ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/zorn-list/archive/zorn-list.9704

Internet Message Format | 1997-04-29 | 317KB

From: "Geert.Buelens" <[e-mail]>
Subject: Re: kiss my jazz
Date: 01 Apr 1997 11:52:47 +0200 (MET DST)

Kiss My Jazz is an Antwerp based band, featuring Rudy Trouv=E9 (ex-dEUS),=
=20
Stef Kamil Carlens (ex-dEUS, now in Moondog Jr, and Tumbleweed), Mauro=20
Pawlowski (Evil Superstars) and many many others - all part of the=20
Belgian Rock scene. They also have a vinyl EP out - but I forgot its title.=
..

yours,

geert



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

From: Torsten Nielsen <[e-mail]>
Subject: Tape trading anyone?
Date: 01 Apr 1997 18:11:38 +0200 (METDST)

I'm looking for people to trade Zorn etc live tapes with... Please drop me a
note if your interested. I have lots of stuff to trade with.

Jonas V.


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

From: David Newgarden <[e-mail]>
Subject: Re: free copy of Musicworks magazine (fwd)
Date: 02 Apr 1997 00:29:55 -0500 (EST)


>On Mon, 31 Mar 1997, m. rizzi wrote:
>
>>
>>     Hi David,
>>
>>     This message never made it out to the zorn-list
>>     because of the word 'subscrabe' in the message
>>     (the software thought you were trying to subscrebe
>>     the [e-mail] address...ug).
>>
>>     Please resend the message with a little creative
>>     alteration....get out that Thesarus, heh.
>>
>>     cheers,
>>     mike
>> >
>> >(forwarded - info on getting sample copy of Musicworks magazine:
>> >
>> >Musicworks, an international magazine which specializes in sound
>> >exploration, new music, and related activity in sound, is having a special
>> >promotion where they will send introductory sample issues to people in the
>> >hope that they will find the magazine interesting enough to subscrube.
To>> >get your copy all you have to do is send your postal address to
>> ><[e-mail]> and ask them to send you a sample. (Musicworks
>> >also has a CD with each issue, but this promotion includes only the
>> >magazine.)
>> >
>> >
>> >The articles in the most recent issue (#67):
>> >
>> >* Ted Sheridan is a practising architect who deals with the history of
>> >sound in architecture, and also describes his own sound installation piece,
>> >an auditory model of which is included on our CD.
>> >* Fergus Kelly describes sound events he has created for abandoned
>> >buildings in the urban environment, incorporating instruments he constructs
>> >specifically for these events. Kelly works in radio and sound installation.
>> >Five examples of Kelly's installations and performances are included on the
>> >CD.
>> >* James and Maria Harley discuss several levels of the architecture of
>> >Kraanerg, a major work for ballet by Iannis Xenakis. Unusual architectures
>> >for performance are described, in the context of the commissioning of this
>> >work for the opening of Canada's National Arts Centre.
>> >* Yuji Takahashi, whose scores describe only the physical body gestures
>> >needed to produce sound, is a well known pianist specializing in
>> >contemporary repertoire in addition to his work as a composer; a piece of
>> >his for two shamisen is included on the CD.
>> >* Tim Brady deals in his compositions with architectural structures, as
>> >well as with the electric guitar and its history during this century. Three
>> >examples of Brady's compositions are on our CD. Brady has had two previous
>> >articles in Musicworks, one on the role of the electric guitar in
>> >contemporary music, the other on the current context of "the masterpiece."
>> >* Daniel Leduc works with the sound environment, which, with recording and
>> >mixing equipment, forms both the instrument and the architecture of his
>> >music. Leduc is a composer of electroacoustic music, based in Montr=E9al;
>> >five of his short pieces are on the CD. His article is in French with an
>> >English summary.
>> >* Nicholas Gebhardt discusses Glenn Gould's sound pieces which were made
>> >from specially recorded environmental sounds and conversations. Gebhardt
>> >regularly contributes the "Australian Undertones" column in Musicworks.
>> >* Stan Brakhage's regular column, this one entitled "An exercise in
>> >Ineffability."
>> >* We also have many reviews and reports related to sound exploration.
>> >
>> >
>> >
>> >
>> >
>> >
>>
>>
>> --
>> ------------------------------------------------------- [e-mail]
>>                    "Another nerd with a soulpatch"              -=home=-
>>                       http://www.meer.net/~browbeat/
>> ------ browbeat magazine, po box 11124, oakland, ca 94611-1124 ---------
>>
>
>


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



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

From: [e-mail]
Subject: Wayne Horvitz answers
Date: 02 Apr 1997 01:54:32 -0500 (EST)

1.  Horvitz produced, but didn't play on, the Frisell "country" album.  It's
just been finished but the release doesn't seem to be set yet.  Horvitz says
it's "beautiful" and is extremely enthusiastic about it.

2.  The Robin Holcomb piece performed at the Walker Arts Center in
Minneapolis was actually "Angels at the Four Corners."  It was never recorded
but some of the songs ended up on Holcomb's first Nonesuch album, and one or
two may have been on the second.  ("Larks, They Crazy" was actually an album
not a performance piece.  Horvitz says that the LP was pretty hard to find
and that while he does think that a CD was released then that would be very
rare.)

3.  There's a new Pigpen album coming out on Tim/Kerr.  There's also another
project coming out on Intuition called Four Plus One Ensemble (the name may
change) that's a full band (with second keyboardist and an on-stage sound
processor) that apparently works in an avant-ish chamber style.

4.  Horvitz says he keeps in touch with Zorn but that they're both so busy
it's generally through fax and phone messages.  Horvitz is finishing some
pieces for an album on "Zorn's label" (presumably Tzadik but i forgot to
ask).


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


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

From: [e-mail]
Subject: Yamantaka EYE
Date: 02 Apr 1997 08:56:38 +0200

I don't know if this is the right place to ask, but I was wondering about
Yamantaka EYE's projects. I haven't heard any new stuff of him since Boredoms
released Super Roots 6 a year ago. Have Boredoms or any other EYE-related
project released anything ever since? Also, I haven't picked up the WEEN/EYE
collaboration yet, so maybe someone can tell me how that is.

Frankco.


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Yamantaka EYE
Date: 02 Apr 1997 08:25:41 -0800


On Wed, 2 Apr 1997 08:56:38 +0200  [e-mail] wrote:
>
> I don't know if this is the right place to ask, but I was wondering about
> Yamantaka EYE's projects. I haven't heard any new stuff of him since Boredoms
> released Super Roots 6 a year ago. Have Boredoms or any other EYE-related
> project released anything ever since? Also, I haven't picked up the WEEN/EYE
> collaboration yet, so maybe someone can tell me how that is.

Did you miss the MC-Hellshit and DJ-Carhouse?

    Patrice.



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Wayne Horvitz answers
Date: 02 Apr 1997 08:24:43 -0800


    Thanks Lang for the info!

On Wed, 2 Apr 1997 01:54:32 -0500 (EST)  [e-mail] wrote:
>
> 1.  Horvitz produced, but didn't play on, the Frisell "country" album.  It's
> just been finished but the release doesn't seem to be set yet.  Horvitz says
> it's "beautiful" and is extremely enthusiastic about it.
>
> 2.  The Robin Holcomb piece performed at the Walker Arts Center in
> Minneapolis was actually "Angels at the Four Corners."  It was never recorded
> but some of the songs ended up on Holcomb's first Nonesuch album, and one or
> two may have been on the second.  ("Larks, They Crazy" was actually an album
> not a performance piece.  Horvitz says that the LP was pretty hard to find
> and that while he does think that a CD was released then that would be very
> rare.)

Oups! LARKS, THEY CRAZY exists in both LP and CD. I would not say that the
record is easy to find, but I doubt it is *HARD* to find (my local rock record
store used to have it). Was he really thinking about this record?

> 3.  There's a new Pigpen album coming out on Tim/Kerr.  There's also another
                    ^^^^^^^^^^^^^^^^^^^^

If Tim/Kerr goes through their problems :-).

> project coming out on Intuition called Four Plus One Ensemble (the name may
> change) that's a full band (with second keyboardist and an on-stage sound
> processor) that apparently works in an avant-ish chamber style.

That's:


*** - ???: Wayne Horvitz

  Wayne Horvitz: piano; Julian Priester: trombone; Eyvind Kang: violin; Tucker
  Martine: live processing; Reggie Watts: keyboards.

    1997 - Intuition (Germany), ??? (CD)

  Note: not released yet.


> 4.  Horvitz says he keeps in touch with Zorn but that they're both so busy
> it's generally through fax and phone messages.  Horvitz is finishing some
> pieces for an album on "Zorn's label" (presumably Tzadik but i forgot to
> ask).

Could it be a track on the GAINSBOURG TRIBUTE?

Also, I knew I had something to ask. Did Wayne say anything about a trio
with Skerik and Bobby Previte?

    Patrice.



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

From: BJOERN <[e-mail]>
Subject: Masada with Baron
Date: 02 Apr 1997 18:38:58 +0200 (MESZ)

Masada plays a gig in Karlsruhe / Germany on April 16...
Joey Baron will play drums....
if you have the chance to go there check them out.....
the concert will take place at a club called TOLLHAUS
BJOERN


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

From: [e-mail] (Will Connor)
Subject: Eye
Date: 02 Apr 1997 12:05:08 -0500

I was in Japan recently and I was lucky enough to see Eye Spin at a rave
there!!  It was probably the best dance party I have ever been to and as
you might have guessed, Eye was laying down some crazy beats!!  He had a
guitar feeding back next to his three turntables and he interspursed noise
and jungle and classic punk rock for the kids!  He ended his show with a
couple of Chrome songs!!

I danced my brains out!

I picked up some remixes that he has done of other people's techno type
material.  He created noisy chill out remixes and choppy jungle remixes
without loosing the dancibility of the original songs.

I grabed that MC HellShit and DJ Car House 3inch too.  Now that is fine
listening!  Some of that was similar to the DJing that he did at the rave.

That's all I know for now. I will be going back to Japan in June.  Maybe I
will get a chance to see and hear more insanity and if I do I'll post my
two cents worth.


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Eye
Date: 02 Apr 1997 09:45:55 -0800


On Wed, 02 Apr 1997 12:05:08 -0500  Will Connor wrote:
>
> I was in Japan recently and I was lucky enough to see Eye Spin at a rave
> there!!  It was probably the best dance party I have ever been to and as
> you might have guessed, Eye was laying down some crazy beats!!  He had a
> guitar feeding back next to his three turntables and he interspursed noise
> and jungle and classic punk rock for the kids!  He ended his show with a
> couple of Chrome songs!!

Are you really talking about Eye or Otomo?

    Patrice.


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

From: [e-mail]
Subject: [Mail Delivery Subsystem <[e-mail]>: Returned mail: warning: cannot se]
Date: 02 Apr 1997 12:59:26 -0500 (EST)


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Mail-System-Version: <MultiNet-MM(379)+TOPSLIB(158)@duq3.cc.duq.edu>

eye and other boredoms members have been up to a lot actually...

of course there's Z-Rock Hawaii, which is not only ween/ eye, but
actually includes several other members of boredoms (yoshimi and
yammamoto at least).  i'll have a copy this weekend- i'll let you know
how it sounds.

then there's eye's duo project with shinro ohtake called Puzzle Punks.
it's a strange minimalist ambient album, with eye doing vocal effects
like never before.  if you're a die-hard boredoms fan this is definitely
worth it.

also- there is roumors of Hanatarash 5 being released (Hanatarash was
eye's first band- now it is mostly eye in the studio himself).  I have
not however seen it for sale.

yoshimi has a band, OOIOO, supposedly they're pretty musically coherent-
they should have an album soon.  yamamoto's band Omoide Hatoba released
an album called Kinsei last year.  OH is usually a rock band, but i hear
that this is somewhat sample based (i haven't heard it).

if you're looking for boredoms- super roots 7 should not be too far off-
you made reference to sr6 being released over a year ago- i take it you
got the japanese release in january?  if so you probably don't need to be
told that super roots 3 & 5 are for sale in japan.

my turn for a question-
if you know: what's the story w/super roots 4?  was it ever released?
will it ever be?

-anthony

--TAH18505.860001549/nlms1s2.best.ms.philips.com--



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

From: [e-mail] (Will Connor)
Subject: Re: Eye
Date: 02 Apr 1997 13:07:23 -0500

It was Eye alright.  I have never gotten the chance to see Otomo or Ground
Zero.  They were play at the same club (the Liquid Room) in Tokyo the week
after I had to come home.

Also of interest might be the Christian Marclay show that he recently did
with DJ Spooky in Richmond VA. I didn't get to see it, but I got a first
hand account from a coworker.  It was an orchestra of turntables.  Marclay
doing his usual, DJ Spooky getting out there and leaving the rhythm behind
and another DJ that I was unfamilar with that enhanced the show with
ambient background noise.  I wish I had been able to see that one, but I
had a show myself that night.


At 09:45 AM 4/2/97 -0800, you wrote:
>
>On Wed, 02 Apr 1997 12:05:08 -0500  Will Connor wrote:
>>
>> I was in Japan recently and I was lucky enough to see Eye Spin at a rave
>> there!!  It was probably the best dance party I have ever been to and as
>> you might have guessed, Eye was laying down some crazy beats!!  He had a
>> guitar feeding back next to his three turntables and he interspursed noise
>> and jungle and classic punk rock for the kids!  He ended his show with a
>> couple of Chrome songs!!
>
>Are you really talking about Eye or Otomo?
>
>    Patrice.
>


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

From: [e-mail]
Subject: Re: Yamantaka EYE
Date: 02 Apr 1997 19:45:09 -0500 (EST)


In a message dated 4/2/97 6:22:16 PM, [e-mail] (Patrice L.
Roussel) wrote:

<<Did you miss the MC-Hellshit and DJ-Carhouse?>>

What's the deal with this stuff? As far as I can tell, there are 2 different
3 inch CDs and one regular size one, all of which are 10 or 12 minutes long,
and all of which are different. The regular size CD is great, but I can't
help but wonder why it's not longer. Anyone know more about these?

Jon


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Yamantaka EYE
Date: 02 Apr 1997 17:22:50 -0800


On Wed, 2 Apr 1997 19:45:09 -0500 (EST)  [e-mail] wrote:
>
>
> In a message dated 4/2/97 6:22:16 PM, [e-mail] (Patrice L.
> Roussel) wrote:
>
> <<Did you miss the MC-Hellshit and DJ-Carhouse?>>
>
> What's the deal with this stuff? As far as I can tell, there are 2 different
> 3 inch CDs and one regular size one, all of which are 10 or 12 minutes long,
> and all of which are different. The regular size CD is great, but I can't
> help but wonder why it's not longer. Anyone know more about these?

Oups! You mean you know of another one as these two:


054 - LIVE MANCHESTER '95: Otomo Yoshihide & Yamatsuka Eye

    Recorded live at Disobay, England

  DJ Carhouse (aka Otomo Yoshihide); MC Hellshit (aka Yamantaka Eye).

    1995 - Blast First/Rough Trade (UK), BFFP126CD (CD-3)


066 - LIVE!! DJ Carhouse & MC Hellshit

    1/ Join The Hellshit Army
    2/ I Don't Like Ho-Hey
    3/ Dead Sky Walker
    4/ Cold Brain
    5/ Ufo Made Me Do It
    6/ Hard Core Copy
    7/ Muthafuck Mitsubishi
    8/ Air Rappers

    1996 - Japan Overseas (Japan), JO96-24 (CD)


    Did not realize that there was a third one!!!

    Patrice.




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

From: [e-mail]
Subject: Re: Yamantaka EYE
Date: 02 Apr 1997 19:45:52 -0500 (EST)


In a message dated 4/2/97 6:22:16 PM, [e-mail] (Patrice L.
Roussel) wrote:

<<Did you miss the MC-Hellshit and DJ-Carhouse?>>

What's the deal with this stuff? As far as I can tell, there are 2 different
3 inch CDs and one regular size one, all of which are 10 or 12 minutes long,
and all of which are different. The regular size CD is great, but I can't
help but wonder why it's not longer. Anyone know more about these?

Jon


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

From: "ALAN E. KAYSER" <[e-mail]>
Subject: bobby previte
Date: 02 Apr 1997 21:08:29 -0500

Was anyone out there able to tape the Bobby Previte Knitting Factory
debut of his Latin For Travelers and The Horse bands.  I am very anxious
to get a recording and would appreciate any help.

Alan K.


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

From: "[e-mail]" <[e-mail]>
Subject: Re: Yamantaka EYE
Date: 02 Apr 1997 20:55:26 -0600 (CST)


On Wed, 2 Apr 1997, Patrice L. Roussel wrote:

> 066 - LIVE!! DJ Carhouse & MC Hellshit
>     1996 - Japan Overseas (Japan), JO96-24 (CD)

I know this came up not so long ago, but if anyone knows where I could
mail order a copy of this one, I'd really appreciate it.  Beleive it or
not, they are all  sold out 'em at my local record stores - they went like
hot cakes ;)

Too bored to think of something witty,m

Paul
[e-mail]




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

From: [e-mail]
Subject: Re: Yamantaka EYE
Date: 03 Apr 1997 00:38:59 -0500 (EST)


In a message dated 4/2/97 8:26:14 PM, [e-mail] (Patrice L.
Roussel) wrote:

<<Oups! You mean you know of another one as these two:



054 - LIVE MANCHESTER '95: Otomo Yoshihide & Yamatsuka Eye

    Recorded live at Disobay, England

  DJ Carhouse (aka Otomo Yoshihide); MC Hellshit (aka Yamantaka Eye).

    1995 - Blast First/Rough Trade (UK), BFFP126CD (CD-3)



066 - LIVE!! DJ Carhouse & MC Hellshit

    1/ Join The Hellshit Army
    2/ I Don't Like Ho-Hey
    3/ Dead Sky Walker
    4/ Cold Brain
    5/ Ufo Made Me Do It
    6/ Hard Core Copy
    7/ Muthafuck Mitsubishi
    8/ Air Rappers

    1996 - Japan Overseas (Japan), JO96-24 (CD)



    Did not realize that there was a third one!!!

    Patrice.>>

No, actually I was mistaken, Patrice. Now that I look closer at what was
labeled in the record store as an MC Hellshit/DJ Carhouse CD, I realize it's
actually Destroy 2, which is Eye and a drummer, not Yoshihide.

Sorry for the confusion,
Jon


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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Yamantaka EYE
Date: 02 Apr 1997 23:36:59 -0800 (PST)

On Wed, 2 Apr 1997, [e-mail] wrote:

> I know this came up not so long ago, but if anyone knows where I could
> mail order a copy of this one, I'd really appreciate it.

why not contact Japan Overseas directly?

i just received the most recent catalog
and they still have copies of the MC Hellshit
and DJ Carhouse CD.

[e-mail]

hasta.

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



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

From: [e-mail]
Subject: Yamantaka EYE
Date: 03 Apr 1997 10:09:48 +0200


I don't know if this is the right place to ask, but I was wondering about
Yamantaka EYE's projects. I haven't heard any new stuff of him since Boredoms
released Super Roots 6 a year ago. Have Boredoms or any other EYE-related
project released anything ever since? Also, I haven't picked up the WEEN/EYE
collaboration yet, so maybe someone can tell me how that is.

Frankco.



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

From: [e-mail] (Patrick Carey)
Subject: Re: Yamantaka EYE
Date: 03 Apr 1997 03:56:52 -0500

>I don't know if this is the right place to ask, but I was wondering about
>Yamantaka EYE's projects. I haven't heard any new stuff of him since Boredoms
>released Super Roots 6 a year ago. Have Boredoms or any other EYE-related
>project released anything ever since?

