ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/zorn-list/archive/zorn-list.9703

Internet Message Format | 1997-03-30 | 139KB

From: [e-mail] (m. rizzi)
Subject: PERIODIC ZORN-LIST ADMIN INFO (please save)
Date: 03 Mar 1997 19:25:24 -0800 (PST)



ABOUT THE ZORN LIST
    The Zorn list was created so that fans of John Zorn and his
    MANY projects could come together and chat about the man and
    his music...Naked City, Masada, Painkiller, etc.....

     Also discussed on this list, are:
    Bill Laswell, Bill Frisell, Elliott Sharp, Bobby Previte,
    Wayne Horvitz, Zeena Parkins, Knitting Factory roster artists,
    Joey Baron, Last Exit posse, and any other downtown NYC
    connected musicians.


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    Thanks for joining!  Enjoy!

        mike rizzi
--
                   "Another nerd with a soulpatch"              -=home=-
                      http://www.meer.net/~browbeat/
------ browbeat magazine, po box 11124, oakland, ca 94611-1124 ---------

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From: Schoelpen <[e-mail]>
Subject: Zorn and maths
Date: 03 Mar 1997 15:10:06 +0100 (MEZ)


Hello zorn-list contributers


The mathematical terminology used for the titles of the tracks
on _Filmworks V - Tears Of Ecstasy_ made me wonder about the
connections between Zorn and mathematics.

This became the reason for me to subscribe to this list,
that I have done recently - so I have to beg your pardon
if this topic has yet been discussed.

My central question is:
Is there any relationship between John Zorn and the mathematician
Max August Zorn, who was forced to leave Germany in 1933 and then
emigrated to the USA?

Please send any information about _Zorn and maths_ to me
or to Hermann Hoch ([e-mail]).

Thanks for your efforts.

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

From: Ed <[e-mail]>
Subject: Bloodcount show in St. Louis.
Date: 04 Mar 1997 17:29:49 -0600 (CST)

For those of you in the midwest, Tim Bern's Bloodcount is playing in St. Louis on Wednesday March 12 at the
Washington University Gargoyle. I'm pretty sure that this show is going to
be open to the public, though I know not what the cost will be.




                                                          ED


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From: DR S WILKIE <[e-mail]>
Subject:       Masada European dates
Date: 05 Mar 1997 15:01:03 GMT0BST

Hi!

I live in Wales, and events are already planning themselves
throughout April.  So I REALLY need to know where and when Masada are
playing.  (city and date, and I can take it from there)  PLEASE HELP!

Dave Douglas is my life support machine

Sean

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

From: [e-mail] (m. rizzi)
Subject: testing (please ignore)
Date: 06 Mar 1997 14:50:14 -0800 (PST)

Sorry for the extraneous message, we're testing a software change
at xmission.com
mike rizzi - zorn-list-owner



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

From: [e-mail]
Subject: Re: Tim Berne in Chicago
Date: 07 Mar 1997 12:24:55 -0500 (EST)

In a message dated 97-02-21 12:50:37 EST, you write:

>just a note to let everybody know that Tim Berne's Bloodcount will be
>making am appearance here in Louisville, KY on Marsh 14th.  If you're
>interested in this, email me and I'll keep you posted as I find

And here in Chicago in addition to playing at the Elbo Room Saturday 9 pm
(773-549-5549) 2871 N Lincoln Ave  they are making a concert appearance at
the Jazz Record Mart around 4 pm earlier that same day-tomorrow.

Anyone in the general area interested can see them for FREE at the Record
Mart-- 444 N Wabash (312-222-1467)  They are coming in from Ann Arbor MI and
will be setting up at the Elbo Room so they figure on squeezing in 45-60
minutes here around 4 pm of great tunes.

See you there.


Damian


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

From: [e-mail] (Berrie Heesen)
Subject: Susan Dehim
Date: 07 Mar 1997 19:29:05 +0100

Hi musos in the air.

I wonder if any of you does have suggestions on Susan Dehim.
I have this great record Desert Equations.
What did she do afterwards?

Berrie Heesen

Berrie Heesen
coordinator Journal 100
Faculteit der Wijsbegeerte
Nieuwe Doelenstraat 15
1012 CP Amsterdam
The Netherlands
[phone] or  6165369

" I have thought about this very carefully. I think I can make new words
because if no-one could make them, then no-one can learn them.
Jake Roberts, 8 years old."
From  journal 100 number 2, European children think together.




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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Joey Baron & " Jazz Snob Eat Shit " (Naked City)
Date: 12 Mar 1997 01:12:56 -0500 (EST)



On Wed, 12 Mar 1997, NGUYEN VAN TAN Olivier wrote:

> I 've got an interview of Joey Baron in a French paper : Joey explains
> that he was in fact a jazz snob for a long time...

[snip]

> And he met Bill Frisell : that was a crux in his life.

In the interview with Baron a few months ago in _Cadence_, Baron made
similar comments.  Apparently a big turning point for him was being
dragged by Frisell to a gig involving Arto Lindsay (who, as most people on
this list probably know, can't play guitar conventionally at all), and
then being shocked to find out that this "incompetent" "non-musician" was
one of Frisell's heroes.  Truly, Arto is an inspiration to us all.

Chris Hamilton




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

From: [e-mail]
Subject: Re: New Fred Frith Album on Tzadik ?
Date: 12 Mar 1997 02:34:21 -0500 (EST)

<<209 - EYE TO EAR: Fred Frith

    1/ Le Rencontre (Title Theme)               (Frith)                  4:11
    2/ Backroom                                 (Frith)                  3:22
    3/ Thea und Nat                             (Frith)                 12:22
      I/ Welcome Home
      II/ Suspicion Theme (for Bernard Herrmann)
      III/ Thea's Theme
      IV/ Suspicion Theme II
      V/ Not Drwoning But Waving
    4/ Backroom II                              (Frith)                  5:30
    5/ Picture of Light                         (Frith)                  9:47
    6/ Ostkreuz                                 (Frith)                  6:00
      I/ Frozen Landscape
      II/ Dragging Half A Pig
      III/ Driving To Grandma's
      IV/ In The Abandoned Building
    7/ Before Sunrise - In The Train            (Frith)                  2:47
    8/ Backroom III                             (Frith)                  8:07
    9/ Le Rencontre (Reprise)                   (Frith)                  3:36

    (1,3,6,9) recorded at Sound Fabrik, Munich, Germany
    (2,4,5,8) recorded at Mobius Studio, San Francisco
    (7) recorded at Jankowski Studio, Stuttgart, Germany

  Michaela Dietl (3,6): accordion; Tilman Mueller (3,6): trumpet; Christian
  Kaya (3): clarinet; Boris Denker (1,9): tenor; Willy Webster (2,4,8):
organ;
  Fred Frith: all other instruments and manipulations.

    1997 - Tzadik (USA), TZ 7503 (CD)



Seems to be out.>>

Actually, it's being released next Tuesday, the 18th.

Jon



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

From: Scott Russell <[e-mail]>
Subject: Re: Otomo (was Burroughs)
Date: 12 Mar 1997 09:45:06 +0000

simon lucas wrote:
>

>> Who else is tackling the problem of meaning and context  using the
> sample?
>
> What do others think about random vs. composed sample-based music?
>
Simon

You've touched on a subject with a potentially vast range. As far as
others exploring the use of samples the ones who spring immediately to
mind are:

Bob Ostertag, tape and sampler manipulator. Played with Fred Frith and
Zorn among others. Uses found sounds and custom recordings, re-orders
them, cuts them up, swills them around. Most recent project is Say No
More series which (I'll admit I haven't heard it yet) takes
improvisations by Joey Baron, Phil Minton and others and reorganises
them. These are then performed live, re-sampled and rearranged again.
The final incarnation of this is yet another live performance and yet
another re-organised version of them.

David Shea: Sampler/composer. Another cohort of Zorn et al.
Specialises in extremely sophisticated sampler based compositions
involving samples from soundtracks (Barry, Morricone, Japanese Action
movies) interaction with live musicians and dialougue.

John Oswald; godfather of plunderphonics. Compiles massively reworked
collages of samples. Reworks them to the point of being unrecognisable
then generally gets sued by major lables. Most ambitious project has
to be his stunning collage of The Grateful Dead's Dark Star as
sanctioned by the band.

John Wall. London based composer who utilises samples in dark,
industrial/ambient style compositions.

negativland; The US media pranksters who 'parodied' a U2 song and got
sued both by Island Records and SST records for it. There is a large
tome called The Story of the Letter U and the Numeral 2 which
documents this saga and gives a useful introduction into Negativland's
theories of ownership and 'appropriation'.

These are the people whom I know about in addition to Otomo, you might
also want to check Chris Cutler's ReR label, on which many artists are
exploring the possibilities of sampling and plundering.

I'd be intertested in any other comments you  may have.

Scott Russell


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

From: [e-mail] (Steve Smith)
Subject: Re: cynical hysterie hour
Date: 12 Mar 1997 10:34:07 -0500

Jeff Spirer wrote:

>I think one reason it was so hard to find when it was in print was that
>people always wanted a John Zorn recording, but instead it was sold as a
>soundtrack to the show.  It was sold more in the children's section of CD
>stores in Japan.

Absolutely true.  It's also important, perhaps, to note that Zorn's name
did not appear anywhere on the package: the release was listed as being by
Kiriko Kubo.

>It did go out of print quickly but given that Sony released it as a
>soundtrack, this is not surprising.

No, what's really surprising is that, given Zorn's solid track record
(especially during the Nonesuch years) Sony has never seen fit to
capitolize with a reissue of some kind to grab some of that sales
potential.  And the truly unforgiveable thing is that they won't even
license his material back to him for a Tzadik release, which would be the
honorable thing to do if they are not issuing it themselves - say, for
instance, if they didn't feel like the potential audience was big enough
next to a new Mariah Carey release.

Steve Smith
[e-mail]




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

From: [e-mail]
Subject: Re: Otomo (was Burroughs)
Date: 12 Mar 1997 16:19:14 --100

On sample-based music:

> You've touched on a subject with a potentially vast range. As far as
> others exploring the use of samples the ones who spring immediately to
> mind are:
>
> Bob Ostertag, tape and sampler manipulator. Played with Fred Frith and
>
> David Shea: Sampler/composer. Another cohort of Zorn et al.

> John Oswald; godfather of plunderphonics. Compiles massively reworked

> John Wall. London based composer who utilises samples in dark,
> industrial/ambient style compositions.
>
> negativland; The US media pranksters who 'parodied' a U2 song and got
>
> These are the people whom I know about in addition to Otomo, you might
> also want to check Chris Cutler's ReR label, on which many artists are
> exploring the possibilities of sampling and plundering.

I think you are forgetting DJ Shadow, an American DJ (from LA?) issuing
records on the Mo'Wax label. His music is entirely built up of samples,
although it sounds as if musicians are playing (at least large parts of it
sound like that). Although DJ Shadow insists on being called hip-hop, I think
that narrows down his perspective too much. There's hip hop beats for sure,
but then there's also film music, dreamlike sequences, harsh bits, etc.
Almost sounds like a collage of the best 1970's albums sometimes.

Try Endtroducing... on Mo'Wax.

Frankco.


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: New Fred Frith Album on Tzadik ?
Date: 12 Mar 1997 08:08:57 -0800


On Wed, 12 Mar 1997 02:34:21 -0500 (EST)  [e-mail] wrote:
>
> <<209 - EYE TO EAR: Fred Frith
>
>     1997 - Tzadik (USA), TZ 7503 (CD)
>
> Seems to be out.>>
>
> Actually, it's being released next Tuesday, the 18th.

It seems the Europe got it before. The person who told me about it is
German and bought it in a store. I will never understand the mysteries
of distribution...

    Patrice.


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

From: Nils Jacobson <[e-mail]>
Subject: Re: Zony Mash
Date: 12 Mar 1997 11:16:14 -0600 (CST)

I don't know why anyone would get all that excited about this Zony Mash
disc.  It's not particularly forward looking and succeeds fairly well but
not spectacularly musically.  I know Horvitz is popular but I don't see
much of a reason for folks to rush out and buy this disc.  Just to add a
voice of dissent to the surge of agreement.

-Nils





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

From: [e-mail] (Dave Trenkel)
Subject: Re: Otomo (was Burroughs)
Date: 12 Mar 1997 10:39:21 -0800

>On sample-based music:
>
>I think you are forgetting DJ Shadow, an American DJ (from LA?) issuing
>records on the Mo'Wax label. His music is entirely built up of samples,
>although it sounds as if musicians are playing (at least large parts of it
>sound like that). Although DJ Shadow insists on being called hip-hop, I think
>that narrows down his perspective too much. There's hip hop beats for sure,
>but then there's also film music, dreamlike sequences, harsh bits, etc.
>Almost sounds like a collage of the best 1970's albums sometimes.
>
>Try Endtroducing... on Mo'Wax.
>
Oddly enough, I was listening to Endtroducing for the first time as I read
this msg. His cut "Why Hip Hop Sucks in '96" is pretty hilarious.

But as far as innovative sample-based music fronm the DJ world, I think DJ
Spooky is much more interesting than DJ Shadow. His "Songs of a Dead
Dreamer" disc on Asphodel is one of my faves of any style of music released
last year. Incredible stuff, as dense as any of Otomo's work, but with
great '70's funk/hip hop/dub underpinnings

And for the Burroughs connection, his full nom-de-turntable is DJ Spooky,
the Subliminal Kid, after a Burroughs ccharacter...


________________________________________________________
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: "M.Ho" <[e-mail]>
Subject: Re: Zony Mash
Date: 12 Mar 1997 13:30:34 EST



>
> I don't know why anyone would get all that excited about this Zony Mash
> disc.  It's not particularly forward looking and succeeds fairly well but
> not spectacularly musically.  I know Horvitz is popular but I don't see
> much of a reason for folks to rush out and buy this disc.  Just to add a
> voice of dissent to the surge of agreement.
>
> -Nils

This is not ment to insult you but could you give more specifics on
why you do not like this album.  I just generally live by the rule
that if I don't have specific criticism for an album that I dislike,
I'll just keep my mouth shut because sometimes things won't work for
me now but may later.  I'm asking for your specific opinion because
the postings have sparked my interest in purchasing this album but
would like to get your side of it.


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

From: "Glenn Astarita" <[e-mail]>
Subject: Re: Zony Mash
Date: 12 Mar 1997 12:06:34 -0600



----------
> From: Nils Jacobson
> Subject: Re: Zony Mash
> Date: Wednesday, March 12, 1997 11:16 AM
>
> I don't know why anyone would get all that excited about this Zony Mash
> disc.  It's not particularly forward looking and succeeds fairly well but
> not spectacularly musically.  I know Horvitz is popular but I don't see
> much of a reason for folks to rush out and buy this disc.  Just to add a
> voice of dissent to the surge of agreement.
>
> -Nils
>
>
> I disagree...personally, i'd say its one of the more "happening" things
of late ! It's toe-tappin, exhilarating and combines all the elements of
Horvitz' unique insight and uncanny approach !  This stuff would most
obviously appeal  to a wider audience. granted ! However, take the rock
elements combined with the twist and turns, great but thoughtful soloing
and stop on a dime tempos !  A definite First Class effort.  The
compositions really add a wonderful element to this disk.  No filler
material here ! (IMO, of course)...

glenn


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

From: Bob Boster <[e-mail]>
Subject: Re: Otomo (was Burroughs)
Date: 12 Mar 1997 11:59:48 -0800 (PST)



Not sure if I should really wade into this, but since I actually make
music this way I guess I have at least a certain position that bears
mentioning.  I perform with CD players and electronics extensively, both
in a solo DJ-like capacity as well as in improvisational gropu settings.

