I think either I'm really, really stupid (more likely than
anything) or the KF made a mistake in the program (which has also
happened before).  I'm so sorry I brought it up, and apologise
whole-heartedly for clutering up everyone's email.
Scott

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

From:    Francis Carle <[e-mail]>
Subject: Re: Zorn in Montreal?/Victo
Date: 09 May 1996 16:10:58 -0400

Alain Potvin wrote:
> =

> I read it today in the Montreal gazette...(Schedule of MTL jazz fest.)
> =

> John Zorn puts sax in the service of Zion in Salle du G=E8su June 27...=



Yes he is coming to the Montreal Jazz fest, with Massada. But it's a
shame it's going to take place at the Gesu... This place doesn't even
hold 150 persons.



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

From: thomas cazals <[e-mail]>
Subject: zornsites?
Date: 12 May 1996 03:28:41 +2058

could someone giveme the list of the best zorn sites all around at the
moment; thanks in advance.

c.perrier



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

From: GOD <[e-mail]>
Subject: meth
Date: 24 May 1996 01:52:32 +2058

otherwise as you are all talking about metheny as a hot noise monster

I listened to that supposed to be grey noise record solo on ECM I think
a few years ago

I just felt it as boring and fake and unfelt
maybe I was wrong but I don't think metheny is the kind of person to do
that kind of thing

opposite impress. accepted


the same



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

From: GOD <[e-mail]>
Subject: ouch
Date: 24 May 1996 01:46:17 +2058

hi

in paris, saw few days ago atau tanaka and friends like tito and a
couple of free saxophone players driving up computers and horses bones;
quite good negative free jazz it was;

does anyone heard recordings of that?
the live action is cool I don't know about the post prerec mediums

anyone from here on this list?

anyway, take care

cedric perrier



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

From: GOD <[e-mail]>
Subject: meth excpet
Date: 24 May 1996 01:55:59 +2058

I however agree the ornette coleman record was weirdly very good

but it is a ornette record that's why



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

From:    Francis Carle <[e-mail]>
Subject: Re: 100 Dollars for one ticket to Masada in Montreal!
Date: 27 May 1996 22:38:53 -0400

[e-mail] wrote:
>
> Hi,
>
> I'm offering the sum of 100 dollars for one ticket to Masada at the
> Montreal Jazz Festival.
>
> Jeremy


Hi,

Of course, you are aware that there are tickets left... They changed the
venue a few days ago. It's now going to take place at the Theatre
Maisonneuve.