Try these:

* Destroy 2 - "We Are Voice & Rhythm Only" 3" CD (Japan Overseas) 1996

48 songs ... Eye (vox) & Chew (drums)

* Eye/Otomo Yoshihide - "Live!! (@ The Royal Festival Hall, London)" CDEP
  (Japan Overseas) 1996

aka MC Hellshit and DJ Carhouse

Note: _NOT_ the 3" Live CD on Blast First, but a second one
(from a different show on the same weekend in '95).

* Puzzle Punks - "Pipeline: 24 Smash Hits By 24 Puzzle Punk Bands" CD (UCA)

* Puzzle Punks - "Budub" CD/LP (Time Bomb)

Both are Eye & Shinro Ohtake ... both 1996


-Patrick







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

From: hywel davies <[e-mail]>
Subject: previte
Date: 03 Apr 1997 11:45:08 -0800

who's in the new Previte bands?(latin for travellers/ the horse? - any
releases planned?)


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

From: BJOERN <[e-mail]>
Subject: ANY MUSIC JOURNALISTS OUT THERE????
Date: 03 Apr 1997 18:31:20 +0200 (MESZ)

are there any music journalists on this list...if yes....
please mail me...i have a surprise for ya
BJOERN


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

From: Tom Pratt <[e-mail]>
Subject: Attention Jazz DAT traders
Date: 04 Apr 1997 00:07:44 -0500

If you are a DAT Jazz trader and are looking for a trade and have never
traded with Thomas Eckstein, then please e-mail him at [e-mail]
with a tapelist. I'm doing this for him as a favor payback for a favor
he's doing for me (he is not subscribed to listservers)  NO ANALOGS! If
you grovel with analog trades he'll beat you with a spiked paddle and
say "LEAVE ME ALONE YOU STUPID POOPHEAD!"  Seriously, he has an
incredible list with Masada, some Dave Douglas, Myra Melford, and Tim
Berne, some Scofield, Frisell and a lot of more classic jazz. It's an
impressive list so please contact him if your a DAT jazz/avant type
trader and if you've NEVER traded with him before.  Tell him that Tom
Pratt sent you and he'll know EXCACTLY what you are talking about.

            -Tom Pratt


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

From: James Douglas Knox <[e-mail]>
Subject: Re: Yamantaka EYE
Date: 04 Apr 1997 17:35:55 +1000 (EST)

Oh, unnh, do you know about the Eye/Otomo seven-inch record that came out
with an issue of Resonance last year? I think it was issue 4/2: and it
also had an interview with Otomo and a short essay by him. You can
write the London Musician's Collective for a copy: S-mail @
LMC
The Leathermarket
Leathermarket Street
London SE1
UK

On Wed, 2 Apr 1997 [e-mail] wrote:

>
> In a message dated 4/2/97 6:22:16 PM, [e-mail] (Patrice L.
> Roussel) wrote:
>
> <<Did you miss the MC-Hellshit and DJ-Carhouse?>>
>
> What's the deal with this stuff? As far as I can tell, there are 2 different
> 3 inch CDs and one regular size one, all of which are 10 or 12 minutes long,
> and all of which are different. The regular size CD is great, but I can't
> help but wonder why it's not longer. Anyone know more about these?
>
> Jon
>



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

From: James Douglas Knox <[e-mail]>
Subject: Re: Eye remixes?
Date: 04 Apr 1997 17:40:53 +1000 (EST)



On Wed, 2 Apr 1997, Will Connor wrote:

> there!!  It was probably the best dance party I have ever been to and as
> you might have guessed, Eye was laying down some crazy beats!!  He had a
> guitar feeding back next to his three turntables and he interspursed noise
> and jungle and classic punk rock for the kids!  He ended his show with a
> couple of Chrome songs!!
> I picked up some remixes that he has done of other people's techno type
> material.  He created noisy chill out remixes and choppy jungle remixes
> without loosing the dancibility of the original songs.

Yowser! I gotta hear this - please post more details of these remixes -
I'd appreciate it v much.

Cheers,

jim k



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

From: James Douglas Knox <[e-mail]>
Subject: Re: Tony Buck/Peril(was Sample Artists?! ((WAS: Re: Otomo) (was Burroughs)))
Date: 04 Apr 1997 18:05:44 +1000 (EST)

I think Tony Buck also has a solo disc (is it on sound factory, Hong Kong
label?). He did some solo gigs his last trip out here. This part of his
work, he uses one of those light-sensitive machines to trigger samples
(like Zbigniew Karkowski). As far as I know he's been doing work at Steim
in Holland, similar crazy stuff.

Oh, and there's meant to be a new disc by Buck's new band, Red Spiders, or
Little Red Spiders. I got no other details on this, but Stevie Wishart
(hurdy-gurdy player from Machine for Making Sense) is also on it. I think
this group is a quartet. If anyone knows about this - please lemme know.

Peril also have a new disc slated for release right about
now: "Astro". That'll be on Black Hole Records (Australia), I think. Dunno
if Otomo is on this, but it should be a pretty great thing in any case.

Cheers,

jim k

On Fri, 14 Mar 1997 [e-mail] wrote:

> 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: Stephane Vuilleumier <[e-mail]>
Subject: Re: Tony Buck/Peril(was Sample Artists?! ((WAS: Re: Otomo) (was
Date: 04 Apr 1997 11:11:43 +0200

Another of Tony Buck's activities is documented on the Kletka Red record
on Tzadik with Andy Ex from the Ex, the guitar player from (can't spell it
offhand) Nde Zhali, and a cool acoustic bass player I don't remember the name.
They gave concerts at the Taktlos festival last week - The first Basel
concert
was apparently better than the Zurich concert I went to.
Klezmer punk, with emphasis on guitar bass punk; the drum bits
I found very varied and interesting. Certainly not drowned in the noise
like the bass was.
No sampling there so getting off subject I guess

Stephane

At 18:05 04.04.97 +1000, jim k wrote:
>I think Tony Buck also has a solo disc (is it on sound factory, Hong Kong
>label?). He did some solo gigs his last trip out here. This part of his
>work, he uses one of those light-sensitive machines to trigger samples
>(like Zbigniew Karkowski). As far as I know he's been doing work at Steim
>in Holland, similar crazy stuff.
>
>Oh, and there's meant to be a new disc by Buck's new band, Red Spiders, or
>Little Red Spiders. I got no other details on this, but Stevie Wishart
>(hurdy-gurdy player from Machine for Making Sense) is also on it. I think
>this group is a quartet. If anyone knows about this - please lemme know.
>
>Peril also have a new disc slated for release right about
>now: "Astro". That'll be on Black Hole Records (Australia), I think. Dunno
>if Otomo is on this, but it should be a pretty great thing in any case.
>
>On Fri, 14 Mar 1997 [e-mail] wrote:
>
>> 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".

Stephane Vuilleumier
Mikrobiologisches Institut
ETH-Zurich                  Tel:   [phone]
ETH-Zentrum/LFV             Fax:   [phone]
8092 Zurich                 email: [e-mail]
Switzerland                 http://www.micro.biol.ethz.ch/sv1.htm




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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Yamantaka EYE
Date: 04 Apr 1997 08:31:05 -0800


On Fri, 4 Apr 1997 17:35:55 +1000 (EST)  James Douglas Knox wrote:
>
> Oh, unnh, do you know about the Eye/Otomo seven-inch record that came out
> with an issue of Resonance last year? I think it was issue 4/2: and it
> also had an interview with Otomo and a short essay by him. You can
> write the London Musician's Collective for a copy: S-mail @
> LMC
> The Leathermarket
> Leathermarket Street
> London SE1
> UK

For people interested, here is its detailed description:


060 - RESONANCE 7": Otomo Yoshihide, Yamatsuka Eye

  This "Special Japanese Issue!" of RESONANCE includes a free 7" single by
  Otomo Yoshihide and Yamatsuka Eye.

    1/ untitled
    2/ untitled
    3/ untitled
    4/ untitled
    5/ untitled
    6/ untitled
    7/ untitled

    Recorded live in London, Spring 1995

  Otomo Yoshihide: turntables, CD player, electric guitar; Yamatsuka Eye:
  voice.

    1996 - Resonance (UK), RES 4.2 (magazine + 7")


    Patrice.


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Tony Buck/Peril(was Sample Artists?! ((WAS: Re: Otomo) (was Burroughs)))
Date: 04 Apr 1997 08:35:23 -0800


On Fri, 4 Apr 1997 18:05:44 +1000 (EST)  James Douglas Knox wrote:
>
> I think Tony Buck also has a solo disc (is it on sound factory, Hong Kong
> label?). He did some solo gigs his last trip out here. This part of his
> work, he uses one of those light-sensitive machines to trigger samples
> (like Zbigniew Karkowski). As far as I know he's been doing work at Steim
> in Holland, similar crazy stuff.
>
> Oh, and there's meant to be a new disc by Buck's new band, Red Spiders, or
> Little Red Spiders. I got no other details on this, but Stevie Wishart
> (hurdy-gurdy player from Machine for Making Sense) is also on it. I think
> this group is a quartet. If anyone knows about this - please lemme know.
>
> Peril also have a new disc slated for release right about
> now: "Astro". That'll be on Black Hole Records (Australia), I think. Dunno
> if Otomo is on this, but it should be a pretty great thing in any case.

If we can trust the ad in THE WIRE, he is on it.

    Patrice.


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

From: Mike Rizzi <[e-mail]>
Subject: Avant Disk sale
Date: 04 Apr 1997 09:04:59 -0800

The local (to me anyway) Jazz store Groove Yard is having a sale
on Avant and Black Saint compact discs, $11.98 and $9.98 respectively.
Also, a bunch of the DIW releases have the $11.98 price tag!

For you Bay Area folks, Groove Yard is located in Oakland at
4770 Telegraph Avenue (at 48th, duh)...I have no idea if they take
phone orders, but their number is 510.655.8400

I bought or saw the following discs
    Art Ensemble of Chicago/Soweto
    Arcana (Bailey, Laswell, Williams) - The Last Wave
    John Zorn/Masada - Vav (Six)
    John Zorn's Cobra - Tokyo Operations '94
    Ikue Mori - Painted Desert
    Disco Bhangra - Wedding Bands from Rajasthan
    Anton Fier - Dreamspeed

    Boredoms - Wow2
    Fushitsusha
    Anthony Coleman
    David Soldier
    Zeena Perkins
    Jad Fair
    Blind Idiot God
    Rough Assemblage
    Peter Garland
    Chimera

This has been a public service from your truly,

mike


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

From: [e-mail] (m. rizzi)
Subject:  Re:  Yamantaka EYE
Date: 04 Apr 1997 09:33:56 -0800 (PST)

[e-mail], demi-God and Icon sez:
>
>eye and other boredoms members have been up to a lot actually...
>
>also- there is roumors of Hanatarash 5 being released (Hanatarash was
>eye's first band- now it is mostly eye in the studio himself).

    Hanatarash has always been Eye solo. In the early days
    there was another person listed on the records, but
    his main role was to look scary. "Musically" it was/is
    all eye's baby.

    mike rizzi


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


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

From: Jan-Wen Lu <[e-mail]>
Subject: Re: Tony Buck/Peril(was Sample Artists?! ((WAS: Re: Otomo) (was Burroughs)))
Date: 05 Apr 1997 05:21:07 +0800

Patrice L. Roussel wrote:
>
> On Fri, 4 Apr 1997 18:05:44 +1000 (EST)  James Douglas Knox wrote:
> >
> > I think Tony Buck also has a solo disc (is it on sound factory, Hong Kong
> > label?). He did some solo gigs his last trip out here. This part of his
> > work, he uses one of those light-sensitive machines to trigger samples
> > (like Zbigniew Karkowski). As far as I know he's been doing work at Steim
> > in Holland, similar crazy stuff.

As I know, Tony's "Solo live" CD is on Wright Reocrds(Australia).

> >
> > Oh, and there's meant to be a new disc by Buck's new band, Red Spiders, or
> > Little Red Spiders. I got no other details on this, but Stevie Wishart
> > (hurdy-gurdy player from Machine for Making Sense) is also on it. I think
> > this group is a quartet. If anyone knows about this - please lemme know.
> >
> > Peril also have a new disc slated for release right about
> > now: "Astro". That'll be on Black Hole Records (Australia), I think. Dunno
> > if Otomo is on this, but it should be a pretty great thing in any case.
>
> If we can trust the ad in THE WIRE, he is on it.

No, Otomo doesn't play on it. I asked a close friend of Otomo's who made the
"Japanese Free Improvisers" homepage(with Otomo's profile). He informed me
that Otomo said he didn't play on "Astro".


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


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

From: Brian Carlson <[e-mail]>
Subject: Vandermark 5/ Jim O'Rourke
Date: 04 Apr 1997 16:59:17 -0600 (CST)

Vandermark 5 and Jim O'Rourke are playing at the Empty Bottle in Chicago
tonight.  It is a record release party for Vandermark 5's new album Single
Piece Flow.  Is anyone here going?

Brian



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

From: Tom Pratt <[e-mail]>
Subject: oops!
Date: 04 Apr 1997 23:19:37 -0500

I asked about tape traders out there yesterday and I've been informed by
a few that it is a bad subject to bring up here. I understand that Zorn
is thoroughly anti-taping because he has had problems with people making
money off of bootlegging his shows. I am sorry for bringing it up
here... won't happen again.

            -Tom Pratt


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

From: jonathan kaye <[e-mail]>
Subject: zorn/medeski martin and wood
Date: 04 Apr 1997 23:42:00 -0500

for all you completists out there (and aren't all of you), i found a
medeski martin and wood cd single today with a remix by dj logic of their
"dracula" on which zorn plays alto. he plays throughout almost the entire
track, some of his squawking in the beginning and some more fluid playing
throughout the middle of the track. i found the disk used for $2.99.

info: modeski martin and wood - "bubblehouse"

1. bubblehouse
2. bubblehouse bbq mix (remixed by we/dj olive, loop, once 11)
3. dracula remix (remixed by dj logic, alto sax john zorn)
4. macha
5. spy kiss (10:00 pm whr. r. your chldrn mix - remixed by we/dj olive,
loop, once 11)


jon




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

From: NGUYEN VAN TAN Olivier <[e-mail]>
Subject: Torture Garden
Date: 05 Apr 1997 18:12:57 +0200

Hi,

Sorry to ask this again but :

If I have Naked City, Grand Guignol and Naked City, Naked City :
do I have all the songs from Torture Garden from the black box ??

(I already saw the zornography by Patrice and I think so : am I right ??)


Thanks

Olivier

ps: Masada in France, next tuesday !!



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

From: [e-mail] (Tince Timinchine)
Subject: David Slusser
Date: 05 Apr 1997 08:20:22 -0800


        Might anyone be able to tell me what the hell the 'slussomatic' is?
It was listed as one of the apparati used by David Slusser himself on
Eyvind Kang's "7 NADEs"--which, by the way, is an absolutely  *phenomenal*
album.

     ....Shane





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

From: Tom Pratt <[e-mail]>
Subject: Eyvind Kang
Date: 05 Apr 1997 12:01:27 -0500

Tince Timinchine wrote:
>
>         Might anyone be able to tell me what the hell the 'slussomatic' is?
> It was listed as one of the apparati used by David Slusser himself on
> Eyvind Kang's "7 NADEs"--which, by the way, is an absolutely  *phenomenal*
> album.
>
>      ....Shane

I've been eying that one for a while. I'm only familiar with Eyvind Kang
through Bill Frisell's 'Quartet' album but I love violin. Could you give
a little insight as to what it sounds like and who plays on it. Is it
coherent and written or mostly free?

            -Tom Pratt


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

From: [e-mail] (m. rizzi)
Subject: Re: oops!
Date: 05 Apr 1997 09:31:29 -0800 (PST)

Tom Pratt, demi-God and Icon sez:
>
>I asked about tape traders out there yesterday and I've been informed by
>a few that it is a bad subject to bring up here. I understand that Zorn

    ummm, excuse me? There is no such policy on this
    mailing list. Let me repeat, there is NO RULE
    prohibiting tape trading discussions on the
    zorn-list.

    As a long time denizen of the Internet, I am
    adamantly opposed to content censorship. Free
    flow of ideas, even ones some subscribers may
    not agree with (like tape trading), are essential.

    What most disturbs me is that some spineless
    soul decided to annoint THEMSELVES zorn-list
    content police (and we all know that's my job!
    ....that's a joke, son) and privately tell
    you that it is offtopic.

    If someone dislikes tape trading, they can
    express and discuss it PUBLICLY with the entire
    list (as has been done in the past).

>is thoroughly anti-taping because he has had problems with people making
>money off of bootlegging his shows. I am sorry for bringing it up
>here... won't happen again.

    There is no reason for you to be sorry.

    mike rizzi
    zorn-list-owner-maintainer-and-opinionated-motherfucker

    ...now where did I put that pot of coffee
--
                   "Another nerd with a soulpatch"              -=home=-
                      http://www.meer.net/~browbeat/
------ browbeat magazine, po box 11124, oakland, ca 94611-1124 ---------


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Torture Garden
Date: 05 Apr 1997 09:42:54 -0800


On Sat, 5 Apr 1997 18:12:57 +0200  NGUYEN VAN TAN Olivier wrote:
>
> Hi,
>
> Sorry to ask this again but :
>
> If I have Naked City, Grand Guignol and Naked City, Naked City :
> do I have all the songs from Torture Garden from the black box ??
>

Yes! And if you have LENG T'CHE, you have no reasons left to buy the
box.

    Patrice.


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

From: Tom Pratt <[e-mail]>
Subject: Re: oops!
Date: 05 Apr 1997 13:05:02 -0500

>         What most disturbs me is that some spineless
>         soul decided to annoint THEMSELVES zorn-list
>         content police (and we all know that's my job!
>         ....that's a joke, son) and privately tell
>         you that it is offtopic.

Nobody annointed themselves zorn-list police.  A few people nicely
suggested their opinions on tape trading and informed me that it was a
touchy subject here with some people.

>         If someone dislikes tape trading, they can
>         express and discuss it PUBLICLY with the entire
>         list (as has been done in the past).

I think these few people wanted to avoid this. Apparently there have
been L O N G discussions about this.

            -Tom Pratt


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

From: [e-mail]
Subject: A few things for sale.....
Date: 05 Apr 1997 14:03:11 -0500 (EST)

Little Nighttown Music
PO Box 25392
Cleveland OH 44125
USA
E-mail: Tag Yr [e-mail]

Greetings,

    I have a few items for sale that may be of interest to some of you on the
list.....

Item Number/Artist/Title/Condition/Other Information/Price:

9347/CD/Golden Palominos/A Dead Horse/M-/M-/Celluloid CELCD 6138/$15.00
9532/CD/Golden Palominos/same/M-/M-/Celluloid CELD 5002/$25.00
9529/CD/Material/Temporary Music (1979 - 1981)/M-/M-/Celluloid CELD
5101/$15.00
9544/CD/Material/Temporary Music (1979 - 1981)/M-/M-/Restless 72662-2/$15.00
9531/CD/Material - Bill Laswell/Baselines/M-/M-/Celluloid CELD 5505/$20.00
9346/CD/Zorn, John - Old/Lo Flux Tube/M-/M-/Relativity/Earache
88561-1094-2/$15.00

    If youÆre interested in any of the above items, please contact me by mail or
email, including where you are (for postage costs), and IÆll reply with
availability and shipping details.

Thanks!

Dale.

P.S.: Want-lists are graciously welcome!




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

From: Tom Pratt <[e-mail]>
Subject: Marc Ribot
Date: 05 Apr 1997 14:27:21 -0500

I'm looking to get into some Marc Ribot. I owned "Rootless
Cosmopolitans" a while back but got rid of it because I didn't like it.
I've got him on the Lounge Lizards's 'Voice of Chunk' and 'No Pain For
Cakes' where I think he's all right. I really like him on Zorn's 'Bar
Kokhba' and I've heard what he did with Zorn's Masada live w/Medeski and
Martin.  I've heard him live with People Who Only Need a Beat or
something like that and found it interesting. I have been told over and
over that he is awesome... and unbelievable guitarist and all sorts of
stuff but I have yet to find anything out by Marc Ribot that has really
impressed me. Does anybody have any suggestions? ...or is what I've
heard a pretty fair representation of what he does?  How is 'Shoe String
Symphonette'?

