ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/zorn-list/archive/zorn-list.9612

Internet Message Format | 1996-12-29 | 225KB

From: [e-mail]
Subject: Re: Yamantaka Eye
Date: 01 Dec 1996 10:46:03 -0500

Yamantaka Eye & Shinro Ohtake released "Pipeline-24 Smash Hits by 24 Puzzle
Punk Bands" a few months ago. The CD includes a rather large bound booklet of
images and text in Japanese, and is a tour diary by Eye. The whole package is
very cool. Song titles include "Hip Hop Pooray~19 Poo 96" by Poo and "I am
Jeck" by Jeck Happy. Eye & Ohtake perform everything. If you dig Eye/Boredoms
and extreme Japanese noise fun, this is for you.

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

From: Brian Carlson <[e-mail]>
Subject: zeena parkins
Date: 01 Dec 1996 11:56:34 -0600 (CST)

Just thought some of you in Chicago might like to know that Zeena Parkins is
playing at the Empty Bottle this Wednesday, December 4.

Brian

Learn as if to live forever; live as if to die tomorrow - unknown


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From: "J.Ross" <[e-mail]>
Subject: spy vs. spy album
Date: 01 Dec 1996 12:27:54 -0600 (CST)

Has anyone heard Zorn's Spy vs. Spy album? I saw it at a local record
store and was going to buy it, but I'd never heard of it...is it any
good? I noticed that it was on Electra and was kind of afraid of
it...
does anyone have comments on this album?


J-


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

From: Christopher Hamilton <[e-mail]>
Subject: Re: spy vs. spy album
Date: 01 Dec 1996 14:56:32 -0500 (EST)



To my mind, _Spy Vs. Spy_ is one of the most interesting artifacts of
what I affectionately think of as Zorn's Loud Fast Rules period.
Basically, it's Ornette done at speed metal volume and tempo, with
doubled sax and drums, plus acoustic bass.  One of the things I like about
this record is that it's both clearly recognizable as jazz and more
crudely intense than the most crudely intense Naked City tracks.  I don't
listen to this much, but when I do, it makes my brain feel funny.  You
should buy it, and then your brain will feel funny too.

Chris


Chris Hamilton
Dept. of Philosophy
University of Pittsburgh
Pittsburgh, PA
USA


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

From: Paul Chavez <[e-mail]>
Subject: Spy vs Spy
Date: 01 Dec 1996 04:30:43 -0800

>>Has anyone heard Zorn's Spy vs. Spy album? I saw it at a local recordstore and was going to buy it, but I'd never heard of it...is it any
good? I noticed that it was on Electra and was kind of afraid of
it...
does anyone have comments on this album?<<


This is the first Zorn album I ever bought and I love it. It features
Zorn - alto saxophone (right channel), Tim Berne - alto saxophone (left
channel), Mark Dresser - bass (acoustic/stand up), Joey Baron - drums,
Michael Vatcher - drums.

This album has no vocals and is a tribute to Ornette Coleman. Features
fast/furious paced Zorn styled music. If I had to draw a parallel to
another release, I would say it's like an early version of the Masada
material but without the Hebrew tones. Also, the recording is not as loud
and clear as Masada (the album was recorded in '88).

I recommend it.

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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: spy vs. spy album
Date: 01 Dec 1996 15:19:10 -0800


On Sun, 1 Dec 1996 12:27:54 -0600 (CST)  "J.Ross" wrote:
>
> Has anyone heard Zorn's Spy vs. Spy album? I saw it at a local record
> store and was going to buy it, but I'd never heard of it...is it any
> good? I noticed that it was on Electra and was kind of afraid of
> it...
> does anyone have comments on this album?

High energy covers of Ornette Coleman tunes with wall a noise
courtesy of Joey Baron and Michael Vatcher. With The Sonny
Clark Memorial, my favorite set of Covers by Zorn and co.

    Patrice.

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From: "Andy Chang" <[e-mail]>
Subject: Myth- Dreams of the World
Date: 02 Dec 1996 06:55:02 +0000


Has anybody heard this album?  I saw a brief description on the Axiom
Page:

http://hyperreal.com/music/labels/axiom/new.html

Myth - Dreams of the World. Vibrant stories of of the Greek and Roman
Gods and Godesses.
               Readings by Nicky Skopelitis, Peter
               Lamborn Wilson, Lori Carson, Umar Bin Hassan, Suzanne
               Vega, Abiodun Oyewole, Wallace Shawn, Lady Kier, Iggy
               Pop, George Clinton, and many more. Music by Automaton,
               Anton Fier, Material, Cypher 7, Painkiller, Divination,
               Jaron Lanier, Buckethead, Liu Sola, Bootsy Collins and
               Bernie Worrell. On Dove Audio (1-800-328-DOVE.)

Painkiller and a member of Dee-Lite on the same album?  Sounds
intriguing!

CD Universe has is for sale for $10.79 as a "Book/CD on Tape."  If
anyone on the list has heard it, please share.

andy
"An outrageously funny comedy"
!?! SuperDeFormedACTIONCITY !?!
http://www.prairienet.org/~mothra/

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

From: [e-mail]
Subject: Re: spy vs. spy album
Date: 01 Dec 1996 17:09:42 -0800 (PST)


Basically, it's an ornette coleman cover album.  Joey baron must have had
a lot of speed, and about 3 six-packs of jolt before they recorded.  His
drumming is at the speed of light.  Basically, it's great, but a bit
nerve wrecking.  You have to be in the mood for it, but if you are, it is
amazing.  Bottom line: GET IT.


On Sun, 1 Dec 1996, J.Ross wrote:

> Has anyone heard Zorn's Spy vs. Spy album?...


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

From: Jeff Spirer <[e-mail]>
Subject: Re: Myth- Dreams of the World
Date: 01 Dec 1996 17:32:06 -0800

hAt 06:55 AM 12/2/96 +0000, Andy Chang wrote:
>
>Has anybody heard this album?  I saw a brief description on the Axiom
>Page:
>
>http://hyperreal.com/music/labels/axiom/new.html
>
>Myth - Dreams of the World. Vibrant stories of of the Greek and Roman
>Gods and Godesses.
>               Readings by Nicky Skopelitis, Peter
>               Lamborn Wilson, Lori Carson, Umar Bin Hassan, Suzanne
>               Vega, Abiodun Oyewole, Wallace Shawn, Lady Kier, Iggy
>               Pop, George Clinton, and many more. Music by Automaton,
>               Anton Fier, Material, Cypher 7, Painkiller, Divination,
>               Jaron Lanier, Buckethead, Liu Sola, Bootsy Collins and
>               Bernie Worrell. On Dove Audio (1-800-328-DOVE.)
>
>Painkiller and a member of Dee-Lite on the same album?  Sounds
>intriguing!
>
>CD Universe has is for sale for $10.79 as a "Book/CD on Tape."  If
>anyone on the list has heard it, please share.

Well I've heard it since I wrote the comments above.

The music is generally secondary to the spoken word, which is what makes
such varied stuff come together.  (And Dee-Lite are not on it, just Lady
Kier.)  Many music selections appear to be from previously released stuff,
edited for this CD.

How much it appeals depends more on interest in spoken word than the music.
Except for maybe the track on which Lemmy from Motorhead tells a story about
the  Greek God "Orgasmatron" and Nicky does Motorhead solo on guitar.
Pretty funny.

Jeff Spirer
http://www.hyperreal.com/axiom/
Axiom Records/Material Communications


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

From: "[e-mail]" <[e-mail]>
Subject: Re: zeena parkins
Date: 01 Dec 1996 19:31:53 -0600 (CST)


On Sun, 1 Dec 1996, Brian Carlson wrote:

> Just thought some of you in Chicago might like to know that Zeena Parkins is
> playing at the Empty Bottle this Wednesday, December 4.

She will also be giving a lecture tommorow (Monday) at the Art Institute.
It starts at 6:00 PM and costs $3.  I'm not sure where in the building it
is, so people planning to go should give the AI a call.  On Wednesday she
will be performing with Jim O'Rourke.

Unfortunately, I will be missing the lecture because I have to work and
the Wednesday show because I'm not 21 yet (grrrr..).  If anyone goes, I'd
be interested in knowing how it went.

Up the hill backwards,

Paul
[e-mail]


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

From: BIRD BRAIN <[e-mail]>
Subject: Re: spy vs spy album
Date: 01 Dec 1996 20:30:33 -0500

J Ross stated " I noticed that it was on Electra and was kind of afraid of it... "

Don't be afraid.  I've  listened to my copy many times and I'm still alive to talk
about it.  Just remember not to leave it out before you go to bed.  Put it away,
that way no one can sneak up on you and use it as a weapon to kill you.  I
suppose if the cd were thrown at you at a high velocity it could sever a limb.
Highly unlikely but just to be on the safe side buy the album on cassette it's
great.

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

From: Tom Benton <[e-mail]>
Subject: Grand Guignol
Date: 01 Dec 1996 21:14:47 -0600 (CST)

I'm sure many of us know this as a Naked City record.  The very same
one that brought us such gems as 'Gob of Spit' and 'Perfume of a Critic's
Burning Flesh'.  Yes, the one and the same.  Those of you who own this or
have seen it may have read the notes and learned of the origins of the
name, that the Grand Guignol was a peculiar Parisian entertainment of
yore, I'll attempt to probe my memory and come up with the following,
probably not quite accurate but you get thet idea, quote: "a theater of
the macabre that predates our modern tradition of splatter films".
This is an album with a pile of feet on the back, people.

Well, just as an interesting tidbit for all those out there in Zorn land,
I'll share what I just found in the 1997 edition of the Let's Go: Paris
guide:

Grand guignol is a traditional Parisian marionette theater featuring the
guignol, its classic stock character.  These antic performances have long
thrilled adults as well as children.  Though the puppets speak French,
you'll have no trouble understanding the slapstick, child-geared humor.

Hmmm...  Seemed it's mellowed in its old age.

-Tom


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

From: Greg Mills <[e-mail]>
Subject: Z & Z ?
Date: 01 Dec 1996 22:13:54 -0700

Has anyone ever anywhere picked up any impressions Zorn might have for
Frank Zappa? When I first heard Naked City -- ZANG-BUNGA!-- HEY, A WHOLE
ALBUM OF THOSE WEIRD LITTLE INTERLUDES ZAPPA HAS BETWEEN SONGS!

I dunno. Just curious.

Eat yerself fitter.

Greg "I AM DAMO SUZUKI" Mills



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

From: joongol kim <[e-mail]>
Subject: spy vs spy
Date: 02 Dec 1996 00:27:32 -0500 (EST)


I've been always curious why spy vs spy tends to drop out of the lists of
albums Zorn fans typically recommend, because it's still my best favorite
Zorn album among the ones I've listened to. That is, I prefer it even to
any Masada album, except 4, which I don't have.

BTW, Zorn once said in an interview that Coleman didn't believe spy vs spy
was recorded live and this belief led many jazz fans to disregard the
album. I remember Zorn firmly asserted that it hadn't undergone any
editing process. Does anyone of you know about this?

In addition, I heard Masada seven was out already and his film works 5
(named 'tears of ecstasy') and 6 were also released. How are these?

Joongol
an outsider at Notre Dame


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

From: "[e-mail]" <[e-mail]>
Subject: Re: Grand Guignol
Date: 02 Dec 1996 00:27:34 -0600 (CST)


> Well, just as an interesting tidbit for all those out there in Zorn land,
> I'll share what I just found in the 1997 edition of the Let's Go: Paris
> guide:
>
> Grand guignol is a traditional Parisian marionette theater featuring the
> guignol, its classic stock character.  These antic performances have long
> thrilled adults as well as children.  Though the puppets speak French,
> you'll have no trouble understanding the slapstick, child-geared humor.
>
> Hmmm...  Seemed it's mellowed in its old age.

Apparently so...there is a book about the Grand Guignol that I once got
through my local library, so maybe I'll try to get it again and post the
title and author.  It was basically a description of some of the plays
that had been performed at the theater.  Defininately on the horror side
of things.  Although I suppose that "slapstick, child-geared humor" is a
relative term ;)

Been there, done that,

Paul
[e-mail]


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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Z & Z ?
Date: 02 Dec 1996 20:06:17 -0500 (EST)



On Sun, 1 Dec 1996, Greg Mills wrote:

> Has anyone ever anywhere picked up any impressions Zorn might have for
> Frank Zappa?


From the liner notes to _Spillane_, written or uttered by Zorn, edited by
David Bither:

"When  .  .  .  Frank Zappa worked with the Mothers of Invention on the
early Verve records, the collaboration helped produce a musical statement
greater than the sum of the individuals involved."


     I assume that's intended as a compliment to the early Mothers
records.  I'd also hesitate to draw any conclusions involving Zorn's
opinion of the rest of Zappa's work.

Chris


Chris Hamilton
Dept. of Philosophy
University of Pittsburgh
Pittsburgh, PA
USA



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

From: Olivier Nguyen Van Tan <[e-mail]>
Subject: down beat
Date: 03 Dec 1996 02:11:09 +0100

Where can I buy Down beat in France or from France?

Olivier, still no nulber 35 digest!


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

From: Paul Chavez <[e-mail]>
Subject: Masada/Filmworks/Bible Launcher/... what?
Date: 02 Dec 1996 10:44:57 -0800

Hi there,

I've been plowing over the back posting archive of the Zorn list trying
to make some sense out of my current collection of John Zorn. I'm hoping
that someone (or many of you) can set me straight on the deal with these
items:

1. Masada 7 - is this the double CD set also called Masada String
Ensemble? I remember seeing on the back cover that there are guitars on
this release... not to be a purist, but are the guitars loud distored
wankings or is is mellow? What is this like and what the heck is that
extra CD?

2. Filmworks 5 & 6 - Are these just as good as Filmworks 2? I live by
that album! What happened to 3 & 4?

3. Bible Launcher - someone had mentioned this and I'd like to know more
about it.

4. Masada 4 - Why is this so hard to find?


Apologies if this information seems trivial, but I haven't found a
satisfying answer in the archive / just went back over 3 full digests
(whew).


Paul

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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Spy vs. Spy
Date: 02 Dec 1996 10:16:38 GMT0BST

At its time of release, Zorn spoke about his desire to reinvent the
impact made by Ornette Coleman's music on its first appearance (most
of the music originates from 1958-1961).  It's certainly true that,
listening to the Contemporary albums (Something Else; Tomorrow is the
Question!) or even the first Atlantic recordings, it's very hard to
imagine or understand the hostility it met.  If I also think it true
that Zorn didn't achieve this goal, then that has more to do with
social factors beyond his control; for fans of both Ornette
and the musicians on the album, it's a treat nonetheless.

Despite the dangers of the format, mentioned by BIRD- BRAIN,
I would recommend getting this album on CD for the benefits of re-
programming: I find it most enjoyable when the long (2.30 - 4.00
mins) tracks are mixed in more equitably with the shorter pieces.

Two queries:
1) is there some reason why the album doesn't cover anything
by Coleman's Trio albums with Izenzon and Moffett (Golden Circle,
Chappaqua, Who's Crazy, Croydon, Town Hall '62)?
2) Although the saxophones are individually distinguishable, I've
never managed to "make sense" of the drumming, at least not on the
very short and noisy pieces.  Is Joey Baron actually playing on all
of them?

All the hairy,

Dr. Sean Wilkie
Dept of Philosophy
University of Wales Swansea
Singleton Park
Swansea SA2 8PP
WALES.


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

From: "M.Ho" <[e-mail]>
Subject: cadence
Date: 03 Dec 1996 9:20:19 EST

can someone please provide the address to Cadence?
thanks.

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

From: Jan-Wen Lu <[e-mail]>
Subject: Re: cadence
Date: 03 Dec 1996 23:35:45 +0800

M.Ho wrote:
>
> can someone please provide the address to Cadence?
> thanks.Their address:Cadence Building, Redwood, NY 13679, USA
Their homepage:http://cadencebuilding.com


Jan-Wen Lu
--
Jan-Wen Lu  E-Mail address: [e-mail]

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

From: [e-mail] (Keefe Murren)
Subject: zorn soundracks
Date: 03 Dec 1996 22:50:43 -0500

I'm new to the Zorn list. this is my first post. Here goes.

        Presently, I am very interested in finding the films that zorn has
done soundtracks for. I own "the golden boat" but have been unable to
locate others.  I'm also interested in buying other Raul Ruiz videos, but
have only found them for like 50$ on some random web page. My knowledge of
film resources is limitted so I would appreciate any help. Also, if you
know of showings of any of these films in the nyc area please let me know.
thanks.
keefe




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From: dennis summers <[e-mail]>
Subject: Ground Zero
Date: 04 Dec 1996 09:47 WET

Just thought I'd pass on a mini-review of a disc I just picked up. On
Tzadik, by Ground Zero, it's called Null and Void. Samples, screams and
noise, I would think that most Zorn fans would like this one.  Actually a
little more coherent than comparable Zorn stuff, and a bit repetitive in
spots, I'd still recommend it.

I'm new to this list, but I have read over the last couple of months worth
of messages, so I won't ask what happened to Masada 4, instead I'll ask if
anyone would be kind enough to tape it for me. I'd gladly tape anything in
exchange, if so desired.

Finally, although this may have been covered long ago, can anyone tell me if
that disk of the "early years" of JZ is worth getting, or if it's an ego trip.

Thanx to all, I'm glad to have found others like yourselves.

--dennis


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

From: [e-mail] (Stefan Negele)
Subject: Bacharach
Date: 04 Dec 1996 17:57:39 MEZ

I was wondering whether anyone knows whether the song 'Bacharach' on
Masada 7 - Zayin is a tribute in any form to Burt Bacharach. It's a
pretty short (1:24) happy sounding tune and sounds to me as it is a
cover song. Well of course I'm not that big Zorn expert, but it just
doesn't fit on the Masada stuff I heard so far. Knowing that Zorn will
put out a Bacharach tribute which will feature Mike Patton and William
Winant on one song (who accidently also played a Bacharach song on their
recent Australia Mr.Bungle tour).. well, it would make sense to me.

Stefan

--
EMail: [e-mail]  or  [e-mail]
WWW  : http://homepages.munich.netsurf.de/Stefan.Negele/index.html



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

From: James Douglas Knox <[e-mail]>
Subject: new zorn releases?
Date: 05 Dec 1996 18:42:55 +1100 (EDT)

Kieran Stafford from Birdland in Sydney ([e-mail]) mailed
me a while back:
>Next year there will be about 10 new Tzadik cds including :
>Naked city- Black box
>Zorn - Godard
>Zorn - new traditions in east asain bar bands - ( I think it is bands
>doing Zorn stuff)
I'm wondering can tell me anything about these discs - especially the
first two.

OK, thanks much - meantime

go well, stay free...

Jim K

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

From: Michael Wittmann <[e-mail]>
Subject: more Boredoms related news...
Date: 05 Dec 1996 09:54:02 -0500

I pulled this off the Addicted to Noise music news of the world reports
from December 4. Since ATN is a more-or-less mainstream music magazine
on the Web, their presentation of Boredoms info is pretty cool. Hope you
don't mind me reposting it here, but I think it's appropriate to hear
what sorts of things others say sometimes....

Addicted To Noise Tokyo correspondent Brian Kushnir reports:
Hanatarash, Boredoms' singer Eye Yamataka's
pre-Boredoms' band, will play three rare shows in Japan this
month. The group caused a sensation in the mid-1980s with
a series of extreme performances during which the band
tried to make as much noise as possible (audience members
once had to sign waivers before entering the hall; at one
performance Eye brought a bulldozer which he used to
chase people around, finally driving it into a wall creating a
hole from which he could not back out, at which point he
and Taketani, another band member, trashed the place with
a pair of circular saws that they had strapped to their
backs...). The Hanatarash performances are set for Dec. 10
at Fandango in Osaka, Dec. 11th at Huck Finn in Nagoya,
and Dec. 13 at Guilty in Ebisu. Wear your armor.
--
+-------------------------+--------------------+
| Michael Wittmann        |  Physics Education |
| Physics Department      |     Research Group |
| University of Maryland  |  tel: [phone] |
| College Park, MD 20742  |  Physics room 0220 |
| http://www.physics.umd.edu/rgroups/ripe/mcw/ |
+----------------------------------------------+

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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: new zorn releases?
Date: 05 Dec 1996 08:06:21 -0800


On Thu, 5 Dec 1996 18:42:55 +1100 (EDT)  James Douglas Knox wrote:
>
> Kieran Stafford from Birdland in Sydney ([e-mail]) mailed
> me a while back:
> >Next year there will be about 10 new Tzadik cds including :
> >Naked city- Black box

The black box will contain the Naked City records that Zorn had to remove
from the US stores because they were offending some organization. This
should include TORTURE GARDEN and LENG TCH'E.

Now some might wonder why Shimmy put TORTURE GARDEN back on the market
when it was not supposed to... (does somebody know when it was back in
the stores?).

> >Zorn - Godard

This should be the piece that Zorn composed for the Nato tribute record,
plus extra compositions inspired by the Swiss movie director.

> >Zorn - new traditions in east asain bar bands - ( I think it is bands
> >doing Zorn stuff)

This project has been announced for years... It was supposed to be released
initially on Avant; now it is slated on Tzadik.

NEW TRADITION IN EAST ASIAN BAR BANDS is one of Zorn's concepts. It is,
basically, game pieces for very small number of performers (2 or 3). I
should know more about it but...

> I'm wondering can tell me anything about these discs - especially the
> first two.

Among this batch should also be Burt Bacharach tribute (double CD?).

Patrice.

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

From: [e-mail] (Todd Hildreth)
Subject: Re: cadence
Date: 05 Dec 1996 18:44:04 GMT


> > can someone please provide the address to Cadence?
> > thanks.Their address:Cadence Building, Redwood, NY 13679, USA
> Their homepage:http://cadencebuilding.com

And their email is [e-mail].

Todd

---=20
http://www.webcom.com/groove/javamen/welcome.html


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

From: [e-mail] (Keefe Murren)
Subject: sadistic city
Date: 05 Dec 1996 18:25:43 -0500

 Does anyone know anything about the Soundtrack that zorn did for
Mao-gai:Sadistic City dir:Ryuichi Hiroki (1993)? i read a small blurb about
it in a pamphlet for a "sex and Asian cinema" film festival. Does zorn plan
on releasing this? Maybe this has already been discussed, but i'm new to
the list: does anyone know anything about filmworks 3 and 4?

thanks.
keefe.



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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: new zorn releases?
Date: 06 Dec 1996 12:00:18 -0500 (EST)

> On Thu, 5 Dec 1996 18:42:55 +1100 (EDT)  James Douglas Knox wrote:
> >
> > Kieran Stafford from Birdland in Sydney ([e-mail]) mailed
> > me a while back:
> > >Next year there will be about 10 new Tzadik cds including :
> > >Naked city- Black box
>
> The black box will contain the Naked City records that Zorn had to remove
> from the US stores because they were offending some organization. This
> should include TORTURE GARDEN and LENG TCH'E.
>
So, this isn't going to be the release of the live shows taped at the
knitting factory that i heard mentioned a while ago?

-jascha


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: new zorn releases?
Date: 06 Dec 1996 09:04:23 -0800


On Fri, 6 Dec 1996 12:00:18 -0500 (EST)  "Yeah-shure, Nah...er...ve'-so'n" wrote:
>
> > On Thu, 5 Dec 1996 18:42:55 +1100 (EDT)  James Douglas Knox wrote:
> > >
> > > Kieran Stafford from Birdland in Sydney ([e-mail]) mailed
> > > me a while back:
> > > >Next year there will be about 10 new Tzadik cds including :
> > > >Naked city- Black box
> >
> > The black box will contain the Naked City records that Zorn had to remove
> > from the US stores because they were offending some organization. This
> > should include TORTURE GARDEN and LENG TCH'E.
> >
> So, this isn't going to be the release of the live shows taped at the
> knitting factory that i heard mentioned a while ago?

Not to my knowledge.

    Patrice.

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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Oswald
Date: 06 Dec 1996 12:47:24 -0500 (EST)


i asked this a while ago, but it may have gotten lost en route.

Q: Does any one have/has anyone heard John Oswald's cut-ups of Naked
City?  I'm sure they're amazing.  I'd love a copy.

Then again, maybe no-one answered this because no-one has it. Hrm.

-jascha


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

From: Seth Gordon <[e-mail]>
Subject: Re: Oswald
Date: 06 Dec 1996 14:41:28 -0500

The Oswald Naked City cut-ups are more than likely part of the "O'Hell"
compilation he put together for Elektra. It was a promo-only release
with a very short run. It featured, I believe, Oswald remixes of the
Doors and Metallica as well. Check the MACOS (Musicians Against the
Copywriting of Samples) homepage... I think there might be a link there
to someone who can tape it for you...

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

From: john shiurba <[e-mail]>
Subject: Re: Oswald
Date: 06 Dec 1996 13:20:16 -0700

> The Oswald Naked City cut-ups are more than likely part of the "O'Hell"
> compilation he put together for Elektra. It was a promo-only release
> with a very short run. It featured, I believe, Oswald remixes of the
> Doors and Metallica as well. Check the MACOS (Musicians Against the
> Copywriting of Samples) homepage... I think there might be a link there
> to someone who can tape it for you...