On the question of "chance", someone said:
 >
> > It seems to me that Otomo is more
> >'Burroughsian' than these in that his collages are live and improvised
> >as opposed to constructed. He really allows for chance to bring
> >together disparate elements.

This is true of Otomo's work from our perspective as well as his.  The
improvisation is "apparent" in the work, and for him, works to great
effect.  He does something I often try to do, which is "compose" through a
given set of possible source material and possible things to do with it
(the finite parameters of what the machines in question can do) and then
"improvise" the outcome of any given performance.

Someone points this out clearly:

> 1. As you say, he must select records and choose which ones he plays in
> advance , but also, maybe he knows which sections will work within a
> given context from experience.

Expereince is a key idea.  Like any other instrument, as you learn about
how your "rig" works many self-evident and self-limiting aspects of what
the equipment can do becomes clear.  These things structure the outcome
implicitly, and explains why many people are constantly changing or
developing their equipment sets to help keep from "settling" into a
pattern.

>
> Personally, I want to understand how  he achieves this.
>
> Who else is tackling the problem of meaning and context  using the
> sample?

I know I am in my work.  I think clearly there are a number of other
performers/composers who touch down in this territory as well (John
Oswald, Negativland, Bob Ostertag, and some of the illbient folks).  In
terms of reading on the subject, the first place to look for "theory" is
the Negativland book.

>
> What do others think about random vs. composed sample-based music?
>
I can't help but think that there's no such thing as random.  I mean,
even if I set up all my stuff and then "randomly" sift through a pile of
source material in a given performance, the outcome makes surprising kinds
of sense.  Even a piece I did for a group of people blindly mixing
material I randomly played in 8 CD players ended up making a lot of sense.

Juxtaposition works that way, to large extent.  And the linearity of
sounds lead us down certain cognitive pathes as well.  Even played
backwards samples make some kinds of linear sense because that's how we
hear often, the sound moving forward through time with us.


Bob Boster (aka Mr. Meridies)
[e-mail]
[e-mail]



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

From: Tom Pratt <[e-mail]>
Subject: Wayne Horvitz & Zony Mash
Date: 12 Mar 1997 16:32:59 -0500

I think that this album is decent.  I do like it although some of the
music (compositions) aren't very interesting and they don't seem to have
a lot of energy for the sound they're going for.  Wayne Horvitz's organ
playing also just seems primitive and a little bit lame too because the
one of the only B-3 players I've been listening to in the past 2 years
is John Medeski (who I hear A LOT of) so I was disappointed to hear
somebody playing it that just didn't have the flavor of Medeski.
Medeski just makes Horvitz sound lame to me.  Anyway, it IS a fun album
and has some groove merit but I really don't understand the Zony Mash
craze that some people seem to have gotten into.

            -Tom Pratt


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

From: "Glenn Astarita" <[e-mail]>
Subject: Re: Wayne Horvitz & Zony Mash
Date: 12 Mar 1997 16:36:43 -0600



----------
> From: Tom Pratt <[e-mail]>
> To: [e-mail]
> Subject: Wayne Horvitz & Zony Mash
> Date: Wednesday, March 12, 1997 3:32 PM
>
> I think that this album is decent.  I do like it although some of the
> music (compositions) aren't very interesting and they don't seem to have
> a lot of energy for the sound they're going for.  Wayne Horvitz's organ
> playing also just seems primitive and a little bit lame too because the
> one of the only B-3 players I've been listening to in the past 2 years
> is John Medeski (who I hear A LOT of) so I was disappointed to hear
> somebody playing it that just didn't have the flavor of Medeski.
> Medeski just makes Horvitz sound lame to me.  Anyway, it IS a fun album
> and has some groove merit but I really don't understand the Zony Mash
> craze that some people seem to have gotten into.


A B-3, is well....a... B-3 !  I really don't see much of a difference in
the "sound" dept.  Could you actually pass a blindfold test of organ riffs
alternating between Medeski and Horvitz ? Primitive and lame ? What does
lame mean in this context ? BTW, the Zony Mash cd (IMO) is far more
interesting than the latest MM&W effort.  Seems like MM&W have reached a
pinnacle of creativity and need to diversify. I'd say they've stagnated !
Has John Medeski (whom i
like very much btw..) set the new standard by which to compare  ? For that
matter what do you think of Jimmy Smith or John Patton ?  to name but a few
...

glenn
>
>


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

From: "kevin cornish" <[e-mail]>
Subject: Masada European dates
Date: 12 Mar 1997 23:05:51 -0000

is it rumour or are /is masada playing in europe ?

can anyone give any details to masada european dates ?
in particular are they playing in uk ?

if not why not ?

kevin [e-mail]



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

From: Tom Pratt <[e-mail]>
Subject: Re: Wayne Horvitz & Zony Mash
Date: 12 Mar 1997 19:57:10 -0500

> A B-3, is well....a... B-3 !  I really don't see much of a difference > in the "sound" dept.

John Medeski sounds completely different tone wise than any other B-3
player I've ever heard.  He tweeks with the sounds so much more than any
one else, and his style is so definitive.

> Could you actually pass a blindfold test of organ riffs
> alternating between Medeski and Horvitz ?

Absolutely.

> Primitive and lame ? What does
> lame mean in this context ?

I mean it's more funny sounding than cool sounding.

> BTW, the Zony Mash cd (IMO) is far more
> interesting than the latest MM&W effort.  Seems like MM&W have reached > a pinnacle of creativity and need to diversify. I'd say they've > stagnated !

I agree that 'Shack-Man' isn't as good as the rest of 'em but it jams
harder than Zony Mash especially live.   those songs off the new album I
think are decent on the CD but live they are awesome!  I don't know
about them having stagnated, I think this is where they want to go and I
think you'll find the next CD to be very different from 'Shack-Man'.

> Has John Medeski (whom i
> like very much btw..) set the new standard by which to compare?

I think definitely he has.  His unique approach to keyboards and effects
backed up by unbelievable chops makes him a completely new and one of if
not the most important keyboardists around.  He plays the B-3 like no
one else ever has and does and his explorations into other keyboards
make you say "wait are there TWO guitars in this band?" Not to mention
his u\amazing piano playing. listen to 'Notes From The Underground' or
the Andre Jaume/John Medeski duets album 'Team Games' or Dougie Bowne's
'One Way Elevator' to get a flavor of this.

For that
> matter what do you think of Jimmy Smith or John Patton ?  to name but a few
> ...

I think they're great especially Richard "Groove" Holmes. He busts it up
soulwise but on the creatively groundbreaking side, they're lacking, but
I don't think they were ever trying to do this. They were playing what
they loved, felt and moved them and their audience.

I don't think Zony Mash is a bad album by any respects.  I just don't
particularly like Horvitz's Hammond playing that much.  I think the
album is fun and sometimes funny and it will remain in my CD collection
and be played sort of often. I don't think that it's spectacular.

            -Tom Pratt


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

From: Justin Morrison <[e-mail]>
Subject: Re: Wayne Horvitz & Zony Mash
Date: 12 Mar 1997 21:02:23 -0800

James L. Kirchmer wrote:

> just droppin' a note to say that Zony Mash's debut album,
> titled "Cold Spell", is out and it's HOT!
. . .
> time, as the original compositions presented by Wayne on this Zony Mash
> debut have just the right hint of a late '60's funk/blues/improv
> influence.
> Wayne gives the funk a bit of a scientific treatment as well.
> I suppose "avant-funk improv" might be a good label, but I hate labels.

Not that this is that important or anything, but does the funk/blues
influence sound like it could have come from the Meters?  They had songs
called "Zony Mash" and "Dry Spell".  Just wondering if this was a
reference. . .

--Justin, Toronto


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

From: Tom Pratt <[e-mail]>
Subject: misc.
Date: 12 Mar 1997 21:58:54 -0500

Justin Morrison wrote:
>
> James L. Kirchmer wrote:
>
> > just droppin' a note to say that Zony Mash's debut album,
> > titled "Cold Spell", is out and it's HOT!
> . . .
> > time, as the original compositions presented by Wayne on this Zony Mash
> > debut have just the right hint of a late '60's funk/blues/improv
> > influence.
> > Wayne gives the funk a bit of a scientific treatment as well.
> > I suppose "avant-funk improv" might be a good label, but I hate labels.
>
> Not that this is that important or anything, but does the funk/blues
> influence sound like it could have come from the Meters?  They had songs
> called "Zony Mash" and "Dry Spell".  Just wondering if this was a
> reference. . .
>
> --Justin, Toronto

Yup. The Meters influence is definitely there.  Zony Mash was indeed
taken from a Meters song.

By the way, does anyone know if John Zorn himself reads any of this
stuff or if he even has an e-mail address?

Also, I was talking to Erik Friedlander and he says that Zorn is
planning on recording some more Masada stuff this year.  Erik says that
it's hard to say what the whole concept is going to be but that it will
involve a string trio. Maybe even a string trio record with Mark
Feldman, Erik Friedlander and Greg Cohen.  This trio will be touring
Europe in November and maybe the states next year some time. Just some
info as vague as it may be.

            -Tom Pratt


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

From: [e-mail] (Steve Smith)
Subject: Re: Wayne Horvitz & Zony Mash
Date: 12 Mar 1997 23:17:03 -0500

James L. Kirchmer wrote:

>Not that this is that important or anything, but does the funk/blues
>influence sound like it could have come from the Meters?  They had songs
>called "Zony Mash" and "Dry Spell".  Just wondering if this was a
>reference. . .

Right on the money.

Steve
[e-mail]




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

From: Christopher Hamilton <[e-mail]>
Subject: Re: groundbreaking organists
Date: 13 Mar 1997 03:56:18 -0500 (EST)



On Wed, 12 Mar 1997, Tom Pratt wrote:

> For that
> > matter what do you think of Jimmy Smith or John Patton ?  to name but a few
> > ...
>
> I think they're great especially Richard "Groove" Holmes. He busts it up
> soulwise but on the creatively groundbreaking side, they're lacking, but
> I don't think they were ever trying to do this. They were playing what
> they loved, felt and moved them and their audience.

Um, wasn't Smith the first person to develop a jazz style on electric
organ?  How could this not be creatively groundbreaking?

Chris Hamilton




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

From: James Douglas Knox <[e-mail]>
Subject: Re: Burroughs
Date: 13 Mar 1997 20:06:38 +1100 (EST)

Hi,

Burroughs book actually took its title from an old SF novel by Allan E
Nourse (I think), maybe from the 40s: a borrowing Burroughs acknowledged.
Dunno why the studio used the title for Scott's film of Dick's novel, but
Burroughs gets a thanks for the use of it at the end of the closing
credits...

Cheers

On Mon, 10 Mar 1997, SUGAR in their vitamins? wrote:

>
> On Mon, 10 Mar 1997, Christopher Hamilton wrote:
>
> > > I can't remember any specific references (apart from the mention of
> > > Blade Runner in the notes to Spillane) in Zorn's case but his whole
> >   ^^^^^^^^^^^^
> > Are you running together Burroughs and Philip K. Dick here?
>
> if memory serves, the Dick book
> was originally titled something
> like "Do Androids Dream of
> Electric Sheep?". it was only
> after the book was turned into
> the film "Blade Runner" that the
> book title changed. i'm sure
> someone can correct me if i'm
> horribly wrong...
>
> whereas, Burroughs did write a
> screenplay book (in the '70s, i
> believe) titled "Blade Runner"
> about teenaged bisexual boys
> working as drug runners in an
> appocalyptic, post-world war III
> America.
>
> hasta.
>
> Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.
>



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

From: James Douglas Knox <[e-mail]>
Subject: Re: chance vs. indeterminacy
Date: 13 Mar 1997 20:16:23 +1100 (EST)

Oh, there shouldn't be any problem linking Zorn and Cage (see way below) -
round the time Zorn was busy being born, Cage wrote instructions in his
piece 'Water Music' for the player to blow thru a clarinet mouthpiece
into a bowl of water (!). Couple years later, Cage did his amazing
'Fontana Mix' - still a solid piece of cut/up musique concrete.

Cheers...

On Tue, 11 Mar 1997, Scott Russell wrote:

> Matthew Ross Davis wrote:
>
> > You have to be very careful about the difference between "chance" and
> > "indeterminacy" when talking about Cage. He (and several others, myself
> > included) considered "chance" the action of using chance methods in
> > composing the work - i.e. casting I Ching hexagrams or rolling dice.
> > "Chance" happened *before* the piece ever got handed to the musicians.
> >
> > "Indeterminacy" is a whole different ballgame. "Indeterminate" scores leave
> > certain (or all) elements of the piece up to the whim of the performer.
> > This could be within certain constraints or with no rules at all.
> >
> > With this in mind, Zorn's compositions are almost never chance, and nearly
> > always indeterminate (I think this is what you meant anyway). There is a
> > fine line too between improvisatory and indeterminate, especially in Zorn's
> > terms. For example, in Cobra, the process by which instructions and
> > flash-cards are given and requested is indeterminate; the improvisatory
> > part comes with the interpretation of those instructions. By the same
> > token, you could always call improvisation an 'indeterminate' act. So you
> > see, they're not mutually exclusive, but they're not synonyms either.
> >
> > I wouldn't make this point if Cage himself hadn't emphasized it as well.
> > And since you're making the comparison, it's worth while to examine the
> > terminology and philosophy behind it.
> >
> > I'm not sure if you can apply this to Burroughs's cut-ups or not. The
> > cut-up is usually constructed only once. It's not so much a performance as
> > it is a sculpture, so it's arguable whether or not the technique (in Cagean
> > terms) would be considered chance methods or indeterminate methods. The
> > lines between in this case grow very cloudy indeed.
> >
> > Matthew
>
> Thanks Matthew
>
> You are splitting some very fine hairs indeed! Perhaps I shouldn't
> have mentioned Cage in reference to Zorn, it seems to raise some
> hackles.My comments about Zorn's (alleged) use of chance were meant on
> a fairly general level, however I do agree with your comparison of
> Burrough's cut ups to sculpture. I wonder, if Burroughs had turned to
> music (I mean as an instrumenalist rather than a 'reader') as well as
> texts and visuals, if he would have extended his technique to
> incorporate time, which is essentially the distinction we are making
> here. Zorn, Shea, Otomo etc have more 'information' to play with;ie
> music has volume, velocity, texture, time etc where text is obviously
> fixed. I think Otomo's approach is closest to Burroughs.
>
> What do you think?
>
> Scott Russell.
>



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

From: James Douglas Knox <[e-mail]>
Subject: Whoops!
Date: 13 Mar 1997 20:31:38 +1100 (EST)

Sorry! (and belatedly so) - that shoulda been Nicolas Slonimsky...

On Wed, 19 Feb 1997, James Douglas Knox wrote:

> In a coupla interviews Zorn refers to Nicholas Smolinsky's 1952 book,



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

From: Friedrich Feger <[e-mail]>
Subject: Re: Wayne Horvitz & Zony Mash
Date: 13 Mar 1997 12:27:24 +0100

At 16:36 12.03.97 -0600, Glenn Astarita wrote:

>A B-3, is well....a... B-3 !  I really don't see much of a difference in
>the "sound" dept.