            -Tom Pratt


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

From: jonathan kaye <[e-mail]>
Subject: Re: zorn/medeski martin and wood
Date: 05 Apr 1997 14:42:55 -0500


>> info: modeski martin and wood - "bubblehouse"
>>
>> 1. bubblehouse
>> 2. bubblehouse bbq mix (remixed by we/dj olive, loop, once 11)
>> 3. dracula remix (remixed by dj logic, alto sax john zorn)
>> 4. macha
>> 5. spy kiss (10:00 pm whr. r. your chldrn mix - remixed by we/dj olive,
>> loop, once 11)
>
>Wow! What a surprise! I almost thought it was an April fool :-).
>
>Could you answer few more questions:
>
>    - what is the label?
>    - when was it released?
>    - what is the catalog number?
>    - has this piece (DRACULA) been released on a regular CD?
>
>    Thanks a lot for mentioning this surprising record,
>
>    Patrice.

the disk is on rykodisk, catalog #GCD5-1001

i can't tell you any of the other info you requested because i'm not sure.
i've wanted to check out mmw for a while now but just never have and when i
saw this in the store it was the price and the fact that zorn was on it
that made me buy it. the store i bought it from sells some of the review
copies they receive and most often they're put out for sale soon after
release, so my guess is that it was just released. not to state the
obvious, but since dracula is a "remix" it must have appeared somewhere
before.

jon






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

From: jonathan kaye <[e-mail]>
Subject: masada in nyc tonight (april 5)
Date: 05 Apr 1997 14:48:43 -0500

this is from this week's "new york press" picks of the week list:

"John Zorn's Masada
Finally Zorn's Ornette Klezmer Jewish music revival band performs on a New
York bima, opening a new series of concerts in the EV's beautiful little
Synagog Space. Masada starts with the solemn intensity of ancient chants
and extrapolates all the way up to a prehistoric bacchanal, reminding us
that historically, religious fervor was far more sexy than deadly. Starts
at 7:30. 108 E. 1st St. (btw. 1st Ave & Ave. A) 254-8681."





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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: A few things for sale.....
Date: 05 Apr 1997 11:53:20 -0800


On Sat, 5 Apr 1997 14:03:11 -0500 (EST)  [e-mail] wrote:
>
> Little Nighttown Music

Are you a store or record business?

> PO Box 25392
> Cleveland OH 44125
> USA
> E-mail: Tag Yr [e-mail]
>
> Greetings,
>
>     I have a few items for sale that may be of interest to some of you on t
he
> list.....
>
> Item Number/Artist/Title/Condition/Other Information/Price:
>
> 9347/CD/Golden Palominos/A Dead Horse/M-/M-/Celluloid CELCD 6138/$15.00
> 9532/CD/Golden Palominos/same/M-/M-/Celluloid CELD 5002/$25.00
                        ^^^^^^^^^^

How can you ask $25 for that one?

> 9529/CD/Material/Temporary Music (1979 - 1981)/M-/M-/Celluloid CELD
> 5101/$15.00
> 9544/CD/Material/Temporary Music (1979 - 1981)/M-/M-/Restless 72662-2/$15.00
> 9531/CD/Material - Bill Laswell/Baselines/M-/M-/Celluloid CELD 5505/$20.00

Same question...

> 9346/CD/Zorn, John - Old/Lo Flux Tube/M-/M-/Relativity/Earache
> 88561-1094-2/$15.00
>



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

From: Tom Pratt <[e-mail]>
Subject: Re: zorn/medeski martin and wood
Date: 05 Apr 1997 15:18:15 -0500

This was just released (actually I think the release date was April 8
which is confusing me right now).  "Dracula" appears on MMW's new album
on Gramavision called 'Shack-Man'.  Actaully all those songs are remixes
from it (except "Bubblehouse", which is the studio version, and "Macha"
which is studio but only appeared on the Japanese version of 'Shack-Man'
for some reason) If you're just getting into MMW or haven't yet, I would
recommend 'Friday Afternoon In The Universe' because it kicks much more
ass than 'Shack-Man'.

    I'll offer the first 2 MMW newbies to respond an analog dub of a 180
min. show that kicks ass (10/22/95 @ Fox Theater-Boulder, CO) for blanks
and postage (don't worry, they allow taping). Adios!

            -Tom Pratt

            -Tom Pratt


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

From: "Walter M. Young" <[e-mail]>
Subject: Re:Marc Ribot
Date: 05 Apr 1997 16:01:54 -0500

My favorite context for Ribot's work is on Tom Waits' albums.  Try =
"Swordfish Trombone" or "Rain Dogs".  It's like Beat poetry set to =
demented circus music.  It is open enough for Ribot's guitar to emerge =
as a dark and sinewy contrast to Waits' gruff vocals.=20



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

From: Frank D Malczewski <[e-mail]>
Subject: Re: A few things for sale.....
Date: 05 Apr 1997 14:42:33 -0700



Some of these are going for cut-out prices around here (which are
rather high at about $10...)


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

From: Peter Cline <[e-mail]>
Subject: performance
Date: 05 Apr 1997 16:49:15 -0500 (EST)

Ok, I'm about to shamelessly promote myself

Tonight at the spiral (244 E. Houston St. NYC) a band called Stoled Boat
(of
which I am a part) will be playing at 1 am.  SO if anyone feels like
coming by after catching Masada's performance on 1st st., conveniently
located nearby, please do.

We basically do free improv, some acoustic stuff, a few really silly
songs.  Lots of horn blowing, loud guitars, even my 14 yr. old brother
playing acoustic bass on our rendition of Take the A Train!

Oh yeah, Roy Nathanson might be in the audience.  He told me he would
"give it shot" when I invited him to the show.

Ok, I'm through with the advertising.  BTW, show is 6 bucks and part of
NYU's Independent music festival.





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

From: Matthew Ross Davis <[e-mail]>
Subject: Re: Torture Garden
Date: 05 Apr 1997 19:34:31 -0500 (EST)

> Yes! And if you have LENG T'CHE, you have no reasons left to buy the
> box.

Is Heretic or Absinthe not in the box?

Matt




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

From: peter tush <[e-mail]>
Subject: "Ganryu Island"
Date: 06 Apr 1997 08:59:09 -0400

I believe that I purchased "Ganryu Island," an collaboration between
Zorn and Michihiro Sato, when it came out in 1984. I still find it to be
a great album to go back to, offering some of the intensity of "Classic
Guide to Strategy" mixed with the beautiful, slightly sour shamisen
playing of Sato. I was just wondering if anyone has heard if Tzadik has
plans to reissue it. I have heard that the great 18 minute "Godard"
piece will be reissued sometime, but nothing about "Ganryu Island." Any
info would be appreciated.


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

From: Tom Pratt <[e-mail]>
Subject: MMW newbie offer closed
Date: 06 Apr 1997 01:55:48 -0500

I've found my newbies.  subject says it all.

        -Tom Pratt


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: "Ganryu Island"
Date: 06 Apr 1997 12:12:50 -0700


On Sun, 06 Apr 1997 08:59:09 -0400  peter tush wrote:
>
> I believe that I purchased "Ganryu Island," an collaboration between
> Zorn and Michihiro Sato, when it came out in 1984. I still find it to be
> a great album to go back to, offering some of the intensity of "Classic
> Guide to Strategy" mixed with the beautiful, slightly sour shamisen
> playing of Sato. I was just wondering if anyone has heard if Tzadik has
> plans to reissue it. I have heard that the great 18 minute "Godard"
> piece will be reissued sometime, but nothing about "Ganryu Island." Any
> info would be appreciated.

Never heard any plans to reissue it. I agree, a very great early Zorn
record.

    Patrice.


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

From: Josh Miller <[e-mail]>
Subject: wayne horvitz in sb
Date: 06 Apr 1997 15:38:05 -0700

for all those in the santa barbara, california area, wayne horvitz is
playing this thursday, april 10 at emerald city (110 santa barbara st).

does anybody know any of the particulars of this gig, like who he's
playing with...?

thanks

josh miller


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

From: [e-mail]
Subject: Z-Rock Hawaii
Date: 07 Apr 1997 00:54:53 -0400 (EDT)

there has been a lot of talk about Eye on the list lately, so its
probably not wholly inappropriate to mention this here.

Z-Rock Hawaii is a collaboration between Ween and most of the members of
Boredoms.  it just came out, so if there's anyone who wants to know more
about it i've set up a page for it w/ info on the songs and some audio
samples. the url is:  http://www.geocities.com/Tokyo/Towers/8908
however i warn anyone attempting to view it that geocities has been a bit
screwy lately, sometimes the addresses aren't working.  my page is there,
however, i assure you.  if you get the "file not found" page, try back later.

thanks,

-anthony




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

From: Dwight Haden <[e-mail]>
Subject: Masada 8
Date: 07 Apr 1997 04:57:27 +0000

I just heard a rumour that Masada 8 is out in Japan.
Can anyone confirm?

Also, does anyone know how to get recent DIW releases
here in the good ol' USA these days?  Like Masada 7 or
the reissue of Masada 4?

  Dwight Haden === [e-mail]



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

From: [e-mail]
Subject: Re: Masada 8
Date: 07 Apr 1997 01:58:31 -0400 (EDT)


In a message dated 4/7/97 1:24:39 AM, [e-mail] (Dwight Haden)
wrote:

<<Also, does anyone know how to get recent DIW releases
here in the good ol' USA these days?  Like Masada 7 or
the reissue of Masada 4?>>

Or David Ware-Godspelized or James Ulmer's new record of Ornette tunes? I'd
love to know the answer to this also.

Jon


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

From: [e-mail] (Tince Timinchine)
Subject: Kneeslappin' John
Date: 07 Apr 1997 03:48:24 -0800


        Y'know, the more familiar I get with John Zorn, the more positively
sure I am that he's laughing at us.

        You gotta love the man; after all, we do what we can!

     ....Shane

        P.S.  Consider for a moment the possibility that we are his medium;
not his music.  From that stance, the music would then, in turn, be his
tool.  The final product, us, would be brought around in full by our
reaction to it.  Do you know what I mean?







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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Kneeslappin' John
Date: 07 Apr 1997 08:52:36 -0700


On Mon, 7 Apr 1997 03:48:24 -0800  Tince Timinchine wrote:
>
>
>         Y'know, the more familiar I get with John Zorn, the more positively
> sure I am that he's laughing at us.

Don't take you case for a generality :-).

>         You gotta love the man; after all, we do what we can!
>
>      ....Shane
>
>         P.S.  Consider for a moment the possibility that we are his medium;
> not his music.  From that stance, the music would then, in turn, be his
> tool.  The final product, us, would be brought around in full by our
> reaction to it.  Do you know what I mean?
            ^^^^^^^^^^^^^^^^

More urgent question: do you really understand what you are saying?

    Patrice.


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

From: [e-mail]
Subject:  tzadick catalog?
Date: 07 Apr 1997 11:51 EST

where can i get a copy of this?

adam


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

From: Howard Shih <[e-mail]>
Subject: Masada 4 in the USA
Date: 07 Apr 1997 15:02:49 -0400 (EDT)

Just picked up Masada 7 this weekend and am loving it to death. Bacharach
is lotsa fun!

Was just curious if anyone has seen or knows of any stores in the US
w/Masada 4. I know that Depth Charge (and maybe one or two other stores)
in the UK have Masada 4 in stock but I'd prefer getting it in the US for
obvious reasons.

thanks for the info.


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



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

From: "Walter M. Young" <[e-mail]>
Subject: RE: Marc Ribot
Date: 07 Apr 1997 18:30:11 -0400

Sorry for the inaccurate post.  I should have checked the liner notes =
before posting my message.  Ribot only plays on Rain Dogs.  The albums =
are very similar stylistically and I generally think of them as sister =
albums and thus assumed the same line up of musicians.  It is a =
tremendous album even without Ribot.  Ribot does contribute to a number =
of songs on Frank's Wild Years though.

----------
Sent:  Monday, April 07, 1997 12:09 PM
Cc:  [e-mail]

> My favorite context for Ribot's work is on Tom Waits' albums.  Try =3D
> "Swordfish Trombone" or "Rain Dogs".  It's like Beat poetry set to =3D
   ^^^^^^^^^^^^^^^^^^

Is this a Tom Waits record featuring Marc Ribot?

> demented circus music.  It is open enough for Ribot's guitar to emerge =
=3D
> as a dark and sinewy contrast to Waits' gruff vocals.=3D20

If yes, would it be possible to give me its detailed description?

    Thanks,

    Patrice.

PS: I have been working on a Marc Ribot discography which is getting =
huge!




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

From: Jim McLoughlin <[e-mail]>
Subject: Waits related Ribot
Date: 07 Apr 1997 20:26:23 -0400 (EDT)

    Hi Everybody! ;^}

    In addition to "Rain dogs" and "Franks Wild Years", Ribot also
plays on most of the live Tom Waits album "Big Time" (I'm pretty certain).

    Greg Cohen plays bass on one or two of the "Rain Dogs" tracks,
John Lurie plays sax on one.  Also, in a benefit concert Waits did a
year and a half ago, Greg Cohen played bass, Kenny Wollesen played drums
and strange percussion, and Joe Gore played guitar.  Just thought I'd
mention that in case people were interested.

    I'm, like, outta here and stuff.






--



    Jim McLoughlin
    [e-mail]


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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Masada 8 and other DIWs
Date: 07 Apr 1997 20:45:07 -0400 (EDT)



On Mon, 7 Apr 1997 [e-mail] wrote:

> Or David Ware-Godspelized or James Ulmer's new record of Ornette tunes? I'd
> love to know the answer to this also.

A batch of DIWs turned up at my local record store about a week and a half
ago.  I don't remember if the David Ware was included; the others here
were not.  According to the owner, the new Ulmer record is being issued at
domestic prices on Koch at the end of April.  I don't know if this is
happening with any of the others.

cjh



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

From: Peter Cline <[e-mail]>
Subject: Re: Waits related Ribot
Date: 07 Apr 1997 21:08:13 -0400 (EDT)

On Mon, 7 Apr 1997, Jim McLoughlin wrote:

>     Hi Everybody! ;^}
>
>     In addition to "Rain dogs" and "Franks Wild Years", Ribot also
> plays on most of the live Tom Waits album "Big Time" (I'm pretty certain).
>
>     Greg Cohen plays bass on one or two of the "Rain Dogs" tracks,
> John Lurie plays sax on one.  Also, in a benefit concert Waits did a
> year and a half ago, Greg Cohen played bass, Kenny Wollesen played drums
> and strange percussion, and Joe Gore played guitar.  Just thought I'd
> mention that in case people were interested.
>

Greg Cohen is also featured on The Black Rider.



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

From: Tom Pratt <[e-mail]>
Subject: Greg Cohen (Was: "Waits related Ribot")
Date: 07 Apr 1997 21:11:37 -0400

>         Greg Cohen plays bass on one or two of the "Rain Dogs" tracks,
> John Lurie plays sax on one.  Also, in a benefit concert Waits did a
> year and a half ago, Greg Cohen played bass, Kenny Wollesen played...

Where else can Greg Cohen be found other than Masada stuff? He's a very
lovely and lyrical bassist with a very soft and clear tone. I'd like to
find more.

                -Tom Pratt


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

From: Matthew Ross Davis <[e-mail]>
Subject: Re: Greg Cohen (Was: "Waits related Ribot")
Date: 07 Apr 1997 21:23:33 -0400 (EDT)

> Where else can Greg Cohen be found other than Masada stuff? He's a very
> lovely and lyrical bassist with a very soft and clear tone. I'd like to
> find more.

Greg Cohen produced and plays on Laurie Anderson's latest full-release,
titled <Bright Red>. Joey Baron also plays most of the percussion on this
record. I consider it one of Laurie's best, so it's worth the buy if
you've never heard her stuff.

Matthew Ross Davis



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

From: [e-mail] (James Hale)
Subject: Zorn article
Date: 08 Apr 1997 10:54:48 -0500

You might want to check out an article on Zorn by Art Lange that's posted
on the new Jazz Journalists Association site
<www.jazzhouse.org/library.html>. There's even a comment function so we can
get some dialogue going about it.
One of the things we're trying to do with the JJA is break down some of the
perceived and realistic barriers between critics and listeners. So feel
free to jump in...

James Hale




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

From: [e-mail]
Subject: Re: Greg Cohen (Was: "Waits related Ribot")
Date: 08 Apr 1997 11:28:17 -0400 (EDT)

For some choice Greg Cohen playing (and many other greats such as
Frisell/Vernon Reed duo, Dr. John, Chuck D., Henry Rollins, Elvis
Costello...VERY eclectic mix o folks, eh?) check out the Hal Willner produced
"Weird Nightmare" featuring the songs and poems of Charles Mingus, and the
instruments of Harry Partch.  An essential album!!

Jonathan LaMaster
Unsound Music Productions and
The Boston Creative Music Alliance


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

From: [e-mail] (m. rizzi)
Subject: Re: Zony Mash
Date: 08 Apr 1997 09:30:58 -0700 (PDT)

James L. Kirchmer, demi-God and Icon sez:
>
>Nils Jacobson <[e-mail]> wrote:
>
>> 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.
>
>Why?  Because it's not a wanker fest? or a noise fest? or?
>Moreover, how is it not "forward looking"?
>This is nebulous territory......
>
>Go see the band live if you can.(April tour) I think the musical

    I saw them live at the OK Hotel opening for
    David Thomas and found them to be pretty
    boring. Of course, I have no comment on
    the "forward looking" thang...just didn't
    float my boat.

>Tom Pratt <[e-mail]> wrote:
>Moreover, comparing Medeski to Wayne is like comparing "dildoes" to
>test tubes.  ;)

    beautiful !  This is the style of writing I'd
    expect from the zorn-list. You rock.

    cheers,
    mike

--
                   "Another nerd with a soulpatch"              -=home=-


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Zony Mash
Date: 08 Apr 1997 16:42:15 -0700


On Tue, 8 Apr 1997 09:30:58 -0700 (PDT)  m. rizzi wrote:
>
> James L. Kirchmer, demi-God and Icon sez:
> >
> >Nils Jacobson <[e-mail]> wrote:
> >
> >> 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.
> >
> >Why?  Because it's not a wanker fest? or a noise fest? or?
> >Moreover, how is it not "forward looking"?
> >This is nebulous territory......
> >
> >Go see the band live if you can.(April tour) I think the musical
>
>     I saw them live at the OK Hotel opening for
>     David Thomas and found them to be pretty
>     boring. Of course, I have no comment on
>     the "forward looking" thang...just didn't
>     float my boat.

I saw them Sunday night and they were great.

To go back with the comparison with MM&W:

Why do we need to compare players of the B-3 organ on a one-dimension
scale (and rate them accordingly)? I have been following the thread with
some amazement: is there already a B-3 competition at the Olympic Games?

I have been listening to Wayne for more than ten years and consider myself
as fairly well acquainted with his style. What he does with Zony Mash
fits perfectly well with what he has done previously with the B-3, and
the songs are definitely his (with few exceptions). Hence my surprise to
see him being implicitely presented as a poor imitator of MM&W.

> >Tom Pratt <[e-mail]> wrote:
> >Moreover, comparing Medeski to Wayne is like comparing "dildoes" to
> >test tubes.  ;)
>
>     beautiful !  This is the style of writing I'd
>     expect from the zorn-list. You rock.

Rizzi seems to have some fun :-).

    Patrice.