I have this on tape, and there's no Naked City plundered, just the Doors,
Metallica, Tim Buckley, Carly Simon + Faster Pussycat, and MC5

--



[e-mail]

http://www.sfo.com/~shiurba

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

From: Robert Pleshar <[e-mail]>
Subject: Re: Oswald
Date: 06 Dec 1996 15:19:35 -0600 (CST)

I have the Oswald Pluderphonics Elektra 40th Anniversary disc and I didn't
recognize any Naked City in it nor are they listed as a source. As I recall,
there's a bunch of stuff from Elektra's vaults: The Doors, Carly Simon,
Queen, MC5, Metallica, and (dramatic pause) Faster Pussycat.

I'll tape it for folks, but only in 1997 after I move. Things are being
packed up right now.

Ralph



At 02:41 PM 12/6/96 -0500, Seth Gordon wrote:
>The Oswald Naked City cut-ups are more than likely part of the "O'Hell"
>compilation he put together for Elektra. It was a promo-only release
>with a very short run. It featured, I believe, Oswald remixes of the
>Doors and Metallica as well. Check the MACOS (Musicians Against the
>Copywriting of Samples) homepage... I think there might be a link there
>to someone who can tape it for you...
>
>


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

From: Joel Kuszai <[e-mail]>
Subject: Re: Oswald
Date: 06 Dec 1996 18:21:40 -0500 (EST)

I'm told that in toronto-
Oswald plays sax every tuesday as part of CCMC at the Music Gallery,
which is in the same building as the magazine Musicworks, which has featured a
number of articles on Oswald. Perhaps this is old news. The naked city
cut ups I have are on the (ReR) sampler: the most recent one I have seen,
in any event. The clip there is only a few seconds long (about a minute)
and I ahve always wondered if there was more.

Musicworks has produced both cds and tapes with each issue, and I believe
two or three of them have included Oswald pieces--some of them startling
and different (like the symphonic ones, if I'm remembering correctly) and
of couse clips of the Michael Jackson stuff, as well as excerpts from
Plunderphonics. The quality of the tapes could be better--but it is good
in my estimation. There are exerpts also from the Mystery Tapes, which I
believe you can order from Oswald (there is an address, I'd be happy to
supply...) There is a memorable sampling of the immigrants song by Led
Zepplin with a vocal overlay of a preacher doing a hellfire sermon!


there are also weird 45rpm vinyl things floating around: I recently got
one in toronto:"John Oswald vs. Change of Heart in the Tummysuckle Ruse"
it has several pieces on it and carries on the cover the photo series in
which michael jackson has been transformed into michael jackson as a
naked woman--



On Fri, 6 Dec 1996, Robert Pleshar wrote:

> I have the Oswald Pluderphonics Elektra 40th Anniversary disc and I didn't
> recognize any Naked City in it nor are they listed as a source. As I recall,
> there's a bunch of stuff from Elektra's vaults: The Doors, Carly Simon,
> Queen, MC5, Metallica, and (dramatic pause) Faster Pussycat.
>
> I'll tape it for folks, but only in 1997 after I move. Things are being
> packed up right now.
>
> Ralph
>
>
>
> At 02:41 PM 12/6/96 -0500, Seth Gordon wrote:
> >The Oswald Naked City cut-ups are more than likely part of the "O'Hell"
> >compilation he put together for Elektra. It was a promo-only release
> >with a very short run. It featured, I believe, Oswald remixes of the
> >Doors and Metallica as well. Check the MACOS (Musicians Against the
> >Copywriting of Samples) homepage... I think there might be a link there
> >to someone who can tape it for you...
> >
> >
>
>

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

From: Andrew Batson <[e-mail]>
Subject: Avant CDs
Date: 06 Dec 1996 15:45:40 -0800 (PST)


I noticed that the Japanese Avant label has a CD by George Lewis called
Voyager. Is the same George Lewis who played trombone on Zorn's News for
Lulu? If it is, I'm all over this CD...And has anyone heard Erik
Friedlander's Avant CD? His cello playing on Bar Kokhba is sweet...
Tips are appreciated.


Andrew


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

From: [e-mail]
Subject: Question on Ornette Coleman
Date: 06 Dec 1996 17:00:16 -0800 (PST)

Greetings to all on the list.
I was thinking of getting some Ornette coleman stuff (Can you believe I
don't have any yet?) and I was wondering if anyone could suggest some
truly amazing albums.  I'd be most thankful.
Josh Martin
[e-mail]





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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Avant CDs
Date: 06 Dec 1996 17:33:14 -0800


On Fri, 6 Dec 1996 15:45:40 -0800 (PST)  Andrew Batson wrote:
>
>
> I noticed that the Japanese Avant label has a CD by George Lewis called
> Voyager. Is the same George Lewis who played trombone on Zorn's News for
> Lulu? If it is, I'm all over this CD...And has anyone heard Erik
  ^^^^

Yep (not to be confused with the clarinet player).

> Friedlander's Avant CD? His cello playing on Bar Kokhba is sweet...

    Patrice.

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

From: [e-mail] (Keefe Murren)
Subject: bar kokhba
Date: 06 Dec 1996 20:46:45 -0500



Does anyone know who the percusionist was who played with  bar kokhba at
the knitting factory on oct. 18? It was hard to understand zorn when he
introduced him. I think it was Jim Pugilese.



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

From: Randy Long -- Personal Account <[e-mail]>
Subject: rustlin' up opinions you slobering donatrixes
Date: 06 Dec 1996 20:58:56 -0500 (EST)

Boy, I just grew 19 more iq points and got a web browser.  So all you zorn
fans/www veterans- what is the best Zorn website out there?

Thanks!
-------Sammy


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

From: [e-mail] (Allan Horrocks)
Subject: Re: Avant CDs
Date: 06 Dec 1996 20:48:22 -0800 (PST)

Regarding Andrew Batson's query-->I haven't heard Friedlander's Avant disc,
but his more recent Tzadik release is quite excellent - if you liked Bar
Kokhba you'll assuredly dig it, it's called "The Watchman".
--Allan, who also would like to know about Friedlander's Avant disc...

 :::::::::::::::::::::::::::::::::::::::::Allan Horrocks:::::::::::::::::::::
 ::::::   ::   :::        :::         :::::::[e-mail]:::::::::::::::::
 ::::::   ::   :::        :::         :::::::::::::::::::::::::::::::::::::::
 ::::::   ::   :::   ::   :::    ::::::::::::::::::::::::::::::::::::::::::::
 ::::::    H   :::   ::O  :::       E ::::"Zessenmorri cossin gissowii/::::::
 ::::::   ::   :::   ::   :::    ::::::::::::Mekkei mossa meccunna"::::::::::
 ::::::   ::   :::        :::         :::::::::::::::::::::::::--Ruins:::::::
 :::::::::::::::::magazine:::::::::::::::::::::::::::::::::::"Negotiation":::



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

From: [e-mail]
Subject: Away until 12/9
Date: 06 Dec 1996 15:24:26 -0700 (MST)


Thank you for your mail! (and yes, I am excited that you wrote).

Unfortunatley, I am not in the office at this time, but I will answer
your mail as soon as I get back from sunny California.

If you have an urgent problem or question regarding your GoSite Server,
please contact Customer Service at [e-mail] (or phone (602)
222-2888).

Sorry you aren't on the beach with me,

David Sebba

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

From: Marcus Klein <[e-mail]>
Subject: Re: Masada/Filmworks/Bible Launcher/... what?
Date: 07 Dec 1996 07:49:55 EST

>>2. Filmworks 5 & 6 - Are these just as good as Filmworks 2? I
>>live by  that album! What happened to 3 & 4?

Filmworks 5 / Tears of Ecstasy is music for an episode movie, directed by Oki
Hiroyuki, which should have about 60 episodes in about 60 minutes.
On the CD are 48 tunes, all about 1 minute, and when JZ got that job he had only
one day left to record the music.
I like it a lot, cause it is very eclectic, and Robert Quine, Marc Ribot, Cyro
Baptista and John Zorn probably had much fun, which you can feel listening to
this album.

Filmworks 6 was done for three movies, Anton, Mailman; Mechanics of the brain
and The Black Glove, with totally different music in those  movies.
My favorite is the score of Anton, Mailman, which gives me that
Tarantino-feeling, Hawaiian guitar sound and a bit of what JZ calls it "That
Radio City Sound".
To my shame I have to say that I did not often listen to the two other scores,
because one week ago I bought the
DAVID SHEA: HSI-YU CHI album, and today I know that it is one of the 5 best CDs
I own.
It is music for an imaginary Hong Kong western, and DS deals with many cliches
like that typical western guitar sound, but it is so humorous that I could not
stop laughing the first time I listened to it.
And... when I listened to "Rouge", which features John Zorn on alto, I could not
believe how beautiful JZ can play, this is probably the sweetest saxsound I ever
heard of John Zorn.

07.12.1996, Marcus Klein

Look at this...
http://ourworld.compuserve.com/homepages/Marcus_Klein_Cologne


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

From: Brian Carlson <[e-mail]>
Subject: Re: Oswald
Date: 07 Dec 1996 11:21:48 -0600 (CST)

At 01:20 PM 12/6/96 -0700, you wrote:
>> The Oswald Naked City cut-ups are more than likely part of the "O'Hell"
>> compilation he put together for Elektra. It was a promo-only release
>> with a very short run. It featured, I believe, Oswald remixes of the
>> Doors and Metallica as well. Check the MACOS (Musicians Against the
>> Copywriting of Samples) homepage... I think there might be a link there
>> to someone who can tape it for you...
>
>I have this on tape, and there's no Naked City plundered, just the Doors,
>Metallica, Tim Buckley, Carly Simon + Faster Pussycat, and MC5

 (After writing this post, I added this line.  I realized that we are
probably talking about two different releases. Nonetheless, I thought some
one might find this post of interest.)

Are you talking about Rubaiyat, Elektra's 40th Anniversary doulbe album set?
On it is a song called T.V. Eye by John Zorn.  This song features a great
performance by who else but Eye.  This sounds like it may be the Naked City
crew.  Maybe it was recorded and distributed just before their actually
adoption of the name Naked City?

Also on this collection is a song by Bill Frisell, Robin Holcomb, and Wayne
Horvitz.

I am quite sure this release is on Patrice's discography.  Check it out.

Brian


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

From: Tom Benton <[e-mail]>
Subject: Cohen and Douglas
Date: 07 Dec 1996 14:13:50 -0600 (CST)

Ok, just thought I would toss out a set of questions regarding these two
guys.  It was certainly more than a year ago, but I remember at some point
in the past Masada was doing a few nights at the KF, and each night a
different member's band opened.  Barondown is pretty common knowledge, but
I was curious about the others.  One was billed as The Greg Cohen Group, I
feel like I've seen a recent ad for the Greg Cohen Sextet, does he
possibly have something going on with tzadik soon?

The other was Dave Douglas - Sanctuary.  I think they played at the What
Is Jazz? fest, if I remember correctly the lineup was quite interesting:
DD on trumpet, Greg Cohen on bass, and Anthony Coleman on sampler.  These
instruments were doubled by Japanese musicians whose names I didn't catch.
Also a Japanese drummer as well as Chris Speed on tenor sax.

So anybody know anything more about these two groups?  Thanks all...

-tom-


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

From: DANIEL BITTON <[e-mail]>
Subject: Tzitzis
Date: 07 Dec 1996 16:13:50 -0500 (EST)


    Just some totally unimportant things that I've wondered:
    Anyone who knows or wishes to theroize is welcome to ponder these
mighty issues of our time.

-Why does JZ wear tzitzis under his orange Abracadabra (in Yiddish)  T-Shirt
that he wears to every show. Is this a new hip-ass style or is he
religious or something.
-Why does he wear that same Abracadabra Tshirt to every show? I saw him a
year ago, and a month ago and it was the exact same stuff except by now
his T-shirt was almost yellow and he had new army pants. On the cover of
Big Gundown he's got the same damn tshirt. Is he like Charlie Brown with
a closet full of Orange Yiddish Abracadabra tshirts and army pants?
-Where did I come from?


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Eyvind Kang
Date: 07 Dec 1996 13:35:27 -0800


On Sat, 30 Nov 1996 21:30:38 +0100 (MET)  Torsten Nielsen wrote:
>
> How many records does Eyvind Kang play on?
> I only know "7 NADES" and Frisell's "Quartet", but I remember someone said
> something about a record with the Sun City Girls, and a live one where he
> improvised.
> A few recommendations would be nice...

At last, the description of the GILNET record (GILNET was the initial
name of this release, renamed eventually as DOGHEAD). It is Greg Gilmore's
project (ex. Mother Love Bone) and features musicians from Sun City Girls,
Sadhappy, etc.

    Patrice.


*** - DOGHEAD: Greg Gilmore

    1/ Hargas                    (R. Hinklin, Gilmore)
    2/ The Dog's Head                (Gilmore, P. Hinklin)
    3/ Roil                    (Gilmore)
    4/ The Wurlitzer                (Gilmore, R. Hinklin)
    5/ Fourteen                    (R. Hinklin, Gilmore, Endino)
    6/ Budu Voodoo                (R. & P. Hinklin, Gilmore)
    7/ Humming                    (Gilmore)
    8/ Trebor                    (Smallwood)
    9/ Traction                    (Endino, Gilmore)
    10/ La Zoid                    (Gilmore)
    11/ Sagali                    (P. & R. Hinklin, Gilmore)
    12/ Under                    (P. Hinklin)
    13/ Water                    (R. Hinklin, Gilmore)
    14/ The Loop                (Gilmore, P. Hinklin, Kok)

    (1,2,3) recorded at Word Of Mouth and Music Source
    (4,5,6,9) recorded at Word Of Mouth
    (7) recorded at Reciprocal and Art Institute of Seattle
    (8) recorded at Music Source
    (10) recorded at Home, Music Source and Ironwood
    (12) recorded at Art Institute of Seattle
    (13) recorded at Word Of Mouth and Art Institute of Seattle
    (14) recorded at Schluckabier's

    Produced by Greg Gilmore

  Greg Gilmore: drums, electric drums, sampled percussion, roto tom, samples,
  bass, electric piano, percussion, guitar, vocals, treatment; Rich Hinklin
  (1,3,4,5,6,9,11,13): guitar, bass, bass sample, moog, drum loop, vocals,
  mix; John Bush (1,2,3): congas, real big tambourine, dumbek, frame drum,
  flute, djembe, water gongs; Paul Hinklin (2,3,6,11,12,13,14): bass, vocals;
  Kenny Withrow (2): guitar; Scott Johnson (2): vocals; Brendan Wallace (2):
  trumpet; Dimitri J. (2,5,12): telephone, mix, treatment; Eyvind Kang (3):
  violin; Jack Endino (5,7,9): memory man bass, drum machine, bass percussion;
  Robert Smallwood (8): guitar; Phil Ek (9): percussion; Jennifer Gilmore
  (10): oboe; Keith Lowe (10): bass; Brad Kok (14): guitar, other vocal, bot-
  tle.

    1996 - Cavity Search (USA), CSR 15 (CD)


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

From: [e-mail] (jonathan kaye)
Subject: jon's "smoke"
Date: 07 Dec 1996 23:26:28 -0500

for all those in the nyc area, kim's underground has all music on sale 25%
off through 12/10. they have 5 or 6 different zorn titles, including 2
masadas (don't remember which ones).

i picked up an album by jon called "smoke" on tzadik, executive produced by
zorn. anyone know what's up with this. it's a japanese woman playing a pump
organ singing in japanese, mostly songs about dogs. now i only gave it a
quick once over this afternoon, but i really can't imagine ever listening
to it again, unless i'm missing something. i have a feeling she's supposed
to be like a japanese daniel johnston, but can you imagine enjoying him
singing in japanese? any info anyone has on the disk would be appreciated.

anyone going to the early masada sunday at the kf? see you there.

jonathan
(who usually signs his name "jon" -- but never again)



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

From: [e-mail] (Herb Levy)
Subject: Not Re: Oswald
Date: 08 Dec 1996 02:17:04 -0800

Since there's been so much interest in John Oswald's work lately, I thought
I'd mention a few other folks who use sampling in interesting ways that I
never see mentioned here.  (David Shea & Christian Marclay do seem to be
noticed every once in a while - I'm not neglecting them.)

Bob Ostertag has lots of releases that are really great.  For reasons that
are not limited to copyright concerns, Ostertag usually uses recordings
he's made (for instance, Sooner or Later, a great piece made entirely from
a recording of a boy burying his father after he'd been killed in El
Savador and a small sample of Fred Frith) or he collaborates live with
improvisors.

Ostertag's most recent work is a complex series of discs that began with
him manipulating live performances by a trio of Phil Minton, Mark Dresser,
& Gerry Hemingway (voice, bass, & drums, respectively).  He then taught
these manipulations to the players, who used them as the basis for further
improvs.  These improvisations were recorded and also manipulated by
Ostertag.  The process is documented on three discs, In order so far: Say
No More (Rec Rec), Say No More In Person (Transit) & Verbatim (Rastascan).
The project will end (probably) with Verbatim Live some time in the future.

This is already kind of long, but other cool composer/performers who use
sampling primarily, if not exclusively, include Carl Stone (recent CDs on
New Albion, Emit, & New Tone), Nicolas Collins (Trace Elements), & John
Wall (Utter Psalm).


Herb Levy
[e-mail]



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

From: john shiurba <[e-mail]>
Subject: Re: Question on Ornette Coleman
Date: 08 Dec 1996 12:53:26 -0700

[e-mail] wrote:
>
> Greetings to all on the list.
> I was thinking of getting some Ornette coleman stuff (Can you believe I
> don't have any yet?) and I was wondering if anyone could suggest some
> truly amazing albums.  I'd be most thankful.

start with the Atlantic stuff. there's a box set called "Beauty Is A Rare
Thing" that is pretty affordable considering how much incredible music is
on it. If you don't want to spend that much, you can get the albums
individually.  My favorites are "The Shape of Jazz to Come" and "This is
our Music"

--



[e-mail]

http://www.sfo.com/~shiurba

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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Tzitzis
Date: 08 Dec 1996 14:14:07 -0800


On Sat, 7 Dec 1996 16:13:50 -0500 (EST)  DANIEL BITTON wrote:
>
>
>     Just some totally unimportant things that I've wondered:
>     Anyone who knows or wishes to theroize is welcome to ponder these
> mighty issues of our time.
>
> -Why does JZ wear tzitzis under his orange Abracadabra (in Yiddish)  T-Shirt
> that he wears to every show. Is this a new hip-ass style or is he
> religious or something.
> -Why does he wear that same Abracadabra Tshirt to every show? I saw him a
> year ago, and a month ago and it was the exact same stuff except by now
> his T-shirt was almost yellow and he had new army pants. On the cover of
> Big Gundown he's got the same damn tshirt. Is he like Charlie Brown with
> a closet full of Orange Yiddish Abracadabra tshirts and army pants?
> -Where did I come from?

Check the FAQ.

    Patrice.

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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Bob Ostertag
Date: 08 Dec 1996 21:44:31 -0500 (EST)



On Sun, 8 Dec 1996, Herb Levy wrote:

> Ostertag's most recent work is a complex series of discs that began with
> him manipulating live performances by a trio of Phil Minton, Mark Dresser,
> & Gerry Hemingway (voice, bass, & drums, respectively).  He then taught
> these manipulations to the players, who used them as the basis for further
> improvs.  These improvisations were recorded and also manipulated by
> Ostertag.  The process is documented on three discs, In order so far: Say
> No More (Rec Rec), Say No More In Person (Transit) & Verbatim (Rastascan).
> The project will end (probably) with Verbatim Live some time in the future.

I just bought _Verbatim_ and I'm enjoying it tremendously, but I admit I'm
dubious about the concept for this sequence.  How different are _Say No
More_ and _Say No More In Person_ from one another?  My understanding is
that the latter is just a performance of the score embodied by the former.
Is this right?  If so, is the difference between the two largely
conceptual?

Chris


Chris Hamilton
Dept. of Philosophy
University of Pittsburgh
Pittsburgh, PA
USA



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

From: [e-mail]
Subject: Fwd: Oswald/
Date: 08 Dec 1996 22:05:42 -0500

In a message dated 96-12-07 12:30:51 EST, [e-mail] (Brian
Carlson) writes:

<< Are you talking about Rubaiyat, Elektra's 40th Anniversary doulbe album
set?
 On it is a song called T.V. Eye by John Zorn.  This song features a great
 performance by who else but Eye.  This sounds like it may be the Naked City
 crew.  Maybe it was recorded and distributed just before their actually >>


---------------------
Forwarded message:
Sender:    [e-mail]

At 01:20 PM 12/6/96 -0700, you wrote:
>> The Oswald Naked City cut-ups are more than likely part of the "O'Hell"
>> compilation he put together for Elektra. It was a promo-only release
>> with a very short run. It featured, I believe, Oswald remixes of the
>> Doors and Metallica as well. Check the MACOS (Musicians Against the
>> Copywriting of Samples) homepage... I think there might be a link there
>> to someone who can tape it for you...
>
>I have this on tape, and there's no Naked City plundered, just the Doors,
>Metallica, Tim Buckley, Carly Simon + Faster Pussycat, and MC5

 (After writing this post, I added this line.  I realized that we are
probably talking about two different releases. Nonetheless, I thought some
one might find this post of interest.)

Are you talking about Rubaiyat, Elektra's 40th Anniversary doulbe album set?
On it is a song called T.V. Eye by John Zorn.  This song features a great
performance by who else but Eye.  This sounds like it may be the Naked City
crew.  Maybe it was recorded and distributed just before their actually
adoption of the name Naked City?

Also on this collection is a song by Bill Frisell, Robin Holcomb, and Wayne
Horvitz.

I am quite sure this release is on Patrice's discography.  Check it out.

Brian



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

From: [e-mail] (Joshua N Schuster)
Subject: klezmers
Date: 09 Dec 1996 01:43:49 -0500 (EST)

My first post to the list, and not just Zorn related, so I'll first pay
dues of legitimacy w. some comments.

I caught two Masada shows this fall and find Zorn to be even improving at
playing saxophone.  He seems more relaxed both at hearing himself better
and at involving himself with the rest of the band.  As always, Masada is
brilliant at dynamics.  At a show in Philly the band played one of the
"funnier" pieces with quick change and festive cackling, all smiling.
Then, with hardly any break, Dave Douglas started a very beautiful and
morose solo introduction to "Kedem".  It was the first time I heard the
song, and after laughing lightheaded at the first song, I was floored
into a sort of awe, straining to hear (in a way that one can't stare at
music).  Douglas stepped back from the mic, muted his trumpet, and
brought a powerful sense of distance and we were both straining.  I think
that strain is a great part of that song, and doesn't come across on the
album (one can just adjust the volume).

Masada also played a song which had Baron play a plain marching drum
beat, somewhat evocative of a military cadence.  I couldn't help but jump
to wonder what the song's relationship to the mideast situation might
be--not that there is a necessary connection, but it seems like an
additional way of hearing. The melody was not an outright patriotic
heroism but seemed more like both a reminder and a remainder of some
conflicts.


Also just happened to be in NY for thanksgiving and caught the premiere
of "Duras" -dedicated to Marguerite Duras probably.  I couldn't hear all
of the line-up, but since no one else has responded to the evening, I'll
mention: a middle-aged woman on piano, Zeena Parkins on keyboards,
Parkin's younger sister (I think?) on violin, Marc Feldman on violin, a
woman whose name I didn't catch on assorted percussions, and Jim Pugliese
on percussions.  The pieces were very quieting, even some rain sound
effects were used for dampening.  Playing was sparse and thin and fluid.
Zorn can make really loud music which is exhausting, but he can do the
same with very soft music too; I left and I was fatigued (which was
beautiful).


Anyways, that's my introductory take.  I just have one question I was
hoping some of the list-members in NY could help me with: What klezmer
clubs would you recommend in NY? I hear there are some lively music clubs
in the jewish areas of Bronx and/or Brooklyn, but don't know really what
is out there, what people find interesting.  Surely not much like Masada,
but I'd like to hear some other involvements in klezmer music.  Could
someone describe the various venues?

many thanks,
Joshua Schuster

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

From: [e-mail]
Subject: Away until 12/9
Date: 08 Dec 1996 23:59:42 -0700 (MST)


Thank you for your mail! (and yes, I am excited that you wrote).

Unfortunatley, I am not in the office at this time, but I will answer
your mail as soon as I get back from sunny California.

If you have an urgent problem or question regarding your GoSite Server,
please contact Customer Service at [e-mail] (or phone (602)
222-2888).

Sorry you aren't on the beach with me,

David Sebba

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

From: [e-mail] (David FENECH)
Subject: Bob Ostertag : Have you ever heard "Slam Dunk" on the ATTENTION SPAN CD ?
Date: 09 Dec 1996 14:53:45 +0100

Hello everybody

I am new on the list. This is my first contribution.

Herb Levy said :

> Bob Ostertag has lots of releases that are really great.  For reasons that
> are not limited to copyright concerns, Ostertag usually uses recordings
> he's made (for instance, Sooner or Later, a great piece made entirely from
> a recording of a boy burying his father after he'd been killed in El
> Savador and a small sample of Fred Frith) or he collaborates live with
> improvisors.

How strange you did not mention his excellent work on Zorn's music on
the RecRec CD called "Attention Span"! This CD is splitted in 2 parts.
On the first one, Bob plays with samples of John Zorns recordings ,
giving an excellent interpretation of what JZ can play that is :
zapping... sax that can sound like electronics... strength... The work is
excellent not only because it gives a beautifull lecture of Zorn's music
but also because we also feel that it is BOB OSTERTAG's music. In that
sense, this work can be compared to SAY NO MORE (Volume 1).