Though it doesn't match the general topic of the list, I should contradict.
The B-3 allows thousands of different registrations with extremely
divergent sounds. It is very easy to make the B-3 sound unbalanced or
boring, whereas - apart from commonly known standard settings - a good new
sound is a difficult task. Someone whose sounds I like, although rather
traditional in most cases, is Larry Goldings.

Best wishes,
Fritz Feger


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

From: "Glenn Astarita" <[e-mail]>
Subject: Re: Wayne Horvitz & Zony Mash
Date: 13 Mar 1997 06:04:15 -0600



----------
> >
> At 16:36 12.03.97 -0600, Glenn Astarita wrote:
>
> >A B-3, is well....a... B-3 !  I really don't see much of a difference in
> >the "sound" dept.
>
> Though it doesn't match the general topic of the list, I should
contradict.
> The B-3 allows thousands of different registrations with extremely
> divergent sounds. It is very easy to make the B-3 sound unbalanced or
> boring, whereas - apart from commonly known standard settings - a good
new
> sound is a difficult task. Someone whose sounds I like, although rather
> traditional in most cases, is Larry Goldings.
>
> Best wishes,
> Fritz Feger


Yeah, i suppose...there are many sublties and intricacies involved;
basically, I think the B3 in its own right is rather "easily identifiable".
 Perhaps more so than synths, digital guitar and so on... Overall, i
generally don't hear that "wide a range" of different available sound
shaping techniques....

glenn


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

From: dennis summers <[e-mail]>
Subject: ATTN: S. Wilkie
Date: 13 Mar 1997 07:48:43 -0700 (MST)


Sorry to post this to the group but my message to S. Wilkie was returned by
the mailer daemon, and this may be of some interest to others.

>hi - can you give me details of the nature of the beast cd you picked
>up? personnel/length etc... is it available from stores?label?cat.
>number? thanks!...
>
>

Michael Formanek "Nature of the Beast" enja ENJ-9308 2 1997. Dave
Douglas/trumpet; Steve Swell/trombone; Tim Berne/alto saxophone; Tony
Malaby/alto saxophone; Chris Speed/clarinet; Michael Formanek/bass; Jim
Black/drums.  8 tracks ~68 minutes total. Can't tell you about availability
because as I said he was selling it from the show, but if it's not out now,
I'm sure it'll be out soon.

yours --ds
***Quantum Dance Works***
****http://ic.net/~denniss****



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

From: Caleb Deupree <[e-mail]>
Subject: Re: sampling (was Otomo (was Burroughs))
Date: 13 Mar 1997 20:17:53 -0500 (EST)

I too am fascinated by the sampler as an instrument, and purely from a
listener's point of view.  I agree completely with the excellent list of
sampler artists mentioned so far (although I'd rate Plexure *much* higher
than GrayFolded, which still sounds too much like the Dead for me).
Negativland in my experience has been lots of voices like on radio (which
command more attention than instruments), whereas the others range from
instrumental to unrecognizable.  That's not bad, I just find it harder to be
around because I find words so demanding -- it's like you're forced to try
to impose some kind of meaning on them.  YMMV.

I'd like to add one more album to the recommended list.  The Euro-Free-Jazz
artists Hans Koch (reeds & samplers), Martin Schutz (cello) and Fredy Studer
(percussion) have an album Hardcore Chambermusic on Intakt.  Anyone who has
Chockshut (also on Intakt) or Cowws Quintet (on FMP) will feel very much at
home, a further exploration of the outer limits where jazz, electronics, and
rock come together (although Hardcore Chambermusic doesn't have Stephen
Wittwer on guitar).  They are noisy, exuberant, but intricate and detailed
and with a wide dynamic range, sometimes difficult and always amazing.  On
Hardcore Chambermusic they credit all of the sample origins.  They include
(and this list *by no means* exhausts the number, maybe ten different ones
per track) Kagel, Red Hot Chili Peppers, Bartok, George Clinton, Jimi
Hendrix, Tom Waits....  IMO essential for everyone interested in this area,
if for no other reason than because it's intelligent, thoughtful, and like
no one else.  I highly recommend Chockshut and Cowws as well for those who
like their Eurojazz noisy.


--
Caleb T. Deupree
[e-mail]
;; For every complex question there is a simple answer.
;; And it is wrong.  (H. L. Mencken)



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

From: [e-mail] (Les Rhoda)
Subject: Medeski/Zorn worship, Negativland
Date: 13 Mar 1997 22:17:17 -0500

> Has John Medeski (whom i
> like very much btw..) set the new standard by which to compare?


Absolutely. He's like the Jimi Hendrix of the B-3, always digging into
new effects, tonalities, tricks and tweaks unlike anyone has yet to try
on  the keyboards he uses. Medeski is very much influenced by Hendrix
and Sun Ra, among  others, and  by combining these influences with his
mammoth talent it seems like he's a bottomless well of new ideas. I
don't think anyone since Jimmy Smith has had such an impact on the
state of the Hammond. It doesn't stop there, though, for he is also
taking the Clavinet and Wurlitzer to new extremes on a nightly basis. I
have spoken to many keyboard players about him, and the consensus is
much akin to when Jaco Pastorius or Hendrix arrived on the scene....
time to hit the woodshed!

>negativland; The US media pranksters who 'parodied' a U2 song and got
>sued

For all of you Negativfans, take note: Negativland are on the verge of
releasing a new album whose main theme has to do with Pepsi, and very
well could get them sued into oblivion and give them more material for
another book. Keep a lookout for it, and snatch it up as soon as you
can!

>By the way, does anyone know if John Zorn himself reads any of this
>stuff or if he even has an e-mail address?

 Between all of the musical projects he has going on, plus being the
king of obscure books/music/films, and jetting back and forth between
NYC and Hip's Road, I'd bet that he doesn't have time for this stuff. I
bet he gets a little glow knowing that we're here and worship him,
though :)

Les

http://inferno.asap.um.maine.edu/emp/les/negativland.html

audience member to Frisell: "Turn it up, Bill!"
innocent french guy: "Show dem your nasty side"
Zorn, with venom: "You can SUCK his nasty side!"


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

From: Michael Howes <[e-mail]>
Subject: Sample Artists?! ((WAS: Re: Otomo) (was Burroughs))
Date: 13 Mar 1997 22:21:05 -0800

>You've touched on a subject with a potentially vast range. As far as
>others exploring the use of samples the ones who spring immediately to
>mind are:
>
>Bob Ostertag, tape and sampler manipulator. Played with Fred Frith and
>
>David Shea: Sampler/composer. Another cohort of Zorn et al.
>
>John Oswald; godfather of plunderphonics. Compiles massively reworked
>
>John Wall. London based composer who utilises samples in dark,
>industrial/ambient style compositions.
>
>negativland; The US media pranksters who 'parodied' a U2 song and got
>
>I'd be intertested in any other comments you  may have.

 I thought id throw in a list of some of my favorites since this is my
favorite "style" of music making. I tend to have a hard time separating the
following;
 turntable artists (Marclay, Yoshihide)
 media sample artists (Negativland, The Tape-beatles)
 strange recording people (Dunn, Lerman)
 using records...but...  (Crawling with Tarts, Milk Cult)
 ultra dense samplers (Grief, Watermann)
 and even some Musique concrete (Ferrari, Ruttman)

 they all do the same for me...and I love it...so some other
recommendations....

The Tape-beatles: Very much like Negativland...media samples..less humor
more pointed

Steinski & Mass Media: see Negativland and the Tape-beatles

John Waterman: One of my favorites..I love what he does with sampled voices

Dan Burke's (Illusion of Safety) solo stuff: The "Rules Of the Game"
release, which is actually under "Illusion of Safety" is all samples and
some of the stuff he collaborated on with Randy Grief is also all samples.

Randy Grief: I'm always in awe of what he does..I like his older stuff
where he plays instruments along with the samples....

People Like Us: One of my favorites..a lighter Negativland with not such
harsh cuts.

Christian Marclay: Surprise I haven't seen him mentioned with the turntable
people.

Head and Leg: almost a Negativland copy

Phillip Kent Bimstein: does he count? I think all of his compositions are
created with samples..

David Cunningham: The only think I know by him is "Voiceworks" on Eva our
of Japan. It's tape manipulations of the directions given to 6 dancers for
a performance. I guess Tape manipulations don't count as samples but it
sounds very much the same to me.

Alvin Curran: He has a handful of sample compositions.

Crawling With Tarts: Their (his?) "Operas" release was all created with old
records

Milk Cult: The destruction of records to create music...I love it.

Richard Lerman and David Dunn who do micro recordings of things..Dunn's
piece on Arial #2 where he records pond insects is nice. Richard Lerman's
release on Artifact where he records with contact mics the sounds of trees,
grass, and other natural sounds is very nice.

Lastly in the Musique concrete direction is the whole 3" CD series on
Metamkine out of France, which includes releases from Ferrari, Marchetti,
Chion, Ruttmann, and many more.

 Lastly on this list is a question. I have a release from a group that goes
buy "Peril". It's on a label our of Australia called "Dr Jim's". Otomo
Yoshihide is on it and it's great. Do these 4 have anything else out.

 sample away
mike
[e-mail]



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

From: [e-mail]
Subject: Re: Sample Artists?! ((WAS: Re: Otomo) (was Burroughs))
Date: 14 Mar 1997 08:46:41 --100

Mike wrote:

>  Lastly on this list is a question. I have a release from a group that goes
> buy "Peril". It's on a label our of Australia called "Dr Jim's". Otomo
> Yoshihide is on it and it's great. Do these 4 have anything else out.

Although I've never heard Peril (unfortunately so), I know their drummer, Tony
Buck, is also in a band called The Necks. However, The Necks' music is
totally different - it is described best as jazz soundscapes, I guess.
Ultra-long songs (in the range of 50-65 minutes), very laid back. I have two
albums by them, "Sex" and "Silent Night" (2CD). "Sex" is a 56:08 steady bass
pattern, underscored by shifting drums patterns and piano overlays. "Silent
Night" adds some musique concrete and organ to it two tracks, called "Black"
and "White".

Frankco.


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

From: Jan-Wen Lu <[e-mail]>
Subject: Sample-based artists
Date: 14 Mar 1997 17:08:58 +0800

I'm very interested in sample-based artists. Started with Marclay, then I
found Ostertag, Otomo, Shea, etc. Recently, many artists were talked on this
list. I think there are more great artists so I list them as the following:

1.Martin Tetreault-a canadian artist who uses turntable as his main
  instrument. His style is very similar to Marclay, but he has played for
  about 15 years. He is also a member of a great Canadian group-Bruire.

2.Rik Rue-an Australian composer/artist who use tape, sampler to creat
  unique music. Otomo was influenced by him. Has collaborated with Eugene
  Chadbourne, Jon Rose, Machine For Making Sense(a great Australian
  contemporary/improv group).

3.Frank Schulte-a usual collaborator with Jon Rose. Schulte uses synthesizer
  , sampler, tapes, turntable, etc. that made Rose's musci more interesting.
  He also collaborated with Anna Homler, David Moss and has his own group
  Sotto in Su(a group with trumpet, computer, sampler, tape, vocal).

4.Palinckx-a dutch group that combines their improv playing and different
  samples(pop songs, jazz, country, etc.). Sometimes they covers old songs
  in a very funny way.

5.Kunt Remond-I've heard he is a member of Voice Crack. This swiss artist
  samples pre-recordings of some artists and creates a very spectacular
  work. The method is similar to Ostertag's "Say No More". But the result
  is close to John Wall's "Alterstill".

Also a great live electronics/sample group-FURT, talented Canadian female
tape/sampler artist-Diane Labrosse(a member of Justine). Those who love
sample-based music must buy the latest issue of Resonance magazine. It is
a special issue with sample-based artists. Ostertag, Shea, Martin Tetreault,
Tim Hodgkinson, etc. Comes with a free CD with unrelesed tunes of Shea,
Stock, Hausen & Walkman, Otomo with Sainkho, Ostertag with Minton, etc.


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


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

From: Anthony Saunders <[e-mail]>
Subject: Painkiller / Grindcore
Date: 14 Mar 1997 09:40:35 -0500 (EST)


 I just got Guts Of A Virgin used at Kim's in NYC, and I love it. Much
better than the also incredible Buried Secrets, or so says my roommate, I
love 'em both. Besides the Execution Ground 3xCD, are there any other
Painkiller cds? Painkiller like projects? (mix of jazz, grind, and
ambient, with out the somewhat goofy feel of naked city...)

  To play the critic a little more, I think i the Masonna like vocals on
Guts of a Virign really pulls it a head of Buried Secrets for me.

 I'm especially interested in sax/bass/drum trios that blast beat. : )

 BTW If anyone out there is into grindcore, I have an excellent collection
of grind (real grind like Assuck, Napalm Death, Discordance Axis,
Agoraphobic Nosebleed, etc...), both records and live tapes, and would
love to tape trade grind for jazz.

 Anthony



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

From: Jeff Spirer <[e-mail]>
Subject: Re: Painkiller / Grindcore
Date: 14 Mar 1997 07:19:34 -0800

At 09:40 AM 3/14/97 -0500, Anthony Saunders wrote:
>
> I just got Guts Of A Virgin used at Kim's in NYC, and I love it. Much
>better than the also incredible Buried Secrets, or so says my roommate, I
>love 'em both. Besides the Execution Ground 3xCD, are there any other
>Painkiller cds? Painkiller like projects? (mix of jazz, grind, and
>ambient, with out the somewhat goofy feel of naked city...)

There's the Painkiller Live _Rituals_ CD.

Check out the God stuff, it comes reasonably close to what you are asking
for.  And an interesting antecedent is Brotzman/Laswell: _Low Life_.


Jeff Spirer
Axiom/Material
www.hyperreal.com/axiom/


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

From: BJOERN <[e-mail]>
Subject: Frisell/Baron on DRS II
Date: 14 Mar 1997 16:54:50 +0100 (MEZ)

this one is for all folks in europe:
tonite (friday) at 11 pm DRS II will play Frisell/Baron from Willisau `96...
so if you are in switzerland , germany, austria or whereever check it out
BJOERN


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

From: [e-mail]
Subject: RE: Painkiller / Grindcore
Date: 14 Mar 1997 11:11:44


On Fri, 14 Mar 1997 09:40:35 -0500 (EST)  Anthony Saunders <[e-mail]> wrote:

>love 'em both. Besides the Execution Ground 3xCD, are there any other
>Painkiller cds? Painkiller like projects? (mix of jazz, grind, and
>ambient, with out the somewhat goofy feel of naked city...)

There's a live one, "Rituals: Live in Japan". Haino Keiji guests on a few
tracks. I think this one is pretty hard to come by. I bought mine a few years
ago and have never seen any since.

You might want to check out "Sacrifist" by Praxis. This one features
Buckethead, Laswell, maybe Mick Harris, Zorn, Bootsy Collins, Bernie Worrell,
Blind Idiot God members, Eye. Not really grindcore,  but pretty heavy duty stuff.
However, there is a 8-9 minute Bootsy bass solo and a pretty extended keyboard
work out at the end of the album. These two tracks kind of stand out from the others
in that they are basically solos.
Andrew Marks
Software Engineer
MTS-PowerTek, Inc.