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

From: Tom Pratt <[e-mail]>
Subject: Re: Zony Mash
Date: 08 Apr 1997 22:07:43 -0400

> Why do we need to compare players of the B-3 organ on a one-dimension
> scale (and rate them accordingly)? I have been following the thread with
> some amazement: is there already a B-3 competition at the Olympic Games?
>
> I have been listening to Wayne for more than ten years and consider myself
> as fairly well acquainted with his style. What he does with Zony Mash
> fits perfectly well with what he has done previously with the B-3, and
> the songs are definitely his (with few exceptions). Hence my surprise to
> see him being implicitely presented as a poor imitator of MM&W.

I thought this died a little while back but I'm glad to keep it going.
First of all, I'd like to say that the Zony Mash CD rules. It has grown
on me tremendously. I have found and become familiar with more of
Horvitz's material which has helped this happen. I can't help but
compare him to Medeski though. As much as I don't want to I do.

Anyway, here's a mathematical way to prove that test tubes are the same
as dildoes.

Horvitz=great
Medeski=great
Therefore by substitution: Horvitz=Medeski
If: Medeski/Horvitz=dildoes/test tubes
Then by substitution: Medeski/Medeski=dildoes/test tubes
1=dildoes/test tubes
test tubes=dildoes

it's that easy!

            -Tom Pratt


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

From: Yves Dewulf <[e-mail]>
Subject: Masada-live
Date: 09 Apr 1997 12:03:27 +0200


    Yesterday, there was a John Zorn/Masada special at the
Belgium radio. They mentioned that there would be an official
Masada Live -box before the end of this year.
This box should consist of 5 CD's including last year's Antwerp concert,
a Moscow concert and some other concerts (also the Jerusalem concert if
I remember well).
Does anybody know more about this box (especially the label it will
be on) ?


                -Yves Dewulf-



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

From: [e-mail] (Les Rhoda)
Subject: The "T" word
Date: 09 Apr 1997 13:11:02 -0400

[e-mail],.Internet writes:
>ummm, excuse me? There is no such policy on this
>    mailing list. Let me repeat, there is NO RULE
>    prohibiting tape trading discussions on the
>    zorn-list.

That's good to hear. I have often wondered about the whole Zorn-taping
thing. I know Zorn cares very, very much about the money side of
things, but how can all of us Zorn fanatics keep up with his 1,000 mph
agenda when he's doing something different every week? What about
people who hear about Naked City but then go out spend 20 bucks on
Absinthe, expecting to hear "that nifty thrashjazz"?  What about the
people who don't live in NYC? I collect every live Zorn tape I can get
my hands on, but only because :
1) I feel he is the most important composer of our culture/generation
2) I want to know what he's up to, but don't feel like spending 20
bucks on a disc of him banging on pots and pans while somebody screams
3) He's a major influence on what I want to do with music

I wonder if Zorn tapes any of his shows, or does he just let the music
happen, pick up his check, and let it be? It seems to me that he would
have a much greater sense of self-worth than that. I'm not lending
validity to everything he does, nor am I saying that taping is right,
but I know that I am not alone in the quest to keep up with Mr. Zorn.

Besides, in this day of electronic capturing devices, should we let his
live work go undocumented? Was Dean Bendetti wrong for following
Charlie Parker and taping him because he thought Bird was a demi-god
and icon?

I wish I had lots of obscure music to talk about, but I don't, so sorry
for breaking with the format. I do enjoy reading about it here on the
list though. I'd better go now, because the Zorn-list SWAT team is
rappelling down the side of my house....


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

From: "Glenn Astarita" <[e-mail]>
Subject: Re: Greg Cohen (Was: "Waits related Ribot")
Date: 09 Apr 1997 15:28:32 -0500



----------
> From: Tom Pratt <[e-mail]>
> To: [e-mail]
> Subject: Greg Cohen (Was: "Waits related Ribot")
> Date: Monday, April 07, 1997 8:11 PM
>
> >         Greg Cohen plays bass on one or two of the "Rain Dogs" tracks,
> > John Lurie plays sax on one.  Also, in a benefit concert Waits did a
> > year and a half ago, Greg Cohen played bass, Kenny Wollesen played...
>
> Where else can Greg Cohen be found other than Masada stuff? He's a very
> lovely and lyrical bassist with a very soft and clear tone. I'd like to
> find more.
>
>                 -Tom Pratt

Try Anthony Coleman's recent "Sephardic Tinge" for one.  It's a classic
mainstream piano trio date which also features Joey Baron on drums.   It
proves that Coleman can swing ! He also does a fine job of deconstructing a
few classics.  Of course Cohen and Baron provide impeccable support..


Glenn


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

From: Nathaniel Y Downes <[e-mail]>
Subject: Re: zorn-list Digest V2 #74
Date: 09 Apr 1997 17:45:48 -0700

HELP!!!

Is anyone out there going to Wayne Horvitz in Santa Cruz tonight!!!

I really want to go, only I have a slight problem, I live on Campus and
Shows always end after the last bus....

Anyway, if anyone on the list gets this before tonight, and can drive a
poor carless Horvitz fan back up to campus at the end of the show, (I'd
gladly buy you a beer) call me or email me @ 471-7860 (you know the area
code) or [e-mail]

Thank you

PS...

Anyone in Santa Cruz or Monterey, or Watsonville, should tune in to KZSC
88.1 starting next Thursday at 3:00am to 6:00am (actually Friday early
morning) I host a free, avant garde, exploratory jazz noise show...

thanks again...




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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Masada-live
Date: 09 Apr 1997 17:28:26 -0700


On Wed, 9 Apr 1997 12:03:27 +0200  Yves Dewulf wrote:
>
>
>     Yesterday, there was a John Zorn/Masada special at the
> Belgium radio. They mentioned that there would be an official
> Masada Live -box before the end of this year.
> This box should consist of 5 CD's including last year's Antwerp concert,
> a Moscow concert and some other concerts (also the Jerusalem concert if
> I remember well).
> Does anybody know more about this box (especially the label it will
> be on) ?

Sounds like a Tzadik release. Tzadik had the plan to release (at least)
two Masada live:


*** - LIVE IN JERUSALEM: Masada

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

  Note: not released yet.


*** - LIVE AT MOGADOR: Masada

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

  Note: not released yet.


I never heard of a live CD set. Could be a new idea from Tzadik.

    Patrice.


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

From: Tom Pratt <[e-mail]>
Subject: Re: Masada-live
Date: 09 Apr 1997 22:04:28 -0400

> *** - LIVE AT MOGADOR: Masada

At Mogador huh? Perhaps this is why Dave Douglas's song "Mogador" (for
John Zorn) was given that title. It's on 'Five' on Soul Note. Cool tune.
Fucking awesome album. Buy it. Zorn wrote some liner notes if that will
persuade you.

            -Tom Pratt


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

From: James Douglas Knox <[e-mail]>
Subject: Re: Intellectual property is theft!
Date: 10 Apr 1997 13:37:34 +1000 (EST)

Well no, I'm just kidding. But Zorn objecting to the free exchange,
barter-like, of otherwise unavailable music of his on cassettes? By the
same people who are throwing all their (heaven forfend!) spare money
into the subsidy of his career? Are we talking about the same guy
who wrote an essay called "Memory and Immorality in Musical Composition"
(see the bibliography back of Patrice's discog for the reference)?
To say nothing of the music - and there is a fund of saying to be found
there.

I hope this is all bullstuff. It seems pretty freaking inconsistent,
leastways to me.

Cheers,

Jim

On Wed, 9 Apr 1997, Les Rhoda wrote:

> [e-mail],.Internet writes:
> >ummm, excuse me? There is no such policy on this
> >    mailing list. Let me repeat, there is NO RULE
> >    prohibiting tape trading discussions on the
> >    zorn-list.
>
> That's good to hear. I have often wondered about the whole Zorn-taping
> thing. I know Zorn cares very, very much about the money side of
> things, but how can all of us Zorn fanatics keep up with his 1,000 mph
> agenda when he's doing something different every week? What about
> people who hear about Naked City but then go out spend 20 bucks on
> Absinthe, expecting to hear "that nifty thrashjazz"?  What about the
> people who don't live in NYC? I collect every live Zorn tape I can get
> my hands on, but only because :
> 1) I feel he is the most important composer of our culture/generation
> 2) I want to know what he's up to, but don't feel like spending 20
> bucks on a disc of him banging on pots and pans while somebody screams
> 3) He's a major influence on what I want to do with music
>
> I wonder if Zorn tapes any of his shows, or does he just let the music
> happen, pick up his check, and let it be? It seems to me that he would
> have a much greater sense of self-worth than that. I'm not lending
> validity to everything he does, nor am I saying that taping is right,
> but I know that I am not alone in the quest to keep up with Mr. Zorn.
>
> Besides, in this day of electronic capturing devices, should we let his
> live work go undocumented? Was Dean Bendetti wrong for following
> Charlie Parker and taping him because he thought Bird was a demi-god
> and icon?
>
> I wish I had lots of obscure music to talk about, but I don't, so sorry
> for breaking with the format. I do enjoy reading about it here on the
> list though. I'd better go now, because the Zorn-list SWAT team is
> rappelling down the side of my house....
>




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

From: James Douglas Knox <[e-mail]>
Subject: Re:Intellectual property is theft! II
Date: 10 Apr 1997 15:16:40 +1000 (EST)

Yeah, I was just thinking some more about this. William Duckworth has an
interview with Zorn in his recent book, "Talking Music: Interviews with
American Composers". And it is here that Zorn 'fesses up, and explains
that he built up his huge record collection by stealing thousands of the
fuckers out of shops!

So! I find all this preciousness about copyright - especially where it
doesn't infringe on Zorn's income - totally spurious. Some fuckwit has
been proliferating bullstuff.

Cheers,

Jim

On Wed, 9 Apr 1997, Les Rhoda wrote:

> [e-mail],.Internet writes:
> >ummm, excuse me? There is no such policy on this
> >    mailing list. Let me repeat, there is NO RULE
> >    prohibiting tape trading discussions on the
> >    zorn-list.
>
> That's good to hear. I have often wondered about the whole Zorn-taping
> thing. I know Zorn cares very, very much about the money side of
> things, but how can all of us Zorn fanatics keep up with his 1,000 mph
> agenda when he's doing something different every week? What about
> people who hear about Naked City but then go out spend 20 bucks on
> Absinthe, expecting to hear "that nifty thrashjazz"?  What about the
> people who don't live in NYC? I collect every live Zorn tape I can get
> my hands on, but only because :
> 1) I feel he is the most important composer of our culture/generation
> 2) I want to know what he's up to, but don't feel like spending 20
> bucks on a disc of him banging on pots and pans while somebody screams
> 3) He's a major influence on what I want to do with music
>
> I wonder if Zorn tapes any of his shows, or does he just let the music
> happen, pick up his check, and let it be? It seems to me that he would
> have a much greater sense of self-worth than that. I'm not lending
> validity to everything he does, nor am I saying that taping is right,
> but I know that I am not alone in the quest to keep up with Mr. Zorn.
>
> Besides, in this day of electronic capturing devices, should we let his
> live work go undocumented? Was Dean Bendetti wrong for following
> Charlie Parker and taping him because he thought Bird was a demi-god
> and icon?
>
> I wish I had lots of obscure music to talk about, but I don't, so sorry
> for breaking with the format. I do enjoy reading about it here on the
> list though. I'd better go now, because the Zorn-list SWAT team is
> rappelling down the side of my house....
>



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

From: Matt Walsh <[e-mail]>
Subject: MM&W's "Dracula"
Date: 10 Apr 1997 09:48:00 PDT


Zorn doesn't play on the regular version of Medeski, Martin, & Wood's
"Dracula". The song is on their album "Shack Man". A friend of mine is a
big MM&W fan and has the CD.

Hope this helps.

Matt Walsh
[e-mail]


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

From: "Alan M Gordon (MSc/NC)" <[e-mail]>
Subject: Re: Zorn & Boredoms jungle???
Date: 10 Apr 1997 19:20:50 +0100 (BST)

Hi Zorn-people.

Well, i happen to s*bscr*be to the breaks discussion group as well as this

one, and today i saw the very surprising message:

>has anyone heard any of the drum and bass\jungle stuff that the boredoms
>and John Zorn have been working on?
>                Lazy

What i want to know is, is this question based on reality?

Alan





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

From: "James L. Kirchmer" <[e-mail]>
Subject: Re: Zony Mash
Date: 10 Apr 1997 03:50:58 -0700

Patrice L. Roussel wrote:

> On Tue, 8 Apr 1997 09:30:58 -0700 (PDT) m. rizzi wrote:

> >       I saw them live at the OK Hotel opening for
> >       David Thomas and found them to be pretty
> >       boring. Of course, I have no comment on
> >       the "forward looking" thang...just didn't
> >       float my boat.

> I saw them Sunday night and they were great.
> To go back with the comparison with MM&W:
> Why do we need to compare players of the B-3 organ on a one-dimension
> scale (and rate them accordingly)? I have been following the thread with
> some amazement: is there already a B-3 competition at the Olympic Games?
> I have been listening to Wayne for more than ten years and consider myself
> as fairly well acquainted with his style. What he does with Zony Mash
> fits perfectly well with what he has done previously with the B-3, and
> the songs are definitely his (with few exceptions). Hence my surprise to
> see him being implicitely presented as a poor imitator of MM&W.

Very well put, Patrice....Wayne recently described his primary
influence on the organ as coming from Garth Hudson(The BAND)...
(as opposed to the Jimmy Smith/etc. '50's/'60's jazz/funk school
 of organ playin' that John Medeski has primarily "taken off" from)

And btw, all Wayne plays w/Zony is the B3.  There is no Clavinet
or Wurlitzer like with John Medeski in MMW.  Only organ, like at
church.  Anyways, like I said before: (this sums it up well)--->

> > >Moreover, comparing Medeski to Wayne is like comparing "dildoes" to
> > >test tubes.  ;)

<ed. note: a test tube in Owsley's old lab, perhaps?... ;>

I saw Zony Mash here in Seattle on Saturday April 5th, as they
HEADLINED a show.  This is Zony Mash's comfort zone, as they can
loosen up and stretch out their redrubberband, so to speak.(?)
The tunes demand this kind of setting...where the "gospel" of
Zony Mash has time to simmer and boil over in waves of emotion -
with Wayne off his seat and hunched over the organ as the
audience is transported back to the feel good "church" vibe of
the late '60's filtered through the time travel/microscope
machine that Zony Mash carries in their deep musical pockets.
The show I mention above was indeed a killer one - a very nice
'tour opener', as they were sent off by a sizable and very
appreciative audience that clapped 'em back out for an encore.
The tourdates are available via http://www.knittingfactory.com
and I highly recommend that y'all out there check 'em out if
ya can.  Tim Young, the guitarist, is a young guy - and it
shows sometimes in his playin', but he has got some SERIOUS
chops.  His debut album is coming out in May on Endless Records.
(Endless Records, 4714 Ballard Ave. N.W., Suite 212,
       Seattle, WA - 98107 - [phone])
Tim appears on the Eyvind Kang "7 Nades" record that many of
you have enjoyed, btw.  He also plays with the Scallywags(feat.
Mike Stone(d) from Wayne Horvitz's PIGPEN), as well as
Devilhead, which is featuring Ben Shepard(sp?)from the JUST
BROKEN UP Soundgarden(a friendly breakup, I hear) while Tim
is away touring with Zony Mash (Zony Mash hits Europe in May)
Mike Stone also plays with Devilhead.  Look for Mike on tour
with Tuatara soon, featuring Skerik(ts), & Peter Buck f/REM...

Anyways, to continue on with Zony Mash personnel(in response
to an inquiry as to WHO is in the band...) ----->
Fred Chalenor, the bass player in Zony Mash, is WICKED - a real
pro....he used to play in the Tonedogs, feat. Amy Denio and
Matt Cameron(ex-Soundgarden drummer, btw), as well as
Caveman Shoestore. Another project is HUGHSCORE, also feat. the
BIGTIME bass talents of Hugh Hopper(ex-Soft Machine), as well as
the keyoards of Fred's wife Elaine. It's an exciting band,
esp. because of the compositions.  They have an album in the
can awaiting release soon which is supposedly a big step up
f/the first one they did.  Fred also has recorded with Elliot
Sharp - on the excellent(!)"BOODLERS" cd. (Acid Jazz Payback!)
And, lest we not forget, Fred is also in Horvitz's PIGPEN.
Andy Roth, the drummer in Zony Mash, is a major force in the
band - as his drum backing/breaks are very surehanded and
tasteful.  His drum solos/breaks walk that fine line between
musicality and power.  His jazz chops are put to good use as
he retains the timing of a jazz drummer while not suppressing
the FUNK.  He's a SMART funk/jazz drummer in this respect....
& has played alot w/Wayne's acoustic projects(esp. his trio)

Well, now that you know more(too much?) about Zony Mash & the
participants within(I believe there was a question about who
was in the band in the past digest), I do encourage you to
take a deep breath, loosen the collar, and kick back at one
of their upcoming shows.(I've been seeing Zony Mash since
their first show in November of '95 - and Wayne since 1992,
and I listen to everything from Al Anderson to Yamatsuka Eye,
and everything in between, including other dimensions - like
those space-based ones of the Sun Ra Arkestra, those mojo
joints of RL Burnside, and those demented netherworlds of
the Sun City Girls.) --->  Which leads me to a topic for
discussion:  Any reports of the live shows the RUINS have
played recently here in the states?  What's up with this
band? Any big differences between the old/new lineup?
(If I recall correctly there was a change?)

later, James Kirchmer

p.s. - this WEEN/Boredoms members thing called Z-Rock
Hawaii also sounds interesting.  Bring on the reviews!



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

From: Peter Cline <[e-mail]>
Subject: Re: Zony Mash
Date: 10 Apr 1997 19:43:41 -0400 (EDT)

> discussion:  Any reports of the live shows the RUINS have
> played recently here in the states?  What's up with this
> band? Any big differences between the old/new lineup?
> (If I recall correctly there was a change?)
>
> later, James Kirchmer
>
> p.s. - this WEEN/Boredoms members thing called Z-Rock
> Hawaii also sounds interesting.  Bring on the reviews!
>
>

The Ruins played a show in New York just over a month ago, two shows
actually.  The first was at the cooler, and the second at the Knitting
Factory where they also played with Zorn and Arto Lindsay.  Saw the second
show and it was great.  This was my first exposure to the Ruins, so I
can't make any comparision to things of the past.

As for Z-Rock Hawaii, until last weekend when I played a live show and got
a recording out of it, this was about the only disc I was listening to for
a good week or two.  It is quite excellent, especially the song called
"the Meadow"

-Peter Cline




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

From: "Mason Wendell" <[e-mail]>
Subject: Re:Intellectual property is theft! II
Date: 10 Apr 1997 20:50:17 +0000


On 4/10  James Douglas Knox wrote:

> Yeah, I was just thinking some more about this. William Duckworth has an
> interview with Zorn in his recent book, "Talking Music: Interviews with
> American Composers". And it is here that Zorn 'fesses up, and explains
> that he built up his huge record collection by stealing thousands of the
> fuckers out of shops!
>
> So! I find all this preciousness about copyright - especially where it
> doesn't infringe on Zorn's income - totally spurious. Some fuckwit has
> been proliferating bullstuff.
>
> Cheers,
>
> Jim

I was one of those who privatly advised Tom that tape trading on the
zorn-list has been a sensitive issue in the past, and that probably
still would be if  we brought it back up. I only wanted to warn him
of what he might be getting into. I was definitely not attempting to
censor the list.

However, I also want to express my own opinion on the importance of a
musician's copyright.

Legally, a copyright protects someone's
intellectual property, i.e. music, art, poetry, etc, etc, etc. When
someone sets out to make his/her income from creative endeavors, then
that copyright is also the only insurance their is that  they can get
paid for their efforts. Record companies, publishing companies,
agents, managers, promoters, lawyers, and all the rest of 'em that
surround an artist each take a major cut of any money that comes
around, which usually leaves the artist with less than 10% of the
payola. That's the business.