On the same CD, you can find also a duet B.O + Fred Frith where Bob uses
Frith's samples and Frith plays live with "himself played by his friend".
Through the looking glass ...

So I highly recommend the ATTENTION SPAN record . It should be available
through the ReR mail order, I guess.

I saw Bob live many times. The first time, he played solo on stage with
his sampler machine, just like David Shea's solo. The second time he
was using some sticks that he held in his hands to trigger and modulate
the sound. It was very beautifull because it gave more strength to what
we were listening to. I also saw him in the RENE LUSSIER show called
"Le tresor de la langue", where he played samples of canadian french
speaking, the rest of the band using it as a partition ...

Well, I don't know much about his new projects.. Does anyone have infos ?

Please do excuse my poor english ..

bye.

=========================
David FENECH, musician
2, rue Claude Debussy
38100 Grenoble - France
=========================

P.S : I am a French-One-Man-Band, living in Grenoble. I am open to any
musical collaborations. I also write in the French Magazine called
Revue&Corrigee mostly about hometaping and mail-art.

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

From: "George Curran <GCURRAN.US.ORACLE.COM>" <[e-mail]>
Subject: Re: Question on Ornette Coleman
Date: 09 Dec 1996 05:58:49 -0800


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Josh, I would recommend going through Ornette's catalog chronologically: start
with with the Contemporary stuff then move onto Atlantic, etc.  If you really
want to limit your search, try to find Caravan of Dreams: a 2 record set with
one record acoustic and the other record his Prime Time band. Another
highlight would be the recently reissued Soapsuds, duets with Charlie Haden,
which originally appeared on Artists House.


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Greetings to all on the list.
I was thinking of getting some Ornette coleman stuff (Can you believe I
don't have any yet?) and I was wondering if anyone could suggest some
truly amazing albums.  I'd be most thankful.
Josh Martin
[e-mail]





--=_ORCL_27029043_0_11919612090659390--


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

From: [e-mail] (Will Connor)
Subject: Japan Trip
Date: 09 Dec 1996 09:51:59 -0500

Dear Zorn List People,

Hi there!  I am taking a trip to Japan in February and I am looking for
info on the places I need to go check out, the shows I need to see, and the
Cd's that I need to buy while I am there.

Can anyone point me in the right direction?  I think that I have the
Boredoms address too.  Maybe I will drop in on them!  (I don't know,
though.  That might be kinda rude, even for me.)

Any help is appreciated!  Thanks!

Will



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

From: "M.Ho" <[e-mail]>
Subject: Re: bar kokhba
Date: 09 Dec 1996 10:29:25 EST

>
>
>
> Does anyone know who the percusionist was who played with  bar kokhba at
> the knitting factory on oct. 18? It was hard to understand zorn when he
> introduced him. I think it was Jim Pugilese.
>
  It war Cyro Baptista.



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

From: [e-mail] (Herb Levy)
Subject: Re: Bob Ostertag
Date: 09 Dec 1996 09:13:22 -0800

Chris Hamilton wrote:

>I just bought _Verbatim_ and I'm enjoying it tremendously, but I admit I'm
>dubious about the concept for this sequence.  How different are _Say No
>More_ and _Say No More In Person_ from one another?  My understanding is
>that the latter is just a performance of the score embodied by the former.
>Is this right?  If so, is the difference between the two largely
>conceptual?

To my ears, at least, there's a substantial difference in the overall sound
of the "real" playing versus the electronically modified pieces.  These
players can't perform in a merely rote manner.  Listen, for example, to any
of the several versions of various Braxton pieces with Hemingway and
Dresser as the rhythm section.  & one of the two tracks on the live disc
includes Ostertag improvising along with the group, doing live sampling and
manipulation as part of the piece.

So there're several differences between the live session & the
studio-manipulated sample disc.   This isn't a dry "classical" situation in
which people just play their parts.

and, pacem David Fenech, Attention Span is the recent (post-El Salvador)
Ostertag release that I find least interesting, despite this being a mail
list with Zorn as the entry to all things musically downtown.

Bests


Herb


Herb Levy
[e-mail]



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

From: dennis summers <[e-mail]>
Subject: Ornette
Date: 09 Dec 1996 14:11 WET

>Greetings to all on the list.
>I was thinking of getting some Ornette coleman stuff (Can you believe I
>don't have any yet?) and I was wondering if anyone could suggest some
>truly amazing albums.  I'd be most thankful.
>Josh Martin
>[e-mail]

I've been listening to Ornette for a long time, he was my introduction not
only to free jazz, but jazz in general.  I saw him perform with of all
people, Pat Methany, and produce a musical noise which I never expereinced
again until Zorn (although I think Zorn actually does that noise thing
better). Anyway the thing about Ornette that makes it hard to make
suggestions, is that he has worked his way through so many styles (even
learning and playing violin for a period).  For his initial "free jazz"
period with the perfect free jazz band of Don Cherry, Charlie Haden, and
Billy Higgens or Ed Blackwell on drums, I'd go for "The Shape of Jazz to
Come" or his "double quartet" (incl. Eric Dolphy amongst others) on "Free
Jazz". I think these are both out on CD. Then Ornette shifted gears into a
kind of quieter less noisy but in some ways more soulfull set of string
oriented discs with Izonzohn and Moffet amongst others.  Don't know if these
are out on CD but I'd look for "The Town Hall Concert" or the "Great London
Concert".  Then he went through an uneven patch late '60s but two standouts,
I think include "Who's Crazy" and "Crisis". Early '70s sees him doing
symphonic music and music with the Master Musicians of Joujuku (sp?) Both
excellent discs --"Skies of America," and "Dancing in Your Head,"
respectively.  After this He started getting more rock and roll oriented and
in my opinion starts to lose the things that made him so distinctive.
Whatever you do ( I say this cause I see them around so much) don't pick up
"Love Call" or "New York is Now."  Hope this helps.

--ds


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

From: Matthew C Weiner <[e-mail]>
Subject: George Lewis (was: Avant CDs)
Date: 09 Dec 1996 13:47:33 -0500 (EST)



On Fri, 6 Dec 1996, Andrew Batson wrote:

>
> I noticed that the Japanese Avant label has a CD by George Lewis called
> Voyager. Is the same George Lewis who played trombone on Zorn's News for
> Lulu? If it is, I'm all over this CD...

As Patrice has pointed out, this is the same guy. Voyager is
Lewis's improvising computer program: it analyzes the sounds
its duet partner makes according to a lot of variables
(proportion of sound to silence is one mentioned), and plays
along. It may sound too tough to pull off, but the results
are amazing, and not much like most other sounds you're
likely to hear. There's a wonderful moment on one of the
Roscoe Mitchell tracks where Mitchell switches from plink
playing to skronk playing, and the computer switches with him.

The Voyager program can also be heard on Evan Parker's
"Phonomanie III--Synergetics," on a few tracks. Thebe
Lipere's duet w/it, playing imbubu, a didjeridu-like
instrument, is mind-blowing; the program reacts quite
differently to the imbubu's drone sound.

There might also be some Voyager on Richard Teitelbaum's
"Golem," on Tzadik, with Lewis, David Moss, Shelley Hirsch,
and Carlos Zingaro on violin. If you like "Voyager" this
is a good album to check out anyway--a combination of
electronics, avant-garde jazz, and extreme vocals that
ends up as a very moving piece of Yiddishkeit. (Does anyone
know any other Voyager recordings?)

George Lewis's other solo albums are (IMO) uniformly
fantastic. "Homage to Charles Parker" is my favorite,
with an odd ensemble (trombone, reed, piano, synth)
taking the jazz tradition apart and putting it back
together--this contains some heartbreakingly beautiful
music. Zorn fans (especially those who come to Lewis
through "Yankees") might prefer "Shadowgraph," challengingly
abstract stuff. Roughly, Shadowgraph:Yankees::Homage to
Parker:News for Lulu.

George Lewis has played in tons of settings; he was the
first AACM member (possibly free jazz musician) I ever
heard, when I was 12, thanks to his spot on Laurie
Anderson's "Big Science." It's usually easy to tell him
from the New Orleans clarinetist; but that's him
with Count Basie (don't know any recordings). I think
anyone working in artificial intelligence should study
"Voyager," and George Lewis should get annual genius
grants for as long as he wants. An amazing musician.

Matt Weiner


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

From: Joe Germuska <[e-mail]>
Subject: George Lewis' Voyager
Date: 09 Dec 1996 15:00:08 -0600

>On Fri, 6 Dec 1996 15:45:40 -0800 (PST)  Andrew Batson wrote:
>>
>> I noticed that the Japanese Avant label has a CD by George Lewis called
>> Voyager. Is the same George Lewis who played trombone on Zorn's News for
>> Lulu? If it is, I'm all over this CD...And has anyone heard Erik

And Patrice responded:

>Yep (not to be confused with the clarinet player).

While I commend Patrice for his concise answer, I thought I'd add a little.

George Lewis' "Voyager" is an improvising computer program.  It listens to
musicians, and produces music in response to their playing.  The Voyager CD
on Avant is recorded duets between musicians and this software.  In fact,
most of the live music is produced by Roscoe Mitchell, if I remember
correctly, although Lewis does play on the record.

I saw Lewis perform solo and with Voyager at the AACM 30th Anniversary
Festival last December.  I thought Voyager was pretty cool, although the
improvs it produces are much freer than what you heard on "News for Lulu".
Lewis' solo improvs were great, and generally boppier (to coin an
adjective).

Lewis' software also appears on the new Evan Parker double CD on Leo
records, but I can't remember who plays with it.

While not exactly prolific, George Lewis has recorded several times in the
last 20 years or so, in both trombone and electronic music contexts.  I've
been meaning to hear more of his stuff since the AACM fest and my first
hearing "News for Lulu", but other stuff keeps coming up...

Joe

_____________
Joe Germuska |_____ "Once the writer in every individual comes to life
[e-mail] |____   (and that time is not far off),
Northwestern University |___   we are in for an age of universal deafness
Learning Technologies Group |_______  and lack of understanding."
http://www.nwu.edu/people/j-germuska|                       -- Milan Kundera



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

From: [e-mail] (Will Connor)
Subject: More George Lewis
Date: 09 Dec 1996 18:02:35 -0500

I heard about George Lewis from Anthony Braxton's Berlin Montreaux concert
record where Lewis plays the hell out of a trombone (and a euphonium I
believe).  I have since had the pleasure of checking him out on a few other
Anthony Braxton records and I seem to recall having heard him with Kenny
Wheeler, Dave Holland, Marylin Crispell, and I think a Mark Dresser album
(also of Anthony Braxton fame who appears on Spy Vs Spy by John Zorn)

Definitely check him out on any of these recordings.  I was extra happy
with Voyager and the Berlin Montreaux concerts.


Best regards,
Willaim Klugh Connor III
International Sales Co=F6rdinator



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

From: [e-mail]
Subject: Elliott Sharp/Orchestra Carbon performing Rheo~Umbra
Date: 09 Dec 1996 19:11:09 -0500

For those of you who didn't know, E#/Orchestra Carbon will be performing his
piece Rheo~Umbra @ Context on Ave. A, Lower East Side, this Friday night with
sets at 9 and 11 (so you can go catch Derek Bailey's 9pm set at the Knit and
STILL catch this)  I saw the premier last winter, and it wis incredible!  Not
sure if it's the same line up, but it was basically E# (conducting and
playing guitar, sax? and his home made- and rarely played these days- "Slab")
with the whole Carbon crew (Zeena Parkins, Marc Sloan, Joe Trump and David
Weinstein) PLUS the Soldier String Quartet and a lone bass clarinet player (?
it wasn't Michael Lowenstern, but perhaps it will be this time)  If any of
you have Elliott's Tzadik release entitled Xenocodex, that's a pretty good
reference.  If you haven't heard that, think Xenokis.  GREAT stuff.  Anyone
else planning on going?  It would be cool to meet some of you!

Jonathan LaMaster
Unsound Productions

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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Question on Ornette Coleman
Date: 09 Dec 1996 22:06:08 -0500 (EST)



On 9 Dec 1996, George Curran <GCURRAN.US.ORACLE.COM> wrote:

> If you really
> want to limit your search, try to find Caravan of Dreams: a 2 record set with
> one record acoustic and the other record his Prime Time band.


Just a correction:  Caravan of Dreams is the record label; the album title
is _In All Languages_.  I agree that this is the best cheap
introduction to Coleman's work (and also one of his best records) but it's
likely to be hard to find.

Chris


Chris Hamilton
Dept. of Philosophy
University of Pittsburgh
Pittsburgh, PA
USA


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

From: [e-mail] (jonathan kaye)
Subject: masada kf shows
Date: 09 Dec 1996 23:25:55 -0500

hard to believe that there have been six masada shows here in nyc since
last friday and no one's given any details yet. i'm not the most qualified
but what the hell.

saw the early show sunday eve and it was as good a masada show as i've
seen. evidently baron's been out sick the whole run so far (although i
heard that he's due back) and michael serene (sp?) has been sitting in on
drums (i heard one of the bartenders before the show saying that serene's
been so good that baron should start worrying about his job if he didn't
make it back soon). musically the substitution is hardly noticeable, serene
does an amazing job on some incredibly difficult music, but baron is one of
my favorite musicians to watch so i missed that. it was interesting
watching zorn direct him sometimes, stopping him during one of douglas'
solos and then pinching his fingers together about 3/4 of the way through
signaling to serene to just add high-hat to douglas' solo.

sorry i can't give you song titles but it was a standard mix of uptempo
tunes with a couple of ballads thrown in. zorn seemed to be in a good mood,
smiling at douglas after several of the songs.

i wish i knew what the last song they did before the encore was. part way
through cohen started a solo and was then joined by zorn, and together they
moved away from the "ornette meets klezmer" of masada into a more
traditional bebop type territory and then zorn took off into what may be
the best solo i've ever seen him play, very emotional, very smooth and very
traditional. i'd love to get a recording of it.

sorry for the sketchy details, but you've still got three more nights to
check it out for yourself.

jon



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

From: BIRD BRAIN <[e-mail]>
Subject: Ornette.
Date: 09 Dec 1996 23:55:48 -0500

If your looking for Ornette albums, withdraw your savings and buy the Atlantic
box set as already suggested.  My favorite albums - "This Is Our Music",
"Change Of the Century" (Ramblin' is the tune that first hooked me on Ornette),
"New York is Now" on Blue Note with Dewey Redman - excellent.
Speaking of Ornette - does anyone have or heard his first recording (I believe
it's his first recording - not sure)  I believe the album is called "Live at the Hillcrest" and may have been released under Paul Bley's name.  I've always
wanted to hear this recording but I can never find it on vinyl and I'm not sure
if it's been released on CD.

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

From: john shiurba <[e-mail]>
Subject: Re: Ornette.
Date: 10 Dec 1996 00:16:37 -0700

> Speaking of Ornette - does anyone have or heard his first recording (I believe
> it's his first recording - not sure)  I believe the album is called "Live at the Hillcrest" and may have been released under Paul Bley's name.  I've always
> wanted to hear this recording but I can never find it on vinyl and I'm not sure
> if it's been released on CD.

there are two records that i know of that predate the Contemporary LPs. One is called
Live At The Hillcrest 1958 and is credited to Paul Bley (on Inner City). The lineup is
Bley/ Coleman Cherry/ Haden Higgins. The second LP is called Coleman Classics (on
IAI) and has the same lineup. I think I remember seeing the same records with
different covers and possibly slightly different titles, but the same music.

--



[e-mail]

http://www.sfo.com/~shiurba

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

From: Jan-Wen Lu <[e-mail]>
Subject: Recent releases with Otomo Yoshihide
Date: 10 Dec 1996 19:55:38 +0800

I've been a die-hard fan of Otomo Yoshihide and would like to provide some
information about recent releases with him.

1.Techno Mit Storungen-Ein Project von Jon Rose (Plag Dich nicht 002)<CD>
  --A project of Jon Rose during the "Music Unlimited" Festival '95. With a
  lof of talented musicians. Otomo Yoshihide, Frank Schulte, Christian Mar-
  clay, Connie Bauer, Jon Rose, Phil Minton, Fred Frith, Marc Ribot, Chris
  Culter, Evan Parker and some other ones. A live recording of sample-based
  music. Very interesting indeed!!

2.Revolutionary Pekinese Opera Ver.1.50-Ground Zero (Gentle Giant gg701)<7">
  --A seven-inch record by Ground Zero. Side one is a studio version record-
  ed in March '95 and re-mixed in Fec '96. With current line-up. Side two is
  a live recording in '92. Featuring Yamantaka Eye and ex-members Hirose
  Junji and Kato Hideki. In a limited edition of 1000.

[e-mail]-Jon Rose et al (ReR JR4)<CD>
  --An upcoming CD on ReR. Live recording in Victoriaville in Canada. With
  Lauren Newton, Chris Culter, Joelle Leandre, Otomo Yoshihide, and Jon Rose
  . Will be available soon.

4.Twins-Bob Ostertag/Otomo Yoshihide (Creativeman Disc)<CD>
  --Collaboration of Bob Ostertag and Otomo. I still don't have any entry to
  get it. Does anyone have it?

5.Corpuscules En mouvement-par philippe Chatelain (?) <CD>
  --A 22-minute live performance of Otomo Yoshihide, Dragon Blue(a project
  of Tenko), Attwenger, Phil Minton, Tenko. Taken from MIMI '94 and Musique
  Action '95. Limited edition of 560 copies, numbered. I don't have this
  since it is available with PAL system not NTSC. Available through ReR.



--
Jan-Wen Lu  E-Mail address: [e-mail]

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

From: "ALAN E. KAYSER" <[e-mail]>
Subject: Re: masada kf shows
Date: 10 Dec 1996 07:12:30 -0500

jonathan kaye wrote:
>
> hard to believe that there have been six masada shows here in nyc since
> last friday and no one's given any details yet. i'm not the most qualified
> but what the hell.
>
> saw the early show sunday eve and it was as good a masada show as i've
> seen. evidently baron's been out sick the whole run so far (although i
> heard that he's due back) and michael serene (sp?) has been sitting in on
> drums (i heard one of the bartenders before the show saying that serene's
> been so good that baron should start worrying about his job if he didn't
> make it back soon). musically the substitution is hardly noticeable, serene
> does an amazing job on some incredibly difficult music, but baron is one of
> my favorite musicians to watch so i missed that. it was interesting
> watching zorn direct him sometimes, stopping him during one of douglas'
> solos and then pinching his fingers together about 3/4 of the way through
> signaling to serene to just add high-hat to douglas' solo.
>
> sorry i can't give you song titles but it was a standard mix of uptempo
> tunes with a couple of ballads thrown in. zorn seemed to be in a good mood,
> smiling at douglas after several of the songs.
>
> i wish i knew what the last song they did before the encore was. part way
> through cohen started a solo and was then joined by zorn, and together they
> moved away from the "ornette meets klezmer" of masada into a more
> traditional bebop type territory and then zorn took off into what may be
> the best solo i've ever seen him play, very emotional, very smooth and very
> traditional. i'd love to get a recording of it.
>
> sorry for the sketchy details, but you've still got three more nights to
> check it out for yourself.
>
> jon
Jon:
I believe your Michael Serene is Michael Sarin.  He's appeared on
various CDs, including the last Ned Rothenberg POWER LINES which also
features Dave Douglas and Erik Friedlander, all are on the new Myra
Melford, SAME RIVER TWICE, as well as the two Dave Douglas Soul Note
CDs, FIVE and PARALLEL WORLDS.  He is a terrific drummer, and I
recommend all of the above CDs to fans of Zorn. Anything with Douglas
and Friedlander is worth hearing.
Alan E. Kayser

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

From: "George Curran " <[e-mail]>
Subject: Re: masada kf shows
Date: 10 Dec 1996 06:38:29 -0800


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Knitting Factory regulars should recognize Michael Sarin from his work with
the Thomas Chapin Trio.  Michael's drum work astonished me when they played
Boston earlier this year.  Fans of Joey Baron definitely want to check him
out; moreover, I think any fan of adventurous jazz would find the Thomas
Chapin Trio most satisfying.

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jonathan kaye wrote:
>
> hard to believe that there have been six masada shows here in nyc since
> last friday and no one's given any details yet. i'm not the most qualified
> but what the hell.
>
> saw the early show sunday eve and it was as good a masada show as i've
> seen. evidently baron's been out sick the whole run so far (although i
> heard that he's due back) and michael serene (sp?) has been sitting in on
> drums (i heard one of the bartenders before the show saying that serene's
> been so good that baron should start worrying about his job if he didn't
> make it back soon). musically the substitution is hardly noticeable, serene
> does an amazing job on some incredibly difficult music, but baron is one of
> my favorite musicians to watch so i missed that. it was interesting
> watching zorn direct him sometimes, stopping him during one of douglas'
> solos and then pinching his fingers together about 3/4 of the way through
> signaling to serene to just add high-hat to douglas' solo.
>
> sorry i can't give you song titles but it was a standard mix of uptempo
> tunes with a couple of ballads thrown in. zorn seemed to be in a good mood,
> smiling at douglas after several of the songs.
>
> i wish i knew what the last song they did before the encore was. part way
> through cohen started a solo and was then joined by zorn, and together they
> moved away from the "ornette meets klezmer" of masada into a more
> traditional bebop type territory and then zorn took off into what may be
> the best solo i've ever seen him play, very emotional, very smooth and very
> traditional. i'd love to get a recording of it.
>
> sorry for the sketchy details, but you've still got three more nights to
> check it out for yourself.
>
> jon
Jon:
I believe your Michael Serene is Michael Sarin.  He's appeared on
various CDs, including the last Ned Rothenberg POWER LINES which also
features Dave Douglas and Erik Friedlander, all are on the new Myra
Melford, SAME RIVER TWICE, as well as the two Dave Douglas Soul Note
CDs, FIVE and PARALLEL WORLDS.  He is a terrific drummer, and I
recommend all of the above CDs to fans of Zorn. Anything with Douglas
and Friedlander is worth hearing.
Alan E. Kayser

--=_ORCL_27103745_0_11919612100740290--


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

From: [e-mail] (Keefe Murren)
Subject: Christian Marclay
Date: 10 Dec 1996 12:36:41 -0500

Hey guys,

        I'm wondering something that's probably been asked on numerous
ocasions so if someone wants to respond in person rather than creating a
new strain of discusion that's fine, or just point out the date for me of a
time when this wass discussed.
        I'm curious if anyone can tell me about Christian Marclay. I have,
aside from the zorn albums he's on, his 10" More Encores and David Moss
Dense Band as well as Manhattan Cascade and Confederacy of Dances.  What
I'm wondering is what other solo projects does Marclay have. I've heard of
a disc called Love Improvisations, but I can't find any information about
it. And what is he up to recently?
        I'm also wondering about his visual and performance art. Can anyone
point me toward/send me some articles about that?  I read a review once of
a show he put on that consisted of sort of collages made with record covers
(mostly assembling various body parts on record covers to form a single new
body). I think you get the jist of my line of questioning. I'm totally
fascinated by Marclay, but find information and albums scarce. Any info
would be appreciated.

I appologize if this has been discussed ad infinitum in the past.

thanks.

keefe.



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

From: dennis summers <[e-mail]>
Subject: Ornette
Date: 10 Dec 1996 13:02 WET

I have both the Paul Bley/ Ornette Coleman discs, and although they are each
1/2 or more Coleman compositions, I have to say that I don't listen to them
much.  Off the top of my head, I would think that they are ok, but if memory
serves they "lack fire." I could be wrong though.

To Jonathon Kaye. Thanx for the review.  I planned my last trip to NYC
poorly, and missed these shows by a week. I could kick myself.  As far as I
know in the last many years JZ has only come to the detroit area once, to do
Cobra (which I enjoyed), but I'd love to actually see him play.  So John, if
you ever read this yourself, what does it take to get you to come to Detroit?


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

From: silver whale <[e-mail]>
Subject: Re: Christian Marclay
Date: 10 Dec 1996 20:46:44 +0200 (GMT+0200)

On Tue, 10 Dec 1996, Keefe Murren wrote:

>         I'm also wondering about his visual and performance art.

I=ABve also heard about a number of this visual works, but can't remember=
=20
any articles, but here's one:

He did an installation what was covered in a finnish newspaper. It was=20
called 'Death Of Vinyl', if I remember correctly. It was a room with the=20
floor covered with fragile copies of rare blues, jazz, etc records=20
(propably copies with the labels reproduced, but who knows...) and the=20
audience WALKED on the records, slowly cracking these rare copies to=20
smaller and smaller pieces... I really liked this idea.

 teemu

-------------
e-mail: [e-mail]           "There was coffee. Life would go on."
Ruumen homepage:                      William Gibson:'The Winter Market'
http://www.siba.fi/~tkorpipa/ruumen.html


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

From: [e-mail] (Marc Kate)
Subject: Re: Christian Marclay
Date: 10 Dec 1996 12:03:07 -0800

>>snip<<
>        I'm also wondering about his visual and performance art. Can anyone
>point me toward/send me some articles about that?  I read a review once of
>a show he put on that consisted of sort of collages made with record covers
>(mostly assembling various body parts on record covers to form a single new
>body). I think you get the jist of my line of questioning. I'm totally
>fascinated by Marclay, but find information and albums scarce. Any info
>would be appreciated.

Check back issues of Artforum and Art in America.  They both seem to write
about him about once a year.  Check your local library in their art indexes
or go to your local art school for the same.