E-mail: [e-mail]
Time: 11:11:44 AM

Buckethead was raised in the chicken
coop by chickens.



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Sample Artists?! ((WAS: Re: Otomo) (was Burroughs))
Date: 14 Mar 1997 10:16:42 -0800 (PST)

On Thu, 13 Mar 1997, Michael Howes wrote:

> The Tape-beatles: Very much like Negativland...media samples..less humor
> more pointed

note that they've changed their name
to Public Works. they have a web
site too.

http://soli.inav.net/~psrf/pworks.html

> People Like Us: One of my favorites..a lighter Negativland with not such
> harsh cuts.

for silliness along the lines of People Like Us,
definately check out Stock Hausen & Walkman.


>  Lastly on this list is a question. I have a release from a group that goes
> buy "Peril". It's on a label our of Australia called "Dr Jim's". Otomo
> Yoshihide is on it and it's great. Do these 4 have anything else out.

as far as i know, they don't.
Mason Jones of Charnel Music would
know more about them. i think perhaps
there is a review (with information) about
them in the first issue of Ongaku Otaku.

hasta.

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



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Painkiller / Grindcore
Date: 14 Mar 1997 10:22:38 -0800 (PST)

On Fri, 14 Mar 1997, Anthony Saunders wrote:

>  I'm especially interested in sax/bass/drum trios that blast beat. : )

check out the following Kevin Martin
projects:

16-17
GOD

also, other suggestions would be:

Alboth!
Last Exit
Blind Idiot God

hasta.

onnow: Current 93 - HORSEY

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



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Sample Artists?! ((WAS: Re: Otomo) (was Burroughs))
Date: 14 Mar 1997 12:22:26 -0800


On Thu, 13 Mar 1997, Michael Howes wrote:
>
>  Lastly on this list is a question. I have a release from a group that goes
> buy "Peril". It's on a label our of Australia called "Dr Jim's". Otomo
> Yoshihide is on it and it's great. Do these 4 have anything else out.

List of what I know:


014 - PERIL: Peril

    1/ Kiken                                    (Otomo Yoshihide)        0:44
    2/ Exchange Rate                            (Tony Buck)              4:36
    3/ Gold                                     (Tony Buck)              7:00
    4/ Peril                                    (Tony Buck)              2:26
    5/ Lurch                                    (Tony Buck)              4:28
    6/ Accidently Hoddle St                     (Buck, Hideki)           4:07
    7/ Rotor Syndrome                           (Peril)                  4:46
    8/ 50-144                                   (Tony Buck)              1:47
    9/ Free-Rock                                (Peril)                  3:28
    10/ Left of Center                          (Tony Buck)              6:10

  Tony Buck: drums, samples, machines; Kato Hideki: bass, voice; Otomo
  Yoshihide: turntables, guitar, tapes; Michael Sheridan: guitar.

    1993 - Dr Jim's Records (Australia), DR JIM 7 (CD)


034 - MULTIVERSE: Peril

    1/ Sheer Bloody Mindedness                                           1:04
    2/ Hit Bit                                                           0:52
    3/ Snatch and Grab                                                   1:59
    4/ Jazz                                                              1:26
    5/ Illegal Alien                                                     5:58
    6/ Silent Masses                                                     3:01
    7/ 06                                                                0:18
    8/ Hit and Run                                                       4:55
    9/ Ascension                                                         1:28
    10/ Dancing on the Heads of the Scum of the Earth                    1:58
    11/ Darwin                                                           0:21
    12/ 07                                                               0:28
    13/ New Peril                                                        5:39
    14/ Michael Johnson                                                  0:58
    15/ Bern Baby, Bern                                                  2:25
    16/ 08                                                               1:08
    17/ Anger\Fun                                                        0:32
    18/ Dumb Drum Dub                                                    0:35
    19/ Regimental Anxiety                                               1:59
    20/ Peppermint Lounge                                                1:29
    21/ Aquamarine                                                       4:55

    Recorded and mixed at studio Boterdiep (Holland), July-October 1993

  Tony Buck: drums, samples, machines, vocal; Otomo Yoshihide: turntables,
  guitar; Sheridan: guitar; Thierry Fosmale: bass.

    1995 - Sound Factory (Hong Kong), SFCD 015 (CD)


*** - ASTRO: Peril

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


    Patrice.


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

From: Tom Pratt <[e-mail]>
Subject: Tunes
Date: 14 Mar 1997 18:38:56 -0500

>  I'm especially interested in sax/bass/drum trios that blast beat. : )

Check out Charles Gayle, or Peter Brotzmann might have some band out
there with this instrumentation. My favorite album with Peter Brotzmann
is Marylin Crispell/Peter Brotzmann/Hamid Drake-Hyperion. This is
whacked out awesomeness. Check it out.


I noticed someone mentioning Buckethead. I have an awesome album by
Jonas Hellborg/Buckethead/Michael Shrieve called 'Octave of the Holy
Innocents' which is incredible. Jonas Hellborg on acoustic bass guitar,
Buckethead on acoustic guitar and Michael Shrieve on drums. This album
absolutely shreds and would recommend it to anyone.


                -Tom Pratt


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

From: Torsten Nielsen <[e-mail]>
Subject: Live in China
Date: 15 Mar 1997 12:51:02 +0100 (MET)

Does anybody know what's happening with the Zorn/Eye "Live In China" box?
I thought it was supposed to be released in January/February...


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

From: Michael Howes <[e-mail]>
Subject: Re: Sample Artists?! ((WAS: Re: Otomo) (was Burroughs))
Date: 15 Mar 1997 12:05:34 -0800

>
>> People Like Us: One of my favorites..a lighter Negativland with not such
>> harsh cuts.
>
>for silliness along the lines of People Like Us,
>definately check out Stock Hausen & Walkman.
>
>

 I have the "Deconstruct" comp which has a couple tracks from them (as well
as John Oswald, Christian Marclay, and others) but do Stock Hausen &
Walkman have anything else out?
mike
[e-mail]



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

From: [e-mail] (Patrick Carey)
Subject: Re: Painkiller / Grindcore
Date: 15 Mar 1997 17:42:36 -0500

>On Fri, 14 Mar 1997, Anthony Saunders wrote:

>>I'm especially interested in sax/bass/drum trios that blast beat. : )

Then, SUGAR in their vitamins? responded:

>check out the following Kevin Martin projects:

>16-17

Not to nitpick here, but 16-17 is _not_ a Kevin Martin project.  16-17 is a
swiss jazz/noise/beat trio formed in the mid-80's by Alex Buess (the other
members are Markus Kneubuhler & Knut Remond (of Voice Crack)).  They have
three full-lengths, the most recent & most well-known one being "Gyatso"
(1994). This record was produced and released by Martin (on his now defunkt
Pathological label) & features him on samples.  This was his main
involvement with the band.
Other than this there has been the occasional guest appearance by Buess in
Martin's projects including God & Ice.

>GOD

I second this recommendation.  All of the God material is excellent, IMO.
If you like Zorn, he's featured (alto sax) on three tracks of God's second
album, "Possession".

>also, other suggestions would be:

>Alboth!

I have to second this recommendation as well.  Another amazing swiss band!
A quartet of bass, drums, piano (played like percussion) and effects-laden
voice.  Their older material is more organic.  Recent material includes
samples & more electronics.

>Last Exit
>Blind Idiot God

You might also try:

Electric Noise Twist (another Alex Buess project, similar to 16-17)
Bible Launcher (recent debut on Tzdik's Lunatic Fringe)
Ground Zero (S/T & Null & Void)
Peter Brotzmann Octet - "Machine Gun"
Peter Brotzmann Tentet - "Marz Combo"
Hession/Wilkinson/Fell (The Horrors Of Darmstadt &/or Foom! Foom!)

Borbetomagus [this may be pushing it however, as there is no bass
(except on a couple albums) or drums, but the wall of improv jazz/noise
they create (2 sax players + guitar) is astounding]


-Patrick




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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Sample Artists?! ((WAS: Re: Otomo) (was Burroughs))
Date: 15 Mar 1997 16:13:29 -0800 (PST)

On Sat, 15 Mar 1997, Michael Howes asks:
>  I have the "Deconstruct" comp which has a couple tracks from them (as well
> as John Oswald, Christian Marclay, and others) but do Stock Hausen &
> Walkman have anything else out?

yes. they have at least five albums,
mostly all self-released. off
the top of my head:

1993 "Giving Up" CD
1994? "Gothic Land" LP + 7"
1995 "Hairballs" CD
1995 "Stop" CD

i know there's at least one more,
but i can't recall the title offhand.

hasta.

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



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Painkiller / Grindcore
Date: 15 Mar 1997 16:26:15 -0800 (PST)

On Sat, 15 Mar 1997, Patrick Carey wrote:

> Not to nitpick here, but 16-17 is _not_ a Kevin Martin project.

thanks for the clarification.
i only have "Gyatso" and the liner
notes are sparse.

> ... released by Martin (on his now defunkt Pathological label)

so pathological is defunkt.

what's the story behind this?

> Electric Noise Twist (another Alex Buess project, similar to 16-17)

can you tell more about this?
discography, etc?

> Bible Launcher (recent debut on Tzdik's Lunatic Fringe)

has this been recalled or something?
it's not listed on the Koch/Tzadik
web page. and it was almost impossible
to find!

> Ground Zero (S/T & Null & Void)

yes, i second this recommendation.

> Peter Brotzmann Octet - "Machine Gun"
> Peter Brotzmann Tentet - "Marz Combo"

"Marz Combo" is good. so is
"Rat Dried Dog" (Hamid Drake, Crispell and Broztmann)
and "Die Like A Dog" (an Ayler tribute).
and of course, let's not forget
"Sacred Scrape/Secret Response".
much of Brotzmann's works are
well worth examining.

> Borbetomagus [this may be pushing it however,

don't forget "Barefoot In The Head",
a collaboration between Sauter and Deitrich
(Borb) and Thurston Moore. this is a
really excellent album which has
recently been re-issued.

and if you like Borbetomagus, i
would recommend Dislocation. they
have two albums, "Peak to Peak"
(PSF) and "Carve Another Notch".
both are excellent.

hasta.

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



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

From: Tom Pratt <[e-mail]>
Subject: simple correction
Date: 15 Mar 1997 21:57:25 -0500

> "Rat Dried Dog" (Hamid Drake, Crispell and Broztmann)

just a few simple corrections. The album is called 'Dried Rat Dog' and
is a Peter Brotzmann (tenor sax, clarinets, tarogato and things) & Hamid
Drake (drums, percussion) duets albums.  Marylin Crispell (piano) is not
on this one.

            -Tom Pratt


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

From: "James L. Kirchmer" <[e-mail]>
Subject: Re: Fred Chalenor
Date: 15 Mar 1997 19:55:58 -0800

Patrice L. Roussel wrote:

> On Tue, 11 Mar 1997 02:32:46 -0800  "James L. Kirchmer" wrote:
> > just droppin' a note to say that Zony Mash's debut album,
> > titled "Cold Spell", is out and it's HOT! (on knitting factory records).
> > Wayne is on Hammond B3, Fred Chalenor is on bass, Tim Young on guitar,
> > and Andy Roth on drums.
> > Fred Chalenor(Pigpen/Hughscore/Freestyle Candela/etc.) is Seattle's
>                                  ^^^^^^^^^^^^^^^^^
> Is it one of his Seattle projects? I never heard about this band before.

Freestyle Candela is a Seattle-based soukous/rumba/highlife/blues/jazz
influenced(among other influences) local band led by Leif Totusek
on guitar.  The current lineup of choice is Fred on bass, Denny Stern
on percussion, Attey Nettey on congas, and Skerik(Critters Buggin') on
tenor sax(if he is available, as he is very busy these days with
Critters and soon with Tuatara(new project with Peter Buck(REM))
Jessica Lurie(from the Living Daylights and also the Billy Tipton
Memorial Saxophone Quartet) also appears on sax occasionally...

Anyways, Freestyle is an amazing "African funk" band, basically -
and Leif Totusek is one BAD guitar player.  Fred is excited to play
with them, and a show they played on Valentine's Day(with Jessica)
was a total dance party.  Fred has not recorded with Freestyle yet
but hopefully will this spring.  Moreover, he has JUST started
jamming with the band.  It is a new development, and he is excited
about developing his funky AfroCuban chops.  He has fit in superbly
(and quickly!) so things look promising.....

Leif has played his brand of African-American jazz funk all over the
world, as a former member of Mose Se Fan Fan's SOMO SOMO(London),
and as a leader of bands in London, Boston, and now Seattle,
his hometown...

There's more to Seattle than grunge as you all probably have
realized by now!  (Now, if only Bill Frisell would play more
around here.... ;)

Ciao - james kirchmer
p.s. - there is a new(BASIC!) website at -
http://www.soukous.com/freestyle.html that offers a bit more
information on the band.  There is a CD available, but it does
not feature Fred Chalenor on bass.  Keith Lowe is on bass.




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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: simple correction
Date: 15 Mar 1997 21:10:40 -0800 (PST)

On Sat, 15 Mar 1997, Tom Pratt wrote:

> just a few simple corrections. The album is called 'Dried Rat Dog' and
> is a Peter Brotzmann (tenor sax, clarinets, tarogato and things) & Hamid
> Drake (drums, percussion) duets albums.  Marylin Crispell (piano) is not
> on this one.

you're right. i'm thinking of
"Hyperion" (Music & Arts).

hasta.

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



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

From: [e-mail] (Allan)
Subject: Re: Painkiller / Grindcore
Date: 16 Mar 1997 01:40:35 -0800

Anthony said he's looking for:
   >Painkiller like projects? (mix of jazz, grind, and
     >ambient, with out the somewhat goofy feel of naked city...)
       > I'm especially interested in sax/bass/drum trios that blast beat. : )

unfortunately, neither Drop Dead nor the Cripple Bastards have put out any
records featuring saxophone, to my knowledge...

Here's another suggestion (and I concur with most of what other folks have
come up with, especially the 16/17, that may well be the closest to what
Anthony desires):

     how about The Flying Luttenbachers --> Chicago "no-wave" jazzpunk
combo that at first featured the saxophone of the late Hal Russell.  Ken
Vandermark has also appeared with them...on their latest release (on Skin
Graft), I believe that the saxophone is handled by their (goofy? he's named
Weasel Walter) drummer.

and then there's a bunch of somewhat inter-related Japanese bands in the
Naked City vein, goofy or not depending on your personal taste I suppose:
Ground Zero (already mentioned by someone), P.O.N., Altered States, etc.
There's even a Ruins cd (Early Works) that features the saxophone of Zorn
on several tracks.

...
it seems like there's a bunch of jazz/grind outfits, and some
jazz/ambient/noise ones (Borbetomagus and Dislocation have been mentioned -
and Dislocation does remind me a bit of some of Painkiller's _Execution
Ground_), but not much grind/ambient or all threee...

  well, the last Burzum album could be considered grind/ambient,
                                                           but not jazz.