My point is that an artist really has to keep as much control as
possible over the money that should be coming to him/her. Some
artists like for fans to tape shows and trade them because of the
word of mouth publicity. Others prefer to hold on to control over all
of their recordings and release them in a form that matches their
standards of quality and style. Zorn follows the latter method. He
also releases more records per year than nearly any other artist
alive. And as for quality standards, I think that all of them have
exquisite, deliberate production values; and that shit don't come
cheap. You only have to listen to the bootleg live Masada CD hear
that the alternative is a poor substitute.

But hey, do what ya want.

later
Mason


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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re:Intellectual property is theft! II
Date: 10 Apr 1997 18:48:30 -0700 (PDT)

On Thu, 10 Apr 1997, Mason Wendell wrote:

> Legally, a copyright protects someone's
> intellectual property, i.e. music, art, poetry, etc, etc, etc. When

there is nothing illegal about trading
recordings amongst individuals. rather,
the copyright law applies to recordings
sold without fair compensation to the
artist who created the work in question.

> word of mouth publicity. Others prefer to hold on to control over all
> of their recordings and release them in a form that matches their
> standards of quality and style. Zorn follows the latter method.

what about the live Masada CD released
by Jazz Door, a known bootleg company?
my understanding is that Zorn gave
permission for the disc to be sold.

hasta.

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



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

From: "Anthony 'Twizzler' Saunders" <[e-mail]>
Subject: Re: Zorn & Boredoms jungle???
Date: 10 Apr 1997 22:24:00 -0400 (EDT)



On Thu, 10 Apr 1997, Alan M Gordon (MSc/NC) wrote:

> Hi Zorn-people.
> Well, i happen to s*bscr*be to the breaks discussion group as well as this
> one, and today i saw the very surprising message:
> >has anyone heard any of the drum and bass\jungle stuff that the boredoms
> >and John Zorn have been working on?
> What i want to know is, is this question based on reality?

 I dunno, but i'd crap me shorts if it is...

 anthony



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

From: jonathan kaye <[e-mail]>
Subject: Re:Intellectual property is theft! II
Date: 09 Apr 1997 22:53:38 -0500

on thu, 10 apr 1997 james douglas knox wrote:

>Yeah, I was just thinking some more about this. William Duckworth has an
>interview with Zorn in his recent book, "Talking Music: Interviews with
>American Composers". And it is here that Zorn 'fesses up, and explains
>that he built up his huge record collection by stealing thousands of the
>fuckers out of shops!
>
>So! I find all this preciousness about copyright - especially where it
>doesn't infringe on Zorn's income - totally spurious. Some fuckwit has
>been proliferating bullstuff.
>
>Cheers,
>

okay, now that that's settled, who's got a tape that they're willing to
seed a tape tree with?

jon




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

From: "Mason Wendell" <[e-mail]>
Subject: Re:Intellectual property is theft! II
Date: 11 Apr 1997 09:52:06 +0000

on 4/10/97, SUGAR in their vitamins? said:

> there is nothing illegal about trading
> recordings amongst individuals. rather,
> the copyright law applies to recordings
> sold without fair compensation to the
> artist who created the work in question.

No, it's not illegal to trade recordings that are made legally or with
permission. However, it's not cool to bootleg. (meanig to conceal a
recorder inside your boot because you can be expelled from the venue
or arrested if you are caught taping.) Many artists and clubs  make a
point of announcing that recording is not allowed, and that has been
the case at all of the Zorn shows I've been to. In  general, I think
it's wise to get permission before taping.

> what about the live Masada CD released
> by Jazz Door, a known bootleg company?
> my understanding is that Zorn gave
> permission for the disc to be sold.
>

I'm pretty sure that that CD is unauthorized. I don't know the word
straight from Zorn, but logic tells me that since he's waited so long
to release a live CD for himself, that he would want Jazz Door to do
it first, or that he would give up the control, money, and
distribution, that releasing it on his own would give him. Also, I
doubt that he would approve of the liner notes or the photo that Jazz
Door used. Definitely not up to Zorn's quality standards.

Mason
******************************************
*           Mason Wendell                *
* Prelapse- New Music for Loud Ensemble  *
* Specializing in the unrecorded music   *
*      of John Zorn's Naked City         *
*  Sigmoid Flexure- Loud Free Improv     *
*        Blinder- rock band              *
******************************************


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Intellectual property is theft! II
Date: 11 Apr 1997 08:55:11 -0700


On Thu, 10 Apr 1997 18:48:30 -0700 (PDT)  SUGAR in their vitamins? wrote:
>
> On Thu, 10 Apr 1997, Mason Wendell wrote:
>
> > Legally, a copyright protects someone's
> > intellectual property, i.e. music, art, poetry, etc, etc, etc. When
>
> there is nothing illegal about trading
> recordings amongst individuals. rather,
> the copyright law applies to recordings
> sold without fair compensation to the
> artist who created the work in question.
>
> > word of mouth publicity. Others prefer to hold on to control over all
> > of their recordings and release them in a form that matches their
> > standards of quality and style. Zorn follows the latter method.
>
> what about the live Masada CD released
> by Jazz Door, a known bootleg company?
> my understanding is that Zorn gave
> permission for the disc to be sold.

I am also very suspicious about that. If I remember well, Zorn threated
Bob Rusch (Cadence/North Country) if he kept on distributing that record
(I don't know with what since North Country barely carry Avant anymore,
and does not carry Tzadik...).

    Patrice.


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

From: Christopher Hamilton <[e-mail]>
Subject: Re:Intellectual property is theft! II
Date: 11 Apr 1997 18:42:36 -0400 (EDT)



On Thu, 10 Apr 1997, Mason Wendell wrote:

> He
> also releases more records per year than nearly any other artist
> alive. And as for quality standards, I think that all of them have
> exquisite, deliberate production values; and that shit don't come
> cheap. You only have to listen to the bootleg live Masada CD hear
> that the alternative is a poor substitute.

Actually, I prefer the production on the Jazz Door bootleg to the
production on the DIWs.  On the latter, Baron's drum sound is too
compressed for my taste.  (At least, I think that's the problem.  I'm a
dumbass when it comes to recording tech.)  The packaging, certainly, is
pretty flimsy.  That's not to defend Jazz Door's practices.  Zorn
certainly should be allowed to keep others from profiting off his work
without his permission.  Of course, bootlegging and tape trading are two
different things...

Chris Hamilton



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

From: Christopher Hamilton <[e-mail]>
Subject: Re:Intellectual property is theft! II
Date: 11 Apr 1997 18:48:12 -0400 (EDT)



On Fri, 11 Apr 1997, Mason Wendell wrote:

> No, it's not illegal to trade recordings that are made legally or with
> permission. However, it's not cool to bootleg. (meanig to conceal a
> recorder inside your boot because you can be expelled from the venue
> or arrested if you are caught taping.) Many artists and clubs  make a
> point of announcing that recording is not allowed, and that has been
> the case at all of the Zorn shows I've been to. In  general, I think
> it's wise to get permission before taping.

I've only seen Zorn twice, but no announcement was made at either gig.
Not that that implies permission.  There have been stories recounted on
this list of Zorn sometimes giving permission to tape to selected audience
members.  If that's true, then there are presumably at least a few legit
tapes floating around.

Chris Hamilton




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

From: stickman <[e-mail]>
Subject: Re: Masada live (was:Intellectual property is theft! II_
Date: 11 Apr 1997 18:20:28 -0700

Mason Wendell wrote:
>
>
> My point is that an artist really has to keep as much control as
> possible over the money that should be coming to him/her. Some
> artists like for fans to tape shows and trade them because of the
> word of mouth publicity. Others prefer to hold on to control over all
> of their recordings and release them in a form that matches their
> standards of quality and style. Zorn follows the latter method. He
> also releases more records per year than nearly any other artist
> alive. And as for quality standards, I think that all of them have
> exquisite, deliberate production values; and that shit don't come
> cheap. You only have to listen to the bootleg live Masada CD hear
> that the alternative is a poor substitute.

Well, of course subjectivity rules, right...but I think I actually like
the Jazz Door Masada live CD than any of Zorn's Masada releases. Mainly
because the Bass is mixed up much higher in the mix, and also they play
some of the songs a little faster. I would like to know soundwise, what
you think makes it substandard. Zorn would do well to release this whole
show.

The only Things I feel make this CD inferior:

1)poor editing between songs
2)The Booklet is Lame & inaccurate(in fact, i believe Patrice mentioned
this show was from Germany, while the booklet states New York)

Also, in regards to your above comments on Bootlegs, How many Zorn fans
would rather tape his show than go out and buy his CD's? I really don't
think Zorn is losing any money on the CD's he actually puts out due to
bootlegging. If he wants to make even more money off us, he should
release even more. I would buy anything with him on it anyway. If the
Knit. sold a CD of every time he plays there, I would buy it.


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

From: [e-mail]
Subject: Copyright issues
Date: 12 Apr 1997 00:03:48 -0400 (EDT)

It seems to be a common misconception that if you're not making money from a
tape then it's not a copyright violation.  If you've taped a concert or a
piece of music (song, album, whatever) without permission of the copyright
holder then that is a violation of copyright.  The only time the money issue
matters is in a lawsuit:  one of the key factors in determining copyright
violation is whether the original copyright has been affected.  Even if the
intent was to "help" the musicians, if there was no permission then making,
trading or selling (though oddly enough, not just owning) the tape is
illegal.  Though this was pretty clear application of copyright law to
recording concerts, there was a recent attempt to revise the copyright
statutes so that it explicitly covered unauthorized recording.  I believe
this was passed but i'm not completely certain.

Of course, the morality of taping is a completely separate issue.  I have
enough bootlegs to be marked a convinced sinner, and if none of them are by
Zorn that's only because i've never had the chance to get one.  Maybe it's
time to start a trader's list for non-mainstream music:  any Henry Cow boots
out there?

Lang Thompson


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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Masada live (was:Intellectual property is theft! II_
Date: 12 Apr 1997 00:41:09 -0400 (EDT)



On Fri, 11 Apr 1997, stickman wrote:

> I would buy anything with him on it anyway. If the
> Knit. sold a CD of every time he plays there, I would buy it.

Y'know, I'll plead guilty to being a Zorn completist myself, but this
would probably be enough to cure me.  Actually, the 100-CD Zorn/Eye set
may be enough to cure me, but we'll see...

Chris Hamilton




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

From: "Mason Wendell" <[e-mail]>
Subject: Re: Masada live (was:Intellectual property is theft! II_
Date: 12 Apr 1997 08:56:20 +0000

On 4/11 stickman wrote:

> Well, of course subjectivity rules, right...but I think I actually like
> the Jazz Door Masada live CD than any of Zorn's Masada releases. Mainly
> because the Bass is mixed up much higher in the mix, and also they play
> some of the songs a little faster. I would like to know soundwise, what
> you think makes it substandard. Zorn would do well to release this whole
> show.
>
> The only Things I feel make this CD inferior:
>
> 1)poor editing between songs

This is definitely annoying.

> 2)The Booklet is Lame & inaccurate(in fact, i believe Patrice mentioned
> this show was from Germany, while the booklet states New York)

I agree here too. Also, it sounds like even though it may have been
recorded with a fine microphone to DAT, that that's all that was
done. To my ears, it sounds like only one mic ws used, or perhaps two
were used insufficiently. At any rate, there is no stereo depth of
field. The band sounds like they're just far away, as opopsed to
hearing all the reverberation from the walls around and behind you.
Zorn is really hip to this shit and would probably avoid such a dry
sounding album. I think it will be interesting to see if he places
the mics from an audience member's perspective or if they will be
one/around the stage on the official live CDs

>
> Also, in regards to your above comments on Bootlegs, How many Zorn fans
> would rather tape his show than go out and buy his CD's? I really don't
> think Zorn is losing any money on the CD's he actually puts out due to
> bootlegging. If he wants to make even more money off us, he should
> release even more. I would buy anything with him on it anyway. If the
> Knit. sold a CD of every time he plays there, I would buy it.
>
I don't think my point was to portray it as an either/or situation.
It's just that many artists (and it seems as if Zorn should
be included here) want to controle the quality of the
music/recordings that end up floating around. But realisticly, tape
trading does diminish the impact of official releases. Perhaps not
among die-hard fanatics/compleatists/whatever, but definitly among
people who are just curious or only want to hear the tune and are not
so interested in the subtlties between performances.


later
Mason


******************************************
*           Mason Wendell                *
* Prelapse- New Music for Loud Ensemble  *
* Specializing in the unrecorded music   *
*      of John Zorn's Naked City         *
*  Sigmoid Flexure- Loud Free Improv     *
*        Blinder- rock band              *
******************************************


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

From: [e-mail]
Subject: Zorn's "Angelus Novus" performance in Boston
Date: 12 Apr 1997 10:24:26 -0400 (EDT)

CC:
Subj:    Re: Zorn's "Angelus Novus" performance in boston

Message-Id: <[e-mail]>
X-Sender: [e-mail]
X-Mailer: Windows Eudora Light Version 1.5.4 (32)
Mime-Version: 1.0
Content-Type: text/plain; charset="us-ascii"


Zorn's "Angelus Novus" for orchestral winds will be performed in concert at
>>New England Conservatory's Jordan Hall on Tuesday, April 15 by the
>>Callithumpian Consort.  Five movements, 12 minutes, eight players.
>>Dedicated to the memory of Walter Benjamin. 290 Huntinton Ave, Boston, MA.
>>8pm.  Free.



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

From: Tom Pratt <[e-mail]>
Subject: Filmworks 3/Book of Heads?
Date: 13 Apr 1997 21:58:33 -0400

Hey guys!

I recently picked up Filmworks 3 and find it to be very interesting at
points and very shitty at others.  I really like the first bit by the
Thieves Quartet (later turns into Masada) and that thing for the cartoon
(only because it fits the little pictures of the elephant so well!). I
like a lot of the Zorn/Ribot duets (especially opening and closing
themes) The last thing is pretty cool too. I'm not too keen on the pure
noise "BEWLIFGQLEWCIBSAHVCBSA:IVBVUDVEW!!!" stuff but much of that is
very neat. I couldn't believe there were 56 songs! unbelievable. I'm
looking at "The Music of Ennio Morricone" and "News For Lulu" (?) to be
my next Zorn albums to pick up. Any thoughts on these? I'm slowly
getting more and more zorn.

    Also, could someone describe 'Book of Heads' for me. Is it solo guitar
(Marc Ribot) or what? I'd be interested in hearing it.

            -Tom Pratt


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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Book of Heads? etc.
Date: 14 Apr 1997 00:11:25 -0400 (EDT)



On Sun, 13 Apr 1997, Tom Pratt wrote:

> I'm
> looking at "The Music of Ennio Morricone"

This is one of the best things Zorn's ever done.  Absolutely a must-have.

> and "News For Lulu" (?) to be
> my next Zorn albums to pick up. Any thoughts on these? I'm slowly
> getting more and more zorn.

_News For Lulu_ is also very cool, although not as cool as the above.
Intimate chamber freebop.  Wonderful, rarely heard compositions by
somewhat neglected masters.  (Kenny Dorham's "Lotus Blossom" is a
particular favorite.)  When I first got this one, it seemed pretty
shocking for Zorn to do this, but that was before Masada.  Now it will
probably just strike you as really beautiful music.

>     Also, could someone describe 'Book of Heads' for me. Is it solo guitar
> (Marc Ribot) or what? I'd be interested in hearing it.

It's a series of short solo guitar compositions by Zorn performed by Marc
Ribot.  It sounds very much like the improvised solo playing of guitarists
like Derek Bailey, Fred Frith, and especially Eugene Chadbourne, for whom
the pieces were originally written.  It's certainly an impressive
achievement, both as composition and performance, but I don't find it very
fun to listen to.  Others around here are big fans of it, though.

Chris Hamilton



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

From: sean wilkie <[e-mail]>
Subject: meters
Date: 14 Apr 1997 12:32:17 -0700

following on the zony mash debate: are there any cds by the meters
available? - i think there may be a double cd compilation? also the
drummer is on the new ulmer/worrell/laswell  project "third rail",
-anybody heard this yet?


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

From: [e-mail] (Steve Smith)
Subject: Buckethead vs Hellborg, Lane & Sipe
Date: 14 Apr 1997 12:05:06 -0400

Hey 'listers:

Just to prove I'm willing to plug stuff that ain't at the Knit, here's a
show that should prove of interest to some folks:

Buckethead vs. Hellborg, Lane and Sipe
Wednesday, April 30, 9 pm, $10
Wetlands, 161 Hudson St., New York City, [phone]

I'd advise calling to confirm before making a long trip to see this.
Things are always subject to change...

Is it just me or has the Zornlist been quiet for days at a time lately?

Steve
[e-mail]




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

From: BJOERN <[e-mail]>
Subject: Masada dates
Date: 14 Apr 1997 19:22:13 +0200 (MESZ)

here are the dates fro masada:
April 14 : Citta di Castello - Italy
      15 : La spezia - Italy
      16 : Karlsruhe - Germany
      17 : Stans - Switzerland
      18 : Lisbon - Portugal
      19 : Oporto - Portugal


BJOERN


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

From: "Geert.Buelens" <[e-mail]>
Subject: Re:Intellectual property is theft! II
Date: 14 Apr 1997 12:03:31 +0200 (MET DST)



On Fri, 11 Apr 1997, Mason Wendell wrote:

> > what about the live Masada CD released
> > by Jazz Door, a known bootleg company?
> > my understanding is that Zorn gave
> > permission for the disc to be sold.
> >
>
> I'm pretty sure that that CD is unauthorized. I don't know the word
> straight from Zorn, but logic tells me that since he's waited so long
> to release a live CD for himself, that he would want Jazz Door to do
> it first, or that he would give up the control, money, and
> distribution, that releasing it on his own would give him. Also, I
> doubt that he would approve of the liner notes or the photo that Jazz
> Door used. Definitely not up to Zorn's quality standards.
>

I bought the Jazz Door last year, not realising that it wasn't an
official release; anyway, my copy doesn't have liner notes or photo; it
only says 'record live in NYC in...'; and even that seems wrong, judging
from Patrice's discography. Or is he referring to another Masada live?
(and how come Joey Baron isn't on the Jazz Door?)

Geert


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

From: [e-mail] (Stefan Negele)
Subject: Re: Masada live
Date: 14 Apr 1997 07:41:43 MEZ

> > 1)poor editing between songs
> This is definitely annoying.

> > 2)The Booklet is Lame & inaccurate(in fact, i believe Patrice mentioned
> > this show was from Germany, while the booklet states New York)

we're talking here about a *bootleg* !   the show is from Hamburg 11.12.94

> I agree here too. Also, it sounds like even though it may have been
> recorded with a fine microphone to DAT, that that's all that was

it originally has been aired on German TV. they broadcasted the whole show.

Stefan




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

From: "Patrice L. Roussel" <[e-mail]>
Subject: NEW TRADITIONS IN EAST ASIAN BAR BANDS available?
Date: 14 Apr 1997 12:46:06 -0700


    I asked this question few weeks ago and none of the people who
answered it had the record in their hand.

    Is it still the case? Does anybody succeeded in getting it?

    Patrice.


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

From: Tom Pratt <[e-mail]>
Subject: Re: Buckethead vs Hellborg, Lane & Sipe
Date: 14 Apr 1997 16:36:41 -0400

This reminded me of a great album Hellborg/Buckethead/Shrieve-Octave of
the Holy Innocents. It's all acoutic and rules beyond belief.