He is also carried by Paula Anglim Gallery in San Francisco...had a show
about a year ago.  Very playful.

My opinion:  As much as he was a pioneer in turntable and pop music art, he
has certainly stagnated.  It is certainly not his responsibility to
reinvent himself on a regular basis, but the only difference I can see in
his work over the years is greater technical proficiency, and being able to
do projects that require greater funding (100 turntables spinning at once).
Much respect to the man.



       Marc Kate
       [e-mail]
       www.slip.net/~insulin/
       POB 460102, San Francisco, CA. 94146-0102



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Christian Marclay
Date: 10 Dec 1996 12:11:15 -0800


On Tue, 10 Dec 1996 12:36:41 -0500  Keefe Murren wrote:
>
> Hey guys,
>
>         I'm wondering something that's probably been asked on numerous
> ocasions so if someone wants to respond in person rather than creating a
> new strain of discusion that's fine, or just point out the date for me of a
> time when this wass discussed.
>         I'm curious if anyone can tell me about Christian Marclay. I have,
> aside from the zorn albums he's on, his 10" More Encores and David Moss
> Dense Band as well as Manhattan Cascade and Confederacy of Dances.  What
> I'm wondering is what other solo projects does Marclay have. I've heard of

You can check his discography at:

http://www.nwu.edu/WNUR/jazz/artists/marclay.christian/

He has very few records under his name, and some of them are collector
and ultra-limited editions, such as:


006 - RECORD WITHOUT A COVER: Christian Marclay

    Recorded at Plugg, New York City, March 1985

    1985 - Recycled Records (LP)

  Note: the pressing plant went out of business after the first 2000 copies.


027 - RECORD WITHOUT GROOVES: Christian Marclay

  12" black vinyl grooveless record with gold label in black suede poche
  with gold lettering. Edition of 50, signed and numbered, Ecart Editions,
  Geneve/New York, 1987.

    1987 - Ecart Editions, ??? (LP)


039 - FOOTSTEPS: Christian Marclay

    Produced and recorded by Christian Marclay

    1990 - RecRec Music (Switzerland), RecRec 26 (single-sided LP)

  Note: taken for the record liner notes by Christian Marclay:

    "From June 4th through July 16th 1989 the floor of one of the Shedhalle
    galleries, Zurich, was covered with 3500 copies of a record titled FOOT-
    STEPS. During the six weeks of the installation, people were invited to
    walk on the records-willingly or not, they had to step on them to reach
    the adjacent galleries where other sculptures were exhibited. The one-
    sided record, containing the sopunds of footsteps, was recorded in Decem-
    ber 1988 in the deserted hallways of the Clocktower (N.Y.), and in the
    studios of Harmonic Ranch (N.Y.), where Keiko Uenishi's tap dancing was
    mixed in. During the gallery installation the work could be looked at,
    stepped on and walked through, but the recording was never heard, its
    content merely suggested by its title. Over the course of six weeks, more
    than 1500 visitors walked over the fragile floor, contributing to the
    final composition by altering the records' surface with dirt and scrat-
    ched. At the end of the exhibition, the records, which were attached to
    the floor with double-sided tape, were removed. The record enclosed in
    this package is one of them. When played, the footmark scratches and
    recorded footsteps blend in a final aleatory composition of rhythmic
    patterns, with as many variations as there are records. One thousand of
    these records have been made available, apart from a special edition of
    one hundred copies signed and numbered. Dedicated to the memory of Fred
    Astaire."


*** - SECRET: Christian Marclay

    ???? - ???, ?? (7" with padlock)

  Note: very limited edition -- five copies only!



> a disc called Love Improvisations, but I can't find any information about

I guess you mean:


049 - LIVE IMPROVISATIONS: Christian Marclay, Gunter Muller

    1/ Pinata
    2/ Dea Ex Machina
    3/ Pfiff                                                             2:58
    4/ Sunny-Side Up                                                     1:19
    5/ Sore Eros                                                         3:40
    6/ Je Ne Vous Oublierai Jamais                                       1:03
    7/ The Ransom Note                                                   1:42
    8/ Dreh-Moment                                                       2:10
    9/ Love Gasoline                                                     1:54
    10/ Vitalium                                                         1:44
    11/ A Rose Is A Rose Is A Rose ...                                   4:27
    12/ Rififi                                                           2:23
    13/ Arrivederci                                                      3:07

    (1,2,6,9,11) recorded at Festival Nouvelles Scenes, Dijon, France, October
    17, 1992
    (3,8) recorded at Mimi Festival Visionare Schweiz, Dusseldorf, Germany,
    June 26, 1992
    (4,5,7,10,12,13) recorded at Art 24'93, Basel, Switzerland, June 18, 1993

  Christian Marclay: turntables; Gunter Muller: drums, electronics.

    1994 - For 4 Ears (Switzerland), CD513 (CD)


A really crazy and great record, and fairly easy to find.

> it. And what is he up to recently?

There were rumors (never confirmed by any musician close to him) that he
had stopped music a couple years ago. Fortunately, it does not seem to be
the case because he has been quite active these past months.

>         I'm also wondering about his visual and performance art. Can anyone
> point me toward/send me some articles about that?  I read a review once of

The discography list few articles.

> a show he put on that consisted of sort of collages made with record covers
> (mostly assembling various body parts on record covers to form a single new
> body). I think you get the jist of my line of questioning. I'm totally
> fascinated by Marclay, but find information and albums scarce. Any info
> would be appreciated.
>
> I appologize if this has been discussed ad infinitum in the past.

Any post/mail about Marclay is never long enough :-).

I also love him and got really excited a couple weeks ago when somebody
mentioned the following upcoming release:


054 - WORKS 81-85: Christian Marclay

    1997 (?) - Touch & Go (USA), ??? (CD)

  Note: not released yet.


    Patrice.

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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Christian Marclay
Date: 10 Dec 1996 12:23:01 -0800


On Tue, 10 Dec 1996 20:46:44 +0200 (GMT+0200)  silver whale wrote:
>
> On Tue, 10 Dec 1996, Keefe Murren wrote:
>
> >         I'm also wondering about his visual and performance art.
>
> I=ABve also heard about a number of this visual works, but can't remember=
> =20
> any articles, but here's one:
>
> He did an installation what was covered in a finnish newspaper. It was=20
> called 'Death Of Vinyl', if I remember correctly. It was a room with the=20
> floor covered with fragile copies of rare blues, jazz, etc records=20
> (propably copies with the labels reproduced, but who knows...) and the=20
> audience WALKED on the records, slowly cracking these rare copies to=20
> smaller and smaller pieces... I really liked this idea.

Are you not thinking about FOOTSTEPS? for which Marclay said:

    "From June 4th through July 16th 1989 the floor of one of the Shedhalle
    galleries, Zurich, was covered with 3500 copies of a record titled FOOT-
    STEPS. During the six weeks of the installation, people were invited to
    walk on the records-willingly or not, they had to step on them to reach
    the adjacent galleries where other sculptures were exhibited. The one-
    sided record, containing the sopunds of footsteps, was recorded in Decem-
    ber 1988 in the deserted hallways of the Clocktower (N.Y.), and in the
    studios of Harmonic Ranch (N.Y.), where Keiko Uenishi's tap dancing was
    mixed in. During the gallery installation the work could be looked at,
    stepped on and walked through, but the recording was never heard, its
    content merely suggested by its title. Over the course of six weeks, more
    than 1500 visitors walked over the fragile floor, contributing to the
    final composition by altering the records' surface with dirt and scrat-
    ched. At the end of the exhibition, the records, which were attached to
    the floor with double-sided tape, were removed. The record enclosed in
    this package is one of them. When played, the footmark scratches and
    recorded footsteps blend in a final aleatory composition of rhythmic
    patterns, with as many variations as there are records. One thousand of
    these records have been made available, apart from a special edition of
    one hundred copies signed and numbered. Dedicated to the memory of Fred
    Astaire."


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

From: "J.Ross" <[e-mail]>
Date: 10 Dec 1996 14:29:54 -0600 (CST)

I know that this has been asked before, but I'm going to ask
again....I've been looking for Elegy and (I know i'm going to spell
this wrong) Kristal Nacht for a long time and I can't find them
anywhere....I know they are on Tzadik.  I live in a really backwards
town and most record stores have no idea who or what zorn is...Are
these cd credited to Zorn or one of his other bands?
Also if anyone can give me any reviews of these albums I would be
very greatful....
thanks
J-


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

From: Andrew Batson <[e-mail]>
Subject: Re: George Lewis & Voyager
Date: 10 Dec 1996 15:55:00 -0800 (PST)

Thanks, all, for the good info on the Voyager CD. I've been secretly
worshipping George Lewis since first hearing 'Homage to Charles Parker.'
News for Lulu is also really nice, but 'Homage' is the goods. Douglas
Ewart's bass clarinet playing on the first track is some of the finest
ever recorded (I play bass clarinet myself, if that means anything). The
way Lewis integrates electronic sounds into jazz I find really compelling
- I'm a little sceptical about computer-generated music, but if anyone can
pull it off, Lewis can.

Andrew



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

From: [e-mail]
Subject: Re: your mail
Date: 10 Dec 1996 16:56:49 -0800 (PST)

They have both been re-released, and are relatively available.  They are
both under zorn, although for kristalnacht, you may wand to search for
"JUDE", also.  Both are just incredible.  I like elegy a little more,
though.  The ultimate in DARK!  Sounds like s bondage session gone
horribly wrong.  Bottom line, get them.  Try to call larger places and
see about mail order.  Most Big record stores accept mailorder.  Pull out
the ol' yellow pages, and take a gander.
J
I've been looking for Elegy and Kristal Nacht for a long time and I can't find them
> anywhere....I know they are on Tzadik.  I live in a really backwards
> town and most record stores have no idea who or what zorn is...Are
> these cd credited to Zorn or one of his other bands?
> Also if anyone can give me any reviews of these albums


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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Ornette.
Date: 11 Dec 1996 01:25:02 -0500 (EST)



On Tue, 10 Dec 1996, john shiurba wrote:

> there are two records that i know of that predate the Contemporary LPs. One is called
> Live At The Hillcrest 1958 and is credited to Paul Bley (on Inner City). The lineup is
> Bley/ Coleman Cherry/ Haden Higgins. The second LP is called Coleman Classics (on
> IAI) and has the same lineup. I think I remember seeing the same records with
> different covers and possibly slightly different titles, but the same music.

I have a CD called _The Fabulous Paul Bley Quartet_ which I believe
duplicates _Live at the Hillcrest 1958_.  (It contains
performances of Coleman's "The Blessing" and "Free", as well as Parker's
"Klactoveesedstene" and Roy Eldridge's "I Remember Harlem".)  It's on a
label called Musidisc, which appears to be French.
     It's certainly not the most essential Coleman record, but if you
like the Contemporary records, you should pick it up.  As far as I'm
concerned, any Ornette performance is worth hearing, and how often do you
get to hear one of the two greatest alto players ever do a tune associated
with the other one?

Chris Hamilton
Dept. of Philosophy
University of Pittsburgh
Pittsburgh, PA
USA



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

From: "Patrice L. Roussel" <[e-mail]> (by way of Stephane
Subject: Re: Christian Marclay >Footsteps
Date: 11 Dec 1996 09:04:07 +0100

Hi Marclay collectors,

I just wanted to mention that I thought Footsteps was not sold out
(yet) and probably can be ordered directly from RecRec Switzerland
Try asking this email address:

[e-mail]

They also have a mailorder system:

http://www.music.ch/recrec/mail.html#mail

I'm not sure how this works outside europe but cuneiform/wayside is
listed as a distributor in the states.

Probably yesterday, Patrice wrote:

>He has very few records under his name, and some of them are collector
>and ultra-limited editions, such as:

(many extremely rare items deleted)

>039 - FOOTSTEPS: Christian Marclay
>    Produced and recorded by Christian Marclay
>    1990 - RecRec Music (Switzerland), RecRec 26 (single-sided LP)
>   "From June 4th through July 16th 1989 the floor of one of the Shedhalle
>   galleries, Zurich, was covered with 3500 copies of a record titled FOOT-
>   STEPS. During the six weeks of the installation, people were invited to
>   walk on the records-willingly or not, they had to step on them to reach
>   the adjacent galleries where other sculptures were exhibited.

and On Tue, 10 Dec 1996 20:46:44 +0200 (GMT+0200)  silver whale wrote:
>
> On Tue, 10 Dec 1996, Keefe Murren wrote:
> >         I'm also wondering about his visual and performance art.>
> I=ABve also heard about a number of this visual works, but can't remember=
> =20
> any articles, but here's one:
> He did an installation what was covered in a finnish newspaper. It was=20
> called 'Death Of Vinyl', if I remember correctly. It was a room with the=20
> floor covered with fragile copies of rare blues, jazz, etc records=20
> (propably copies with the labels reproduced, but who knows...) and the=20
> audience WALKED on the records, slowly cracking these rare copies to=20
> smaller and smaller pieces... I really liked this idea.
>> Are you not thinking about FOOTSTEPS? for which Marclay said:



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

From: [e-mail] (Will Connor)
Subject: Japan
Date: 11 Dec 1996 09:55:08 -0500

Come on!!!  There has got to be somebody that can tell me what great stuff
there is to do and buy while I am in Japan, Jonzin'  for some Zorn!!!

In case you missed it, here's what's up:  I am going to Japan soon and I
want to spend my money on shows and CD's and I want to track down fun
musicians and maybe even play with them if that is a possibility.  Does
anybody have info to help me in my quest?  Thanks.

Special thanks to Jeff Spirer, who has been the only person to acknowledge
my urgent question!


Best regards,
Willaim Klugh Connor III
International Sales Co=F6rdinator



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Christian Marclay
Date: 11 Dec 1996 15:21:18 -0800


On Tue, 10 Dec 1996 12:03:07 -0800  Marc Kate wrote:
>
> >>snip<<
> >        I'm also wondering about his visual and performance art. Can anyone
> >point me toward/send me some articles about that?  I read a review once of
> >a show he put on that consisted of sort of collages made with record covers
> >(mostly assembling various body parts on record covers to form a single new
> >body). I think you get the jist of my line of questioning. I'm totally
> >fascinated by Marclay, but find information and albums scarce. Any info
> >would be appreciated.
>
> Check back issues of Artforum and Art in America.  They both seem to write
> about him about once a year.  Check your local library in their art indexes
> or go to your local art school for the same.
>
> He is also carried by Paula Anglim Gallery in San Francisco...had a show
> about a year ago.  Very playful.
>
> My opinion:  As much as he was a pioneer in turntable and pop music art, he
> has certainly stagnated.  It is certainly not his responsibility to
    ^^^^^^^^^^^^^^^^^

You are talking like somebody who lives in the same city as Marclay and
can see him playing every week at the lounge club down to your loft.

Although I do not considered myself as a specialist of Marclay, I have been
following him quite a bit and do not see how you can make such a comment. The
man has barely recorded anything in the past 3-4 years, and, correct me if
I am wrong, he has played very little these past years until recently.

My question is: on what record/concert/collaboration do you base your
comment? I am not saying that you are wrong, but you definitely seem to
know a lot about Marclay and I am eager to know your sources.

> reinvent himself on a regular basis, but the only difference I can see in
> his work over the years is greater technical proficiency, and being able to
> do projects that require greater funding (100 turntables spinning at once).
> Much respect to the man.

    Patrice.

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

From: N Vassiliou <[e-mail]>
Subject: Re: Japan
Date: 11 Dec 1996 23:48:22 GMT



<Special thanks to Jeff Spirer, who has been the only person to acknowledge
<my urgent question!

not many people have been to Japan, mate....

Have a nice time

Nick V.





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

From: [e-mail]
Subject: prepared guitar.....
Date: 11 Dec 1996 00:02:54 PST

hello,

someone mentioned Zorn's First Recordings disc a while back...i think, or
maybe i'm seeing things....anyway, just though i'd contribute my opinion
to one of the tracks....
Wind Ko/La....Zorn on solo guitar. i think its one of the most amazing
guitar pieces i have ever heard....no joke. there are alot of
interesting things going on in this piece. the way he plays the guitar
percussivley, the little prepared stuff he does, or maybe its just a
slide, i get the feeling he weaves things in the strings at some point.
oh yeah, and this piece could have been played by an 8 year old, i still
think its great! :)
  being that it was recorded in 1973, it made me think....who was one of
the first guitarists to mess around with prepared guitar?  being a
guitarist myself, i'm always trying to use my guitar to make sounds that
are not common to the average electric, or acoustic guitar, without the
aide of electronics(which i use to sometimes)
on the same note...has anyone ever heard of a guitarist Janet Fedder? she
has an album out called Icymi(i think thats the way its spelled) i read
something about it in a CD review mag. and it sounds really interesting.
she plays acoustic guitar and does alot of prepared stuff on the
acoustic. anyone know anything about her? where i can get her disc?? its
on the Brainbox label....any help would be greatly appreciated....

later

Geoff


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

From: prospero <[e-mail]>
Subject: Re: prepared guitar.....
Date: 12 Dec 1996 11:03:44 -0500

The prepared guitar goes way back... For years people and composers have
been looking for different ways to approach their instruments, sometimes
making mechanical modifications. Probably the most inspiring (or at
least well-known) was John Cage's prepared piano, for which he wrote
several pieces. Also of influence to Zorn etc. I'm sure was Harry
Partch- who heard a forty-three (or was it forty-two) tone octave and
modified old home organs so they would play his new tuning system, as
well as building many unique instruments of his own. Of the guitar, I
couldn't rightly say who was the first, though I think Fred Frith might
have been doing it before JZ got the idea, and I'm sure there were
people before that in garages and basements doing all sorts of unsightly
things to their instruments (though how many became famous later is
another question entirely...). I suppose you could say Les Paul was the
first when he pulled the needle out of his record player and stuck it in
his guitar and voila! The electric guitar was born...

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

From: Torsten Nielsen <[e-mail]>
Subject: Derek Bailey
Date: 12 Dec 1996 18:14:29 +0100 (MET)

Who is the "special guest" playing with Derek Bailey at the Knitting
Factory tomorrow? Pat Metheny?



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

From: [e-mail] (Dave Trenkel)
Subject: Re: prepared guitar.....
Date: 12 Dec 1996 10:38:15 -0800

>The prepared guitar goes way back... For years people and composers have
>been looking for different ways to approach their instruments, sometimes
>making mechanical modifications. Probably the most inspiring (or at
>least well-known) was John Cage's prepared piano, for which he wrote
>several pieces. Also of influence to Zorn etc. I'm sure was Harry
>Partch- who heard a forty-three (or was it forty-two) tone octave and
>modified old home organs so they would play his new tuning system, as
>well as building many unique instruments of his own. Of the guitar, I
>couldn't rightly say who was the first, though I think Fred Frith might
>have been doing it before JZ got the idea, and I'm sure there were
>people before that in garages and basements doing all sorts of unsightly
>things to their instruments (though how many became famous later is
>another question entirely...). I suppose you could say Les Paul was the
>first when he pulled the needle out of his record player and stuck it in
>his guitar and voila! The electric guitar was born...

I may be wrong, but I think Keith Rowe of AMM was the first to record
prepared guitar, in the mid 1960's. He acknowledges Cage as an influence,
but I think he was the first to apply Cage's concepts to electric guitar.
Rowe probably inspired Frith, and most of the other prepared guitarists
since. He's still one of the major performers on the instrument as well.

________________________________________________________
Dave Trenkel, NEW EMAIL ADDRESS: [e-mail]
self promotional web-site: http://www.peak.org/~improv/
"A squid eating dough in a polyethelene bag is fast
and bulbous, got me?"
                                     -Captain Beefheart
________________________________________________________



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

From: [e-mail]
Subject: Re: prepared guitar.....
Date: 12 Dec 1996 10:55:24 -0800 (PST)

I'm just curious what prepared guitar, and prepared piano is.  I saw this
on the back of the Bar Kokhba double CD, but don't know what it is.  Can
someone shed some light?  Thanks.
J



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

From: Nick Roberts <[e-mail]>
Subject: Re: George Lewis
Date: 12 Dec 1996 14:50:00 -0800

When George Lewis did a performance of his new electronic music at the
Los Angeles Museum of Contemporary Art about two months ago, Kim
Gordon and Thurston Moore (of Sonic Youth) were sitting among the
blown-away members of the audience. Obviously George has followers
outside of the jazz maelstrom. I have some recordings he's done down
at UC San Diego, where he teaches composition and performance. Unfortunately
the quality is very bad.

Nick Roberts


At 03:55 PM 12/10/96 -0800, you wrote:
>Thanks, all, for the good info on the Voyager CD. I've been secretly
>worshipping George Lewis since first hearing 'Homage to Charles Parker.'
>News for Lulu is also really nice, but 'Homage' is the goods. Douglas
>Ewart's bass clarinet playing on the first track is some of the finest
>ever recorded (I play bass clarinet myself, if that means anything). The
>way Lewis integrates electronic sounds into jazz I find really compelling
>- I'm a little sceptical about computer-generated music, but if anyone can
>pull it off, Lewis can.
>
>Andrew
>
>
>
>

Ctrl-Z Media Group
795 42nd Avenue
San Francisco, CA 94121
[phone]
[e-mail]
http://www.ctrl-z.com

*******************************************************************

"But I don't want to go among mad people," Alice remarked.

"Oh, you can't help that," said the Cat. "We're all mad here."

********************************************************************


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

From: Matthew C Weiner <[e-mail]>
Subject: Re: George Lewis & Voyager
Date: 12 Dec 1996 19:05:17 -0500 (EST)

Concerning the "Voyager" program:
The "Voyager" CD is 4 tracks of Lewis and the computer,
4 tracks of Roscoe Mitchell and the computer, and 1 track
of Lewis and Mitchell. The Mitchell tracks are slightly
longer but I wouldn't say they form the bulk of the album.

On Evan Parker's "Phonomanie III--Synergetics," Voyager
appears on 5 tracks: w/Thebe Lipere on imbubu, w/Lipere
and Lewis (I believe this starts w/ Lipere on percussion
and Voyager, and then Voyager switches off and Lewis
starts playing), w/Motoharu Yoshizawa on bass, w/Lewis,
and w/Parker on sax. (This is a Company-like project,
with improvisors playing in different combinations.)

Matt


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

From: [e-mail]
Subject: Masada at the Knit....
Date: 12 Dec 1996 21:53:23 PST


hello all...

I saw Masad lastnight, minus Baron, at the Knitting Factory....was a
great show!! Its been over a year since i have seen Masada, and it was
so nice to get to hear them live once again!! The setting was great too,
they played on the floor of the main space....really made for a more
intimate show.

I'm going to check out the string trip tonight....that should be an
interesting combo to do these tunes,
the slower, dark tunes will sound great with that combo!! :)

On a totally different subject.....prepared guitar.
can anyone recommend some players to check out who do extensive
preparations to the guitar?? acoustic or elec.?
people other than the obvious.....like FF :)

i've been searching for a CD by Janet Fedder called Icymi(i think thats
how its spelled) i read a review on it in some CD mag and it sounds
really interesting...she plays prepared acuostic guitar on most of the
album....its on the Brainbox label(i'm 99% sure of that)....anyone know
of this release???

later

Geoff

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

From: [e-mail] (Chavez-Paul)
Subject: MCE & Bar Kokhba
Date: 12 Dec 1996 12:49:50 -0800

Hi out there,

Just picked up Masada Chamber Ensembles double disc set and fell in love
with it! I notice on the spine it has the number 8. Does this mean it's
Masada 8 or is there another series of discs that this goes with? Is this
part of the "Radical Jewish Culture" series?

Overall, I would highly recommend getting this collection. I wasn't sure
about what the guitar would sound like, but it fits in rather well
insofar as I don't readily notice it. The feeling I get on this release
is more of a coffee house atmosphere. Very relaxed but professional. The
outer info sheet (the thing that wraps around the edge and tells you a
little about the release) mentions that some of this material was
recorded for a film and I was expecting something like "Filmworks 2".
However, I can't tell what was recorded for the film and what was not...
this is a good thing mind you. The music is a great spin on the Masada
material.

I have Masada 1, 2, & 5. I only notice that the ensemble plays three
tracks (maybe four) off of these three releases. Does this mean that
either A) a lot of material on this disc is new or B) a lot of the
material is taken from other Masada releases. Perhaps all of Masada 4?

Another thing, does anyone know what these titles mean?

A final thing... is it just me or does anyone else feel that once you
have a couple of the Masada albums, you've pretty much heard them all?

(can't wait for the backlash on this one)

Hope someone comments.

Paul

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

From: Christopher Hamilton <[e-mail]>
Subject: Re: prepared guitar
Date: 13 Dec 1996 01:23:59 -0500 (EST)



On Thu, 12 Dec 1996 [e-mail] wrote:

> On a totally different subject.....prepared guitar.
> can anyone recommend some players to check out who do extensive
> preparations to the guitar?? acoustic or elec.?
> people other than the obvious.....like FF :)

You should certainly check out Hans Reichel's work on FMP if you're
interested in prepared and modified guitar.  I'm not familiar enough with
his work to make authoritative recommendations, but the record I have,
_Bonobo Beach_, is quite nice and even contains diagrams of the various
modifications used.

Chris


Chris Hamilton
Dept. of Philosophy
University of Pittsburgh
Pittsburgh, PA
USA



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: MCE & Bar Kokhba
Date: 13 Dec 1996 01:37:11 -0500 (EST)



On Thu, 12 Dec 1996, Chavez-Paul wrote:

> A final thing... is it just me or does anyone else feel that once you
> have a couple of the Masada albums, you've pretty much heard them all?