...and somebody mentioned Hession/Wilkinson/Fell.  That reminds me to
mention Descension (featuring bassist Simon Fell, saxophonist Charles
Wharf, and Tony Irving and Stephan Jaworzyn of Ascension) and Ascension.
Ascension is a way intense British guitar/drums improv duo, Descension adds
the aforementioned sax and double bass, and both groups have total
rip-your-head-off discs out on Jaworzyn's Shock label.

and oh yeah, how about Rudolph Grey's Blue Humans?  That _Mask of Light_
record, anyway, with Rashied Ali & one of the Borbetomagus sax players (Jim
Sauter), that kills, esp. the 35+ minute title track!

lastly, there is (or was?) a band here in San Francisco called Topple
(sax/electric bass/percussion/vocal manipulation) that do both all-out
improv and also some very tight, composed material...any fan of
Zorn/Painkiller I'm sure would dig them.

whew,
Allan






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

From: BJOERN <[e-mail]>
Subject: Lauren Newton
Date: 16 Mar 1997 16:35:51 +0100 (MEZ)

could please someone tell ma if there is a LN discography or biography on
the net???????
BJOERN


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

From: [e-mail] (Herb Levy)
Subject: Sample Artists
Date: 16 Mar 1997 08:40:17 -0800

Any review of the folks using samples in their work should include:
Carl Stone, with CDs on New Albion, New Tone, Trigram (with Otomo
Yoshihida), E:mit, and
Nicolas Collins, with Ostertag, one of the first to use live real-time
sampling in an improvised context.



Herb Levy
[e-mail]




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

From: [e-mail] (Patrick Carey)
Subject: Re: Painkiller / Grindcore
Date: 16 Mar 1997 17:04:59 -0500

>so pathological is defunct.  what's the story behind this?

There really isn't one.  I mean, I am not 100% certain that Pathological
is dead, but the last release was 16-17's "Gyatso" back in early 1994.
Since then, Martin has been overly busy producing, recording & writing ...
with all his projects [Techno Animal, God (I read somewhere that he's
called it quits on this because of the # of people involved; it becomes
very complicated to organize, record & tour together), EAR, The Sidewinder,
Macro Dub Infection comps, Bug! plus the tons of other records he's worked
on
in the past few years] there just isn't time.  But who's to say he won't
revive it someday ...

[Electric Noise Twist (another Alex Buess project, similar to 16-17)]

>can you tell more about this?  discography, etc?

Well, there isn't much to tell.  ENT consists of Buess [saxophones, drums,
contrabassclarinet, 8-string bass] Markus Kneubuhler [bass, tapes, violin-
controlled electronic devices, guitar, electronic percussion] and Christoph
Fringeli [voices, guitars, drums, keyboards] and they have only one full
length LP out which is self-titled (Vision 23).  It was released in 1989 on
Buess' (possibly also defunct) Vision label out of Switzerland.

I believe there is a review of this LP in the EST Zine archives if you're
interested.  They are also featured on the Vision compilation CD (see
below),
">Knock Out<", released in 1991 (Vision 35).

Vision released a lot of electronic/beat-box/jazz-noise in the
mid-late 80's/early 90's ... the compilation CD (1st & possibly
only Vision CD, all previous releases were LPs/12"s) is a good
sample of the sounds Vision was pushing.

[Bible Launcher (recent debut on Tzdik's Lunatic Fringe)]

>has this been recalled or something?  it's not listed on the Koch/Tzadik
>web page. and it was almost impossible to find!

I'm not sure.  I don't own it.  I saw it used in a store recently (I was
surprised since I didn't think it was out yet) and I gave it a listen.
IMO, it wasn't that great, almost a grunge/metal/jazz sound (very rock
oriented) with vocals that I didn't care much for.  I've been impressed with
other Tzadik releases, but this one seemed like something I would have been
interested in 3 or 4 years back.  Only my opinion of course ...  I included
it here because it does fit into the jazz-thrash area.

[Ground Zero]
>yes, i second this recommendation.

Something that may be of interest here, since we're talking about 16-17
et al ... Otomo samples (well, plays the record on his turntable) 16-17's
"Who Planned All This?" from their live LP, "When All Else Fails",
on the S/T Ground Zero album.  Check out track 13, "Euthanasia Drive",
and listen for the pounding rapid drum lines/squealing in the background
at the beginning & end of the track.

[Peter Brotzmann]
>"Marz Combo" is good. so is
>"Rat Dried Dog" (Hamid Drake, Crispell and Broztmann)  **
>and "Die Like A Dog" (an Ayler tribute).
>and of course, let's not forget
>"Sacred Scrape/Secret Response".
>much of Brotzmann's works are
>well worth examining.

Agreed on all of these being excellent.  Note (**) ... This one is
titled "Dried Rat Dog" and does not feature Crispell.

[Borbetomagus]
>don't forget "Barefoot In The Head",
>a collaboration between Sauter and Deitrich
>(Borb) and Thurston Moore. this is a
>really excellent album which has
>recently been re-issued.

Yes, excellent.  Since the Shock version is long gone, and the first FE issue
has disappeared, it's good to see a second re-issue.

>and if you like Borbetomagus, i would recommend Dislocation. they
>have two albums, "Peak to Peak" (PSF) and "Carve Another Notch".
>both are excellent.

Yes on these as well.  Also, check out their recent
"Coyote's Call" LP on Fusetron.  Nice stuff!

And while we're on the subject, don't forget Ascension, Descension, or
Stefan Jaworzyn's recent improv. album on Incus w/ Alan Wilkinson.


-Patrick




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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Painkiller / Grindcore
Date: 16 Mar 1997 17:06:00 -0800


On Sun, 16 Mar 1997 17:04:59 -0500  Patrick Carey wrote:
>
> [Bible Launcher (recent debut on Tzdik's Lunatic Fringe)]
>
> >has this been recalled or something?  it's not listed on the Koch/Tzadik
> >web page. and it was almost impossible to find!
>
> I'm not sure.  I don't own it.  I saw it used in a store recently (I was
> surprised since I didn't think it was out yet) and I gave it a listen.
> IMO, it wasn't that great, almost a grunge/metal/jazz sound (very rock
> oriented) with vocals that I didn't care much for.  I've been impressed with
> other Tzadik releases, but this one seemed like something I would have been
> interested in 3 or 4 years back.  Only my opinion of course ...  I included
> it here because it does fit into the jazz-thrash area.

The story is confusing. The record was supposed to be released on August 96.
At the very last minute, to avoid problems with some of the samples (taken
from preachers), the release was postponed, with the intent to release a
watered down version (without the samples) later.

Now, it seems that the decision to not release the record happened when
the records were already in the hand of some stores (Tower, Borders). Net
result? Even though the record was withdrawn at the last minute, you could,
for a short period of time, find it at Tower and Borders. I bought my copy
at Tower on August 25, and, surprisingly, I found a second one at the same
store on... December 9!!!!

My guess is that the story is more complicated than what I described...
But that's the best I know right now.

    Patrice.



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

From: "Alan M Gordon (MSc/NC)" <[e-mail]>
Subject: Re: Sample Artists?! ((WAS: Re: Otomo) (was Burroughs))
Date: 17 Mar 1997 12:01:58 GMT



>>do Stock Hausen &
>> Walkman have anything else out?


>yes. they have at least five albums,
>mostly all self-released. off
>the top of my head:
>
>1993 "Giving Up" CD
>1994? "Gothic Land" LP + 7"
>1995 "Hairballs" CD
>1995 "Stop" CD
>
>i know there's at least one more,
>but i can't recall the title offhand.
>

I think it is "Organ Donors", an album of cut-ups of cheesy organ tracks.
It's supposed to be one of their best.

alan


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

From: [e-mail] (Scott Chamberlin)
Subject: Bible Launcher
Date: 17 Mar 1997 15:44:20 GMT

The Bible Launcher release was recalled last year, and was rereleased
by tzadik in January.  The one released in January is the legal, and
available one.

My opinion on Bible Launcher is that it is one of those CD's that you
have to listen to 4 or 5 times untill you get a feel for it (like alot
of Zorn's stuff) Now it is one of my favorite disks.

The other release on the tzadik's Lunatic Fringe is Rodd Keith.  I do
not see why anyone would buy this CD.  It is probally one of the worst
CD's I have ever heard.  Rodd Keith was some guy that took
"Send us your lyric" submissions and wrote music for them.  I would
describe it as real flitty 60's music.  But I guess if you like that
kind of stuff . . .?

scott chamberlin
[e-mail]


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Bible Launcher
Date: 17 Mar 1997 08:28:11 -0800


On Mon, 17 Mar 1997 15:44:20 GMT  Scott Chamberlin wrote:
>
> The Bible Launcher release was recalled last year, and was rereleased
                            ^^^^^^^^^^^^^^^

Are you sure of that?

> by tzadik in January.  The one released in January is the legal, and
> available one.

I never heard about it being officially out.

    Patrice.


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

From: [e-mail] (Steve Smith)
Subject: Re: ATTN: S. Wilkie
Date: 17 Mar 1997 11:36:11 -0500

>Michael Formanek "Nature of the Beast" enja ENJ-9308 2 1997.

>[snip]...but if it's not out now,
>I'm sure it'll be out soon.

It's in stores on April 15.

Steve
[e-mail]




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

From: [e-mail] (Scott Chamberlin)
Subject: Bible Launcher
Date: 17 Mar 1997 16:40:13 GMT

Yeah, I think I origionally heard about the rerelease from someone on
this list, and I ordered it from Blockbuster music in January and got
it shortly after that, I also saw you could order it from CD now and a
few other places on the web that sell Tzadik, but I just went to the
CDnow site, and they didn't have it listed anymore, but I am sure at
one point they did list it.  Maybe it was recalled again?

scott chamberlin
[e-mail]


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

From: [e-mail] (Steve Smith)
Subject: Re: Bible Launcher, New Tzadik catalog
Date: 17 Mar 1997 12:32:29 -0500

>The Bible Launcher release was recalled last year, and was rereleased
>by tzadik in January.  The one released in January is the legal, and
>available one.

Are you sure about that?  I just picked up the new 1997 Tzadik catalog
yesterday and Bible Launcher does not appear at all... and this catalog is
new enough to include details about such upcoming releases as the second
Mike Patton disc "Pranzo Oltranzista" (presumably an April release) and
Zorn's "New Traditions in East Asian Bar Bands" (ditto).  Also listed as
upcoming are the Serge Gainsbourg 2 CD set, new releases from Frith (not
the film music disc) and Ostertag, and the following additions to the
Archival Series: Cynical Hysterie Hour, Duras and Aprorias: Requia for
Piano and Orchestra.  And much more of course.  But no mention whatsoever
of Bible Launcher.

And I couldn't help but smile when I saw the following description of the
Burt Bacharach 2 CD tribute: "This incredible collection is essential
listening to anybody interested in anything."  But given the lineup, that
is probably quite right: Wayne Horvitz, Marc Ribot, Dave Douglas, Guy
Klucevsek, Kramer, Erik Friedlander, Joey Baron, Zeena Parkins, Fred Frith,
Medeski Martin & Wood, Elliott Sharp, Marie McAuliffe, Mike Patton, Lloyd
Cole, Robert Quine, Anthony Coleman, Yuka Honda, Sean Lennon, Shelley
Hirsch, Bill Frisell.

And finally, everybody should be able to find Derek Bailey's "Drums'n'Bass"
CD as of tomorrow... Koch, the distributor of Tzadik and my former
employer, is now carrying Avant as well.

Steve Smith
[e-mail]




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

From: BJOERN <[e-mail]>
Subject: Re: Bible Launcher, New Tzadik catalog
Date: 17 Mar 1997 19:50:34 +0100 (MEZ)

On Mon, 17 Mar 1997, Steve Smith wrote:

> >The Bible Launcher release was recalled last year, and was rereleased
> >by tzadik in January.  The one released in January is the legal, and
> >available one.
>
> Are you sure about that?  I just picked up the new 1997 Tzadik catalog
> yesterday and Bible Launcher does not appear at all... and this catalog is
> new enough to include details about such upcoming releases as the second
> Mike Patton disc "Pranzo Oltranzista" (presumably an April release) and
> Zorn's "New Traditions in East Asian Bar Bands" (ditto).  Also listed as
> upcoming are the Serge Gainsbourg 2 CD set, new releases from Frith (not
> the film music disc) and Ostertag, and the following additions to the
> Archival Series: Cynical Hysterie Hour, Duras and Aprorias: Requia for
> Piano and Orchestra.  And much more of course.  But no mention whatsoever
> of Bible Launcher.
>
> And I couldn't help but smile when I saw the following description of the
> Burt Bacharach 2 CD tribute: "This incredible collection is essential
> listening to anybody interested in anything."  But given the lineup, that
> is probably quite right: Wayne Horvitz, Marc Ribot, Dave Douglas, Guy
> Klucevsek, Kramer, Erik Friedlander, Joey Baron, Zeena Parkins, Fred Frith,
> Medeski Martin & Wood, Elliott Sharp, Marie McAuliffe, Mike Patton, Lloyd
> Cole, Robert Quine, Anthony Coleman, Yuka Honda, Sean Lennon, Shelley
> Hirsch, Bill Frisell.
>
what is the name of the Bacharach CD?????
Sean Lennon??? the son of John Lennon????
BJOERN



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

From: BJOERN <[e-mail]>
Subject: tapes
Date: 17 Mar 1997 19:51:52 +0100 (MEZ)

anyone from near germany who likes to trade live tapes????
BJOERN


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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Bible Launcher
Date: 17 Mar 1997 11:01:58 -0800 (PST)

On Mon, 17 Mar 1997, Scott Chamberlin wrote:

> Yeah, I think I origionally heard about the rerelease from someone on
> this list

how does one tell the difference
between this supposed "legal"
re-release version vs. the previous
recalled version?

hasta.

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



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

From: [e-mail] (Steve Smith)
Subject: Re: Bible Launcher, New Tzadik catalog
Date: 17 Mar 1997 15:29:56 -0500

BJOERN wrote:

>what is the name of the Bacharach CD?????

Burt Bacharach - Great Jewish Music.  (The Serge Gainsbourg tribute will
similarly be called Serge Gainsbourg - Great Jewish Music.)

>Sean Lennon??? the son of John Lennon????

Yes.

Steve




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

From: Tom Pratt <[e-mail]>
Subject: New Tzadik catalog
Date: 17 Mar 1997 21:28:26 -0500

> And I couldn't help but smile when I saw the following description of the
> Burt Bacharach 2 CD tribute: "This incredible collection is essential
> listening to anybody interested in anything."  But given the lineup, that
> is probably quite right: Wayne Horvitz, Marc Ribot, Dave Douglas, Guy
> Klucevsek, Kramer, Erik Friedlander, Joey Baron, Zeena Parkins, Fred Frith,
> Medeski Martin & Wood, Elliott Sharp, Marie McAuliffe, Mike Patton, Lloyd
> Cole, Robert Quine, Anthony Coleman, Yuka Honda, Sean Lennon, Shelley
> Hirsch, Bill Frisell.

When will this be released?

        -Tom Pratt


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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Rodd Keith
Date: 18 Mar 1997 00:05:04 -0500 (EST)



On Mon, 17 Mar 1997, Scott Chamberlin wrote:

> The other release on the tzadik's Lunatic Fringe is Rodd Keith.  I do
> not see why anyone would buy this CD.  It is probally one of the worst
> CD's I have ever heard.  Rodd Keith was some guy that took
> "Send us your lyric" submissions and wrote music for them.  I would
> describe it as real flitty 60's music.  But I guess if you like that
> kind of stuff . . .?