            -Tom Pratt


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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: NEW TRADITIONS IN EAST ASIAN BAR BANDS available?
Date: 14 Apr 1997 15:48:00 -0500 (CDT)

On Mon, 14 Apr 1997, Patrice L. Roussel wrote:

>
>     I asked this question few weeks ago and none of the people who
> answered it had the record in their hand.
>
>     Is it still the case? Does anybody succeeded in getting it?
>
>     Patrice.

www.cdnow.com has the release date listed as 4/22/97, so it *might* be out
yet, but their dates are pretty reliable.  Still haven't seen it....  Hope
this helps.

cya
brian



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

From: "Andy Marks" <[e-mail]>
Subject: Z-Rock Hawaii for trade
Date: 14 Apr 1997 16:53:43 -0400

I've got an extra copy of the Ween/Eye collaboration
Z-Rock Hawaii (non-enhanced version, unopened).
Anybody want to trade? I've got a lot of Zorn stuff
already. I would be interested some Zorn/Naked City/Mike Patton/
Bungle boots.

Andrew Marks
Software Engineer
MTS-PowerTek, Inc.


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: NEW TRADITIONS IN EAST ASIAN BAR BANDS available?
Date: 14 Apr 1997 14:21:54 -0700


On Mon, 14 Apr 1997 15:48:00 -0500 (CDT)  Brian & Sharon Beuchaw wrote:
>
> On Mon, 14 Apr 1997, Patrice L. Roussel wrote:
>
> >
> >     I asked this question few weeks ago and none of the people who
> > answered it had the record in their hand.
> >
> >     Is it still the case? Does anybody succeeded in getting it?
> >
> >     Patrice.
>
> www.cdnow.com has the release date listed as 4/22/97, so it *might* be out
> yet, but their dates are pretty reliable.  Still haven't seen it....  Hope
> this helps.

This is the problem: it is announced as available by many mail-order places
but I cannot find any Zorn fan with a copy of it :-).

Even Downtown Music Gallery, in their newsletter one month ago, presented
it as if they had copies of it. But in their last newsletter they say
that it should be out soon...

For the people in the record business, it is out. For the rest of us, it
is impossible to get :-).

I am just curious to see when somebody will post a review/description of
it. Then, I will definitely accept that it is officially out.

    Patrice.


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

From: [e-mail] (m. rizzi)
Subject: Re: Bible Launcher
Date: 15 Apr 1997 00:40:49 -0700 (PDT)

Scott Chamberlin, demi-God and Icon sez:
>
>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

    Regarding the Bible Launcher CD, if any sees a copy
    for sale, let me know.

    Thanks,
    mike rizzi

                   "Another nerd with a soulpatch"              -=home=-


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Bible Launcher
Date: 15 Apr 1997 08:07:55 -0700


On Tue, 15 Apr 1997 00:40:49 -0700 (PDT)  m. rizzi wrote:
>
> Scott Chamberlin, demi-God and Icon sez:
> >
> >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
>
>     Regarding the Bible Launcher CD, if any sees a copy
>     for sale, let me know.

You Mike don't have a copy! Were you hibernating ? :-).

    Patrice.



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

From: [e-mail] (m. rizzi)
Subject: Re: Bible Launcher
Date: 15 Apr 1997 08:29:17 -0700 (PDT)

Patrice L. Roussel, demi-God and Icon sez:
>
>> Scott Chamberlin, demi-God and Icon sez:
>> >
>> >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
>>
>>     Regarding the Bible Launcher CD, if any sees a copy
>>     for sale, let me know.
>
>You Mike don't have a copy! Were you hibernating ? :-).

    You are quite correct. I have been wintering
    in the balmy Pacific Northwest city of Seattle.
    While I've enjoyed the rest and relaxation of
    consulting there, my migration back to the
    cold snowy Bay Area has begun...and with it,
    massive amounts of record shopping.

    mike



       "Why do hibernating bears/go out with migrating birds?"
               - long lost lyric from Great Plains' 'letter to a fanzine'


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

From: "Anthony 'Twizzler' Saunders" <[e-mail]>
Subject: Jazz show / art opening at ABC NO RIO
Date: 15 Apr 1997 14:45:21 -0400 (EDT)


 Ok, I swear I was going to post about this show before my band actually
was added to the show, but since I'm on the bill, I guess it doesn't hurt
to recommend coming to this.

 Shameless Self Promotion!

 Exercise in Disgust (my noise electronica band) is playing ABC No Rio on
friday, April 18th, along with:

 The incredible punkish jazz of the Dimitri Guerivitch Quintette
 The Boredoms-style maddness of FOMA
 The jazz of Soul Project
 And The Homemade-instrument insanity of Bradford Reed!

 This show is also an Art Opening with some poetry readings. The show
starts at 6pm, and costs $3 (its a benefit for the abc no rio collective).
There will be free food and drink too. It'll be a good time for all.

 abc no rio is located on 156 rivington street, on the lower east side of
New York City. [phone]

 Anthony

"A thing is right if it tends to support the integrity, stability, and
beauty of the biotic community. It is wrong if it tends other wise"
 - Aldo Leopold, The Land Ethic




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

From: "ALAN E. KAYSER" <[e-mail]>
Subject: Re: Filmworks 3/Book of Heads?
Date: 15 Apr 1997 18:23:51 -0400

Tom Pratt wrote:
>
> Hey guys!
>
> I recently picked up Filmworks 3 and find it to be very interesting at
> points and very shitty at others.  I really like the first bit by the
> Thieves Quartet (later turns into Masada) and that thing for the cartoon
> (only because it fits the little pictures of the elephant so well!). I
> like a lot of the Zorn/Ribot duets (especially opening and closing
> themes) The last thing is pretty cool too. I'm not too keen on the pure
> noise "BEWLIFGQLEWCIBSAHVCBSA:IVBVUDVEW!!!" stuff but much of that is
> very neat. I couldn't believe there were 56 songs! unbelievable. I'm
> looking at "The Music of Ennio Morricone" and "News For Lulu" (?) to be
> my next Zorn albums to pick up. Any thoughts on these? I'm slowly
> getting more and more zorn.
>
>         Also, could someone describe 'Book of Heads' for me. Is it solo guitar
> (Marc Ribot) or what? I'd be interested in hearing it.
>
>                         -Tom Pratt
Tom
The two Lulu Cds are both quite good, but unlike most Zorn.  George
Lewis is a terrific trombone player.  He's done some excellent stuff
with Anthony Braxton, mostly in the 70s.  Frisell serves as the rhythm
section.  I think the second Lulu is just a repeat of the first, but
would be hard pressed to pick the better one.  For pure Zorn alto, only
Masada offers more.
The Morricone is outstanding.  I think among the Zorn projects it may be
the best.  It was given a special ranking by no less an authority than
the Penguin Guide to Jazz.  They don't do that very often.  It's a
really fun project, too.  The adjective fun is not one easily applied to
Zorn, but can be used here.  It's also got just about every NY name on
it, at least among the younger guys.
You might want to consider the Sonny Clark Memorial "Voodoo" CD.  It's
quite good, featuring Zorn, Horvitz, and Bobby Previte.  They do all
Sonny Clark tunes, much in the same style as Lulu.  However, it's much
more straight jazz, perhaps as straight as Zorn has ever played.  If you
can find it, it's well worth the visit.
I had the Book of Heads, which I thought was awful.  I think Ribot is an
excellent guitarist, the stink wasn't his fault.  I just thought it was
all kitsch, style with no substance.
Alan E Kayser


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

From: [e-mail]
Subject: Introduction/Soundtrack?
Date: 15 Apr 1997 19:18:51 -0400 (EDT)

  Let me begin by introducing myself the names Joe Sicari aka Joe Sick.  I'm
quite the  youngblood when it comes to being a Zorn, Laswell etc. fan.  So
please bare with me if I seem to ask obvious qustions.
  The first one being this. A few years back I caught a interview that Zorn
did on a college radio station that night he played tracks from the
soundtrack to the film Looters later to be retitled Trespass.  When the film
came out I went looking for the soundtrack and found that now Ry Cooder was
the preformer.  Does anyone know the story behind this and was the music ever
released in some other format?  Thanks!


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

From: [e-mail]
Subject: Re: Introduction/Soundtrack?
Date: 16 Apr 1997 05:21:53 -0400 (EDT)

In a message dated 97-04-15 21:24:21 EDT, [e-mail] writes:

<< film Looters later to be retitled Trespass >>


For what it's worth, the title was changed so that the film wouldn't seem to
be cashing in on the LA riots.

Lang Thompson


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

From: DR S WILKIE <[e-mail]>
Subject:       priester/martine
Date: 16 Apr 1997 10:49:44 GMT0BST

Priester (tbn.) and Tucker Martine (electronics) from the Horvitz
ensemble have a cd out this month with Sam Rivers called "Hints on
light and shade"  (Postcards -?-).


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

From: "Andy Marks" <[e-mail]>
Subject: Re: Filmworks 3/Book of Heads?
Date: 16 Apr 1997 08:16:49 -0400

> I had the Book of Heads, which I thought was awful.  I think Ribot is an
> excellent guitarist, the stink wasn't his fault.  I just thought it was
> all kitsch, style with no substance.
I would second this. Book of Heads ranks as my worst
Zorn album. From the music itself to the mutually masturbatory
liner notes by Zorn and Ribot, I could have done without this one.
Including transcriptions for all the tracks (as opposed to only a couple)
might have redeemed it some, as that seemed to be the
whole point of the album. Zorn composes for improvised, free guitar.


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

From: "Andy Marks" <[e-mail]>
Subject: Re: Introduction/Soundtrack?
Date: 16 Apr 1997 08:25:11 -0400

>  Does anyone know the story behind this and was the music ever
> released in some other format?  Thanks!
I think this was released as "Filmworks II: Music for an untitled film by
Walter Hill".  It was released on Toys Factory in Japan and then
re-released on Tzadik last year. I own the japanese version. Maybe
 the liner notes for the Tzadik release have more info.


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: NEW TRADITIONS IN EAST ASIAN BAR BANDS available?
Date: 16 Apr 1997 08:41:11 -0700


    Correction...

On Mon, 14 Apr 1997 14:21:54 -0700  "Patrice L. Roussel" wrote:
>
>
> On Mon, 14 Apr 1997 15:48:00 -0500 (CDT)  Brian & Sharon Beuchaw wrote:
> >
> > On Mon, 14 Apr 1997, Patrice L. Roussel wrote:
> >
> > >
> > >     I asked this question few weeks ago and none of the people who
> > > answered it had the record in their hand.
> > >
> > >     Is it still the case? Does anybody succeeded in getting it?
> > >
> > >     Patrice.
> >
> > www.cdnow.com has the release date listed as 4/22/97, so it *might* be out
> > yet, but their dates are pretty reliable.  Still haven't seen it....  Hope
> > this helps.
>
> This is the problem: it is announced as available by many mail-order places
> but I cannot find any Zorn fan with a copy of it :-).
>
> Even Downtown Music Gallery, in their newsletter one month ago, presented
> it as if they had copies of it. But in their last newsletter they say
> that it should be out soon...

I rechecked Downtown Music Gallery's newsletter and no, they never said that
they had it. If I had read it carefully, I would have noticed that they
explicitely mentioned April 22 for availalability.

DMG does a great job at keeping us aware of what is going on and I wanted
to correct what I said.

    Patrice.


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

From: NGUYEN VAN TAN Olivier <[e-mail]>
Subject: Downtown Music and Zorn style
Date: 16 Apr 1997 16:22:02 +0200

Hi Guys,

I 've just read in a French jazz magazine a review about New York jazz.
(Patrice, you know it : Jazz Mag)

They call the Knitting Factory jazz style and all Zorn stuff, Diamanda Galas
or events at The Cooler : Downtown Music. (DM)

What do you think about this name ?

For me (sorry, I am just 23), Downtown Music is just a reference to my favorite
NYC disk shop in the east village : DMG (Downtown Music Gallery) and my friend
Bruce who is my personal encyclopeadia when I go to NYC.

Is DM a more global term ?
What does it mean from a more cultural point of view ?

Because I think that this name is just a built name by the French writer
who is not a big "Zorn" fan... ?? And he mixed the name with the Knitting
Factory festival of DMG in January or February...


Bring me light ...


Olivier


NB for fun :
I often heard the names : post-jazz, free jazz, avant-guarde jazz or even ...
New York post-punk free jazz  in France !!!!!!!!!!



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

From: NGUYEN VAN TAN Olivier <[e-mail]>
Subject: Masada in Paris (8 April 97)
Date: 13 Apr 1997 23:47:36 +0200

Hi,

Masada played at "le hot brass" in Paris.

Before the show, I was still pissed off by the previous "Tzadik festival" and its unfamous
Elegy video composition by Zorn...

Nevertheless, this gig with the classical Masada members was GREAT !!
This time, Zorn played and he was really good : at Bar Kok Ba, his unique
solo was such a shame !!

Cohen and Douglas were also great and they had a lot of fun !

But, -as usual- Joey Baron was the BEST and stole the show : he was
prodigious and amazing behind his drums...

He said to me that he was in a lot of group project at this time and he has
no time for a solo project...
He teach me how to do this "wet finger" on drums : first, you hit then you
"wet finger" the drums from round to center !! It was so fun to learn this
stuff !!!


Olivier



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Downtown Music and Zorn style
Date: 16 Apr 1997 12:39:50 -0700


On Wed, 16 Apr 1997 16:22:02 +0200  NGUYEN VAN TAN Olivier wrote:
>
> Hi Guys,
>
> I 've just read in a French jazz magazine a review about New York jazz.
> (Patrice, you know it : Jazz Mag)
>
> They call the Knitting Factory jazz style and all Zorn stuff, Diamanda Galas
> or events at The Cooler : Downtown Music. (DM)
>
> What do you think about this name ?

To tell you the truth, I don't know that somebody could even think of using
a different name :-).

Music in NY has always used this kind of "geographic" indicators.

Calling this scene "Downtown scene" has been around for at least 15 years.

> For me (sorry, I am just 23), Downtown Music is just a reference to my favorite
> NYC disk shop in the east village : DMG (Downtown Music Gallery) and my friend
> Bruce who is my personal encyclopeadia when I go to NYC.
>
> Is DM a more global term ?
> What does it mean from a more cultural point of view ?

It just means that the music is mainly done from artists living/playing in the
South part of Manhattan.

> Because I think that this name is just a built name by the French writer
> who is not a big "Zorn" fan... ?? And he mixed the name with the Knitting
> Factory festival of DMG in January or February...

Not at all.

> Bring me light ...

I hope I did :-).

> NB for fun :
> I often heard the names : post-jazz, free jazz, avant-guarde jazz or even ...
> New York post-punk free jazz  in France !!!!!!!!!!

My favorite stupid name is "Avant garage".

    Patrice.


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

From: [e-mail] (Herb Levy)
Subject: Re: Downtown Music and Zorn style
Date: 16 Apr 1997 12:59:28 -0800

Now that I'm done doing other people's taxes I can take up space on your
computers again.

Downtown versus uptown when used to describe art of various types, comes
from the cultural geography of New York City.  The term first came up in
the 70s, I think (at any rate, long before the Downtown Music Gallery or
the Knit) when most of the conservative styles of new music, dance,
theater, etc showed up at Lincoln Center, Symphony Space and other venues
(substantially) north of the Village, and solo composer/performers, improv,
minimalism, etc. & the choreographic, theatric, etc. equivalents, were
being presented at loft spaces, both commerical & non-commercial, in
GreenwichVillage (East & West), Soho, etc.

For an often useful look at the early days of non-conservative new music in
New York, you could do far worse than read Tom Johnson's The Voice of New
Music, a compilation of reviews and columns published in the Village Voice
from about the mid-70s to the early 80s.  It's published by Apollohuis in
Eindhoven, The Netherlands.  There's not much in it about improvised music,
let alone Zorn (though there is a very good piece on Evan Parker), but it's
better than anything else you can find without searching through a lot of
ephemeral publications that are, at this point, barely available in the
States let alone France.

Bests,

Herb



>Hi Guys,
>
>I 've just read in a French jazz magazine a review about New York jazz.
>(Patrice, you know it : Jazz Mag)
>
>They call the Knitting Factory jazz style and all Zorn stuff, Diamanda Galas
>or events at The Cooler : Downtown Music. (DM)
>
>What do you think about this name ?
>
>For me (sorry, I am just 23), Downtown Music is just a reference to my favorite
>NYC disk shop in the east village : DMG (Downtown Music Gallery) and my friend
>Bruce who is my personal encyclopeadia when I go to NYC.
>
>Is DM a more global term ?
>What does it mean from a more cultural point of view ?
>
>Because I think that this name is just a built name by the French writer
>who is not a big "Zorn" fan... ?? And he mixed the name with the Knitting
>Factory festival of DMG in January or February...
>
>
>Bring me light ...
>
>
>Olivier
>
>
>NB for fun :
>I often heard the names : post-jazz, free jazz, avant-guarde jazz or even ...
>New York post-punk free jazz  in France !!!!!!!!!!


Herb Levy
[e-mail]




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

From: Peter Cline <[e-mail]>
Subject: Re: Downtown Music and Zorn style
Date: 16 Apr 1997 17:04:09 -0400 (EDT)

On Wed, 16 Apr 1997, Patrice L. Roussel wrote:

>
> > They call the Knitting Factory jazz style and all Zorn stuff, Diamanda Galas
> > or events at The Cooler : Downtown Music. (DM)
> >
> > Is DM a more global term ?
> > What does it mean from a more cultural point of view ?

I have heard the term downtown used in reference to Zorn and company on
many occassions.  As far as what it means from a cultural point view, I'd
say probably absolutely nothing.  More likely it just refers to the fact
that many of these musicians live and work in downtown manhattan

> My favorite stupid name is "Avant garage". >
>     Patrice.
>

On the wall of the men's bathroom at the Knit there was once the term
"stupo-jazz" written.  I think this is indeed my favorite term to describe
my own music, and perhaps that of some of the people who are frequently
the topic of conversation here.  So, if we must label the stuff, I suggest
"Stupo-Jazz"

-peter



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Downtown Music and Zorn style
Date: 16 Apr 1997 14:17:27 -0700


On Wed, 16 Apr 1997 17:04:09 -0400 (EDT)  Peter Cline wrote:
>
> On Wed, 16 Apr 1997, Patrice L. Roussel wrote:
>
> >
> > > They call the Knitting Factory jazz style and all Zorn stuff, Diamanda Galas
> > > or events at The Cooler : Downtown Music. (DM)
> > >
> > > Is DM a more global term ?
> > > What does it mean from a more cultural point of view ?
>
> I have heard the term downtown used in reference to Zorn and company on
> many occassions.  As far as what it means from a cultural point view, I'd
> say probably absolutely nothing.  More likely it just refers to the fact
> that many of these musicians live and work in downtown manhattan
>
> > My favorite stupid name is "Avant garage". >
> >     Patrice.

Oups! I was not trying to say that "Avant garage" was used to qualify the
style of music treated on this list.

But I thought that "Avant garage" was a fairly silly expression, maybe
mainly because it sounds silly in French :-).

    Patrice.


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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: Downtown Music and Zorn style
Date: 16 Apr 1997 16:18:45 -0500 (CDT)

On Wed, 16 Apr 1997, Patrice L. Roussel wrote:

> On Wed, 16 Apr 1997 16:22:02 +0200  NGUYEN VAN TAN Olivier wrote:
>
> > NB for fun :
> > I often heard the names : post-jazz, free jazz, avant-guarde jazz or even ...
> > New York post-punk free jazz  in France !!!!!!!!!!
>
> My favorite stupid name is "Avant garage".
>
>     Patrice.

But I thought this was what Pere Ubu's music was called!!!! :-)

cya
brian




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

From: Cheepnis <[e-mail]>
Subject: Re: Filmworks 3/Book of Heads?
Date: 17 Apr 1997 00:17:31 -0600

>> I had the Book of Heads, which I thought was awful.  I think Ribot is an
>> excellent guitarist, the stink wasn't his fault.  I just thought it was
>> all kitsch, style with no substance.
>I would second this. Book of Heads ranks as my worst
>Zorn album. From the music itself to the mutually masturbatory
>liner notes by Zorn and Ribot, I could have done without this one.
>Including transcriptions for all the tracks (as opposed to only a couple)
>might have redeemed it some, as that seemed to be the
>whole point of the album. Zorn composes for improvised, free guitar.