I had this reaction myself after the first three, but I've since come to
my senses.  Seriously, I think this is the partly the result of Zorn's
past tendency to make each record a radical departure from the past.  We
Zorn fans have been spoiled by not having to notice the relatively subtle
differences that generally discriminate between albums by the same artist.
I could imagine someone new to jazz asking the same question about Ornette
Coleman's Atlantic quartets, or the records of either of Miles Davis's
great quintets.  (Not that I think the Masada records are quite on the
level of those classics.)  I'm not saying that you need to own every
Masada record, but there are definite differences.  And, by the way,
_Gimel_, is, in my opinion, the best of the lot.

Chris


Chris Hamilton
Dept. of Philosophy
University of Pittsburgh
Pittsburgh, PA
USA



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

From: john shiurba <[e-mail]>
Subject: Re: Masada at the Knit....
Date: 12 Dec 1996 23:28:11 -0700

> On a totally different subject.....prepared guitar.
> can anyone recommend some players to check out who do extensive
> preparations to the guitar?? acoustic or elec.?
> people other than the obvious.....like FF :)

the most notorious prepared guitarist is Keith Rowe who plays with AMM.
He began doing this stuff in the mid sixties, so he's pretty much the
pioneer, as far as i know. nearly any AMM recording will give you an idea
of what he's capable of, except for "It was an ordinary day..." which
(unfortunately) he plays traditionally on. Especially recommended are the
recordings from the 80's and 90's where you can really hear what he's
doing--try "Newfoundland", "Generative Themes" or "Live in Allentown"
--



[e-mail]

http://www.sfo.com/~shiurba

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

From: David Newgarden <[e-mail]>
Subject: Is Hanukah over yet? (fwd)
Date: 13 Dec 1996 04:57:34 -0500 (EST)



Those gift ideas keep coming!
>
>What's freylach, builds muscle tone, and has people humming oy vey iz
>mir to the tune of "By Mir Bist Du Sheyn"? Shvitz! My Yiddishe Workout,
>that's what! This 30-minute exercise videotape, produced entirely in
>Yiddish (with English subtitles) is a follow-along routine that the
>viewer can do at home without special equipment.
>
>The half-hour workout sequence is a series of simple exercises for
>strengthening and toning muscles, all set to klezmer music and Yiddish
>songs. The music mix is an eclectic variety of styles, from an authentic
>turn-of-the century recording of Sidor Belarsky to Janice Rubin's
>Yiddish music with a down home Texas feel (not quite der alter heym, but
>a whole lot of fun). Work up a sweat with singer Rachel Bernard and the
>Klezamir klezmer orchestra's rendition of "The Miami Beach Rhumba", or
>The Casco Bay Tummlers doing a four-voice bluesy version of "Abi Gezunt"
>(as long as you've got your health!...). Michael Spudic and his klezmer
>accordion accompany exercises with some "original" selections like "My
>Yiddishe Workout" (better known as "My Yiddishe Mame"!).
>
>Shvitz! is the brainchild of several committed young Yiddishists from the
>Workmen's Circle Branch 105 in New York City. "I made this tape for
>Yiddishists like myself, there are quite a lot of us out there. If
>people think the idea is funny because it's in Yiddish, let it be funny.
>They can laugh their way to good health!" says producer Roland (Ruvn)
>Millman, himself a gym junkie.
>
>Stephen Dowling, manager of the Jewish Book Center of the Workmen's Circle
>admits that many of his customers purchase the tape as a gag gift. "Most
>people don't really think there's a serious exercise video inside," he says,
>pointing at the eye-catching purple and yellow video box. The title Shvitz!,
>in Yiddish and English, surrounds a well-toned man in a fedora and ear locks,
>pumping up with a dumbbell emblazoned with the Star of David.
>
>But serious exercise it is. The routine, designed by a professional workout
>trainer, starts with pre-exercise warm-up stretches and tips for novices.
>Three Yiddish actors, most notably veteran actress of the Yiddish stage
>Shifra Lerer, explain and demonstrate exercises for arms, legs, and abdomen.
>Ms. Lerer, a senior citizen, illustrates variations for beginners, including
>seated versions in lieu of the floor exercises. Advanced exercise buffs can
>follow Yekhiel Geller-Katz and Betty Silberman's demonstrations of the more
>strenuous workout.
>
>As an added bonus, a Yiddish-English terminology list is available for
>Yiddish workout queries. Bet you didn't know how to say push-up (arof-shtup),
>leg stretch (fus-oyftsi), or shoulder shrug (aksl-kvetsh) in Yiddish.
>
>Shvitz! My Yiddishe Workout, is the one and only exercise video in Yiddish.
>So, nu, why are you shlepping to the gym? Shvitz at home, in Yiddish!
>
>The video costs only $19.95. If ordering, add $5.00 for shipping and
>handling.
>
>For information, contact the Workmen's Circle Jewish Book Center, 45 Sholem
>Aleichem Place (East 33rd Street), New York NY 10016, [phone]/(800)
>922-2558 ext. 285. Fax: [phone]. E-mail: [e-mail]




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

From: [e-mail] (Will Connor)
Subject: Re: George Lewis
Date: 13 Dec 1996 10:00:11 -0500

Don't forget about his work with Hiener Goebbels on several large scale
theatrical oriental musical performances, most of which are released on
ECM.  I was recently in Germany and saw where Heiner G. was performing a
new play/composition and I was told that George Lewis was also involved.  I
will keep an eye out for something new from him and tell the group if it is
spotted!

I know George Lewis is on Der Man in Dem Fahrstuhl and there is a trombone
player on  Ou bien le D=E9barquement D=E9sastreux, but I do not know if it i=
s
George Lewis or not.  Both well worht checking out.



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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: prepared guitar.....
Date: 13 Dec 1996 12:09:08 -0500 (EST)

> I'm just curious what prepared guitar, and prepared piano is.  I saw this
> on the back of the Bar Kokhba double CD, but don't know what it is.  Can
> someone shed some light?  Thanks.

Eh?  Prepared instruments on Bar Kokhba?  Is this a different BK than the
one i'm listening to right now?

hmmmmm,
       jascha


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: MCE & Bar Kokhba
Date: 13 Dec 1996 12:25:42 -0500 (EST)

> I have Masada 1, 2, & 5. I only notice that the ensemble plays three
> tracks (maybe four) off of these three releases. Does this mean that
> either A) a lot of material on this disc is new or B) a lot of the
> material is taken from other Masada releases. Perhaps all of Masada 4?

Quite a few of them are new to me, and i have masadas 1,2,3,5,6.  JZ does
have a huge collection of songs for this project though...i doubt if all
of them will realize immortality on little spinning plastic discs, unless
DIW is planning to release many more than ten Masada albums.

>
> Another thing, does anyone know what these titles mean?
>

I remember a long time ago someone writing something about a list of
Masada translations.  I only have a few from some lead charts i got from
Geoff:
KANAH = a measuring rod
TIMNAH = octant (?? i can't read Zorn's handwriting very well)
ASHNAH = darkness
AI-BEL = mountain
TAHAH = confused
HEKHAL = the palace
ZEBDI = the gift
LEBAOTH = the liars ( i think...handwriting again)
SAHAR = the moon
NIMRAH = the leopard
TIRZAH = queen of the moon
ADITHAIM = ornaments
JAIR = god will illustrate
LACHISH = flames


> A final thing... is it just me or does anyone else feel that once you
> have a couple of the Masada albums, you've pretty much heard them all?

Blasphemer! :)  I love them all, and though they are all coming from the
same place musically i wouldn't say they're redundant.  There's a real
difference between 6 and any of the others: more free-jazzy, longer
songs, a bit less klezmery (although still very much Masada).

-jascha


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

From: "Allen Huotari" <[e-mail]>
Subject: Useful Quotations
Date: 13 Dec 1996 09:27:00 PST

     from my bro


______________________________ Forward Header __________________________________
Author:  [e-mail] at smtpgate


"When we remember we are all mad, the mysteries disappear and life stands
explained."
Mark Twain

"Television has brought back murder into the home--where it belongs."
Alfred Hitchcock

"Diplomacy is to do and say the nastiest thing in the nicest way."
Isaac Goldberg

"It is not a fragrant world."
Raymond Chandler

"Drawing on my fine command of the language, I said nothing."
Robert Benchley

"I personally think we developed language because of our deep need to complain."
Lily Tomlin

"Remember that as a teenager you are at the last stage in your life when you
will be happy to  hear that the phone is for you."
Fran Lebowitz

"History teaches us that men and nations behave wisely once they have exhausted
all other alternatives."
Abba Eban

"I am not young enough to know everything."
James M. Barrie

"Ye shall know the truth, and the truth shall make you mad."
Aldous  Huxley

"I believe in luck:  how else can you explain the success of those you dislike?"
Jean Cocteau

"Meetings are indispensable when you don't want to do  anything."
John  Kenneth  Galbraith

"I  hate  music,  especially  when  it's  played."
Jimmy Durante

"Most of the time I don't have much fun.  The rest of the time I don't have any
fun at all."
Woody  Allen

"One doesn't discover new lands without consenting to lose sight of the shore
for a very long time."
Andre Gide

"It is ironic that a nation that has never experienced a coup d'etat should be
so obsessed with the idea of conspiracy."
Gore Vidal

"Between two evils, I always pick the one I never tried before."
Mae West






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

From: [e-mail] (Keefe Murren)
Subject: Zorn @ KF Dec. 18
Date: 13 Dec 1996 13:59:02 -0500

Hey guys,

  Does anyone know what composition/group zorn is presenting on December 18
at the knitting factory?



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

From: "[e-mail]" <[e-mail]>
Subject: Buncha CDs
Date: 14 Dec 1996 12:53:50 -0600 (CST)


Just wondering if anyone has seen any of the fine CDs in this list on
American shores yet, or if distribution for Avant and DIW is still fucked
up:

Avant
-----
James Plotkin - The Joy Of Disease
Derek Bailey - Guitar, Drums N Bass
? - Plays The Music Of ? (sorry, slips my mind at the moment)

DIW
---
Masada - Seven
James "Blood" Ulmer - Music Speaks Louder Than Words
Ronald Shannon Jackson - Shannon's House (I think this is the title...)
David S. Ware Quartet - Gospelized

and the following two others:

David Shea/DJ Grazhoppa - Down River Up Stream (on Downsall Plastics)
President's Breakfast w/ Don Byron - Bar.B.Que Dali (on Disclexia)

Just hoping to to disc up a couple of these so that my wallet doesn't slap
the living shit out of me when all seven of the Avant/DIW discs becaome
available at the same time and I'm foolishly tempted to get them all :)

Out 2 Lunch With Lunchmeat,

Paul
[e-mail]
           -------------------------------------------------------------------
  GROOVE             O(+> (the artist formerly known as Prince) <+)O
----------            e - m - a - n - c - i - p - a - t - i - o - n
one nation            The Exodus Has Concluded - Welcome 2 The Dawn
           -------------------------------------------------------------------


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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Buncha CDs
Date: 14 Dec 1996 14:53:55 -0500 (EST)



On Sat, 14 Dec 1996, [e-mail] wrote:

> President's Breakfast w/ Don Byron - Bar.B.Que Dali (on Disclexia)

This one seems to be pretty widely available in the States.  I've got it,
I've seen other copies floating around, and it's been discussed by various
statesiders on r.m.b.

Chris

Chris Hamilton
Dept. of Philosophy
University of Pittsburgh
Pittsburgh, PA
USA


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Buncha CDs
Date: 14 Dec 1996 12:24:43 -0800


On Sat, 14 Dec 1996 12:53:50 -0600 (CST)  "[e-mail]" wrote:
>
> Just wondering if anyone has seen any of the fine CDs in this list on
> American shores yet, or if distribution for Avant and DIW is still fucked
> up:
>
> Avant
> -----
> James Plotkin - The Joy Of Disease
> Derek Bailey - Guitar, Drums N Bass
> ? - Plays The Music Of ? (sorry, slips my mind at the moment)
>
> DIW
> ---
> Masada - Seven
> James "Blood" Ulmer - Music Speaks Louder Than Words
> Ronald Shannon Jackson - Shannon's House (I think this is the title...)
> David S. Ware Quartet - Gospelized

Down Town Music Gallery has some of them (Bruce mentioned it a couple weeks
ago). Concerning distribution, Koch is still working on (Steve?).

> and the following two others:
>
> David Shea/DJ Grazhoppa - Down River Up Stream (on Downsall Plastics)

I saw that one listed in the Verge distribution catalog (with a new
Sub Rosa/Quantum duo) and was wondering about the label. Anybody has
their address? Is it a new label (seems to be)?

> President's Breakfast w/ Don Byron - Bar.B.Que Dali (on Disclexia)

Also curious about that one.

    Patrice.

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

From: [e-mail]
Subject: Re: Buncha CDs
Date: 15 Dec 1996 13:09:29 -0800


>> David Shea/DJ Grazhoppa - Down River Up Stream (on Downsall Plastics)

I've seen this one at a couple of stores in Berkeley in the last week.
(Mod Lang & Rasputin, if anyone is looking).  Can't give a review yet, but
I intend to pick it up soon.  Look for a greenish digipak with "David
Shea/DJ Grazhoppa" in large letters running across the center of the
sleeve.  For some reason I got it into my head that the label (or
manufacture) was Italian, but that's probably wrong.

Alexander



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

From: [e-mail]
Subject: Shea (Was: Re: Buncha CDs)
Date: 15 Dec 1996 18:12:57 -0500


In a message dated 12/15/96 4:17:26 PM, [e-mail] wrote:

>>> David Shea/DJ Grazhoppa - Down River Up Stream (on Downsall Plastics)

It's pretty great, actually. It's the two of them on samplers and human
beatbox and Grazhoppa on turntables. It sounds mostly improvisatory to me.
This wouldn't be a bad place to check out the current state of electronica.
Each Shea release I hear I like better than the one before.

Jon

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

From: [e-mail]
Subject: more Shea...
Date: 15 Dec 1996 18:16:23 -0500


In a message dated 12/15/96 4:17:26 PM, [e-mail] wrote:

>>> David Shea/DJ Grazhoppa - Down River Up Stream (on Downsall Plastics)


Oh, sorry. Here's contact info:

Downsall Plastics
Jaak Blockxstraat 15
2640 Mortsel
Belgium

32 (0)3 440 55 20
fax: [phone]

jon

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

From: [e-mail]
Subject: Re: Shea (Was: Re: Buncha CDs)
Date: 15 Dec 1996 18:30:17 -0800


>Each Shea release I hear I like better than the one before.

My sentiments exactly!  Who would have thought that he could have topped
Hsi-Yu Chi?  Tower of Mirrors plays even more often here than that former
disc.

So has anyone heard the two "limited edition" live discs on Sub Rosa
featuring David Shea / Robin Rimbaud (Scanner) / Richard Hampson (Main)?
Using the "limited edition" ploy is usually enough to keep me from buying
something (but I won't digress).  I did get the first of these (London May
1996) which features two 20+ minute pieces, one with Shea and Rimbaud, the
second with Shea and Hampson.  One the first piece Shea mostly recycles
materials from Hsi-Yu Chi, so I didn't think that was such a good value,
but I rather liked the second collaboration.  Not quite up to the level of
Shea's studio work though, I would say.  Other opinions?

Alexander



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

From: Tom Benton <[e-mail]>
Subject: Discog Info
Date: 15 Dec 1996 23:25:10 -0600 (CST)

In case this doesn't appear in the discography yet, the new record
'Klezmer Madness!' by the David Krakauer Trio (on Tzadik) contains a short
solo clarinet rendition of 'Rachab', a tune which I believe is on Masada
2.  This would fall in the 'Records containing music composed by Zorn'
catagory, correct?  Have a good holiday everyone, I'm off...

-Tom-


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

From: [e-mail]
Subject: NYC Record Stores
Date: 16 Dec 1996 09:54:57

I am going to be going to NYC next week
for Christmas. What are some good stores
there for avant, experimental, ambient
music?

E-mail: [e-mail]
Time: 9:54:57 AM

Buckethead was raised in the chicken
coop by chickens.


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

From: Julien Quint <[e-mail]>
Subject: Filmworks III
Date: 16 Dec 1996 15:46:07 +0100

I've seen some people wondering about Filmworks 3 and 4. I don't know anything
about FW IV, but I happen to own FW III. It was released in Europe by Evva,
but is still really hard to get. It contains 56 tracks, from 4 different
sources:

- Thieves Quartet features the Masada line-up playing "Ascenceur pour
l'Echafaud"-style cool jazz. Really mellow. It seems that this was recorded
before Masada was put together.

- Nine cues from "Tsunta", an animated series Zorn did music for. The original
soundtrack was released on the "Cynical Hystery Hour" CD in Japan, which seems
to be a real collector.

- Duets Zorn/Ribot for a taiwanese movie (I don't have the CD with me), kinda
mellow too.

- Lots of short pieces for commercials. Here is a real trivia: in the liner
notes, Zorn says that for legal reasons he cannot tell for which companies
those commercial were made... does anyone know?!

See Patrice's discography for more acurate information (track listing etc.) I
think it should be rereleased by Tzadik along with Filmworks 4 in 1997. I'd
recommend it, especially if you're into the 'gentler' side of Zorn.

Oh, I have a question: does anyone know who was the percussionist with Bar
KokHba in Paris, 11.31.96? (Zorn was wearing army pants and an orange
t-shirt...) Also can anyone tell me the degree of improvisation in their
playing? It seems that Zorn, who was only directing, was changing the
arrangement over the course of the songs. Sometimes it was working amazingly
well and resulted in great music.

Thanks everyone for comments, etc. Julien

      UniversitΘ Joseph Fourier, Grenoble I  [e-mail]
      Stagiaire, Rank Xerox Research Centre  [e-mail]
      Miksi ostaa huonoa musiikkiΣ, kun sita voi soittaa itsekin ?


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

From: Friedrich Feger <[e-mail]>
Subject: Useful Quotations Supplement
Date: 16 Dec 1996 16:41:15 +0100

hi everybody,

here's my personal favourite:

"Es ist mir egal, was ich esse, Hauptsache es ist jeden Tag das gleiche."
"I don't mind what I eat, the main thing is that it is the same every day."
Ludwig Wittgenstein




Fritz

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

From: silver whale <[e-mail]>
Subject: Re: Filmworks III
Date: 16 Dec 1996 17:55:38 +0200 (GMT+0200)

On Mon, 16 Dec 1996, Julien Quint wrote:

> - Lots of short pieces for commercials. Here is a real trivia: in the lin=
er=20
> notes, Zorn says that for legal reasons he cannot tell for which companie=
s=20
> those commercial were made... does anyone know?!

So he's had more trouble with commercials? Wasn't 'The Good, The Bad &=20
The Ugly' from FW 1 recorded for some tobacco commercial and withdrawn=20
after they submitted their version?

>       Universit=E9 Joseph Fourier, Grenoble I  [e-mail]
>       Stagiaire, Rank Xerox Research Centre  [e-mail]
>       Miksi ostaa huonoa musiikki=E4, kun sita voi soittaa itsekin ?
                           ^^^^^^^^

That should propably be 'musiikkia', if I may correct. Have you studied=20
nordic languages or do you have finnish friends? Just curious...

 teemu


-------------
e-mail: [e-mail]           "There was coffee. Life would go on."
Ruumen homepage:                      William Gibson:'The Winter Market'
http://www.siba.fi/~tkorpipa/ruumen.html


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

From: [e-mail] (Keefe Murren)
Subject: David Shea Shows?
Date: 16 Dec 1996 16:39:59 -0500

Hey,
    I guess I've got a couple things to ask/propose.

    There has been some discussion of David Shea lately so I thought I'd
jump in with a question I've had for a while.  What are some albums that
Shea plays on recently other than his own?  I agree that his music keeps
getting better and better. Studying this past week, Tower of Mirrors was an
absolute staple. I'm just curious if he plays on other people's albums and
whether their are any exceptional ones.

    Also kind of a side note. Does anyone know any upcoming shows of David
Shea's?  Where in nyc does he usually play? ANY INFO WOULD BE APPRECIATED.


Did anybody else notice that Bar Kokhba was rated one of the top 10 albums
you didn't hear by Spin magazine (The issue with Beck on the cover)?

Last thing. Does anyone else find the live arrangements of Bar Kokhba
better than those on the album?  I miss the piano in concert, but the
addition of percusion and (as always) joey baron is really nice. Feel free
to disagree

keefe.



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

From: "J.Ross" <[e-mail]>
Subject: filmworks
Date: 16 Dec 1996 19:20:41 -0600 (CST)

Can anyone give me a list of movies that Zorn worked on, and where I
might be able to find some of them....

J-


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

From: Jeff Spirer <[e-mail]>
Subject: Re: NYC Record Stores
Date: 17 Dec 1996 05:17:51 -0800

Downtown Music Gallery for avant/experimental.

You might post to the ambient list for ambient music
([e-mail]), I have occasionally mail-ordered hard-to-find stuff
from Strange, and there is supposed to be a good store across from the
downtown Tower (4th & Broadway).

At 09:54 AM 12/16/96, [e-mail] wrote:
>I am going to be going to NYC next week
>for Christmas. What are some good stores
>there for avant, experimental, ambient
>music?
>
>-------------------------------------
>E-mail: [e-mail]
>Date: 12/16/96
>Time: 9:54:57 AM
>
>Buckethead was raised in the chicken
>coop by chickens.
>-------------------------------------
>
>
>
Jeff Spirer
http://www.hyperreal.com/axiom/
Axiom Records/Material Communications


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: NYC Record Stores
Date: 17 Dec 1996 08:11:27 -0800


On Tue, 17 Dec 1996 05:17:51 -0800  Jeff Spirer wrote:
>
> Downtown Music Gallery for avant/experimental.
>
> You might post to the ambient list for ambient music
> ([e-mail]), I have occasionally mail-ordered hard-to-find stuff
> from Strange, and there is supposed to be a good store across from the
> downtown Tower (4th & Broadway).
>
> At 09:54 AM 12/16/96, [e-mail] wrote:
> >I am going to be going to NYC next week
> >for Christmas. What are some good stores
> >there for avant, experimental, ambient
> >music?
> >

For ambient, you should check first:


        Other Music
        15 E. 4th Street
        New York City, NY 10003
        Tel: [phone]


Also, have a look at:


        Kim's Video
        6 St. Mark's Pl.
        New York City, NY 10003
        Tel: [phone]     (video)
        Tel: [phone]     (music)


    Patrice.

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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: NYC Record Stores
Date: 17 Dec 1996 08:39:51 -0800


On Tue, 17 Dec 1996 08:11:27 -0800  "Patrice L. Roussel" wrote:
>
>
> On Tue, 17 Dec 1996 05:17:51 -0800  Jeff Spirer wrote:
> >
> > Downtown Music Gallery for avant/experimental.
> >
> > You might post to the ambient list for ambient music
> > ([e-mail]), I have occasionally mail-ordered hard-to-find stuff
> > from Strange, and there is supposed to be a good store across from the
> > downtown Tower (4th & Broadway).
> >
> > At 09:54 AM 12/16/96, [e-mail] wrote:
> > >I am going to be going to NYC next week
> > >for Christmas. What are some good stores
> > >there for avant, experimental, ambient
> > >music?
> > >
>
> For ambient, you should check first:
>
> ------------------------------------------------------------------------------
>
>         Other Music
>         15 E. 4th Street
>         New York City, NY 10003
>         Tel: [phone]
>
> ------------------------------------------------------------------------------
>
> Also, have a look at:
>
> ------------------------------------------------------------------------------
>
>         Kim's Video
>         6 St. Mark's Pl.
>         New York City, NY 10003
>         Tel: [phone]     (video)
>         Tel: [phone]     (music)
>
> ------------------------------------------------------------------------------

I should also add that both stores have amazing experimental sections. With
DMG, the three stores to check for unconventional music.

    Patrice.

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

From: "Mason Wendell" <[e-mail]>
Subject: William Hooker and Prelapse
Date: 17 Dec 1996 15:26:23 +0000

Friday! Friday! Friday!

Howdy Y'all,

Here's a little concert info for anyone out there who needs a little
Christmas soothing.

This coming Friday 12/20 the William Hooker Trio will be performing
at the Middle East Downstairs in Centrral Square, Cambridge, Mass.

Also on the bill is my group, Prelapse, and we'll be doing our usual
cany-coated gems that were such a hit at the last PTA meeting.

Tix are around $7, doors at 8 or 9

<a href="http://www.middleeast-restaurant.com/">The Middle East</a>

later
Mason

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

From: Mark Corroto <[e-mail]>
Subject: Bloodcount
Date: 17 Dec 1996 16:51:14 -0500

I just returned home (Ohio) from NYC
200 unread messages to read
and not one regarding Tim Berne's appearance
at the Knitting factory

Hmmmm, ponder this
While Zorn and Co. was upstairs, Bloodcount
played downstairs

and Wow, Berne, Speed, Black, & Formanek
were killer

Tim also sold his yet to be released 3 disc
live release "Bloodcount Unwound"
from his own label Screwgun Records


anybody out there also catch this great band?