The description of this struck me as intriguing, and I was thinking of
checking it out, but now I dunno.  Anyone hear this and not hate it?

Chris Hamilton




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

From: hywel davies <[e-mail]>
Subject: swell
Date: 18 Mar 1997 15:22:20 -0800

someone asked about steve swell?...he has a duo project out on cimp with
chris kelsey (can't recall the title) does anyone know what mr. kelsey
plays?


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

From: [e-mail] (Linda Highland)
Subject: Re: Rodd Keith
Date: 18 Mar 1997 10:46:46 -0500

I've only heard a little of Rodd keth proper, and found it fun...know
many who love him.  BUT those "send us your lyrics " records are GREAT!
The "Smooth Music" comp is truly a thing of wonder and awe, with such
gems and "A Convertible and a Headband Make the Scene', "JimmyCarter
Says Yes," and other noteworthies.....Not "art", but a lot more
interesting than most of what you hear on the radio...


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

From: Scott Russell <[e-mail]>
Subject: New Frith Disc
Date: 18 Mar 1997 16:31:49 +0000

Dear all

Just for information, I have just purchased the new Fred Frith Tzadik
disc, Ear to Eye. It's part of Tzadik's Film Works series and features
excerpts from several soundtracks composed by Frith. The music is a
mixture of melodic compositions, moody soundscapes and some
improvisation (I think). There's a small band and Frith plays his
usual guitar and assorted manipulations. I found all the music highly
entertaining. It's not a startling new direction but it will please
fans and does feature some good,fractured guitar playing and a
rattling guitar/organ duet.

There seems to be a plethora of Tzadik new releases, I've also seen
the Naked City Black Box, the new Mike Patton disc and another radical
jewish culture disc. I'm waiting to see the Bacharach disc and the new
Bob Ostertag  one. Has anyone heard any of these new discs? I'd be
interessted in any opinions.

Scott Russell.


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

From: [e-mail]
Subject: Tzadik 1997 Catalog
Date: 18 Mar 1997 11:56:55

Could somebody tell where I could find the Tzadik 1997
catalog online? Or could somebody who has it post it?
The website at kochint.com hasn't been updated in a while.

Andrew Marks
Software Engineer
MTS-PowerTek, Inc.

E-mail: [e-mail]
Time: 11:56:55 AM

Buckethead was raised in the chicken
coop by chickens.



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

From: [e-mail] (Jacques Oger)
Subject: Duck Baker
Date: 18 Mar 1997 18:14:13 +0100

Does somebody know (maybe Patrice):
who is Duck Baker ? I saw an information about a Tzadik release (playing
Herbie Nichols). What is it? It sounds fine.


Jacques




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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Duck Baker
Date: 18 Mar 1997 10:56:06 -0800


On Tue, 18 Mar 1997 18:14:13 +0100  Jacques Oger wrote:
>
> Does somebody know (maybe Patrice):
> who is Duck Baker ? I saw an information about a Tzadik release (playing
> Herbie Nichols). What is it? It sounds fine.

From a previous post by Steve Smith:


The full title is "Spinning Song - Duck Baker Plays the Music of
Herbie Nichols."  It's a solo guitar record and it's wonderful.

Here are the tracks:
1. The Third World      4:03
2. The Happenings       4:34
3. Lady Sings the Blues 5:16
4. Nick at T's          4:46
5. House Party Starting 5:22
6. 2300 Skidoo          4:01
7. Portrait of Ucha     4:06
8. 134th St.            3:46
9. Spinning Song        4:47

It's a solo guitar record.  Duck uses a selection of different
guitars to suit the character of the individual pieces.  He is
a pretty stellar improviser of the John Fahey/Leo Kottke variety
(as opposed to the Derek Bailey variety!).  But Henry Kaiser
and Jim O'Rourke say wonderful things about him, and evidently
the idea of doing a solo Nichols album was Zorn's.

The disc may seem terribly conservative to those who prefer the
extreme, but it's lovely and well-recorded, and really reveals
the architecture of these little bop gems.  I especially like
the woozy blues sliding around in "Lady Sings the Blues."

Baker's notes are intelligent and informative, and reveal that
he spent time with the great trombonist and Nichols champion
Roswell Rudd, who told Baker a great deal about Nichols's life
and circumstances, affecting the way Baker interpreted the
tunes.  "Knowning that Ucha was 'a really crazy lady' in
Nichols' life that Herbie 'maybe never really got over' made
a huge difference when approaching [Portrait of Ucha].  Even the
instrument used - a miniature Mexican guitar with built-in acoustic
distortion - was determined by having that information," Baker
writes in his notes.  He also acknowledges Bruce Ackley, Ben
Goldberg and John Schott as having provided "charts and pointers."


    Patrice.


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

From: "J.Ross" <[e-mail]>
Subject: new patton cd.
Date: 18 Mar 1997 14:57:48 -0600 (CST)

I don't know if it's out yet, But has anyone had a chance to listen
to the new patton cd?  If so could you send me a description of it?
I bought adult themes when I came out last year....It's really cool
but kind of hard to listen to....

muchas gracias
J-



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

From: [e-mail] (Tony Reif)
Subject: address change/new releases/new distributor
Date: 18 Mar 1997 15:05:58 +0000

Hello all,

As of the end of March, mail for Songlines will no longer be received at
the W. Broadway addresses you may have, and unfortunately it cannot be
forwarded either but will be returned.

The correct address now for all correspondence is:

Tony Reif
Songlines Recordings
1003 - 2323 W. 2nd Ave.
Vancouver, B.C. V6K 1J4, Canada

Tel [phone] * fax [phone]
e-mail: [e-mail]

Songlines has two new releases available April 1st:

Marty Ehrlich / Ben Goldberg, Light at the Crossroads (SGL 1511-2)

Two master clarinettists with roots in jazz and new music, one based in New
York and the other in San Francisco, join forces in a fine and varied
program of original compositions for clarinets and/or bass clarinets. Their
swinging quartet is completed by longtime Goldberg collaborators Trevor
Dunn (bass) and Kenny Wollesen (drums). 20-bit recording.

Andy Laster, Interpretations of Lessness (SGL 1515-2)

A suite inspired by Samuel Beckett's short prose work, featuring Laster
(baritone and alto sax), Erik Friedlander (cello), Cuong Vu (trumpet), and
Kenny Wollesen (drums/percussion). Laster establishes a unique and
strangely appealing sound world, capturing something of Beckett's rhythms,
colors, sadness, and obtuse, oddly-vaudevillian humor. 20-bit recording.

These can be ordered direct from Songlines (email me for a complete catalog
and inquire about our special offer), or by credit card from our exclusive
US/Canadian distributor Allegro at 1 800 288 2007.


Tony Reif (Songlines Recordings)




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

From: Jim McLoughlin <[e-mail]>
Subject: Herbie Nichols
Date: 18 Mar 1997 22:07:03 -0500 (EST)

    Hello Everybody

    I had some Herbie Nichols related questions after the recent post
about Duck Baker's (sorry if the name's wrong) solo guitar album.  It was
mentioned that Zorn proposed the project, and that Ben Goldberg and John
Schott gave some pointers.
    I heard a tape of a live show (don't know the date) that had Zorn,
John Schott, Ben Goldberg, Richard Saunders (bass), and Kenny Wolleson
playing Nichol's compositions.  I believe it was Ben Goldberg's project as
he was announcing the show.  SOOO, my question is if there has been studio
work by this lineup.  I thought I heard one of the tunes on a jazz radio
program recently, except without Zorn.  Is it possible Goldberg put out a
CD of this stuff?  Or is part of the Junk Genius CD on the Knitting
Factory label?
    The arrangements of Nichols' music I heard were very good, and
Zorn tore it up.  A nice blend of groove and out-there/deconstructedness.
    Any info regarding the above, including a date of that show, would
be appreciated.

    Jim

 --



    Jim McLoughlin
    [e-mail]


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

From: [e-mail] (Matsumoto Craig)
Subject: Human Feel review
Date: 19 Mar 1997 01:42:44 -0500


Seeing as the band Human Feel got some ink on this list earlier ...

This is from the February 1997 issue of M3, or "Modern Musician Monthly,"
which publishes out of Freehold, N.J. and apparently focuses on
independent-label music (it's a mag about the music biz for struggling
musicians).  I picked it up free at the Knitting Factory.

Anyway, Human Feel's latest CD makes M3's "Top Two of the Month."
Here's the review, copyright 1997 by C.P.I., reproduced without permission.
Written by Rob Levit.


"Brooklyn-based collective Human Feel makes an excellent and
provocative Songlines debut with _Speak to It_.  The music is
simply beyond category, but could be adequately described as
contemporary improvisation, a punk aesthetic wedded to the
stylistic influences of modern chamber music, Albert Ayler,
Ornette Coleman, and Eastern European sensibilities.  The
amazing thing is that they sound like none of the above.
They synthesize all of those influences to create a sound
of their own.  How do they achieve this?  For starters,
percussionist Jim Black and reedmen Andrew D'Angelo and
Chris Speed have strong ties to Seattle where they grew up
playing music.  Guitarist Kurt Rosenwinkel joined the group
in Boston and four CDs later, they continue to explore the
outer limits of "jazz."

"_Speak To It_ offers a virtual compendium of their advanced
techniques.  Speed's "Darker Joys" is a two-and-a-half minute
thrash featuring two competing riffs that grow, then collide
with each other.  D'Angelo's "Spaze" is a through-composed
chamber piece that features a stunning mix of distorted guitar
with saxophone.  Black's "Tic, Tics" reminds me of the openness
of Ornette's ballads; somber, but sounding almost like an
old spiritual.  On previous Human Feel recordings, Rosenwinkel
contributed to the compositions.  It's ironic that he is
left off the compositional roster, because his guitar is
indispensable to each track.  For the first time on a Human Feel
disc, his sound is well-recorded and equal to the reeds in terms
of function.

"The Mal Waldron tune that features vocalist Holly Palmer,
unfortunately, doesn't quite work.  A fine vocalist recently
signed to Reprise, Palmer's breathy, atmospheric approach seems
a little out of place here."


.. Levit goes on to discuss how only independent labels like Songlines
release this kind of music, and he urges us all to support such labels.
I figured this list didn't need the prodding.  :)

Levit also gives Songlines' phone number as  [phone].

I haven't picked up _Speak To It_ yet, but I've got _Welcome to
Malpesta_, which i discovered through the Black/Speed connection with
Tim Berne's Bloodcount.  I really like Jim Black's work - quick and
deftly packed drum flurries that add a lot of meat to the music.

That's about it ... i just thought it was neat to see a real live
Human Feel review.


-- Craig Matsumoto
   [e-mail]




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

From: [e-mail]
Subject: Mike Patton: Pranzo Oltranzista
Date: 19 Mar 1997 08:50:36 --100

Well,

I was surprised to find the new Mike Patton album in the store yesterday,
since it was slated for April release. Its full title is "Pranzo Oltranzista:
Musica da Tavola per Cinque (Banquet Music for five Players)". It consists of
11 tracks, or parts if you wish. The whole 31:52 piece is inspired by
Marinetti's 1932 Futurist Cookbook "La Cucina Futurista".

The tracks

 1. Elettricita atmospheriche candite   1:19
 2. Carne cruda squarciata dal suono di sassofono   2:32
 3. Vivanda in scodella   3:15
 4. Guerrainletto   1:51
 5. Contorno tattile (per russolo)   2:01
 6. I rumori nutrienti   4:26
 7. Garofani allo spiedo   2:56
 8. Aerovivanda   2:33
 9. Scoppioingola   3:00
10. Latta alle luce verde   3:24
11. Bombe a mano   4:00

The players

Erik Friedlander: cello
Mike Patton: voice, sound effects
Marc Ribot: guitar
William Winant: percussion
John Zorn: alto saxophone

The music is totally different from the first Patton album. There's hardly any
vocals, and the atmosphere is mostly very laid back, although eerie. (2) reminds
me of the music that is played in the background in restaurants, although it
is interrupted by blasts of noise and squeaking saxophone. I am reminded of
Zorn's Rebird at quite a few places. (6) features some very typical saxophone
playing by Zorn, a bit like his playing on The Sicilian Clan, over an
Eraserhead-like background. Each track is accompanied by a nice futurist
recipe. An example for track (5):

"Undresses lettuce leaves,
 dates and grapes eaten from a
 bowl with right hand (no fork).
 Left hand turns crank of a
 'sound box' which emits
 geometrical sounds and rhythms."

In my opinion, Mike Patton establishes himself as an excellent composer with
this album. Those who were scared off by his first offering can rest assured
that this one is completely different, and actually a pleasure to the ears.

I was also told that Filmworks IV and Masada IV "Dalet" are coming soon...

Frankco.


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

From: BJOERN <[e-mail]>
Subject: Patton
Date: 19 Mar 1997 13:40:18 +0100 (MEZ)

I bought the new Patton CD yesterday and i really have to say that its
really great....
it has nothin to do with Adult themes... its more instrumental...
the line-up is:

Erik Friedlander - cello
Mike Patton - voice , sound effects
John Zorn - alto
William Winant - perc.
Marc Ribot - guitar

there is not too much voice on the CD... th CD is about eatin in
general... so Patton does a lot of sounds that have sth to do with eatin
..like chewin etc...
it is really a very good CD so check it out
BJOERN


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

From: Peter Risser <[e-mail]>
Subject: Re: Samples (Otomo (was Burroughs))
Date: 19 Mar 1997 08:25:40 -0500

-- [ From: Peter Risser * EMC.Ver #2.5.03 ] --

Actually Negativland has a history stretching far beyond the U2 scandal.
They were one of the best cut and paste artists of all time.  Big 10-8 place
is genius and Helter Stupid is amazing.

Also Nicolas Collins does real-time sampling, as evidenced on his "100 of
the World's Most Beautiful Melodies" album.

Also a guy called Noah Creshevsky, who has released stuff only on Opus One
records, as far as I know, does great sample work.

Just another 2 cents.
--
=====================
Group 42, Inc.
www.group42.com
[phone]
=====================



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

From: "M.Ho" <[e-mail]>
Subject: Bloodcount cancelled
Date: 19 Mar 1997 10:09:58 EST

Anyone thinking that the Bloodcount show in Richmond, VA is supposed
to go on tonight, you've been lied to.  It was actually supposed to
happen last night but there was all this promo mix up and wrong dates
being advertised that the show eventually was cancelled.  So those
that I know were planning on coming in from out of town--DON'T.  He
will, however, be in Baltimore tonight.
_Mary



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

From: Scott T Chamberlin <[e-mail]>
Subject: Patton release
Date: 19 Mar 1997 10:28:45 -0500 (EST)

Does the new Patton release reseble 'elegy' in any way.
It seems to look like a similar type of 'modern chamber'
set up.

scott chamberlin
[e-mail]


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

From: Anthony Saunders <[e-mail]>
Subject: Re: Painkiller / Grindcore
Date: 19 Mar 1997 19:54:01 -0500 (EST)



On Sun, 16 Mar 1997, Allan wrote:

> Anthony said he's looking for:
>    >Painkiller like projects? (mix of jazz, grind, and
>      >ambient, with out the somewhat goofy feel of naked city...)
>        > I'm especially interested in sax/bass/drum trios that blast beat. : )
>
> unfortunately, neither Drop Dead nor the Cripple Bastards have put out any
> records featuring saxophone, to my knowledge...