FWIW, I emphatically disagree with both of you!  It's one of my favorite
albums from both Ribot and Zorn.  To each his own, I suppose.

I find it very inspirational, humorous, and very enjoyable to listen to.
No, it isn't free guitar, but it's composed in a very playful Zorn manner
and gives great inspiration to improvisational ideas.

Like the liner notes say, it caused Marc Ribot to hear the guitar in a
completely different way.  I'd have to say that it did the same for me as
well.


Cheers,


Brady







/---------------------------------------\
| Brady Sharp                           |
| [e-mail]                     |
|                                       |
| See Voight-Kampff - Free Improv       |
|           pleasures for You and Yours!|
| http://www.mtsu.edu/~bdsharpl/vk.html |
\---------------------------------------/




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

From: BJOERN <[e-mail]>
Subject: Masada in Karlsruhe review
Date: 17 Apr 1997 13:03:49 +0200 (MESZ)

Ok we came to Karlsruhe and when we arrived someone told us that Zorn
isnt there yet...the concert should begin at 8:30 pm.
at 9 pm someone told the audience that Zorn had had an accident on the
highway and that they would come later...
they started at 9:30 pm and it was amazing.....
i think some of zorn`s solos were poor but dave douglas and greg cohen
were great and i have to agree with the paris review:
joey baron was the best....
they played for about two hours.,..
fred frith was in the audience and they dedicated two pieces to him...
BJOERN


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

From: simon lucas <[e-mail]>
Subject: Re: Eye
Date: 17 Apr 1997 12:29:49 +0100

>I picked up some remixes that he has done of other people's techno type
>material.  He created noisy chill out remixes and choppy jungle remixes
can you tell me more about these remixes you bought?.

eye also has a newish group called puzzle punks with a graphic designer.
they  record and exhibit.  2 CD's out and a new one this April we hear.
the CD i have is on public bath: "budub'.

check out the recent edition of Idea  graphics magazine which does a
Tokyo special and also includes work by the man behind Violent Onsen
Geisha. Nice graphics.

simon

school of information systems
kingston university
0181 547 2000 x2680
home: 0181 892 3848



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

From: simon lucas <[e-mail]>
Subject: jon: smoke
Date: 17 Apr 1997 12:34:24 +0100

I bought a  CD 'smoke'  the other day by JON. iT's in the new japan
series on tzadik and is onstensibly by a boy called jon singing and
playing the organ. I quote 'songs about a dog' From his voice he sounds
as if he's about 9 or 10 years old. sings in japanese. Does anyone know
anything more about this? odd.

school of information systems
kingston university
0181 547 2000 x2680
home: 0181 892 3848



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

From: Mike Rizzi <[e-mail]>
Subject: RE: Eye
Date: 17 Apr 1997 06:54:54 -0700


>>I picked up some remixes that he has done of other people's techno type
>>material.  He created noisy chill out remixes and choppy jungle remixes
>can you tell me more about these remixes you bought?.

>eye also has a newish group called puzzle punks with a graphic designer.
>they  record and exhibit.  2 CD's out and a new one this April we hear.
>the CD i have is on public bath: "budub'.

Is that different than the Japanese release of that album on Time Bomb?

mike




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

From: [e-mail] (Herb Levy)
Subject: Re: Filmworks 3/Book of Heads?
Date: 17 Apr 1997 07:18:25 -0800

>> I had the Book of Heads, which I thought was awful.  I think Ribot is an
>> excellent guitarist, the stink wasn't his fault.  I just thought it was
>> all kitsch, style with no substance.
>I would second this. Book of Heads ranks as my worst
>Zorn album. From the music itself to the mutually masturbatory
>liner notes by Zorn and Ribot, I could have done without this one.
>Including transcriptions for all the tracks (as opposed to only a couple)
>might have redeemed it some, as that seemed to be the
>whole point of the album. Zorn composes for improvised, free guitar.

Maybe when you listen to free improv you'd rather here mindless noodling
and rambling jamming, but I'd rather a free improviser knew how to interupt
their own habits (& those of others).  &, if nothing else, Book of Heads is
a very effective set of etudes to acquaint a free improvising guitarist
with a wider range of techniques than might otherwise come to mind, to
provide more options of how to not fall into stylistic ruts, through
unnatural juxtapositions, and making other non-idiomatic demands on a
player.  Like any other kind of music, free improvising doesn't just "come
naturally", and these are some of the best conceptual workouts for a free
improvisor of any instrument.

I'll grant you it may not be the easiest of Zorn's music to listen to, &
taste is really the issue here, but if you find Book of Heads to be of so
little use, how do you respond to other Zorn works from the same period,
say, Complete Guide to Strategy (while not notated even as loosely as the
Heads are, in many ways these are a similar series of pieces for
saxophone), or the duos with Eugene Chadbourne recently released on Incus?

Book of Heads is also indicative of a kind of composition developing within
the free improvising downtown NY scene of fifteen years ago and is an
important precursor of Zorn's game pieces.

Like I wrote above, there's no getting around taste, but I'd sure rather
hear this than any of the sophomoric stuff on the "first recordings" CD.



Herb Levy
[e-mail]




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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Eye
Date: 17 Apr 1997 08:48:11 -0700 (PDT)

On Thu, 17 Apr 1997, simon lucas wrote:

> eye also has a newish group called puzzle punks with a graphic designer.

Shinro Ohtake.

Ohtake also has/had his own "band" called
either Juke or 9 - i still can't quite
figure out which. according to the
liner notes, this band is what first
influenced Eye to start up Boredoms.
Time Bomb recently "re-issued" about 8
of these Juke/9 albums. i put that
in quotes because the whole thing is
very curious. not to mention, the
Puzzle Punks "Budub" LP says 1985
as the copyright date and i'm pretty
sure it should be 1996 instead. creative
revising of music history, perhaps?

hasta.

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



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

From: "Andy Marks" <[e-mail]>
Subject: Bible Launcher
Date: 17 Apr 1997 14:09:12 -0400

Whoever wanted the copy of Bible Launcher,
I picked up an extra one yesterday at a Borders
near me. That is also where I got my first copy.
If you can't find one let me know. I would be willing
to trade for something. Don't offer me money though, I
have enough of that already    :)

Andrew Marks
Software Engineer
MTS-PowerTek, Inc.


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

From: "Andy Marks" <[e-mail]>
Subject: Bible Launcher
Date: 17 Apr 1997 14:20:13 -0400

Whoever wanted the copy of Bible Launcher,
I picked up an extra one yesterday at a Borders
near me. That is also where I got my first copy.
If you can't find one let me know. I would be willing
to trade for something. Don't offer me money though, I
have enough of that already    :)

Andrew Marks
Software Engineer
MTS-PowerTek, Inc.


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

From: [e-mail] (Patrick Carey)
Subject: Re: Eye
Date: 17 Apr 1997 17:26:19 -0400

>Ohtake also has/had his own "band" called
>either Juke or 9 - i still can't quite
>figure out which.

I believe that the band is called 19, which is pronounced "juke"
in Japanese, hence the labelling 19/Juke.  Forced Exposure, among
other joints, carries these reissues and the 5CD box set.  For those
interested, they have some info at their website [www.fe.org] ...
just look up the Time Bomb label.

>according to the
>liner notes, this band is what first
>influenced Eye to start up Boredoms.
>Time Bomb recently "re-issued" about 8
>of these Juke/9 albums. i put that
>in quotes because the whole thing is
>very curious. not to mention, the
>Puzzle Punks "Budub" LP says 1985
>as the copyright date and i'm pretty
>sure it should be 1996 instead. creative
>revising of music history, perhaps?


-Patrick




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

From: BJOERN <[e-mail]>
Subject: CYNICAL HYSTERIE HOUR
Date: 17 Apr 1997 23:21:28 +0200 (MESZ)

i know that this has already been the topic some time ago, sorry i missed
that........
is it available somewhere and if not could someone send me a copy on tape???
BJOERN
PS: sure i have stuff to trade



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Book of Heads?
Date: 17 Apr 1997 17:11:26 -0400 (EDT)



On Thu, 17 Apr 1997, Herb Levy wrote:

> Maybe when you listen to free improv you'd rather here mindless noodling
> and rambling jamming, but I'd rather a free improviser knew how to interupt
> their own habits (& those of others).  &, if nothing else, Book of Heads is
> a very effective set of etudes to acquaint a free improvising guitarist
> with a wider range of techniques than might otherwise come to mind, to
> provide more options of how to not fall into stylistic ruts, through
> unnatural juxtapositions, and making other non-idiomatic demands on a
> player.  Like any other kind of music, free improvising doesn't just "come
> naturally", and these are some of the best conceptual workouts for a free
> improvisor of any instrument.

I'm not sure I understand this last sentence.  I've only seen the bits of
the score excerpted in the liner notes, but the techniques called for seem
pretty specific to the guitar.  How would, say, a trombonist make use of
these?  (Aside from studying their general structure.)
     I also worry that the principal effect these pieces would have on any
instrumentalist would be to encourage the kind of jump-cutting
postmodernism Zorn has often favored.  While this approach has been used
well by Zorn and others, it seems to turn to cliche as readily as other
structural techniques, if not more so.

> I'll grant you it may not be the easiest of Zorn's music to listen to, &
> taste is really the issue here, but if you find Book of Heads to be of so
> little use, how do you respond to other Zorn works from the same period,
> say, Complete Guide to Strategy (while not notated even as loosely as the
> Heads are, in many ways these are a similar series of pieces for
> saxophone), or the duos with Eugene Chadbourne recently released on Incus?

Again, the notation reprinted in the liners doesn't seem very loose at
all.  Personally, I enjoy _The Book of Heads_ considerably less than the
other records you mention, but I'm not entirely sure why.  I just don't
get the feeling of risk from it that I do with the Improv I most like.
It's tempting to say this is because Ribot's only playing what the
composer already knew, but I enjoy this particular composer's
improvisations and compositions a great deal most of the time.  This disc
just sounds like what I'd expect guitar etudes written by John Zorn to
sound like, and I'm more impressed by Zorn when he's challenging my
expectations.

> Book of Heads is also indicative of a kind of composition developing within
> the free improvising downtown NY scene of fifteen years ago and is an
> important precursor of Zorn's game pieces.

I can't comment on other approaches to composition developing in that time
and scene, but _The Book of Heads_ just seems regressive compared to
the game pieces.  The game pieces work by giving a structure to
improvisation while leaving the content up to the improvisors.  _The Book
of Heads_ seems to be an attempt to notate along traditional lines the
kinds of extended technique and structuring principles used by a few free
improvisors, and especially Chadbourne.  The game pieces leave a lot of
room for improvisation, while _The Book of Heads_ seems to leave almost
none.

Chris Hamilton




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

From: "ALAN E. KAYSER" <[e-mail]>
Subject: Re: Filmworks 3/Book of Heads?
Date: 17 Apr 1997 17:50:21 -0400

Herb Levy wrote:
>
> >> I had the Book of Heads, which I thought was awful.  I think Ribot is an
> >> excellent guitarist, the stink wasn't his fault.  I just thought it was
> >> all kitsch, style with no substance.
> >I would second this. Book of Heads ranks as my worst
> >Zorn album. From the music itself to the mutually masturbatory
> >liner notes by Zorn and Ribot, I could have done without this one.
> >Including transcriptions for all the tracks (as opposed to only a couple)
> >might have redeemed it some, as that seemed to be the
> >whole point of the album. Zorn composes for improvised, free guitar.
>
> Maybe when you listen to free improv you'd rather here mindless noodling
> and rambling jamming, but I'd rather a free improviser knew how to interupt
> their own habits (& those of others).  &, if nothing else, Book of Heads is
> a very effective set of etudes to acquaint a free improvising guitarist
> with a wider range of techniques than might otherwise come to mind, to
> provide more options of how to not fall into stylistic ruts, through
> unnatural juxtapositions, and making other non-idiomatic demands on a
> player.  Like any other kind of music, free improvising doesn't just "come
> naturally", and these are some of the best conceptual workouts for a free
> improvisor of any instrument.
>
> I'll grant you it may not be the easiest of Zorn's music to listen to, &
> taste is really the issue here, but if you find Book of Heads to be of so
> little use, how do you respond to other Zorn works from the same period,
> say, Complete Guide to Strategy (while not notated even as loosely as the
> Heads are, in many ways these are a similar series of pieces for
> saxophone), or the duos with Eugene Chadbourne recently released on Incus?
>
> Book of Heads is also indicative of a kind of composition developing within
> the free improvising downtown NY scene of fifteen years ago and is an
> important precursor of Zorn's game pieces.
>
> Like I wrote above, there's no getting around taste, but I'd sure rather
> hear this than any of the sophomoric stuff on the "first recordings" CD.
>
> Herb Levy
> [e-mail]
Sir
How does one "interupt" their own music, and also "here" it?  On the
other hand, does the name "Zorn" on something send everyone salivating
to the local HMV/Tower?  Isn't it possible that Book of Head just is
unlistenable no matter who composed/played it? Opinions about music are
just that, it depends on the listener.  However, if it smells like it,
looks like it, I sure don't have to taste it to find out what it is. I
enjoy so much of what JZ has done, this just happens to not be one of
them.

Alan E Kayser
[e-mail]


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

From: [e-mail] (Herb Levy)
Subject: Re: Filmworks 3/Book of Heads?
Date: 17 Apr 1997 15:43:32 -0800

Briefly, there's a large body of music (and other arts, too), in the 20th
Century, in which the artist tries to avoid responding in pre-conditioned
ways, in order to forego cliches and unconscious stylistic quirks.
Musicians from John Cage to Derek Bailey have tried various ways to make
music that doesn't fall into easily recognizable ruts & Zorn, particularly
in his game pieces, tries to do this as well.  I used the word "interupt"
to describe one attempt at this kind of subversion of taste.  In most
cases, it's little more than a way to not make the obvious choice.

Like I wrote earlier, & you seem to agree with this at least in part,
musical tastes vary.  What seems like crap to one person may be another's
favorite work and, though all of us here share an interest in Zorn, I'd be
surprised if there weren't several strong differences as to which of his
works were best and worst.  (Let's not start a survey or anything, though,
okay?)

Isn't it possible that the folks who find Book of Heads to be valuable may
be looking for something in music other than you are, & that some of them
may have little use for the works by Zorn that you treasure most?  This
doesn't mean that either group is wrong, or bad, or mis-informed, just that
they don't share the same musical values.

Bests,

Herb



>Sir
>How does one "interupt" their own music, and also "here" it?  On the
>other hand, does the name "Zorn" on something send everyone salivating
>to the local HMV/Tower?  Isn't it possible that Book of Head just is
>unlistenable no matter who composed/played it? Opinions about music are
>just that, it depends on the listener.  However, if it smells like it,
>looks like it, I sure don't have to taste it to find out what it is. I
>enjoy so much of what JZ has done, this just happens to not be one of
>them.
>
>Alan E Kayser
>[e-mail]


Herb Levy
[e-mail]




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

From: [e-mail]
Subject: a question...
Date: 17 Apr 1997 21:58:07 -0400 (EDT)

for whomever will respond,

     i'm relatively new to the list and am not sure how the group as a whole
feels about bootleg trading...i'd like to get some live video footage of
zorn's naked city...i have mr. bungle videos for trade, which leads me to my
next question...does anyone on this list care for mr. bungle? i'm sure the
majority is well aware of who they are and their relationship to zorn...i'm
also interested in cobra and any performances john zorn and mike patton have
done together...thanks,

                                                                jeff


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

From: Justin Morrison <[e-mail]>
Subject: Re: meters
Date: 17 Apr 1997 22:38:12 -0700

Sean Wilkie wrote:

> following on the zony mash debate: are there any cds by the meters
> available? - i think there may be a double cd compilation? also the
> drummer is on the new ulmer/worrell/laswell  project "third rail",
> - -anybody heard this yet?

The double CD anthology you're thinking of is called "Funkify Your
Life," and, upon your listening to it, will do just that.  There should
be plently of other Meters discs out there, though.

"South Delta Space Age" by Third Rail (w/ the M.'s drummer Zig
Modeliste, P-funk icon Bernie Worrell, and Laswell - from Painkiller; I
knew I could tie Zorn into this somewhere) is also excruciatingly funky.

Hope this helps,
Justin


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

From: Jeff Spirer <[e-mail]>
Subject: Re: meters
Date: 17 Apr 1997 20:17:32 -0700

At 10:38 PM 4/17/97 -0700, Justin Morrison wrote:

>Sean Wilkie wrote:
>
>> following on the zony mash debate: are there any cds by the meters
>> available? - i think there may be a double cd compilation? also the
>> drummer is on the new ulmer/worrell/laswell  project "third rail",
>> - -anybody heard this yet?

It's been out in Japan for well over a year.  It's great, although it's not
jazz if that is what anyone is expecting.  It's 1/2 Ulmer (and some people
don't care too much for his voice so be warned), 1/4 Meters, and 1/4 Booker
T and the MGs.

>"South Delta Space Age" by Third Rail (w/ the M.'s drummer Zig
>Modeliste, P-funk icon Bernie Worrell, and Laswell - from Painkiller; I
>knew I could tie Zorn into this somewhere) is also excruciatingly funky.

I would like to make it clear that this is *Blood's* recording.  It's
obvious from both the music and the credits.




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


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

From: Josh Miller <[e-mail]>
Subject: kronos
Date: 17 Apr 1997 23:04:48 -0700

i saw the kronos quartet tonight...it was great but kind of
disapointing. 9 scheduled pieces, 3 encores, and they still didn't do
any of the zorn pieces. oh well. they did do cage, harry patch, and ken
valitsky, among others.
one interesting thing: john zorn was mentioned in the program as a
"modern master." the concert was at my university; does this mean zorn
may yet become a "darling of academia"...?

    josh


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

From: peter tush <[e-mail]>
Subject: Koch's Tzadik webpage
Date: 18 Apr 1997 06:06:42 -0400

Does anyone know if thre are plans to eventually update the information on
the Tzadik webpage. I used to consult it quite often to figure out what to
get next, and it used to give release dates. But I don't think it has changed
since November, so I don't have a clue about which releases to plan for next,
nor are there any descriptions of the newest batch of releases.

By the way, I really liked the new Frith, which is more varied and satisfying
than any of his recent projects, but has several connections with "Allies"
and has a couple rock-oriented guitar moments, one with organ.

I also liked the new Ribot, which I was really surprised by. It is REALLY
varried, with a couple Lounge Lizard ensemble cuts, a Cuban band piece, a
solo flamenco-tinged cut, several dark pieces for string trio (bass, violin
and guitar), and some downtown jumpcut style compositions for "Aleta Queen of
Mars." Surprisingly, there are no real rocking compositions, but many
interesting pieces from other genres.

Does anyone have any thoughts on the new Elliott Sharp? Any release date yet
for the new Nana Vasconcelos?



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

From: simon lucas <[e-mail]>
Subject: RE: Eye
Date: 18 Apr 1997 09:07:59 +0100

>>they  record and exhibit.  2 CD's out and a new one this April we hear.
>>the CD i have is on public bath: "budub'.
>
>Is that different than the Japanese release of that album on Time Bomb?
oh no. my mistake. i just get these record labels confused. mine is time
bomb, methinks.

school of information systems
kingston university
0181 547 2000 x2680
home: 0181 892 3848



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

From: simon lucas <[e-mail]>
Subject: Re: Eye
Date: 18 Apr 1997 09:09:44 +0100

>>Puzzle Punks "Budub" LP says 1985
>>as the copyright date and i'm pretty
>>sure it should be 1996 instead. creative
>>revising of music history, perhaps?

and isn't some of the boredoms stuff done in 1999?

simon

school of information systems
kingston university
0181 547 2000 x2680
home: 0181 892 3848



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

From: "Andy Marks" <[e-mail]>
Subject: Re: Koch's Tzadik webpage
Date: 18 Apr 1997 08:48:21 -0400

> From: peter tush <[e-mail]>
> To: [e-mail]
> Subject: Koch's Tzadik webpage
> Date: Friday, April 18, 1997 6:06 AM
>
> Does anyone know if thre are plans to eventually update the information on

> the Tzadik webpage. I used to consult it quite often to figure out what to

> get next, and it used to give release dates. But I don't think it has
changed
> since November, so I don't have a clue about which releases to plan for
next,
> nor are there any descriptions of the newest batch of releases.
Ditto here.
I think this might have to do with Steve Smith changing jobs. He's
a list member and used to work for Koch but now works for Knitting
Factory, I think.