Mark Corroto

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

From: [e-mail]
Subject: Re: Bloodcount
Date: 17 Dec 1996 17:31:19 -0500

<<anybody out there also catch this great band?>>

I saw the first set on Wednesday. Now, I like Tim Berne. I thought Diminutive
Mysteries was a great record and I always liked him in Hemphill ensembles.
But, what I've heard of Bloodcount so far (one of the first two Paris discs
and this set) has failed to move me. I understand he's got a unique style of
composing but for me, it just doesn't connect emotionally. The players are
all good, but the sum is less than the parts. The whole concept reminds me of
a Third Stream idea, filtered through Berne's sensibility.

I know there's hard-core Berne fans out there, and I'd love to hear their
descriptions of why they love this music. It just doesn't connect for me.

Jon

P.S. I caught a couple songs of the Masada set afterwards with Susie Ibarra,
and she seemed to be fitting in as well as anyone besides Joey could. Very
impressive. I'm looking forward to seeing David Ware's band with her in it
and hearing Godspelized if it ever makes it to the US.


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

From: slawlor <[e-mail]>
Subject: Re: Bloodcount
Date: 17 Dec 1996 22:41:32 -0500 (EST)

Who is bloodcount?  What kind of music is it?  The name implies maybe
dark heavy metal or something.  Is this a group that john zorn played
with at one time?  Thanks for the information.


scott K. Lawlor
3358 Prange Dr.
Cuyahoga Falls, OH. 44223
Phone, 330-922-4895
http://w3.gwis.com/~slawlor


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

From: [e-mail]
Subject: Zorn/Eye Performance
Date: 18 Dec 1996 08:11:51

I saw on the KF web page that Zorn and Eye did
a show on Friday, Dec. 15. Anyone go to this?
What was it like?
E-mail: [e-mail]
Time: 8:11:51 AM

Buckethead was raised in the chicken
coop by chickens.


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

From: Jan-Wen Lu <[e-mail]>
Subject: Z-Rock Hawaii CD
Date: 18 Dec 1996 21:48:58 +0800

Does anyone have the Ween/Boredoms collaboration CD "Z-Rock Hawaii"? I'm
very curious about it. Thanks!!
--
Jan-Wen Lu  E-Mail address: [e-mail]

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

From: [e-mail]
Subject: Re: Zorn/Eye Performance
Date: 18 Dec 1996 10:46:29 -0500

<<I saw on the KF web page that Zorn and Eye did
a show on Friday, Dec. 15. Anyone go to this?
What was it like?>>

I think this was a 1995 show, especially since Dec. 13 was a Friday this
year.

Jon

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

From: [e-mail] (Steve Smith)
Subject: Re: Bloodcount
Date: 18 Dec 1996 14:04:34 -0500

>Who is bloodcount?  What kind of music is it?  The name implies maybe
>dark heavy metal or something.  Is this a group that john zorn played
>with at one time?  Thanks for the information.

Far from it.  Bllodcount is Tim Berne's latest band, since 1994.  It
consists of Berne on alto and baritone saxes, Chris Speed on tenor sax and
clarinet, Mike Formanek on bass and Jim Black on drums.  In my humble
opinion one of the greatest bands in contemporary jazz... but I'm far from
objective.

Steve

Steve Smith
Public Relations Manager
Knitting Factory / Knitting Factory Works
74 Leonard St., New York, NY 10013 [phone] ext. 22
[e-mail]



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

From: Jason Caulfield Bivins <[e-mail]>
Subject: Re: zorn-list Digest V2 #42
Date: 18 Dec 1996 15:36:33 -0500 (EST)

My two cents' worth on Bloodcount. I find myself somewhere between the
underwhelmed and Steve Smith. While I count myself as a "hardcore" Berne
fan, I think the 3 Bloodcount discs released so far on jmt have been
patchy. The version of Hemphill's great suite "Reflections" is sublime,
but some of the stuff on "Memory Select" leaves me a bit cold.
Nonetheless, I agree with Steve that the band is a hot one - Berne, after
all, is always one to watch.  By the way, Steve - did you get a new job at
KFW or are you still with Koch (who distribute KFW)?
Jason Bivins

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

From: Bob Boster <[e-mail]>
Subject: Re: David Shea Shows?
Date: 18 Dec 1996 14:59:52 -0800 (PST)

On Mon, 16 Dec 1996, Keefe Murren wrote:

>     Also kind of a side note. Does anyone know any upcoming shows of David
> Shea's?  Where in nyc does he usually play? ANY INFO WOULD BE APPRECIATED.
>

I second the David Shea kudos thread and wonder if anyone has an email
address for him? I have something to mail off to him and can't seem to
find anyone who has it..

Bob


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

From: Matt Moffett <[e-mail]>
Subject: Locus Solus Question
Date: 18 Dec 1996 21:14:39 -0500 (EST)

I just picked up the Tzadik re-release of _Locus Solus_, and saw in the
liner notes someone named "Whiz Kid" for doing the turntable on the last 8
tracks (recorded sept 1983).  Is this a young David Shea, or is it someone
else entirely?  Just curious...


Matt


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

From: [e-mail]
Subject: Re: David Shea
Date: 18 Dec 1996 20:06:00 -0800


>I second the David Shea kudos thread and wonder if anyone has an email
>address for him? I have something to mail off to him and can't seem to
>find anyone who has it..

Well, not everyone has e-mail, or?
There's an address on the Tower of Mirrors disc where folks were invited to
write for info about sample sources, etc.  Send sase to:

151 First Ave. #21
NYC, NY 10003

Sorry if that isn't quite what you were after.

Alexander



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: David Shea Shows?
Date: 18 Dec 1996 20:35:18 -0800


On Wed, 18 Dec 1996 14:59:52 -0800 (PST)  Bob Boster wrote:
>
> On Mon, 16 Dec 1996, Keefe Murren wrote:
>
> >     Also kind of a side note. Does anyone know any upcoming shows of David
> > Shea's?  Where in nyc does he usually play? ANY INFO WOULD BE APPRECIATED.
> >
>
> I second the David Shea kudos thread and wonder if anyone has an email
> address for him? I have something to mail off to him and can't seem to
> find anyone who has it..

His address is given on one of his last record (TOWER...):

    151 First Ave. #21
    New York City, NY 10003

    Patrice.

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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Locus Solus Question
Date: 18 Dec 1996 20:44:21 -0800


On Wed, 18 Dec 1996 21:14:39 -0500 (EST)  Matt Moffett wrote:
>
> I just picked up the Tzadik re-release of _Locus Solus_, and saw in the
> liner notes someone named "Whiz Kid" for doing the turntable on the last 8
> tracks (recorded sept 1983).  Is this a young David Shea, or is it someone
> else entirely?  Just curious...

Somebody completely different. What a record! I like John's statement
about the potential of this music to become popular in a foreseable
future :-). Still fresh and new in 1996 (and for many more years, I
am sure).

    Patrice.

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

From: [e-mail]
Subject: Re: Z-Rock Hawaii CD
Date: 18 Dec 1996 23:56:05 -0500


In a message dated 12/18/96 10:18:11 AM, [e-mail] (Jan-Wen
Lu) wrote:

>Does anyone have the Ween/Boredoms collaboration CD "Z-Rock Hawaii"? I'm
>very curious about it. Thanks!!

Does this actually exist? I remember hearing talk about it a year or two ago
but it's certainly never made its way to NYC as far as I know.

Jon

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

From: [e-mail] (david m rothbaum)
Subject: jim o'rourke
Date: 19 Dec 1996 00:39:07 -0700

i have just purchased his terminal pharmacy and absoluty love it.  what i
was wondering is i have seen many other cds by him including the work which
he has done with illiusion of safty etc.  can anyone recomend some of his
other recordings?  what is his solo guitar work like ect?  any info would
be great.

david

p.s. another question:  does anyone know specifically what kelzmer music
zorn listens to/is inspired by?  meaning the more traditional stuff.



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

From: Jan-Wen Lu <[e-mail]>
Subject: Re: Z-Rock Hawaii CD
Date: 19 Dec 1996 17:14:59 +0800

[e-mail] wrote:
>
> In a message dated 12/18/96 10:18:11 AM, [e-mail] (Jan-Wen
> Lu) wrote:
>
> >Does anyone have the Ween/Boredoms collaboration CD "Z-Rock Hawaii"? I'm
> >very curious about it. Thanks!!
>
> Does this actually exist? I remember hearing talk about it a year or two ago
> but it's certainly never made its way to NYC as far as I know.
>
> Jon

Of course, it did exist. Released by Nipp Guitar Records, NIPP 12142.
Available from Japan Overseas, AB-CD, CDEurope, etc.
--
Jan-Wen Lu  E-Mail address: [e-mail]

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

From: "Patrice L. Roussel" <[e-mail]>
Subject: MACRO DUB INFECTION - VOLUME II
Date: 19 Dec 1996 07:50:50 -0800


    Does anybody know about:


*** - MACRO DUB INFECTION - VOLUME II: various artists

  This record features Maurizio, Bill Laswell, Rome, Rhys Chatham/Martin
  Wheeler, Pin, Him, Zulutronic, Magnet Plug, Mouse On Mars, Tao, Alec Empire,
  Shull, Eardrum, Porter Richs, The Disciples Meet The Rootsman, Gedulah vs
  Cheesecake, Andre Gurov Unit, Prince Paul, Jammin' Unit, Bio Muse, Third Eye
  #               '
  Foundation, Spectre, Ice vs Palace.

    ???? - Virgin (?), ??? (2xCD)


Rhys Chatham playing dub, I do not want to miss that :-).

Also, any info on MArtin Wheeler?

    Thanks,

    Patrice.

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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: Re: jim o'rourke
Date: 19 Dec 1996 12:12:11 -0500 (EST)

> i have just purchased his terminal pharmacy and absoluty love it.  what i
> was wondering is i have seen many other cds by him including the work which
> he has done with illiusion of safty etc.  can anyone recomend some of his
> other recordings?  what is his solo guitar work like ect?  any info would
> be great.

I have 'remove then need' on the Extreme label.  The man gets sounds out
of guitars that i never knew could come out of guitars...

It's a live recording with no effects (except for slight reverb) and no
overdubbing.  That makes it even more impressive, to me, since i know how
cool any old thing can sound if you puch it through a wall of effects
processors.

Yay for Jim.

-jascha

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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: MACRO DUB INFECTION - VOLUME II
Date: 19 Dec 1996 09:22:15 -0800 (PST)

On Thu, 19 Dec 1996, Patrice L. Roussel wrote:

> Rhys Chatham playing dub, I do not want to miss that :-).
>
> Also, any info on MArtin Wheeler?

there is an excellent two-part interview
with Chatham in the last two issues of
Dead Angel. he talks about his collab
with Martin as well as the track they did
for this double CD (curated by Kevin Martin).
i think the correct url is:

www.eden.com/zines/deadangel/deadangel.html

hasta. --dk

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


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

From: Brian/Sharon Beuchaw <[e-mail]>
Subject: Re: MACRO DUB INFECTION - VOLUME II
Date: 19 Dec 1996 12:54:20 -0600 (CST)

On Thu, 19 Dec 1996, Patrice L. Roussel wrote:

> ------------------------------------------------------------------------------
>
> Rhys Chatham playing dub, I do not want to miss that :-).

Um, I've got it, but haven't listened to it yet.  I don't think the music
is dub as we know it (see Macro Dub Infection, Vol. I).  It's more of the
post-rock (I know, it's overused)/weird mixing/unclassifiable style-type
stuff.  Once I listen, I'll post what I know.....

cya
brian



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

From: Jeff Spirer <[e-mail]>
Subject: Re: MACRO DUB INFECTION - VOLUME II
Date: 19 Dec 1996 11:33:40 -0800

At 07:50 AM 12/19/96 -0800, Patrice L. Roussel wrote:
>
>    Does anybody know about:
>
>------------------------------------------------------------------------------
>
>*** - MACRO DUB INFECTION - VOLUME II: various artists
>
>  This record features Maurizio, Bill Laswell, Rome, Rhys Chatham/Martin
>  Wheeler, Pin, Him, Zulutronic, Magnet Plug, Mouse On Mars, Tao, Alec Empire,
>  Shull, Eardrum, Porter Richs, The Disciples Meet The Rootsman, Gedulah vs
>  Cheesecake, Andre Gurov Unit, Prince Paul, Jammin' Unit, Bio Muse, Third Eye
>  #               '
>  Foundation, Spectre, Ice vs Palace.
>
>    ???? - Virgin (?), ??? (2xCD)
>
>------------------------------------------------------------------------------
>
>Rhys Chatham playing dub, I do not want to miss that :-).

It's my favorite track on this comp.  Classic (in the reggae sense) dub this
is not, nor is most of the other stuff (Bill's stuff being a major
exception) but it is fun.

Jeff Spirer
http://www.hyperreal.com/axiom/
Axiom Records/Material Communications


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

From: Howard Shih <[e-mail]>
Subject: Re: MACRO DUB INFECTION - VOLUME II
Date: 19 Dec 1996 14:30:34 -0500 (EST)

On Thu, 19 Dec 1996, Patrice L. Roussel wrote:

>     Does anybody know about:
>
> ------------------------------------------------------------------------------
>
> *** - MACRO DUB INFECTION - VOLUME II: various artists
> Rhys Chatham playing dub, I do not want to miss that :-).
>
> Also, any info on MArtin Wheeler?

Here's a review I wrote about Ben Neill's Tryptical cd and Chatham &
Wheeler's Neon ep for the last issue of Smug Magazine. The Chatham/Wheeler
track on Macro Dub II is excellent if not better than the material on
Neon. It's basically Chatham playing his distorted trumpet over a
slow dubscape with the occasional burst of jungle snares here and there.

Hope you like the review
-------
Ben Neill
Triptycal
Antilles

Rhys Chatham & Martin Wheeler
Neon
Ntone/Ninja Tune

    When Miles Davis started playing his trumpet through wah-
wah pedals in the mid 70s many jazz critics thought it was a
desperate attempt to mask Miles' declining trumpet skills and
further commercialize his music. What these close minded purists
failed to realize that Miles was simply using technology to alter his
sound in the same way that early trumpeters used whatever was
lying around (plungers, pitchers, hats, etc.) to distort the trumpet's
innately pure tone. While Dave Douglas and Wynton Marsalis
continue to prove that there's plenty of life in acoustic trumpet
playing, trumpeters like Ben Neill and Rhys Chatham are blending
electronics to continue explore the unknown waters that Miles began
charting some twenty odd years ago.
    Ben Neill's Triptycal  is an oceanic blend of jazz, ambient,
jungle, and world music that provides plenty of sunken treasures for
the listener to uncover. Neill creates his evocative soundscapes with
his muntantrumpet-- a unique instrument of his own design that
mixes  two trumpet bells (one with a mute) with an electronic/midi
output. On a song like the opening "Propeller" you can here Neill play
along with himself as electronic sounds mirror his muted trumpet
tones as a slow funk beat plays in the background. Before long the
funk groove transforms itself into soothing snare rolls that's be right
at home on any one of LTJ Bukem's ambient jungle tunes.  What
makes Triptycal such a remarkable album is the fluid nature of
Neill's music: a song like "Floataion Device" can envelope the listener
in a pleasant underwater environment that makes perfect chill out
music while at the same time providing enough sonic mystery and
detail to engage an active listener.
    Rhys Chatham and Martin Wheeler's Neon  ep is an incredible
collision of Tackhead style funk, Dark Magus  style molten trumpet
playing and the fourth world sounds of Jon Hassell & Brian Eno's
Possible Musics .  On "Charm", the highlight of the more
accessible/dancy A side, Chatham's ferocious trumpet playing is run
through a distortion pedal and sounds like it's summoning the ghost
of Sonny Sharrock to wreak havoc over a heavy funk landscape.
(Chatham's noize aesthetic should come as no surprise as he
originally composed skronk guitar orchestrations at the same time
Glenn Branca did back in the late 70s/early 80s.) The B side features
the introspective "Ramatek":  a subdued number mixing chilled out
wah-wah trumpet  with Indian tablas. (Think of "Black Satin" from On
The Corner  without the funk drumming.)

Ntone/Ninja Tune: P.O. Box 373, Westmount Station, Montreal,
Quebec, Canada  H3Z 2T5 OR email: [e-mail]

Howard Shih
[e-mail]
Cybrarian/Assistant Programmer
Meta 4 Digital Design
Phone: [phone] Ext. 242
FAX:   [phone]



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

From: dennis summers <[e-mail]>
Subject: Re: zorn-list Digest V2 #42
Date: 19 Dec 1996 16:09 WET

Hi, don't know if this will get to a human being or not, but I never
received V2#41. Is there something at my end I need to check out, or do
things get lost occassionally?


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

From: dennis summers <[e-mail]>
Subject: Misc comments
Date: 19 Dec 1996 16:33 WET

I agree with Keefe regarding Bar Kokhba -the live versions sound better to
me also - more "absorbing?" is that a good word?

Also regarding Berne and Bloodcount, I'm going to have to fall squarely in
the middle. I Very much like his older stuff, but feel that Bloodcount is a
little more "abstract" and harder to "get." However, he's supposed to come
to Ann Arbor in the spring and I wouldn't miss it for anything.

Finally, I've been listening a lot lately to "Rock/Paper/Scissors" by Scott
Johnson (which got slammed in a review somewhere), and I really like it.

Also, to somewhat veer from the noise/jazz thing, Peter Jeffries has a bunch
of new and rereleased discs out now.  For some time the only disc I had by
him was "Electricity" (which I listened to every day for a long time).
Jeffries is a New Zealand singer/multintrumentalist who sings dark songs
over noisy (but not "noise") feedbacky melodies. I think he's fantastic, and
would strongly recommend him to anyone.

--ds


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

From: [e-mail]
Subject: Re: Misc comments
Date: 19 Dec 1996 17:32:17 -0600



On Thu, 19 Dec 96, dennis summers <[e-mail]> wrote:
>I agree with Keefe regarding Bar Kokhba -the live versions sound better to
>me also - more "absorbing?" is that a good word?
>
>Also regarding Berne and Bloodcount, I'm going to have to fall squarely in
>the middle. I Very much like his older stuff, but feel that Bloodcount is a
>little more "abstract" and harder to "get." However, he's supposed to come
>to Ann Arbor in the spring and I wouldn't miss it for anything.
>
>
Listening to Bloodcount demands patience of the listener. Berne averages 2 cuts
per cd. There's a lot goin on here...not easy listening by any means but very
rewarding. Memory Select is the weakest of the bunch (IMO). Starts off real
slow..the 2nd cut is vicious ! The Bloodcount band emphasizes the interplay
between any 2 soloists at a given time. The finale is generally when they all
converge to the climax...Impossible linear riffs, mind boggling improvisation
and extremely intuitive. If I were to recommend a "beginners guide to Berne" I'd
start with his old Black Saint stuff than jump to Caos Totale "Pace
Yourself"..Of course "Diminutive Mysteries" is a classic. The guy (Berne) is
amazing..period ! A force of nature !!!!

Glenn

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

From: [e-mail] (David FENECH)
Subject: Ou bien le Debarquement Desastreux ....
Date: 20 Dec 1996 11:00:02 +0100

Hello all

Will Connor said about Georges Lewis :

 >
 > Don't forget about his work with Heiner Goebbels on several large scale
 > theatrical oriental musical performances, most of which are released on
 > ECM.  I was recently in Germany and saw where Heiner G. was performing a
 > new play/composition and I was told that George Lewis was also involved.  I
 > will keep an eye out for something new from him and tell the group if it is
 > spotted!
 >
 > I know George Lewis is on Der Man in Dem Fahrstuhl and there is a trombone
 > player on  Ou bien le Debarquement Desastreux, but I do not know if it is
 > George Lewis or not.  Both well worth checking out.

I saw "Ou bien le debarquement Desastreux" live in France (Theatre Les
Amandiers, la Courneuve). The guy who played the trombone was a French
musician called YVES ROBERT (yes, just like the film maker ...) . This
trombonist often plays at the "Instant Chavires" club (the french
Knitting Factory, I would say). He also appears on the ECM record of
that play I guess.

In this show, there was also Xavier Garcia on keaboards. He's a
composer from Lyon (France) who does some electroacoustic work. He's
also member of ARFI collective. You can find his records via MetamKine
distribution who is specialized in free impro and acousmatics.

There was a Daxophon player , but it was not Rene Lussier this time.
For those who do not know what is a "daxophon" : it is an instrument
invented by HANS REICHEL which consists in a piece of wood played with
a bow. The sound is changed using a block of wood to modulate the
length of the vibrating part. This is a nice instrument indeed.

bye.

=====================================
David FENECH, musician , one man band
(Please Send tapes and mail art to :)
2, rue Claude Debussy
38100 Grenoble - France
=====================================
E - Mail : [e-mail]
=====================================

PS : The new record from ROOF (Tom Cora , Phil Minton, Luc - from The
ex, Michael Waecther) is out. It is excellent !!!


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

From: hywel davies <[e-mail]>
Subject: bloodclot?
Date: 20 Dec 1996 12:49:35 -0800

if you prefer the earlier Berne stuff(i.e. when there were TUNES!) then
you should like the Andy Laster cds - Hydra (on sound aspects)and a
recent one on Songlines (Polyogue?), with Herb Robertson-tpt. (can't
remember the others at present,sorry!) also check out the wonderful New
and Used cd 'Souvenier' (knitting factory) with Douglas,Feldman,Driscoll
and Rainey - I don't like the later one 'consensus' so much...

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

From: [e-mail] (David FENECH)
Subject: Ou bien le Debarquement Desastreux ....
Date: 20 Dec 1996 13:56:35 +0100

Will Connor said about Georges Lewis :

 >
 > Don't forget about his work with Heiner Goebbels on several large scale
 > theatrical oriental musical performances, most of which are released on
 > ECM.  I was recently in Germany and saw where Heiner G. was performing a
 > new play/composition and I was told that George Lewis was also involved.  I
 > will keep an eye out for something new from him and tell the group if it is
 > spotted!
 >
 > I know George Lewis is on Der Man in Dem Fahrstuhl and there is a trombone
 > player on  Ou bien le Debarquement Desastreux, but I do not know if it is
 > George Lewis or not.  Both well worth checking out.

I saw "Ou bien le debarquement Desastreux" live in France (Theatre Les
Amandiers, la Courneuve). The guy who played the trombone was a French
musician called YVES ROBERT (yes, just like the film maker ...) . This
trombonist often plays at the "Instant Chavires" club (the french
Knitting Factory, I would say). He also appears on the ECM record of
that play I guess.

In this show, there was also Xavier Garcia on keaboards. He's a
composer from Lyon (France) who does some electroacoustic work. He's
also member of ARFI collective. You can find his records via MetamKine
distribution who is specialized in free impro and acousmatics.

There was a Daxophon player , but it was not Rene Lussier this time.
For those who do not know what is a "daxophon" : it is an instrument
invented by HANS REICHEL which consists in a piece of wood played with
a bow. The sound is changed using a block of wood to modulate the
length of the vibrating part. This is a nice instrument indeed.

bye.

=====================================
David FENECH, musician , one man band
(Please Send tapes and mail art to :)
2, rue Claude Debussy
38100 Grenoble - France
=====================================
E - Mail : [e-mail]
=====================================

PS : The new record from ROOF (Tom Cora , Phil Minton, Luc - from The
ex, Michael Waecther) is out. It is excellent !!!



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Ou bien le Debarquement Desastreux ....
Date: 20 Dec 1996 08:12:58 -0800


On Fri, 20 Dec 96 11:00:02 +0100  David FENECH wrote:
>
> PS : The new record from ROOF (Tom Cora , Phil Minton, Luc - from The
> ex, Michael Waecther) is out. It is excellent !!!

You mean THE UNTRACEABLE CIGAR?

    Patrice.

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

From: john shiurba <[e-mail]>
Subject: Re: jim o'rourke
Date: 19 Dec 1996 18:26:17 -0700

> > i have just purchased his terminal pharmacy and absoluty love it.  what i
> > was wondering is i have seen many other cds by him including the work which
> > he has done with illiusion of safty etc.  can anyone recomend some of his
> > other recordings?  what is his solo guitar work like ect?  any info would
> > be great.
>
> I have 'remove then need' on the Extreme label.  The man gets sounds out
> of guitars that i never knew could come out of guitars...
>
> It's a live recording with no effects (except for slight reverb) and no
> overdubbing.  That makes it even more impressive, to me, since i know how
> cool any old thing can sound if you puch it through a wall of effects
> processors.
>

I'd second the recommendation of this disc, although I've always wondered
if the claim of no effects was referring to post-production.

Other interesting O'Rourke CDs are:
Gastr del Sol- Crookt, Crackt, or Fly
Brise Glace- when in Vanitas (these are both kind of odd chamber music
meets rock stuff)
JO/Gunter Muller-Slow Motion
JO/Eddie Prevost-Third Straight Day Made Public (these are both open
improv records)
JO-Tamper (this is post classical-- kind of in the vein of Terminal
Phamacy)


--



[e-mail]

http://www.sfo.com/~shiurba


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

From: "Walter M. Young" <[e-mail]>
Subject: Bailey/Metheny
Date: 20 Dec 1996 17:57:07 -0500

I caught their show at the Knitting Factory last Saturday night and was =
quite impressed.  What they lacked in duration (only 60 min.) they made =
up for in intensity.  It was my first time seeing Bailey and I really =
enjoyed the raw, percussive sound of his playing.  The depth and =
textures he got out of the instrument was amazing.  My only complaint =
was the fact that a couple of occasions he got drowned out of the mix by =
pat's guitar. Metheny made up for a dismal performance I saw him play =
about four years ago after one of his sappy commercial releases.  You =
could tell that this was where he wanted to be.  When I first saw him =
play 17 years ago all he could do was smile.  Last night, he sounded =
best when grimacing.  For part of the show he had an acoustic guitar =
with four sets of strings, including drones like McLaughlin played with =
Shatki.  My wife commented that it reminded her of what one of Georges =
Braque's nightmares would look like.