 Well, thats why I was looking for jazzgrind stuff. I ve got a pretty
good collection of Dropdead, Capitalist Casualties, Man Is The Bastard
(two bass guitar jazz punk, very brutal), spazz, early Napalm Death, Sore
Throat, Agathocles, etc. I am fully entrenched in the NY punk scene, and
have been collecting grind records for the last five or six years... All
of the bands/projects so far suggested are being checked out, as fast as I
can (which is pretty slow, actually)

> Here's another suggestion (and I concur with most of what other folks have
> come up with, especially the 16/17, that may well be the closest to what
> Anthony desires):
>
>      how about The Flying Luttenbachers --> Chicago "no-wave" jazzpunk
> combo that at first featured the saxophone of the late Hal Russell.  Ken
> Vandermark has also appeared with them...on their latest release (on Skin
> Graft), I believe that the saxophone is handled by their (goofy? he's named
> Weasel Walter) drummer.
>
> and then there's a bunch of somewhat inter-related Japanese bands in the
> Naked City vein, goofy or not depending on your personal taste I suppose:
> Ground Zero (already mentioned by someone), P.O.N., Altered States, etc.
> There's even a Ruins cd (Early Works) that features the saxophone of Zorn
> on several tracks.
>
> ...
> it seems like there's a bunch of jazz/grind outfits, and some
> jazz/ambient/noise ones (Borbetomagus and Dislocation have been mentioned -
> and Dislocation does remind me a bit of some of Painkiller's _Execution
> Ground_), but not much grind/ambient or all threee...
>
>   well, the last Burzum album could be considered grind/ambient,
>                                                            but not jazz.

 Yeah, but the guy (count grishnak) is a self admitted Fascist scumbag.
Thats the problem with Black Metal, I never buy any of it because I am
unwilling to accidently support nazi bullshit. But the music that I have
heard is pretty good.

 Oh yeah, anyone interested in experimental grind should check out the
Human Remains cdep - Using Sickness As A Hero - on Relapse. Its got almost
perfect songwriting, with incredible musicianship from the players. seven
string guitars, and the fastest and most skilled drummer in the grind
scene today. Its got some really nuts stuff on it, absolutely the best
thing Relapse has ever released.

 Oh yeah, both Agathocles (from Belgium) and Cripple Bastards (from Italy)
are planning USA tours soon. If anyone is interested, I will keep you
posted.

 anthony



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

From: a rancid amoeba <[e-mail]>
Subject: Re: Painkiller / Grindcore
Date: 19 Mar 1997 18:29:04 -0800 (PST)


> >
> >   well, the last Burzum album could be considered grind/ambient,
> >                                                            but not jazz.
>
>  Yeah, but the guy (count grishnak) is a self admitted Fascist scumbag.
> Thats the problem with Black Metal, I never buy any of it because I am
> unwilling to accidently support nazi bullshit. But the music that I have
> heard is pretty good.

I happened to buy a CD by a band called Abruptum that I describe as "free
black metal". I know very little about them so I have no idea if any of
their other albums are anything like the one I got. The one I have is
black metal style guitar, vocals and drums but seems to be entirely
improvised and both tracks are 20+ minutes long. Every single time I've
ever played it over the air another DJ or a listener has asked me about
it--it's totally unlike anything else.

The CD sleeve artwork (on the outside) is all solid black and nothing else--
no band name, no catalog number, nothing. I think the name of the CD is
Obscuritatem Advoco Amplectere Me but I don't remember for sure.

chanel




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

From: "Gary M. Gettier" <[e-mail]>
Subject: Re: Painkiller / Grindcore
Date: 20 Mar 1997 19:14:20 -0500 (EST)


Speaking of Painkiller, I've got some extra copies of their stuff for
trade. Let me know if you've got some good trades:

Painkiller - Guts Of A Virgin (Censored cover - I finally found the Toy
                                                Factory one!)
Painkiller - Buried Secrets

Other stuff -
Mystic Fugu Orchestra (Zorn/Eye) - Zohar
Mr Bungle - Mr Bungle     (extra copy)
Mr Bungle - Disco Volante (extra copy)

I'd like to get the 3 CD _Execution Ground_ and one of the Masadas.
I've got a list of metal stuff a mile long I'd like to get. Email me for a
list.

p.s. Hello to Chanel and Mike, miss ya on the metal list!


Gary

Gary M. Gettier - [e-mail] | "Think for yourself and feel the walls
                              |  become sand beneath your feet."
! Don't Buy CDs at Wal-Mart ! |  - Queensryche


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

From: Peter Risser <[e-mail]>
Subject: Baron Crackshot
Date: 21 Mar 1997 12:43:30 -0500

-- [ From: Peter Risser * EMC.Ver #2.5.03 ] --

I went to purchase Joey Baron's Crackshot album and found out it was on
Avant for 22 bucks.  Is there a non-import version of this album out?  Like,
say, Tzadik or something?  Anyone?

Second, any news on the 3CD release of Painkiller's Execution Ground on
Tzadik?
--
=====================
Group 42, Inc.
www.group42.com
[phone]
=====================



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

From: DR S WILKIE <[e-mail]>
Subject:       uk tours
Date: 21 Mar 1997 11:21:33 GMT0BST

for those in the UK...tim berne is over in may (london, purcell room
24th...birmingham,custard factory 30 and 31st )..also dave douglas is
at the custard factory, 26 april - see you there!


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

From: Jason Caulfield Bivins <[e-mail]>
Subject: new Tzadiks
Date: 21 Mar 1997 14:47:01 -0500 (EST)

Has anyone checked out the new Frith and Sharp discs on Tzadik? I imagine
someone must have done so -- I only had the cash for two of the recent
(and huge) batch, and I chose "Filmworks III" and the Ribot. I haven't
really absorbed either of them fully, but I'm really impressed with
Ribot's record so far. It's leagues better than "Shrek" (to my ears), and
it really helps to see where he's coming from insofar as he successfully
synthesizes a number of his influences. As if the Ayler covers on
previous discs weren't hint enough, his approach really seems to owe
quite a bit to Ayler -- in his dismantling of phrases, his off-center
articulation, etc.
By the way, for those interested there are 3 intriguing releases next month:
    Michael Formanek's "Nature of the Beast"
    Dave Douglas' Tiny Bell Trio "Live in Europe"
    Bill Frisell "Nashville" (!!)

Jason Bivins


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

From: [e-mail]
Subject: Ellery Eskelin Trio(w/Andrea Parkins & Jim Black)@ICA, Boston
Date: 21 Mar 1997 17:11:10 -0500 (EST)

SUNDAY, APRIL 13th, 8 PM
@ the Institute for Contemporary Art
955 Boylston Street, Boston, MA 02115
The Boston Creative Music Alliance Presents:

             tenor saxophonist & composer
ELLERY ESKELIN
with
Andrea Parkins (accordian and sampler)
and
Jim Black (drums)

"...Eskelin continues to be the most inventive American tenor player in
creative music..."
(Down Beat, November 1996)

"...One of the most stimulating bands of the decade...Jazz Trash remains one
of the unsung treasures of recent creative music troves."
(John Corbett)

Tickets go on sale Friday, March 28th
@ Twisted Village Records
(12 Elliott Street-near Harvard Square,
Cambridge, MA 02138
ph [phone] fax [phone])

Stay Tuned:
for more info regarding BCMA's May 21st production of
Charlie Kolhase Quintet @ The ICA!








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

From: [e-mail] (Dave Trenkel)
Subject: Re: new Tzadiks
Date: 21 Mar 1997 16:39:18 -0800

Jason Bivins writes:
>Has anyone checked out the new Frith and Sharp discs on Tzadik? I imagine
>someone must have done so -- I only had the cash for two of the recent

I got them both yesterday, I too only had cash for 2. They're both great,
IMHO. The Sharp disc is probably the biggest surprise, it has some of the
most conventionally beautiful music I've heard him do. One piece, a solo on
what I'm guessing is one of his stringed homemades played with e-bow,
sounds a lot like traditional Korean music. Another piece is a simple, John
Fahey-esque slide blues.

The Frith disc is also very nice, some pieces harken back to his Henry
Cow/European folk phases, which I quite enjoy, others are more
improv/texture oriented. One piece, a duet with organist Willy Webster,
goes on a bit too long, but I like the rest of the disc quite a bit.



________________________________________________________
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: hywel davies <[e-mail]>
Subject: masada 4
Date: 22 Mar 1997 12:25:19 -0800

i've stopped caring whether you believe me or not, but masada 4(diw 923)
is out in the UK, i have it - it exists! (full price though...)


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

From: Tom Pratt <[e-mail]>
Subject: Re: masada 4
Date: 22 Mar 1997 09:54:10 -0500

hywel davies wrote:
>
> i've stopped caring whether you believe me or not, but masada 4(diw 923)
> is out in the UK, i have it - it exists! (full price though...)

Yes it does.  I'm getting a tape of it from someone in Tokyo.

            -Tom Pratt


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: masada 4
Date: 22 Mar 1997 09:28:35 -0800


On Sat, 22 Mar 1997 12:25:19 -0800  hywel davies wrote:
>
> i've stopped caring whether you believe me or not, but masada 4(diw 923)
    ^^^^^^^^^^^^^^^^^^^^^^^^^^^

Why are you saying that? There have been so many rumors about this
record that we became a little bit suspicious. Even an add in a
respected magazine was not enough :-).

> is out in the UK, i have it - it exists! (full price though...)

That's an excellent news!

    Patrice.


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: masada 4
Date: 22 Mar 1997 09:31:14 -0800


On Sat, 22 Mar 1997 09:28:35 -0800  "Patrice L. Roussel" wrote:
>
>
> On Sat, 22 Mar 1997 12:25:19 -0800  hywel davies wrote:
> >
> > i've stopped caring whether you believe me or not, but masada 4(diw 923)
>     ^^^^^^^^^^^^^^^^^^^^^^^^^^^
>
> Why are you saying that? There have been so many rumors about this
> record that we became a little bit suspicious. Even an add in a
> respected magazine was not enough :-).
>
> > is out in the UK, i have it - it exists! (full price though...)
>
> That's an excellent news!

Also, it seems that the catalog number is different.

    Patrice.


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

From: [e-mail]
Date: 22 Mar 1997 12:20:04 -0800 (PST)

have filmworks 3 & 4 been released yet?  I heard they were out, but I
wanted to make sure.
j




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

From: Jan-Wen Lu <[e-mail]>
Subject: New CD on Avant
Date: 23 Mar 1997 10:53:08 +0800

Does anyone have idea with the latest CD on Avant, Alva-"Fair-Haired
Guillotine"(AVAN-072, released on Feb. 21)? A female trio from Florida.
They use violin, saxophone and piano.

Concerning the Masada 4 CD on DIW. It was released on Feb. 21, too. It costs
1800 Japanese Yen. Not full price.

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


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

From: Torsten Nielsen <[e-mail]>
Subject: Concerts in London
Date: 23 Mar 1997 14:47:36 +0100 (MET)

Does anybody know of any interesting concerts in London, April 4 or 5?

Thanks,

Jonas


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

From: Torsten Nielsen <[e-mail]>
Subject: Concerts in London
Date: 23 Mar 1997 15:50:08 +0100 (MET)

Does anybody know of any interesting concerts in London, April 4 or 5?

Thanks,

Jonas



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

From: Tom Pratt <[e-mail]>
Subject: DAT traders
Date: 24 Mar 1997 07:25:33 -0500

Are there any DAT traders out there who trade Jazz/Avant stuff? PLEASE
CONTACT ME!


                -Tom Pratt


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

From: [e-mail] (Eric Schneider)
Subject: filmworks
Date: 24 Mar 1997 08:35:09 -0600

Could anyone provide general impressions and/or ratings of each one of
Zorn's Filmworks collections?  I'm familiar with a lot of Zorn's projects
and compositions, but I have yet to approach this series.  Any pointers
would be helpful.  Thanks.

- Eric






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

From: [e-mail]
Subject: Re: filmworks
Date: 25 Mar 1997 08:47:21 +0100

> Could anyone provide general impressions and/or ratings of each one of
> Zorn's Filmworks collections?  I'm familiar with a lot of Zorn's projects
> and compositions, but I have yet to approach this series.  Any pointers
> would be helpful.  Thanks.

Although I like all or most of the Filmworks series, I must say that I like
the recently released fourth instalment the best. It features some of Zorn's
best work, not only in the Filmworks series, but on the whole.
There are five tracks, each with a very different character and feel.
The first track, Pueblo (9:04), is a track that prominently features guitarists
Marc Ribot and Robert Quine. It is very laid back, sort of a Mesoamerican
atmosphere. It reminds me of the song the band is playing during Santanico
Demonia's dance in From Dusk Till Dawn. The second track, Elegant Spanking
(14:22) is a suite culled from a 27 minute composition of the same name. The
line-up and instrumentation for this one is the same as on Zorn's masterpiece
Redbird. The feeling is the same, too. Reminds me of the softer parts of Grand
Guignol. I can't relate the music to the S/M scenes depicted in the booklet,
however, since there is absolutely no harshness in the piece.
The third track is a wicked sound design with harsh, almost Merzbow-like parts
interrupting dark ambient sounds that once again remind me of Grand Guignol.
The fourth piece is a 6:19 piece for solo piano. Well-crafted, and very
beautiful. The fifth piece, Lot Of Fun For The Evil One (17:48), has Zorn
playing keyboards over some strange ethnic music and voice samples from
Aleister Crowley talking in some kind of esoteric language.

The atmosphere of the individual pieces and the album as a whole is such that
I would say this is one of my favorite Zorn albums. To give you an indication,
my other favorites are Redbird, Grand Guignol, and The Big Gundown.

I would also recommend Filmworks III, it has some very good Film Noir Masada
tracks, as well as great improvisations between Marc Ribot and Zorn.

Frankco.



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

From: [e-mail] (Steve Smith)
Subject: New Zorn events at the Knit
Date: 25 Mar 1997 12:19:56 -0500

Hi all -

Mark your calendars for these upcoming Zorn events:

Saturday March 29 - John Zorn & Susie Ibarra Duo, Cyro Baptista's Testa de
Farinha

Sunday March 30 - The Flux String Quartet plays Zorn ("Cat O'Nine Tails"),
Ornette Coleman ("Poets and Writers"), Gyorgy Ligeti (String Quartet No. 2)
and Michael Ratte ("Sept B").

Tuesday May 13 - John Zorn and Eugene Chadbourne, Roger Turner and Phil
Minton, and Eugene Chadbourne solo

Thursday May 16-Sunday May 18 - Bar Kokhba (2 shows nightly)

Tuesday May 20 - Larry Ochs, John Zorn and Dave Douglas

Remember, those of you not in New York can at least hear and "see" these
shows live on the internet on our website, free of charge naturally.

Steve Smith
[e-mail]
http://www.knittingfactory.com




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

From: [e-mail]
Subject: Re: filmworks... Ikue Mori
Date: 25 Mar 1997 10:52:28 -0800

Thanks to Frankco for the great rundown on Film Works IV, which made it
sound like III would be more my speed (being less of a Grand Guignol fan
myself, and more of a Ribot/Masada fan, but never mind that).