Walter
[e-mail]


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

From: [e-mail] (David FENECH)
Subject: Disengage & Rules Of reduction
Date: 23 Dec 1996 11:21:57 +0100

Hello

David m rothbaum said :

 > i have just purchased his terminal pharmacy and absoluty love it.  what i
 > was wondering is i have seen many other cds by him including the work which
 > he has done with illiusion of safty etc.  can anyone recomend some of his
 > other recordings?  what is his solo guitar work like ect?  any info would
 > be great.

Yes, Terminal Pharmacy is a great CD. I would for my concern recommend
these two albums :

    * Disengage (Staalplaat) - Which is a double CD that realy uses
    the CD support (I mean the possibilities in term of dynamics
    and clearness of sound - if ever that means anything ...).
    There is a piece about "drowning" which is a drone indeed. It
    develops from little tiny sounds to enourmous instrumentations.
    This remains for me his masterpiece.

    * Rules Of Reduction (Metamkine) - This is a mini CD of 20
    minutes. It is a work about Jim's travel to Paris. It can be
    heard like a tribute to the French composer LUC FERRARI that
    Jim loves a lot. There is humour and lots of ideas in this
    little little small CD.

You can  also listen to Gastr Del Sol (J.O.R + David Grubbs) that
could be described as a visit in the world of Joseph Racaille, ZNR, The
Red Crayola and even Giascinto Scelsi ...

By the way, Jim appears at least on 3 new CDs that just came out this
month (comments taken from the Ajax e-mail catalogue) :


  OVAL            DISKONT                          LP+12" EP         THRILL JOCKEY

  vinyl version of the second oval album on thrill jockey contains a bonus 12"
  ep featuring remixes by jim o'rourke, mouse on mars, scanner and christian
  vogel.



  RED KRAYOLA     HAZEL                             CD               DRAG CITY

  "drawing on the collective minds that have participated in the '90s krayola
  throughout the last three years (david grubbs, jim o'rourke, john mcentire,
  tom watson, stephen prina, george hurley) and adding a new voice (mary lass
  stewart), hazel realizes the musical socialism that mayo thompson and his
  various red krayolai have historically hunted for since the mid-1960s.
  recalling the diversity of 1968's god bless the red krayola, hazel also
  brings to mind the pop music of kangaroo?, and of course the slinky rhythms
  of the most recent krayola excursion, amor and language."


  VARIOUS ARTISTS MONSTERS, ROBOTS AND BUG MEN      DBL CD           VIRGIN (UK)

  "a user's guide to the rock hinterland." contains songs
  from bardo pond, long fin killie, third eye foundation, hair & skin trading
  co., f=fcxa, run on, ui, bowery electric, BRISE GLACE, pram, magic hour,
  labradford, flying saucer attack, jessamine, YONA-KIT, windy & carl,
  sabalon glitz, stereolab, cul de sac, roy montgomery, u.s. maple and space
  needle. not sure if all this is previously released, but the names we
  recognize indicate that at least some of this has appeared elsewhere.


=====================================
David FENECH, musician , one man band
(Please Send tapes and mail art to :)
2, rue Claude Debussy
38100 Grenoble - France
=====================================
E - Mail : [e-mail]
=====================================


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

From: Pete Ashdown <[e-mail]>
Subject: testing
Date: 23 Dec 1996 12:53:12 -0700 (MST)


test to zorn-list #3

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

From: Pete Ashdown <[e-mail]>
Subject: testing #4
Date: 23 Dec 1996 12:58:39 -0700 (MST)


testing #4 to zorn-list

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

From: [e-mail] (m. rizzi)
Subject: list blocked for 3 days
Date: 23 Dec 1996 14:27:32 -0800 (PST)


    Hola!

    If you sent anything to the zorn-list between Dec 20th
    and today, it probably got lost. There was a problem
    with the list server during that time.

    Please resend any messages you sent to the zorn-list
    during that time frame.

    Apologies.

    mike rizzi
    zorn-list-owner


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

From: [e-mail] (Matsumoto Craig)
Subject: Re: Bloodcount
Date: 24 Dec 1996 14:53:05 -0500


i also caught the Bloodcount show at the Knit on opening night, and
thought it was great.  i was glad for the opportunity to see them,
as it doesn't look like they'll get out to California any time soon.

The show was all new material (new to me, anyway) -- titles like
"Yes Dear", "Theme From Snow White", "Screwgun".  Formanek was
in great form, especially during a solo of rapid-fire hammer-on
notes.  cool stuff!

The new CD is out, barely (Tim said it had been printed just the
day before, something like that).  He also carefully introduced
each song, telling us he needed to develop a personality to help
move merchandise.  :)

Regarding the appeal of the band .... what i like, aside from
the playing styles of the individual guys, is the structure of
the pieces -- quirky composed sections divided by long improv spaces
that manage to maintain the feeling of the overall piece.

It's that sense of expansive structure that first caught my ear on
the Paris albums. In particular, i'm thinking of the "The Brown Dog
Meets the Spaceman," which includes a Formanek bass attack, followed by
a squirrely odd-time composed bit, followed by a raucous Jim Black
solo.  That segment -- and its contrast with the more pensive,
drawn-out sections of the piece -- was what really got me
hooked on this band.

-- Craig Matsumoto
   [e-mail]



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

From: [e-mail] (Matsumoto Craig)
Subject: Elliott Sharp
Date: 24 Dec 1996 15:27:13 -0500


I also caught Elliott Sharp's performance the week Bloodcount was at
the Knit (this was a very productive trip).  He led an 11-piece Carbon
ensemble in a piece called Rheo-Umbra, (with a non-superposed tilde (~)
in place of the hyphen.)

I'm not as well versed in Sharp's music as I am with Bloodcount.
Oh, heck: I'm an E# novice and I'm still not sure if i like his
Fibonacci-intoned tuning (which uses notes C,G,A,Ab, if
i'm remembering right).  He seems like a nice guy, though, and
Rheo-Umbra had some really compelling segments to it.

The band was:  E#; Zeena Parkins and Anthony Coleman on synthesizers;
a bassist and drummer; two bass clarinets; and the Soldier String
Quartet.  E# played fretless guitar sound effects and the Slab,
and also conducted.  The sound was muddy -- the acoustics at Context
aren't so great.  At first I thought this was just me, but the
musicians mentioned it afterwards.

Elliott said he'd recorded the first performance of the piece, which
was back in April, on a 16-track.  He was happy with the recording but
hasn't done anything with it yet.

Um....that's about it.  Context, BTW, is on the lower east side, and
has a lot of New York atmosphere (at least for a west coaster).
You enter through this metal door that looks like the back entrance
to a warehouse, then down a claustrophobic hall and up a metal
staircase.  The space itself is on the 2nd or 3rd floor, and it's
small, with a hardwood floor and risered seats.  Looks more like a
dance studio than a music space.  Very cool -- definitely makes you
feel like you're in The City  :)

-- Craig Matsumoto
   [e-mail]


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

From: "Keefe J. Murren" <[e-mail]>
Subject: Zeena Parkins and A.Braxton
Date: 24 Dec 1996 18:46:03 -0500 (EST)

Just a quick question.

    Has anyone heard Mouth=Maul=Betrayer? What's it like?

Actually, I've got two questions:

  What are the bands Braxton's bringing to the Knitting Factory like?

Keefe.


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

From: [e-mail]
Subject: Re: Zeena Parkins and A.Braxton
Date: 24 Dec 1996 19:23:13 -0500


In a message dated 12/24/96 6:52:16 PM, [e-mail] (Keefe J.
Murren) wrote:

>What are the bands Braxton's bringing to the Knitting Factory like?

From the schedule I just picked up (and Braxton is known for changing
personnel at the last minute), it's two sets each night from the 8th through
the 12th. The first set every night is the quartet of Braxton-reeds, Kevin
O'Neil-guitar, Joe Fonda-bass, Kevin Norton-percussion. The second set is
different each night, ranging from a quintet to an octet, all with Braxton on
reeds, not piano, and all including the other three musicians from the
quartet.

Jon

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

From: [e-mail] (Will Connor)
Subject: Re: Zeena Parkins and A.Braxton
Date: 26 Dec 1996 09:34:11 -0500

When is this happening (the Anothony Braxton at the Knitting Factory
thing)?  I would like to try to come to New York and catch that one!!!
Thanks!



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

From: [e-mail]
Subject: Zorn oddities (aren't they all?)
Date: 26 Dec 1996 14:52:09 -0500

 Subj:    Zorn oddities...(aren't they all?)
CC:    Tag Yr It

Greetings,

I'm new here, so please bear with me. I have a couple of questions that
perhaps someone can help me with: First of all, what is the situation with
the difficulty in finding Masada 4 and Masada Live? I haven't located these,
but haven't tried very hard yet either, because there's (thankfully) so much
else to get.
Also, I just purchased Zorn/Bailey/Parker - Harras. Towards the end of my
copy of Evening Harras, there's about 10 minutes of dead air, followed by a
section of what seems to be Bailey solo. Is this normal? Are they supposed to
be like this?

Thanks for everyone's help - I really like it here, and hope to be a regular
contributor.
Happy Holidays, and I look forward to hearing from you soon.

Dale.


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

From: john shiurba <[e-mail]>
Subject: Re: Ruins query
Date: 26 Dec 1996 12:00:27 -0700

> zasca coska
> gold stone
> praha in spring
> onyx
> sac
> power shift
> shostak ombrich
> vexoprakta
> real jam
> misonta
> burning stone
> spazm cambilist
> negotiation
> grubandgo
> dapp
> live at 20000V October 20 1992*
>
> isn't this exactly what's on the
> Shimmy CD, minus the last track there?

this is indeed the same track listing as _my_ shimmydisc copy of Burning
Stone (minus the track noted).
--



[e-mail]

http://www.sfo.com/~shiurba

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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Zorn oddities (aren't they all?)
Date: 26 Dec 1996 12:36:19 -0800


On Thu, 26 Dec 1996 14:52:09 -0500  [e-mail] wrote:
>
> I'm new here, so please bear with me. I have a couple of questions that
> perhaps someone can help me with: First of all, what is the situation with
> the difficulty in finding Masada 4 and Masada Live? I haven't located these,
> but haven't tried very hard yet either, because there's (thankfully) so much
> else to get.


169 - DALET: Masada

    1/ Midbar                                 6:20
    2/ Mahlah                                 8:19
    3/ Zenan                                 3:57

    Recorded at RPM, NYC on February 20, 1994
    Produced by John Zorn and Kazunori Sugiyama

  John Zorn: alto; Dave Douglas: trumpet; Greg Cohen: bass; Joey Baron: drums.

    1995 - DIW (Japan), DIWS-3 (CD)

  Note: this record was never available for retail; it was given away by DIW
  in exchange of the proof of buying the three first Masada; the deadline for
  getting it was June 1995.


> Also, I just purchased Zorn/Bailey/Parker - Harras. Towards the end of my
> copy of Evening Harras, there's about 10 minutes of dead air, followed by a
> section of what seems to be Bailey solo. Is this normal? Are they supposed to
> be like this?


187 - HARRAS: Derek Bailey, John Zorn, William Parker

    1/ Morning Harras                            10:19
    2/ Noon Harras                             8:59
    3/ Evening Harras                            36:01

    Recorded by James McLean live at the Knitting Factory, New York City
    Produced by John Zorn and Derek Bailey

  Derek Bailey: guitar; John Zorn: alto; William Parker: bass.

    1995 - Avant (Japan), Avan 056 (CD)

  Note: the silence on the track #3 has the following explanation:
    "According to Derek Bailey, the abrupt cutoff was planned. Derek wanted
    to end it "on a high". The Bailey solo material appended after the silence
    was apparently Zorn's idea." (thanks to Peter Stubley/Lynn Rardin)


    Hope it helps,

    Patrice.

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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Zeena Parkins and A.Braxton
Date: 26 Dec 1996 12:50:45 -0800


On Tue, 24 Dec 1996 18:46:03 -0500 (EST)  "Keefe J. Murren" wrote:
>
> Just a quick question.
>
>     Has anyone heard Mouth=Maul=Betrayer? What's it like?

Not easy to describe. The music is fairly complex in the sense that it mixes
many genres.

The atmosphere of MAUL (the first of the two compositions) is ominous,
starting with a car crash and going high speed. But nothing lasts very long.
Quite a bit of sampling (Messiaen?, people talking, etc), serene sections with
strings, violent blasts of electric harp. A Zorn fan should be at home with
MAUL. Both compositions are inspired by Jewish gangsters. This is my favorite
Zeena'record. Hope that my lack of appropriate description will not prevent
people from getting it because it is an incredible and pretty wild record.

    Patrice.

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

From: john shiurba <[e-mail]>
Subject: Re: Zeena Parkins and A.Braxton
Date: 26 Dec 1996 15:53:52 -0700

> >
> > Just a quick question.
> >
> >       Has anyone heard Mouth=Maul=Betrayer? What's it like?
>
> Not easy to describe. The music is fairly complex in the sense that it mixes
> many genres.
>

is braxton on this?
--



[e-mail]

http://www.sfo.com/~shiurba

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

From: [e-mail] (Allan Horrocks)
Subject: Re: Ruins query
Date: 26 Dec 1996 22:26:19 -0800

>> zasca coska
>> gold stone
>> praha in spring
>> onyx
>> sac
>> power shift
>> shostak ombrich
>> vexoprakta
>> real jam
>> misonta
>> burning stone
>> spazm cambilist
>> negotiation
>> grubandgo
>> dapp
>> live at 20000V October 20 1992*
>>
>> isn't this exactly what's on the
>> Shimmy CD, minus the last track there?
>
>this is indeed the same track listing as _my_ shimmydisc copy of Burning
>Stone (minus the track noted).

Sorry to be redundant, but what's all this about?  For some reason I never
recieved the original "Ruins query" post...just curious...
Actually, very curious.  About the "live at 20000V October 20 1992",
specifically.  Or, let me guess, are you discussing the Magaibutsu version
of Burning Stone which has the bonus track from a 7" (the live one, I
presume)?

I have the Shimmy Disc cassette version of Burning Stone which has a bonus
track after Dapp, which consists of eleven songs from a Feb. 1987 live
show, if that has any bearing on whatever the query was.

So, could someone please fill me in on this discussion?  Thanks.


 :::::::::::::::::::::::::::::::::::::::::Allan Horrocks:::::::::::::::::::::
 ::::::   ::   :::        :::         :::::::[e-mail]:::::::::::::::::
 ::::::   ::   :::        :::         :::::::::::::::::::::::::::::::::::::::
 ::::::   ::   :::   ::   :::    ::::::::::::::::::::::::::::::::::::::::::::
 ::::::    H   :::   ::O  :::       E ::::"Zessenmorri cossin gissowii/::::::
 ::::::   ::   :::   ::   :::    ::::::::::::Mekkei mossa meccunna"::::::::::
 ::::::   ::   :::        :::         :::::::::::::::::::::::::--Ruins:::::::
 :::::::::::::::::magazine:::::::::::::::::::::::::::::::::::"Negotiation":::



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

From: Mark Corroto <[e-mail]>
Subject: Zorn 1985
Date: 26 Dec 1996 23:48:46 -0500

I have an LP in front of me by Rochester/ Veasley band
entitled "One Minute Of Love"
Gramavision 1985
Gerald veasley        bass/vocals
Cornell Rochester    drums
Willie Williams    sax
Uri Caine            Keyboards
Gene terramani    guitar
Blood Ulmer        Guitar (one song)
AND
John Zorn        Alto sax on "Give It To me"

since I have no working turntable, does anybody know
anthing about this release?

It looks very much like a pop/fusion disc

Mark Corroto

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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Zeena Parkins and A.Braxton
Date: 27 Dec 1996 09:05:53 -0800


On Thu, 26 Dec 1996 15:53:52 -0700  john shiurba wrote:
>
> > >
> > > Just a quick question.
> > >
> > >       Has anyone heard Mouth=Maul=Betrayer? What's it like?
> >
> > Not easy to describe. The music is fairly complex in the sense that it mixes
> > many genres.
> >
>
> is braxton on this?

No (if he was, you would have known it a long time ago :-),

    Patrice.

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

From: john shiurba <[e-mail]>
Subject: Re: Zorn 1985
Date: 27 Dec 1996 14:47:54 -0700

> I have an LP in front of me by Rochester/ Veasley band
> entitled "One Minute Of Love"
...
> since I have no working turntable, does anybody know
> anthing about this release?
>
> It looks very much like a pop/fusion disc

indeed, and a very sleazy pop fusion disc at that. if you want to hear every
single record that Zorn ever sneezed on then get it, if not pass it up.
--



[e-mail]

http://www.sfo.com/~shiurba

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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Zorn 1985
Date: 27 Dec 1996 15:25:34 -0800


On Fri, 27 Dec 1996 14:47:54 -0700  john shiurba wrote:
>
> > I have an LP in front of me by Rochester/ Veasley band
> > entitled "One Minute Of Love"
> ...
> > since I have no working turntable, does anybody know
> > anthing about this release?
> >
> > It looks very much like a pop/fusion disc
>
> indeed, and a very sleazy pop fusion disc at that. if you want to hear every
> single record that Zorn ever sneezed on then get it, if not pass it up.
            ^^^^^^^^^^^^^^^^^^^^^^^^

Even better, try:

015 - ATTITUDE: Lenny White
    1983 - Elektra, 9 60232-1 (LP)

Zorn plays duck calls on one track (My Turn To Love You) and did not even
want his name to appear on it (or did they forget to mention him :-). It is
basically a Material song, with Bill's trademarked monstruous bass sound.
I don't remember the rest of the record, but if my memory is correct
(which happens rarely), this was the best track on it (but a fairly
average for Bill and Co.).

    Patrice.

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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Ruins query
Date: 27 Dec 1996 23:37:49 -0800 (PST)

On Thu, 26 Dec 1996, Allan Horrocks wrote:

> Sorry to be redundant, but what's all this about?

that i am a masochist?

actually..i recently bought a copy of the
Magaibutsu re-issue of BURNING STONE
and discovered the extra live material,
which set off my original query.
and out of this, i have finally sat
down to compile what i think is a
fairly complete Ruins/Yoshida discography.
a good portion of it came from a posting
you had written which Patrice kindly
provided and i have added to. i've put
a copy at the bottom. beware, it's pretty
lengthy. i'll publish this on the web
shortly as well.

> Actually, very curious.  About the "live at 20000V October 20 1992",
> specifically.  Or, let me guess, are you discussing the Magaibutsu version
> of Burning Stone which has the bonus track from a 7"

yup!


> I have the Shimmy Disc cassette version of Burning Stone which has a bonus
> track after Dapp, which consists of eleven songs from a Feb. 1987 live
> show, if that has any bearing on whatever the query was.

!! can you please send me the info for
the discography?

thanks.

hasta.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.




                                R U I N S
                                ---------
                               discography



                        Edited and Compiled by:
                           <[e-mail]>








this is version 1.0.2
last modified: 27 December, 1996

thanks to (in no particular order):

Peter Conheim <[e-mail]>
Patrice Roussel <[e-mail]>
Allan Horrocks <[e-mail]>
Mason Jones <[e-mail]>
Chris Ullsperger <[e-mail]>


please send all edits and/or corrections to the above address.

.........................................................................

RUINS contact:

MAGAIBUTSU LIMITED
Daiichi-Hibariso 7, 3-35-31 Koenji-kita
Suginami-ku, Tokyo, 106 JAPAN

.........................................................................

releases


1986    RUINS (7" EP)
        Trans Records: ?
        ---------------------------------------
         body & soul
         crisis
         cathastrophe
         epigonen
         out burn


        NOTES:

.........................................................................

1987    RUINS II (12")
        Trans Records: TRANS 22
        ---------------------------------------
        SIDE A
         human being
         entropy
         makarom iyaike
         pagoda
         patiently

        SIDE B
         love
         europe
         birth control
         essential logic
         infinity


        NOTES:
        produced by RUINS.
        vocal, drums, 12 string guitar on track A 1: Tatsuya Yoshida
        4 and 5 string bass guitar: Hideki Kawamoto
        8 track recordings, except track 6 recorded by walkman.
        recorded at TELECOM studio in spring, 1987.
    cover by Tatsuya Yoshida. front cover photo by Naomi Kawakami.

.........................................................................

1987    FIRST GIG (CS)
    Magaibutsu: ?
        ---------------------------------------
         love
         slash
         outburn
         entropy
         body & soul
         macrom iyaike
         birth control
         embryo
         universe
         camvodia


        NOTES:
    recorded live at Shinjuku Loft 25 Feb, 1986.

.........................................................................

1988    JAPAN TOUR (Video)
    Magaibutsu: ?
        ---------------------------------------
     ?


    NOTES:
    rare performances of early songs with the first bassist,
    Kawamoto. includes two shows and footage of stone shrines.

.........................................................................

1988    INFECT (EP)
    Trans Records: ?
        ---------------------------------------
     government
     hallelujah!
     grudge
     masacari
     komorebi
     b.u.g.
     fragment
     ripples
     divided
     octopus
     dadaism
     infect


        NOTES:

.........................................................................

1990    STONEHENGE (LP/CD)
        Shimmy Disc: SDE 9025 LP/CD
        ---------------------------------------
         big head
         iron lady
         cathechism
         kibbutz
         fallout *
         plexus
         october
         hexagon
         anaclasis
         holebones *
         hail
         stonehenge
         thebes
         flagment
         b.u.g.
         ripples *
         mascari *
         devided *
         octopus *
         dadism *
         infect


        NOTES:
        drums, vocal: Tatsuya Yoshida
        bass, vocal, violin on tracks 16 and 21: Kazuyoshi Kimoto
        produced by RUINS. recorded at AFTERBEAT, Tokyo.
        tracks 1 - 13 recorded 1989. tracks 14 - 21 recorded 1988.
        cover design and photograph by Tatsuya Yoshida.
        the original cd version of this includes bonus (*) tracks. the
        recently rereleased Shimmy CD has only the original LP tracks,
        elimnating the extra tracks.

.........................................................................

1991    EARLY WORKS: LIVE & UNRELEASED TRACKS (CD)
        Bloody Butterfly: ZIKSBB-004
        ---------------------------------------
         love
         slash
         outburn
         entropy
         body & soul
         macrom iyaike
         birth control
         embryo
         universe
         camvodia
         firmer
         radix
         amalgam
         swing
         baristo
         scant
         tropic
         blot
         grand canyon
         time is money
         tornado
         collapse
         sycophant
         morphine
         dry lungs
         takasago
         shalom


        NOTES:
        distributed by Bloody Butterfly label. produced by RUINS.
        all music composed by Tatsuya Yoshida 1985 - 1988.
        tracks 1 - 10 from FIRST GIG (CS) at Shinjuku Loft 25 Feb, 1986.
        tracks 11 - 27 previously unreleased tracks from early works.
        drums, voices, bass on tracks 13, 18: Tatsuya Yoshida
        bass on tracks 1, 13, 16: Hideki Kawamoto
        bass on tracks 2 - 12, 14 - 18: Kazuyoshi Kimoto
        saxophone on tracks 10, 14, 16: John Zorn

.........................................................................

1991    TIEN 'A' MENT LIVE SERIES (CS)
    ?: ?
        ---------------------------------------
     ?


        NOTES:
    live recording from 23 December, 1990.

.........................................................................

1992    BURNING STONE (LP/CD)
    Shimmy Disc: ?
        ---------------------------------------
     zasca coska
     cold stone
     praha in spring
     onyx
     sac
     power shift
     shostak ombrich
     vexoprakta
     real jam
     misonta
     burning stone
     spazm cambilist
     negotiation
     grubandgo
     dapp


        NOTES:
        Masuda's debut.

.........................................................................

1992    RUINS (7")
    Public Bath: PB-10
        ---------------------------------------
    SIDE A:
     essential logic
     acid blue

    SIDE B:
     ?


        NOTES:
        liner notes by David Hopkins.

.........................................................................

1993    0'33" (7")
        HG Fact/Public Bath: HG-003/PB-16
        ---------------------------------------
    SIDE A
     redhark
     knaftt!!
     burning stone
     orta makhur
     sac

    SIDE B
     plexus
     0'33"
     fragment
     zurna taksim
     dhaskrive


        NOTES:
    recorded live at 20000V on 20 Sep, 1992. liner notes include
    the musical notation for all the songs.

.........................................................................

1993    LIVE IN WEST COAST '93 (Video)
    SSE Communications: SSE 4022 VT
        ---------------------------------------
     ?


        NOTES:
    live in California. includes some performances by the
    Tairikuotoko Special Unit - Hal Sato on guitar, Yoshida on
    bass and Masuda on drums! Masuda is/was not in the regular
    version of Tairikuotoko vs. Sanmyakuonna though.

.........................................................................

1993    II & 19 NUMBERS (CD)
        SSE Communications: SSE 8010 CD
        ---------------------------------------
         human being
         entropy
         macrom iyaike
         pagoda
         patiently
         love
         europe
         birth control
         essential logic
         infinity
         ideorogy
         sancturary
         body & soul
         crisis
         cathastrophe
         epigonen
         nocturne
         out burn
         entropy
         body & soul
         entrpy
         pagoda
         macrom iyaike
         amalgam
         blancidiot
         love (1st version)
         birth control
         heavy water


        NOTES:
        Reissue of the Trans 12", rehersal recordings, as well as
    the first self-titled RUINS 7" EP.
        drums, vocal: Tatsuya Yoshida. bass: Hideki Kawamoto
        all songs composed by Yoshida for Magaibutsu, Ltd.
        tracks 1 - 10 recorded for RUINS II at TELECOM by 8 track
        system in 1987, except track 6 by 2 track cassette
        recording & track 7 by walkman.
        tracks 13 - 18 recorded for RUINS at TELECOM in 1986.
        tracks 11 & 12 recorded for NG at TELECOM in 1986, new
        vocal track recording & remixed in 1992.
        tracks 19 - 29 are unreleased tracks, recorded by 2 track
        line system (studio rehearsal) in 1986.

.........................................................................

1993    INFECT (CD)
    SSE Communications: SSE 8018 CD
        ---------------------------------------
     government
     hallelujah!
     grudge
     masacari
     komorebi
     b.u.g.
     fragment
     ripples
     divided
     octopus
     dadaism
     infect
     government
     hallelujah!
     grudge
     masacari
     komorebi
     b.u.g.
     fragment
     ripples
     divided
     octopus
     dadaism
     infect


        NOTES:
    bass, violin: Kazuyoshi Kimoto
        drums, percussion, vocal: Tatsuya Yoshida
        tracks 1 - 12 recorded in 1988. originally released by
        Trans Records on the original INFECT EP.
        tracks 13 - 24 remixed in 1990 and 1993.

.........................................................................

1993    GRAVIYAUNOSCH (CD)
    Nipp Guitar: NG-D 03
        ---------------------------------------
     graviyaunosch
     sanctuary
     redhark
     thrived
     camvodia
     knaftt!!
     acid blue *
     big head *
     b.u.g. *


    NOTES:
    drums & vocals: Tatsuya Yoshida
    bass & vocals: Ryuichi Masuda
    produced by RUINS and Steve Albini.
    tracks 1 - 6 engineered by Steve Albini.
    tracks 7 - 9 (*) recorded live at Junkbox Niigata.
    track 7 from RUINS 7" released by Public Bath.
    cover photo by Taishi Hirokawa.

.........................................................................

1993    RUINS/DAWSON (split 7")
    HG Fact: HG ?
        ---------------------------------------
     ?


        NOTES:

.........................................................................

199?    ? (CS)
    FMN Sound Factory: ?
    ---------------------------------------
     ?


        NOTES:
    live recording?

.........................................................................

199?    BEST OF RUINS (CS)
    Bio-tape Organization: ?
        ---------------------------------------
     ?


        NOTES:
    compilation tape on an Italian tape label.

.........................................................................

1994    RUINS/SCHLONG (split 7")
    HG Fact: ?
        ---------------------------------------
     ?


        NOTES:

.........................................................................

1995    HYDEROMASTGRONINGEM (CD)
    Tzadik: TZ 7202
        ---------------------------------------
     hyderomastgroningem
     brixonvarromiks
     0'33"
     economic mond possa
     pig brag crak
     prrifth
     pontemcorary music #1
     zurna taksim
     comme a la radio
     gravestone
     memories of zworrisdeh
     skyscraper
     dolnnen vlast
     stone eater
     pontemcorary music #2
     del fanci kant
     bonze from hell
     speed ball
     ordinary people in idaho
     bliezzanning moltz


    NOTES:
    drums, percussion, vocal: Tatsuya Yoshida
    bass, vocal, radio on track 9: Ryuichi Masuda
    produced by RUINS. dedicated to John Cage.
    includes a new version of the Cage scribble-scored tribute to
    0'33" song. although not noted, this is the first Ruins album
    with songs not entirely composed by Yoshida, as Masuda wrote
    "Ordinary People In Idaho", and some other pieces are
    collaborations.

.........................................................................

1995    STONEHENGE (CD)
    Magaibutsu: MGC-01
        ---------------------------------------
     stonehenge
     iron lady
     hexagon
     october
     fall out
     kibbutz
     plexus
     hail
     catechism
     holebones
     anaclasis
     thebes
     big head
     live at romangekijyo 23 Jul, 1989 *


    NOTES:
    drums, vocal: Tatsuya Yoshida
    bass, vocal: Kazuyoshi Kimoto
    tracks 1 - 13 recorded at Afterbeat, Tokyo, August 1989.
    reissued on Yoshida's label with the graphics the way he wanted
    them. includes bonus (*) track with live material taken from
    either the Public Bath or HG Fact 7" records.

.........................................................................

1995    BURNING STONE (CD)
    Magaibutsu: MGC-03
        ---------------------------------------
     zasca coska
     cold stone
     praha in spring
     onyx
     sac
     power shift
     shostak ombrich
     vexoprakta
     real jam
     misonta
     burning stone
     spazm cambilist
     negotiation
     grubandgo
     dapp
     live at 20000, 20 Oct, 1992 *


        NOTES:
        drums, vocals, percussion: Tatsuya Yoshida
        steinberger 5 string bass: Ryuichi Masuda
        produced by RUINS.
        Masuda's debut. reissued on Yoshida's label with the graphics
        the way he wanted them. includes bonus (*) track with live
        material taken from either the Public Bath or HG Fact 7"
        records.

.........................................................................

tracks on compilations


1990    ABSOLUT CD #2: The Japanese Perspective (CD)
    EAR Magazine
    track: "stonehenge"

1990    CONSTRUCTIVE MUSIC 1990 (CD)
    U.P.D. Organization: UPD 004
    track: "kickback"

1992    DEAD TECH 3 (CD)
    Charnel Music: CHCD 4
    track: "dharskrive"

1994    BAD SUN RISING (CD)
    Nipp Guitar: NG-D05152
    track: "knaftt!!"

1994    BAD SUN RISING II (CD)
    Nipp Guitar: NG-D06152
    track: "redhark"

1995    THE MIRACLE OF LEVITATION (CD)
    Gentle Giant Records: GGCD001
    track: "still life"

.........................................................................

collaborations


1994    RUINS + KAZUTOKI UMEZU (CS)
    FMN Sound Factory: ?
        ---------------------------------------
     ?


        NOTES:
    live recording with saxophonist, Umezu improvising along.

..........................................................................

1994    RUINS-HATOBA (CD)
    Charnel Music: CHCD 12
        ---------------------------------------
     gom devil
     paul maccartney
     drums, guitar, bass & young (D.G.B&Y)
     cd killers
     macrocosmic microcassette
     nightingale
     sticky stew
     furoshiki
     dada panda
     q.t.q. or k.p.k.
     midnight hi way!! and aliens "gagao"
     razor clam - peace -
     japanonon
     mediterranean pukoo
     rahrool dskiesielles
     ping poing show
     fooders
     we are all frozen stiff
     olympic with peter gabriel
     human life
     coro bokool
     united states of stink bug
     wawang
     momong
     geeg geeg geeg
     rock + 1 (challenge your face)


    NOTES:
    drums, vocal: Chu Hasegawa
    bass, guitar, vocal: Ryuichi Masuda
    bass, vocal: Atsushin Tsuyama
    guitar, casiotone, vocal: Seiichi Yamamoto
    drums, spd-11, vocal: Tatsuya Yoshida
    tracks 1 - 6 recorded live at 20000V 23 Nov, 1993
    tracks 7 - 18 recorded at Magaibutsu Studio 19 Sep, 1993
    tracks 19 - 25 recorded at Club Citta (backstage) 19 Oct, 1993
    Omoide Hatoba/Ruins collaboration, including some "adaptations"
    of ordinary Ruins tunes. available also in a limited edition
    specially-packaged version of this cd released on Yoshida's
    Magaibutsu label.

.........................................................................

1995    DEREK AND THE RUINS: SAISORO (CD)
    Tzadik: TZ 7205
        ---------------------------------------
     yaginbo
     shivareyanco
     quinka matta
     odangdoh
     zomvobischem
     manugan melpp
     dhamzahi/sytnniwa


    NOTES:
    guitar: Derek Bailey
    drums, voice: Tatsuya Yoshida
    bass: Ryuichi Masuda
    fairly free-form collaboration with British improv guitarist
    Derek Bailey.

.........................................................................

1995    JASON WILLETT & RUINS (CD)
    Megaphone Records: MEGAPHONE 009
        ---------------------------------------
     soundcheck
     the broken hammers
     smoke from a magnet
     rexticeos
     blast off in some key
     voltage outputs only
     and now a short opera


    NOTES:
    guitar, trumpet: Jason Willett
    bass: Ryuichi Masuda
    drums, vocals: Tatsuya Yoshida
    piano & vocals (on "soundcheck") & violin: Harou Sato

    opera credits:
    100% percussion, 6% guitar, 100% tuba, 78% trombone,
    31% piano: Tatsuya Yoshida
    100% spacedrum, 100% hot keyz, 9% vocals (human): Martha Colburn
    67% bass, 69% piano, 100% marimba sample: Harou Sato
    37% vocals (duck): Wally
    21% vocals: Kiwi
    100% sax, 100% bass clarinet, 100% crowcall: John Dierker
    31% drums, 100% toy piano, 3% vocals (human), 100% turntable,
    22% trombone: Ryuichi Masuda
    94% guitar, 33% bass, 100% synth, 29% vocals (human),
    100% tape manipulation: Jason Willett

.........................................................................

related projects


1994    HUNDRED SIGHTS OF KOENJI (CD)
    God Moutain: GMCD 012
    ---------------------------------------
     ioss
     doi doi
     molavena
     gepek
     yagonahh
     ozone fall
     zhess
     zoltan
     avedumma
     sunna zarioki

    NOTES:
    vocal, drums: Tatsuya Yoshida
    vocal, keyboards: Aki (Bondage Fruit)
    vocal, guitar, g-synth: Ryuichi Masuda
    vocal, bass: Shigekazu Kuwahara

.........................................................................

Yoshida solo works


1988    SOLO WORKS (CS)
    Magaibutsu: ?
        ---------------------------------------
     ?


    NOTES:

.........................................................................

1989    SOLO WORKS II (CS)
    Magaibutsu: ?
        ---------------------------------------
     ?


    NOTES:

.........................................................................

1991    MAGAIBUTSU (CD)
    Review Records: RERE 163 CD
        ---------------------------------------
     joneoik
     imciniad
     nakarkyhog
     onodu
     dutkanwaak
     nessang
     kasinuc
     akasamoc
     ojoh
     ustuviagam
     ogatta
     ayho
     nazike
     amarotakt
     vonisch
     ijocuff


    NOTES:
    produced, performed and recorded by Tatsuya Yoshida

.........................................................................

1993    LIVE PERFORMANCE (Video)
    Magaibutsu: ?
        ---------------------------------------
     ?


    NOTES:

.........................................................................

1993    COME AGAIN II (CD)
    Furnace: SR 9342
    track: "abdrushin"

.........................................................................

1994    DEVIL FROM THE EAST (CD)
    Bloody Butterfly: ZIKS BB-014
        ---------------------------------------
     YOSHIDA: first light
     PHAIDIA: ?
     MALINCONIA: non ho leta
     ?: buy
     RUINS: love
     YBO^2: dogla magla
     DISSECTING TABLE: i get my slogan
     GEROGERIGEGEGE: ?
     VASILISK: photonogoul
     HIGH RISE: nuit
     GHOST: ?
     ZENI GEVA: ? blaze
     TORTURE GARDEN: blood sucking freaks
     ZOA: disillusive
     CONTINENTAL MAN VS. MOUNTAIN RANGE WOMAN: king of caffeine
     HUNDRED SIGHTS OF KOENJI: sunna zarioki
     YOSHIDA: budd


    NOTES:
    collection of tracks from bands Yoshida has played in,
    including solo and RUINS tracks. most of the tracks
    are from live recordings.

.........................................................................

1995    DRUMS, VOICES, KEYBOARDS & GUITAR (CD)
    Magaibutsu: MGC-06
        ---------------------------------------
     drums/voice I
     drums/voice II
     drums/voice III
     drums/voice IV
     drums/voice V
     dek-ma
     durtmal kaizen
     budd
     kalimba song
     snatch
     dwk-nfx
     orovela
     vonish
     drums/voice VI
     drums/effects a
     drums/effects b
     drums/effects c
     drums/effects d
     drums/effects e
     drums/effects f
     drums/effects g
     drums/effects h
     drums/effects i


    NOTES:
    all songs composed/improvised by Tatsuya Yoshida.
    tracks 1 - 5 live at 20000V 7 Aug, 1993
    track 6 live at 20000V 23 May, 1992
    track 7 live at Huck Finn 11 Sep, 1993
    track 8 live at 20000V 28 Mar, 1993
    track 9 live at Chocolate City 6 Nov, 1993
    track 10 live at 20000V 28 Mar, 1993
    tracks 11 - 14 live at Huck Finn 11 Sep, 1993
    tracks 15 - 23 recorded January 1989

.........................................................................

Yoshida related projects


1989    Vasilisk: ACQUA (LP)
    Musica Maxima Magnetica: EEE 04
        ---------------------------------------
     ?


    NOTES:
    with Yoshida as guest.

.........................................................................

1990    Zeni Geva: MAXIMUM MONEY MONSTER
    Pathological: PATH 5 CD
        ---------------------------------------
     slam king
     blaze
     blackout
     sweetheart
     guystick bodie
     skullfuck
     war pig
     on suicide


    NOTES:
    all arrangement & performance by Zeni Geva
    vocals, guitars: Kazuyuki K. Null
    guitars: Mara Tabata
    drums (tracks: 2, 3, 4, 8), voice (tracks: 2, 8): Tatsuya Yoshida
    drums (tracks: 1, 5, 6, 7): Ikuo Taketani

.........................................................................

1994    Tairikuotoko vs Sanmyakuonna: PERFECT HELL (CD)
    SSE Communications: SSE 4034 CD
        ---------------------------------------
     theme
     perfect hell
     spain
     strong kiosk
     child in moonmadness
     takion
     space lynch
     rental brain
     hoden girls
     king of caffeine
     planaria
     theme


    NOTES:
    aka "Continental Man vs. Mountain Range Woman".
    percusion, vocal, guitar, bass, keyboards, drums: Tatsuya Yoshida
    guitar: Hal Sato
    vocal, alto sax, flute, clarinet: Goro Wanisuki
    violin, vocal, recorder: Yuji Katsui (Black Stage and Bondage Fruit)
    percussion, vocal, drums, guitar solo, tom tom, recorder: Koji Kido
    conga, vocal: Atsushin Tsuyama (Omoide Hatoba)
    keyboards, guitar: Jun Nishimori

    guest musicians
    vocal: Keiji Haino
    vocal: Masaaki Motoyama
    vocal, guitar solo: Masashi Kitamura (YBO^2)
    vocal: Tetsuo Furudate
    vocal: Mauko Sanmayaku
    vocal: Kami Kamikura

.........................................................................

1995    Tatsuya Yoshida & Ron Anderson: FIRST MEETING (CD)
    Commercial Failure: CFCD-4
        ---------------------------------------
     tsulinco
     scream dream
     moghina ventza
     kommegodd
     zughimo bitha
     nurrasrri
     power driver
     tamarrimindoh
     master brew
     navigator
     riptide
     killer
     bagmma vozcci
     guzza nokssa
     sylli porri


    NOTES:
    guitar, bass, synth: Ron Anderson
    drums, voice: Tatsuya Yoshida
    recorded at Night Toast, Oakland California 11 Oct, 1994
    produced by Ron Anderson
    all music by Ron Anderson and Tatsuya Yoshida.

.........................................................................

1995    Akaten: I (CD EP)
    Magaibutsu: MGC 021
        ---------------------------------------
     eyeball part 1
     marriage
     trash can
     rotting
     marco polo
     spirulina
     akaten
     funk
     rapid
     noise
     wild rose
     contemporary
     mahavishnu
     yonezawa
     eyeball part 2


    NOTES:
    bass, drums, vocal, guitar: Atsushi Tsuyama
    drums, bass, vocal, keyboards: Tatsuya Yoshida
    studio improvisations. Akaten is a restaurant in Koenji; it
    means "red heaven". AKA = red TEN = Heaven

.........................................................................

1995    Musica Transonic: I (CD)
    PSF Modern Music: PSFD 61
        ---------------------------------------


    NOTES:
    "contemporary improvised heavy psychedelic music"
    concept: Asahito Nanjo
    motor psycho medieval guitar: Makoto Kawabata (Toho Sara)
    bass guitar, voice: Asahito Nanjo (High Rise)
    drums, percussion: Tatsuya Yoshida

.........................................................................

1996    Akaten: II (CD)
    Magaibutsu: MGC 09
        ---------------------------------------
     ?


    NOTES:

.........................................................................

1996    Musica Transonic: II (CD)
    PSF Modern Music: PSFD 76
        ---------------------------------------


    NOTES:
    "contemporary improvised heavy psychedelic music"
    concept: Asahito Nanjo
    bass: Asahito Nanjo
    guitar: Makoto Kawabata
    drums: Tatsuya Yoshida


1996    Various: JAPAN NEW PSYCHEDELIC UNDERGROUND (CD)
    Manifatture Criminali: BOB 107
        ---------------------------------------
    MAINLINER
     tsukisasaro

    MUSICA TRANSONIC
     se piange ohime
     dolcissimo sospiro
     ancidetemi pur
     crudelissima doglia

    TATSUYA YOSHIDA
     sirius
     orovela

    OHKAMI NO YIKAN
     unforgiven

    TOHO SARA
     kaimyogen


    NOTES:
    recorded live at Seikazoku, Nagoya, Japan 20-21 Jul, 1996
    produced by Asahito Nanjo
    released under license from La Musica Records

    MAINLINER
     bass, vocals: Asahito Nanjo
     motor cycle guitar: Makoto Kawabata
     drums: Tatsuya Yoshida

    MUSICA TRANSONIC
     bass, concept: Asahito Nanjo
     medieval psycho guitar: Makoto Kawabata
     drums: Tatsuya Yoshida

    OHKAMI NO JIKAN
     symphonic guitar, vocals: Asahito Nanjo
     keyboards: Mineko Mido
     symphonic second guitar: Makoto Kawabata
     drums: Tatsuya Yoshida

    TOHO SARA
     bouzouki: Makoto Kawabata
     sax: Asahito Nanjo
     organ: Mineko Mido
     hand percussion: Tatsuya Yoshida



end


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

From: Torsten Nielsen <[e-mail]>
Subject: New Arto Lindsay
Date: 29 Dec 1996 15:23:28 +0100 (MET)

I saw a new (?) Arto Lindsay cd called "Mundo Civilizado". It was very
expensive and was by some japanese label. Who plays on it?

Jonas

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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: New Arto Lindsay
Date: 29 Dec 1996 10:45:19 -0800


On Sun, 29 Dec 1996 15:23:28 +0100 (MET)  Torsten Nielsen wrote:
>
> I saw a new (?) Arto Lindsay cd called "Mundo Civilizado". It was very
> expensive and was by some japanese label. Who plays on it?


108 - MUNDO CIVILIZADO: Arto Lindsay

    1/ Complicity                               (Lindsay, Cantuaria)     4:05
    2/ Q Samba                                  (Lindsay, cantuaria)     3:27
    3/ Simply Beautiful                         (Al Green)               3:58
    4/ Mundo Civilizado                         (Lindsay, Marisa Monte)  4:23
    5/ Titled                                   (Lindsay, Caetano Veloso)3:18
    6/ Horizontal                               (Lindsay, Cantuaria, Gibbs)
                                     3:29
    7/ Mar Da Gavea                             (Lucas Santana)          2:43
    8/ Imbassai                                 (Lindsay, Amedeo Pace)   3:16
    9/ Pleasure                                 (Lindsay, Cantuaria)     2:37
    10/ Erotic City                             (Prince)                 5:01
    11/ Clown                                   (Lindsay, Cantuaria)     3:50

    Recorded at WR Studios in Salvador, Bahia, Svuga Svuga in Brooklyn and
    Platinum Island in Manhattan
    Produced by Arto Lindsay

  Arto Lindsay: vocals; Gustavo De Dalva (1,2,3,6,9,10,11): surdos, caixas,
  bacurinha, djembe, timbau, triangle, pandeiro; Boghan (1,2,6,9,10): surdos,
  caixas, bacurinha, djembe, timbau, triangle, pandeiro; Marcio Tchin (1,6,9,
  10): surdos, caixas, bacurinha, triangle, pandeiro; Vinicius Cantuaria (all
  but (3)): guitar, surdo, maos em papelao, pandeiro; Peter Scherer (1,2,4,7):
  Wurlitzer, keyboards, Farfisa; Melvin Gibbs (1,2,3,4,5,6,10): bass; Romero
  Lubambo (1): guitar; DJ Spooky (1,4,6,7,11): samples, textures; Marc Ribot
  (3): guitar; Dougie Bowne (3,4,10): drums; Bernie Worrell (3,10): Hammond
  B-3; Don Byron (5): bass clarinet; Mutamassik (6,10): samples, DJ; Camus
  Celli (7): toy accordion; Amedeo Pace (8): guitar; Andres Levin (8,9,10):
  piano, electric piano, Wurlitzer; Marcus Rojas (9,11): tuba; Jacques
  Morelenbaum (9): cello; Roy Nathanson (11): saxes.

    1996 - Gut (Japan), FLCG-3021 (CD)


109 - MUNDO CIVILIZADO REMIX: Arto Lindsay

    1996 - Gut-Bounce (Japan), CDFGTBC-0003 (CD)


If you like SUBTLE BODY, get it (meaning: it is very Brazilian music orien-
ted). If you like Arto only for his skronk/improv, you should avoid it.

    Patrice (who likes it but is a total fan of Arto).

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

From: [e-mail] (m. rizzi)
Subject: Hanatarash
Date: 29 Dec 1996 16:16:38 -0800 (PST)

A long time ago Michael Wittmann quoted:
>
>Addicted To Noise Tokyo correspondent Brian Kushnir reports:
>Hanatarash, Boredoms' singer Eye Yamataka's
>pre-Boredoms' band, will play three rare shows in Japan this
>month. The group caused a sensation in the mid-1980s with
>a series of extreme performances during which the band
>tried to make as much noise as possible (audience members
>once had to sign waivers before entering the hall; at one
>performance Eye brought a bulldozer which he used to
>chase people around, finally driving it into a wall creating a
>hole from which he could not back out, at which point he
>and Taketani, another band member, trashed the place with
>a pair of circular saws that they had strapped to their
>backs...).

    Actually, the bulldozer and circular saw
    incidents were at two separate Hanatarash
    shows.

    mike the nit picker

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

From: [e-mail] (m. rizzi)
Subject: Discographies
Date: 29 Dec 1996 17:41:53 -0800 (PST)

>                                R U I N S
>                                ---------
>                               discography
[snip - 1085 lines deleted]


    In the future, rather than sending a large discography
    to all 459 zorn-list subscribers, I would prefer that
    folks send a brief note declaring the existence of the
    discography, a pointer to a web/ftp site where it can
    be found, and an offer to email individual requests out.

    Thanks,
    mike

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

From: [e-mail] (m. rizzi)
Subject: FAQ: Request For Submissions (heh, he said submission)
Date: 29 Dec 1996 17:57:12 -0800 (PST)



    I've finally got some extra time and can put together
    a Frequently Asked Questions (FAQ) page for the zorn-list.

    At this point I can compile a list of those repeat questions,
    you old-timers find so annoying (heh) and put it up at the
    zorn-list web site.

    Feel free to email me ([e-mail]) any questions
    that you feel must be included, and if you are so inclined,
    the appropriate response.

    I'll mock up the first version and then let y'all comment
    on it. How does that sound?

    thanks,
    mike rizzi
    p.s. remember to email me privately.

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

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

From: [e-mail] (Naes)
Subject: Re: Ruins query
Date: 30 Dec 1996 02:55:07 -0800

whoever is compiling this discograpy....if you need help filling in the
blanks on the ruins/schlong 7", i have a copy of it and would be willing to
give you more details if necessary.....just mail me back or something.....

-naes

Naes' pick o' da week: Strychnine "Dead Rat and Oakland Dogs" (EastBayMenace)
homepage: http://www.best.com/~naes (under construction)
Bun Length Records: p.o.box 2174 berkeley, ca. 94702
homepage: moving to new address shortly...




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

From: "M.Ho" <[e-mail]>
Subject: Re: New Arto Lindsay
Date: 30 Dec 1996 9:38:22 EST

>
> I saw a new (?) Arto Lindsay cd called "Mundo Civilizado". It was very
> expensive and was by some japanese label. Who plays on it?
>
 Patrice,
Is this the album that the Knitting Factory has never released but
advertised in their 1996 catalogue?

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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: New Arto Lindsay
Date: 30 Dec 1996 08:36:30 -0800


On Mon, 30 Dec 96 9:38:22 EST  "M.Ho" wrote:
>
> >
> > I saw a new (?) Arto Lindsay cd called "Mundo Civilizado". It was very
> > expensive and was by some japanese label. Who plays on it?
> >
>  Patrice,
> Is this the album that the Knitting Factory has never released but
> advertised in their 1996 catalogue?

Don't know. If I had to make the same statement, I would apply it to
his previous record (SUBTLE BODY). This one is a natural follow up
(same kind of music, same label).

My impression concerning the KF one was that it would be a follow up
of AGGREGATES 1-26.

    Patrice.