>The first track, Pueblo (9:04), is a track that prominently features guitarists
>Marc Ribot and Robert Quine. It is very laid back, sort of a Mesoamerican
>atmosphere. It reminds me of the song the band is playing during Santanico
>Demonia's dance in From Dusk Till Dawn.

Don't know about the film in question, but this description sounds similar
to Ikue Mori's "Painted Desert" which I like like a lot.  Said record also
features Ribot and Quine, and might be described as somewhat slowed down,
spaced out spaghetti western music, though it does pick up (as you would
expect) on tracks with titles like "Desperado".  Reminds me a bit of early
Durutti Column as well, if that rings bells for anyone.

Alexander




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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Subject: cyro
Date: 25 Mar 1997 14:52:54 -0500 (EST)


What does Cyro Baptista do when not playing on John Zorn albums?  COuld
someone tell me about his other projects, and give reviews or general
impressions?

thanks,
    jascha




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

From: Scott Russell <[e-mail]>
Subject: Virus
Date: 26 Mar 1997 19:33:59 +0000

Dear all


The following message has been passed to me via the internet. It
originally
came from IBM. Please read this message.

If anyone, receives mail entitled: PENPAL GREETINGS! please delete it
WITHOUT reading it!!  This is a warning for all internet users.  There
is
a dangerous virus propagating across the Internet through an e-mail
message entitled "PENPAL GREETINGS"!  DO NOT DOWNLOAD ANY MESSAGE
ENTITLED
"PENPAL GREETINGS"!!  This message appears to be a friendly letter
asking
you if you are interested in a penpal, but by the time you read this
letter, it is too late.  The "trojan horse" virus will have already
infected the boot sector of your hard drive, destroying all of the
data
present.  It is a self-replicating virus, and once the message is
read,
it will AUTOMATICALLY forward itself to anyone who's e-mail address is
present in YOUR mailbox!  This virus will DESTROY your hard drive, and
holds the potential to DESTROY the hard drive of anyone whose mail is
in
your in box, and who's mail is in their in box and so on.  If this
virus
keeps getting passed, it has the potentioal to do a gread deal of
DAMAGE
to computer networks worldwide!!!  Please, delete the message entitled
"PENPAL GREETINGS!" as soon as you see it!  And pass this message
along
to all of your friends, relatives and the other readers of the
newsgroups
and
mailing lists which you are on so that they are not hurt by this
dangerous
virus!!!  Please pass this along to everyone you know so this can be
stopped.

Hope none of you encounter this.

Scott Russell.


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

From: Jim McLoughlin <[e-mail]>
Subject: virus stuff
Date: 26 Mar 1997 15:32:54 -0500 (EST)

    Hi

    The penpal greetings virus is a hoax.  If you ever get mailed
virus messages, it is worth checking their valididty at the following
site before propogating these rumors:

    www.symantec.com/avcenter/hoax.html

    They maintain a list of virus hoaxes, which includes the PENPAL
virus.  There are no viruses that are able to do the damage described in
that message.

    Sorry for lack of zorn/music related content.
--



    Jim McLoughlin
    [e-mail]



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: TRADITIONS IN EAST ASIAN BAR BANDS available?
Date: 26 Mar 1997 13:57:53 -0800


    I don't know about anywhere else, but TIEABB is not
available in Portland (OR). Was anybody successful to get it?

    Patrice.


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

From: [e-mail]
Subject: Dim Sum Clip Job (on "Avant") appear with Joe Maneri,Prelapse,Saturnalia
Date: 26 Mar 1997 17:41:20 -0500 (EST)

Wednesday, April 9th
@ The Middle East, Upstairs
472 Massachusetts Ave.
Cambridge, MA 02139
[phone]
 Unsound Music Productions presents:

Avant Recording Artists
Dim Sum Clip Job

with
Joe Maneri (solo),

Prelapse
(featuring original compositions and the music of John Zorn's Naked City)


and
Jonathan LaMaster's Saturnalia

Hailing from NYC, Dim Sum Clip Job inhabit a soundscape somewhere between
Godzilla movies, the noise stylings and stage energy of The Boredoms, and the
groove of a Hammond B3...without the B3!
The band features Laura Cromwell on drums (Laura has also played with Bowery
Electric, Cibo Mato, Buffalo Daughter, No Safety, and in performances of the
John Zorn games "Cobra" and "Xeu Feng"), Gordon Knauer on alto saxophone
(Gordon has played with Anthony Coleman and members of Soul Coughing), Curtis
Hasselbring on guitar (Curtis is also a jazz trombonist and has worked with
Benny Carter), and Jay Brown on bass.

     "Dim Sum Clip Job do set a standard for any ragged chord-crush
instrumental ensemble to come...
      If you shotgun tripple espressos in a cold shower when you woke up,
would you ever go back to
      sleep again?"  (Jonathan Dixon, Soundviews)

Since there are four acts on the bill, the show will start promptly at 9pm wit
h the following order:

9pm:   Joe Maneri
9:45:   Saturnalia
10:30:  Dim Sum Clip Job
11:45:  Prelapse

ALSO,
Come see Saturnalia on Saturday, April 5th appearing at a great loft party
with TWO stages in Chinatown (115 Kingston Street, Boston) at 6 pm on the
nose.  Also appearing (on the main stage) will be Cul de Sac, Bardo Pond,
Primordial Undermind, Juneau, Lockroove Lullaby, Abunai, and Christmas Ape.
 On the side stage will be The Harvard Project for New Music folks, and
Lothars (theremin ensemble who will be the side stage "house band".)
 BYOWhatever!
Contact Ditko Universe Productions @ 617-254-4151 for info.
webinfo: http://www.tiac.net/users/cutter

Jonathan LaMaster
Unsound Music Productions









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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: TRADITIONS IN EAST ASIAN BAR BANDS available?
Date: 26 Mar 1997 17:03:20 -0600 (CST)

On Wed, 26 Mar 1997, Patrice L. Roussel wrote:

>
>     I don't know about anywhere else, but TIEABB is not
> available in Portland (OR). Was anybody successful to get it?
>
>     Patrice.

I haven't seen it in Chicago and checked CDNow and they've got it listed
as coming out at the end of April (I think).

cya
brian



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

From: [e-mail]
Subject: CV: Re: TRADITIONS IN EAST ASIAN BAR BANDS available?
Date: 27 Mar 1997 10:10:53 +0100

> >     I don't know about anywhere else, but TIEABB is not
> > available in Portland (OR). Was anybody successful to get it?
> >
> >     Patrice.
>
> I haven't seen it in Chicago and checked CDNow and they've got it listed
> as coming out at the end of April (I think).
>

It is out in Europe, although I failed to order it. Seems that the whole batch
of Tzadik releases has seen the light of day earlier in Europe than it has
in America.

Frankco.


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

From: DR S WILKIE <[e-mail]>
Subject:       eremite
Date: 27 Mar 1997 09:51:58 GMT0BST

does anyone know the address for/ distributor of the "eremite"cd
label: there's a disc by eskelin/a. parkins and a new one by greg
bendian (with mark dresser)-a tribute to Gentle Giant (?!!).


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

From: Jamie Uhrmacher <[e-mail]>
Subject: 100  cd set
Date: 27 Mar 1997 09:15:09 -0500

I apologize in advance if this question has been asked already, but I'm
new to this list.  Anyways, can ANYONE tell me where I can order the
Zorn/Eye 100 disc set?  Is it available for pre-order yet?  Any help
would be greatly appreciated, I DO NOT want to miss out on this
collection.

Jamie


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: eremite
Date: 27 Mar 1997 08:06:44 -0800


On Thu, 27 Mar 1997 09:51:58 GMT0BST  DR S WILKIE wrote:
>
> does anyone know the address for/ distributor of the "eremite"cd
> label: there's a disc by eskelin/a. parkins and a new one by greg
> bendian (with mark dresser)-a tribute to Gentle Giant (?!!).


        Eremite Records
        PO Box 812
        Northampton, MA 01061
        Tel: [phone]
        Fax: [phone]
        e-mail: [e-mail]
        owner: Michael Ehlers




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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: 100 cd set
Date: 27 Mar 1997 08:09:11 -0800


On Thu, 27 Mar 1997 09:15:09 -0500  Jamie Uhrmacher wrote:
>
> I apologize in advance if this question has been asked already, but I'm
> new to this list.  Anyways, can ANYONE tell me where I can order the
> Zorn/Eye 100 disc set?  Is it available for pre-order yet?  Any help
> would be greatly appreciated, I DO NOT want to miss out on this
> collection.

Not out. The project keeps on being postponed. Last I heard, it was
supposed to be out this spring (for the optimists), or this fall (for
the pessimists).

Personally, I would prefer this thing to be never released...

    Patrice.


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

From: Scott Russell <[e-mail]>
Subject: Cds for exchange
Date: 28 Mar 1997 20:41:04 +0000

Dear all

I have a couple of discs for exchange if anyone is interested. They
are;

Bloodbath (feat Jon King and Otomo Yoshihide)
and
Shrek by Marc Ribot

If anyone wants either of these I'd be interested in any Zorn related
product. i.e. Zorn discs, Tzadik or Avant discs.

Contact me for further info.


Scott Russell


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

From: Tom Pratt <[e-mail]>
Subject: Ellery Eskelin
Date: 28 Mar 1997 18:56:36 -0500

Are there any Ellery Eskelin fans out there? Could anybody give
suggestions or comments on any of his CD's.  I'm especially interested
in his album 'Figure of Speech'.  I picked up Mark Helias's 'Loopin' The
Cool' a while back and really dug Eskelin's plying on it.  The lineup on
that CD is Mark Helias-bass, Ellery Eskelin-tenor sax, Regina
Carter-violin, Epizo Bangoura-djembe and percussion, Tom Rainey-drums. I
like this album a lot and recommend it to all of you.

            -Tom Pratt


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

From: Brian Carlson <[e-mail]>
Subject: kiss my jazz
Date: 28 Mar 1997 19:54:03 -0600 (CST)

Can anyone tell me about this band (Kiss My Jazz)?  A couple weeks ago I
found their cd, "Doc's Place Friday Evening" and really love it.  Do they
have anything else out?

thanks...

Brian



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

From: "Glenn Astarita" <[e-mail]>
Subject: Re: Ellery Eskelin
Date: 29 Mar 1997 10:52:01 -0600



----------
>> Subject: Ellery Eskelin
> Date: Friday, March 28, 1997 5:56 PM
>
> Are there any Ellery Eskelin fans out there? Could anybody give
> suggestions or comments on any of his CD's.  I'm especially interested
> in his album 'Figure of Speech'.  I picked up Mark Helias's 'Loopin' The
> Cool' a while back and really dug Eskelin's plying on it.  The lineup on
> that CD is Mark Helias-bass, Ellery Eskelin-tenor sax, Regina
> Carter-violin, Epizo Bangoura-djembe and percussion, Tom Rainey-drums. I
> like this album a lot and recommend it to all of you.
>
>             -Tom Pratt

Check out his latest..."The Sun Died".  A fine and somewhat unique approach
dedicated to the late Gene Ammons.  Also, "Jazz Trash" would probably be
appealing to many of the Zorn list members.  Avante and definitely
exploratory. A threesome which consists of Andrea Parkins and Jim Black.
Eskelin is a bright voice on the sax !

Glenn


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

From: [e-mail]
Subject: Re: Ellery Eskelin
Date: 29 Mar 1997 14:12:42 -0500 (EST)


In a message dated 3/29/97 1:59:00 PM, [e-mail] (Glenn Astarita)
wrote:

<<Are there any Ellery Eskelin fans out there? Could anybody give
 suggestions or comments on any of his CD's. >>

Figure of Speech is a very solid record. It's a trio date with Joe Daley on
tuba and Arto Tuncboyaciyan on percussion from 1993. You also can't go wrong
with any of the last few Baron Down records, which to my ears is a band
making leaps and strides with each record, the latest being Crackshot on
Avant. But the best place to start with Eskelin on record is The Sun Died, a
Gene Ammons tribute record on Soul Note with Marc Ribot and Kenny Wolleson.
Eskelin really captures the spirit of Ammons' tone and of his music, and
Ribot and Wolleson are both great. A really fun record, highly recommended.

So, this is probably too far off topic, but a lot of the records that Impulse
has been reissuing from the sixties are just amazing. The sound quality on
the Coltrane records is far superior to the original CD reissues and both
Alice Coltrane records out so far have rocked my world. Next week, they're
supposed to put out Archie Shepp-Four For Trane and Pharoah Sanders-Black
Unity.

For what it's worth,
Jon



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

From: Tom Pratt <[e-mail]>
Subject: Masada Live?
Date: 29 Mar 1997 18:49:13 -0500

I saw somewhere that Masada has a Live CD out there somewhere. Is this
still available? Can anyone give me information about this?


        -Tom Pratt


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

From: silverwhale <[e-mail]>
Subject: Re: TRADITIONS IN EAST ASIAN BAR BANDS available?
Date: 30 Mar 1997 10:56:35 +0200 (GMT+0200)


sorry, but... what is it?


 teemu

OnNow: hedningarna:'hippjokk'

..............................................
... e-mail [e-mail] ..................
... ruumen ...................................
... http://www.siba.fi/~tkorpipa/ruumen.html .
..............................................
"the only thing that exists is myself" - bomb in 'dark star'



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: TRADITIONS IN EAST ASIAN BAR BANDS available?
Date: 30 Mar 1997 11:40:26 -0800


On Sun, 30 Mar 1997 10:56:35 +0200 (GMT+0200)  silverwhale wrote:
>
>
> sorry, but... what is it?

Game pieces written for two musicians.

    Patrice.


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

From: [e-mail]
Subject: questions for Wayne Horvitz
Date: 31 Mar 1997 09:54:19 -0500 (EST)

On Tuesday afternoon, i'll be doing a short interview with Wayne Horvitz,
mainly about the Zony Mash project/tour.  If anybody has any questions
(preferably specific ones) they'd like answered, let me know & if there's
time i'll ask him.

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


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

From: [e-mail] (Steve Smith)
Subject: Bobby Previte-palooza at the Knit
Date: 31 Mar 1997 12:53:00 -0500

Hi -

Just a note for New York area Zorn-Listers -- Bobby Previte's new band
Latin for Travelers makes its American debut at the Knitting Factory
Wednesday night, April 2.  This quartet - Jamie Saft from the latest
version of Weather Clear, Track Fast on keyboards, Stewart Cutler on guitar
and Jerome Harris on bass - is billed as Bobby's "bar band."  They've just
come off a successful European and Australian tour (where the band featured
guitarist Marc Ducret, who was unable to make it to the States) and
recorded a week of shows in Australia for a new disc for Enja.  The reviews
were quite interesting.., several mentioned a prog-rock feel to the
material, like Soft Machine, of all things.

The 8 pm set will be played by Latin for Travelers, while the 10 pm set
will be the "orchestral" (read: largest-ever) version of Bobby's fusion
repertoire band The Horse (You Rode In On...).  This is a really cool live
band that stretches out on material from '70s era Miles Davis and his
contemporaries, and has recently worked up some even more adventurous
charts like Dave Holland's "Conference of the Birds."

For ticket information call [phone].  And for those unable to make
it down, remember that all Knitting Factory shows are broadcast live over
the internet at http://www.knittingfactory.com/TheClub.html

Steve Smith
[e-mail]

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