Does anyone know if Filmworks 4 is due to be released in the next
batch on April 22? I recall that someone posted a review of it here
a little while ago but I haven't seen it yet.


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

From: [e-mail] (Eric Schneider)
Subject: john schott
Date: 18 Apr 1997 08:11:51 -0600

Has anyone picked up up the Schott album on Tzadik?  With Ribot, Dunn, and
Wolleson among others, it sounds like it would be quite good.  Any
thoughts/impressions of the album?

- Eric




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

From: [e-mail] (Herb Levy)
Subject: Re: john schott
Date: 18 Apr 1997 07:05:06 -0800

>Has anyone picked up up the Schott album on Tzadik?  With Ribot, Dunn, and
>Wolleson among others, it sounds like it would be quite good.  Any
>thoughts/impressions of the album?
>
>- Eric

Ribot's not on the disc - it's a quartet of Schott, Dunn, and Wolleson and
an operatic tenor, John Horton Murray.

As a sound world, the work is made up of relatively straight classical song
settings placed within a series of thematic improvisations by the
instrumentalists.  It's good, but I imagine some folks on the list will
find some of it disappointing.  It's not as rocking, or swinging, as the
personnel may lead you to believe.


Herb Levy
[e-mail]




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

From: [e-mail] (Herb Levy)
Subject: Re: Book of Heads?
Date: 18 Apr 1997 07:04:53 -0800

Christopher Hamilton wrote:

>I'm not sure I understand this last sentence.  I've only seen the bits of
>the score excerpted in the liner notes, but the techniques called for seem
>pretty specific to the guitar.  How would, say, a trombonist make use of
>these?  (Aside from studying their general structure.)

How about "of all of the sets of exercises to stretch concepts & techniques
for free improvising performers on various instruments, this is one of the
most effective."  Is that more clear?

>     I also worry that the principal effect these pieces would have on any
>instrumentalist would be to encourage the kind of jump-cutting
>postmodernism Zorn has often favored.  While this approach has been used
>well by Zorn and others, it seems to turn to cliche as readily as other
>structural techniques, if not more so.

That it doesn't have to do so is more a matter of the performer in question
than it is of the process itself.  As etudes, these pieces add to a
player's repertoire of behaviors, they shouldn't dictate the entire range
of their playing.

>Again, the notation reprinted in the liners doesn't seem very loose at
>all.

Loose in the sense that they don't follow a line closely, which I think the
solo saxophone pieces, because they aren't written out, do more often.

> This disc
>just sounds like what I'd expect guitar etudes written by John Zorn to
>sound like, and I'm more impressed by Zorn when he's challenging my
>expectations.

The use value of these pieces is to get guitarists to challenge their own
expectations and loosen up their sense of continuity, they are studies in
technical issues for performers.

>I can't comment on other approaches to composition developing in that time
>and scene, but _The Book of Heads_ just seems regressive compared to
>the game pieces.  The game pieces work by giving a structure to
>improvisation while leaving the content up to the improvisors.  _The Book
>of Heads_ seems to be an attempt to notate along traditional lines the
>kinds of extended technique and structuring principles used by a few free
>improvisors, and especially Chadbourne.

For people who don't already have the skills needed to free improvise, it
can be far more useful to perform works that stretch their sense of how
ideas should follow each other than to just play what comes to mind.  Often
when doing the latter players end up noodling in whatever form they are
most comfortable in without thinking much.

>The game pieces leave a lot of
>room for improvisation, while _The Book of Heads_ seems to leave almost
>none.

When the game pieces are played by folks who don't have experience
subverting their habits, they are less likely to manifest the possibilities
of what the works can do - the range of changes narrows appreciably.  You
cn hear this on the Knitting Factory Cobra CD, the poets track for one (I
don't have this disc anymore so I'm not sure I can suggest others, but
they're there),where the performers rely too much on easy (rather than
interesting) solutions to the problems of the work's structure.


Again, I'm not saying I'll hunt down & shoot anyone who refuses to admit
Book of Heads is the best music they've ever heard, I'm just making clear
that despite the extremely negative comments on these pieces made earlier
this week, there's at least one reasonable stance for not dismissing them.


Herb Levy
[e-mail]




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

From: [e-mail]
Subject: Re: Koch's Tzadik webpage
Date: 18 Apr 1997 15:59:39 +0200

Andy Marks wrote:

> Does anyone know if Filmworks 4 is due to be released in the next
> batch on April 22? I recall that someone posted a review of it here
> a little while ago but I haven't seen it yet.

That was me posting a review. It seems that here in Europe we get all the
Tzadik releases about a month before you guys in the USA. I don't know why,
but it isn't the first time I see this happen. Filmworks IV is very much
worthwhile. In my opinion, it is the best installment of the Filmworks series
so far. So you have something to look forward to...

Frankco.


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

From: "M.Ho" <[e-mail]>
Subject: Re: Filmworks 3/Book of Heads?
Date: 18 Apr 1997 10:37:32 EDT

> Isn't it possible that Book of Head just is
> unlistenable no matter who composed/played it? Opinions about music are
> just that, it depends on the listener.  However, if it smells like it,
> looks like it, I sure don't have to taste it to find out what it is. I
> enjoy so much of what JZ has done, this just happens to not be one of
> them.
>
 I saw Ribot perform this albom live which gave me a greater
appreciation for the disc.  Perhaps I would not have liked it as much
if I hadnt seen it live because live performances do tend to bring a whole
new life to music in itself.  I'm sure Ribot is no longer doing
performances of this music, but if he ever does I highly recommend one
seeing it.  I think that everything that has been complained about as
unlistenable, Ribot makes up for in the spontanaity of a live show.
At the time when I saw it, I thought it was one of the most refreshing
things I had seen in a long time.
Mary.



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

From: "k.   drudge" <[e-mail]>
Subject: Re: Koch's Tzadik webpage
Date: 18 Apr 1997 11:12:46 -0400 (EDT)

> > Does anyone know if Filmworks 4 is due to be released in the next
> > batch on April 22? I recall that someone posted a review of it here
> > a little while ago but I haven't seen it yet.
>
> That was me posting a review. It seems that here in Europe we get all the
> Tzadik releases about a month before you guys in the USA. I don't know why,
> but it isn't the first time I see this happen. Filmworks IV is very much
> worthwhile. In my opinion, it is the best installment of the Filmworks series
> so far. So you have something to look forward to...

I've seen this disc at record shops in canada.

Keldon




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

From: "Andy Marks" <[e-mail]>
Subject: Re: Book of Heads
Date: 18 Apr 1997 11:23:04 -0400

>The use value of these pieces is to get guitarists to challenge their own
>expectations and loosen up their sense of continuity, they are studies in
>technical issues for performers.
I whole-heartedly agree with this. This is why I didn't like the album.
This also makes a case for including the entire score, which Zorn
didn't do. It seems kind of incomplete without it as a lot of the
pieces sound very similar.

Andrew Marks
Software Engineer
MTS-PowerTek, Inc.


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

From: BJOERN <[e-mail]>
Subject: Re: Koch's Tzadik webpage
Date: 18 Apr 1997 17:28:02 +0200 (MSZ)



On Fri, 18 Apr 1997, Andy Marks wrote:

> > From: peter tush <[e-mail]>
> > To: [e-mail]
> > Subject: Koch's Tzadik webpage
> > Date: Friday, April 18, 1997 6:06 AM
> >
> > Does anyone know if thre are plans to eventually update the information on
>
> > the Tzadik webpage. I used to consult it quite often to figure out what to
>
> > get next, and it used to give release dates. But I don't think it has
> changed
> > since November, so I don't have a clue about which releases to plan for
> next,
> > nor are there any descriptions of the newest batch of releases.
> Ditto here.
> I think this might have to do with Steve Smith changing jobs. He's
> a list member and used to work for Koch but now works for Knitting
> Factory, I think.
>
> Does anyone know if Filmworks 4 is due to be released in the next
> batch on April 22? I recall that someone posted a review of it here
> a little while ago but I haven't seen it yet.
>
Filmworks 4 is already out for some weeks
BJOERN


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

From: [e-mail] (m. rizzi)
Subject: Re: Koch's Tzadik webpage
Date: 18 Apr 1997 09:45:27 -0700 (PDT)

peter tush, demi-God and Icon sez:
>
>Does anyone know if thre are plans to eventually update the information on
>the Tzadik webpage. I used to consult it quite often to figure out what to
>get next, and it used to give release dates. But I don't think it has changed
>since November, so I don't have a clue about which releases to plan for next,
>nor are there any descriptions of the newest batch of releases.

    Yes, there are plans for a Tzadik website.
    It will have a different address from the
    excellent public service that Steve Smith
    did while at Koch.

    I'll post the more details of the when and
    where as I soon as I know. Rough estimate:
    some basic descripion content should be
    ready in about a six weeks.

                   "Another nerd with a soulpatch"              -=home=-



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

From: [e-mail] (Steve Smith)
Subject: Re: Koch's Tzadik webpage
Date: 18 Apr 1997 20:35:17 -0400

Mike Rizzi wrote:

>        Yes, there are plans for a Tzadik website.
>        It will have a different address from the
>        excellent public service that Steve Smith
>        did while at Koch.

*Blush*  Aw, gee... I love you, man!

Seriously, this is great news.  I'd actually been toying with the idea of
trying to continue adding to the Tzadik page by e-mailing text to a friend
at Koch, but the page Mike is talking about will be much, much better, with
graphics and sound in addition to text descriptions.

However, since I relenquish my Tzadik info source powertrip not lightly,
here's my last shot: a tracklisting for the Burt Bacharach double CD (which
in my humble opinion is amazing):

Wayne Horvitz and Robin Holcomb: Close to You
Marc Ribot Ensemble: Don't Go Breaking My Heart
Dave Douglas: Wives and Lovers
Guy Klucevsek: Who Gets the Guy / This Guy's in Love with You
Kramer: Walk on By [AMAZINGLY SWEET - ss]
Erik Friedlander and Chimera: Promises, Promises
Joey Baron (solo): Alfie
Zeena Parkins: Freefall
Marc Ribot (solo): Don't Go Breaking My Heart
Fred Frith: Trains & Boats & Planes
Medeski Martin & Wood: Do You Know the Way to San Jose
Elliott Sharp: The Man Who Shot Liberty Vallance
Marie McAuliffe: I Say a Little Prayer
Mike Patton: She's Gone Away
Lloyd Cole and Robert Quine: I Just Don't Know What to Do with Myself
Anthony Coleman and Selfhaters: A House Is Not a Home
Yuka Honda and Sean Lennon: The Look of Love
Shelley Hirsch: What's New Pussy Cat?
Bill Frisell: What the World Needs Now Is Love
Eyvind Kang: I Took My Strength from You (I Had None)

"Burt Bacharach's compositions explode the expectations of what a popular
song is supposed to be.  Advanced harmonies and chord changes with
unexpected turnarounds and modulations, unusual changing time signatures
and rhythmic twists, often in uneven numbers of bars.  But he makes it all
sound so natural you can't get it out of your head or stop whistling it.
Maddeningly complex, sometimes deceptively simple, these are more than just
grat pop songs: these are deep explorations of the materials of music." -
from the Koch release book

Not going gently into that good night (but just as grateful to Mike as
everyone else), I remain,

Yr. pal,
Steve Smith
[e-mail]




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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Book of Heads?
Date: 19 Apr 1997 06:21:00 -0400 (EDT)



On Fri, 18 Apr 1997, Herb Levy wrote:

> How about "of all of the sets of exercises to stretch concepts & techniques
> for free improvising performers on various instruments, this is one of the
> most effective."  Is that more clear?

Much.  And I'd agree, at least as far as exercises oriented toward solo
improvisation go.  (However, I've seen very few such sets.  Can anyone
recommend other such exercises?)

     Based on your other comments here, I don't think we have substantive
disagreements about the usefulness of _The Book of Heads_ as an exercise
for guitarists.  I'll just add that, as with many useful
technical exercises, I find it fairly uninteresting to listening to, while
understanding why others would find it interesting.  And on that note,
I'll retire from the argument.

Chris Hamilton




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

From: NGUYEN VAN TAN Olivier <[e-mail]>
Subject: The Lion for Real
Date: 16 Apr 1997 23:02:37 +0200

Hi,

I will become a psycho-killer for this CD :

The Lion for Real (Island)
by Allen Ginsburg.

This CD is sold out in the US and in France : do you know where I can find it ??

I spoke one year ago with Marc Ribot and he said to me it was his favorite CD.
The CD, he kept near his bed and slept with !!!

Someone have it and tell me more about it.


Thanks

Olivier



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Wayne Horvitz answers
Date: 19 Apr 1997 11:09:03 -0700


    More about Wayne:

On Wed, 2 Apr 1997 01:54:32 -0500 (EST)  [e-mail] wrote:
>
> 1.  Horvitz produced, but didn't play on, the Frisell "country" album.  It's
> just been finished but the release doesn't seem to be set yet.  Horvitz says
> it's "beautiful" and is extremely enthusiastic about it.

Check out the new issue of JAZZIZ with a featured article on Bill Frisell
(what is going on with JAZZIZ; it used to be the most boring magazine in the
business and the magazine keeps on getting better and better for the past
six months; for example, this last issue contains also articles on Bill
Laswell, Wayne Horvitz and Butch Morris! unfortunately, it seems that
the magazine is going too fast for its average subscribers, as illustrated
by the usual best artist poll, where Grover Washington and Kenny G are
still considered the best soprano sax players! is the magazine going for
suicide :-).

> 2.  The Robin Holcomb piece performed at the Walker Arts Center in
> Minneapolis was actually "Angels at the Four Corners."  It was never recorded
> but some of the songs ended up on Holcomb's first Nonesuch album, and one or
> two may have been on the second.  ("Larks, They Crazy" was actually an album
> not a performance piece.  Horvitz says that the LP was pretty hard to find
> and that while he does think that a CD was released then that would be very
> rare.)
>
> 3.  There's a new Pigpen album coming out on Tim/Kerr.  There's also another
> project coming out on Intuition called Four Plus One Ensemble (the name may
> change) that's a full band (with second keyboardist and an on-stage sound
> processor) that apparently works in an avant-ish chamber style.

Also coming out on T/K, a second Boodlers (E#, Fred Chalenor, Henry Franzoni
and Joe Trump).

> 4.  Horvitz says he keeps in touch with Zorn but that they're both so busy
> it's generally through fax and phone messages.  Horvitz is finishing some
> pieces for an album on "Zorn's label" (presumably Tzadik but i forgot to
> ask).

Wayne has a song on the upcoming SERGE GAINSBOURG TRIBUTE. He and Robin
will cover... "Bonny and Clyde"!!!

    Patrice.


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

From: Torsten Nielsen <[e-mail]>
Subject: Derek Bailey with djs
Date: 19 Apr 1997 20:10:18 +0200 (METDST)

Anybody know who Soul Slinger is? I saw that Derek Bailey will be playing
with him in a few months. I think I read somewhere that he is a jungle dj
or something like that. When "Guitar Drums 'N' Bass" was released I remember
that a lot of people thought Derek's playing was great but the beats were
boring. It would probably be a lot more interesting to hear him play with
a live dj. I know they have played together before so if any of you saw it,
maybe you can tell me if I'm right...?

Jonas


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

From: [e-mail] (Dave Trenkel)
Subject: Re: Derek Bailey with djs
Date: 19 Apr 1997 12:30:36 -0800

>Anybody know who Soul Slinger is? I saw that Derek Bailey will be playing
>with him in a few months. I think I read somewhere that he is a jungle dj
>or something like that. When "Guitar Drums 'N' Bass" was released I remember
>that a lot of people thought Derek's playing was great but the beats were
>boring. It would probably be a lot more interesting to hear him play with
>a live dj. I know they have played together before so if any of you saw it,
>maybe you can tell me if I'm right...?
>
>Jonas

DJ Soul Slinger is one of the coolest Drum 'n' Bass artists I've heard,
though his stuff can be pretty hard to find. His cut "Abducted" on DJ
Spookky's Necropolis compilation is absolutely great. The only other thing
I've heard from him is the Jungle Sky 4: Atmospheric Drum 'n' Bass from the
Land of the Free CD, which was compiled by Soul Slinger, and has his
remixes of Ben Neill and Arto Lindsay tunes. This CD, on Liquid Sky, is
really good, IMHO the best jazz/drum 'n' bass fusion disc so far, way
better than the SquarePusher disc. Some of the tunes sound like early
Weather Report, with a really hyperactive drummer...

Anyway, the idea of Soul Slinger collaborating with Bailey is very appealing.

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




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

From: "[e-mail]" <[e-mail]>
Subject: Re: Derek Bailey with djs
Date: 19 Apr 1997 14:49:43 -0500 (CDT)


On Sat, 19 Apr 1997, Torsten Nielsen wrote:

> Anybody know who Soul Slinger is? I saw that Derek Bailey will be playing
> with him in a few months. I think I read somewhere that he is a jungle dj
> or something like that. When "Guitar Drums 'N' Bass" was released I remember
> that a lot of people thought Derek's playing was great but the beats were
> boring. It would probably be a lot more interesting to hear him play with
> a live dj. I know they have played together before so if any of you saw it,
> maybe you can tell me if I'm right...?

DJ SoulSlinger is part of the Koncrete Jungle massive out of NYC.  He has
tracks on various jungle/illbient CDs including, but not limited to,

DJ Spooky - _Necropolis - The Dialogic Project_

VA - _Nirvana - Jungle Sky IV_

VA - _I Love Jungle_

VA - _Red, Hot, and Rio_

and I swear he has some tracks on at least one Laswell related comp,
probably Tetragramatron.

As for who is better, DJ Ninj or DJ SoulSlinger, I couldn't really say.
Ninj does seem to lay down some simplistic sounding drum tracks, but a
Scorn remix that he did rocked hard.  I haven't heard very many complete
tracks from Ninj.  SoulSlinger has a more varied sound, but some of his
material leaves me quite cold.

Out 2 Lunch With Lunchmeat,

Paul
[e-mail]





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

From: [e-mail]
Subject: Re: Buckethead vs Hellborg, Lane & Sipe
Date: 19 Apr 1997 21:57:04 -0400 (EDT)

I was going to mention this too, and I will definitely be there.  I guess the
secret will be out that Shawn Lane is really Buckethead.  This will be guitar
torture of the utmost intensity.


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

From: [e-mail]
Subject: Re: Intellectual property is theft! II
Date: 19 Apr 1997 22:18:54 -0400 (EDT)

In a message dated 97-04-12 22:00:58 EDT, [e-mail] (Mason
Wendell) writes:

> Mason
>  ******************************************
>  *           Mason Wendell                *
>  * Prelapse- New Music for Loud Ensemble  *
>  * Specializing in the unrecorded music   *
>  *      of John Zorn's Naked City

Mason,
I have a question for you: You "specialize" in the unrecorded music of Naked
City, and if I assume right, your band Prelapse plays this music.

So how can you play this music if it was never recorded?  If these are just
tunes that Naked City played live, then how is it possible that you can play
them?  Did you attend a lot of Naked City shows, and transcribe the music in
real time?  Or do you have such an incredible musical ear that you could
remember the tunes note for note?

OR, did you manage to get an UNAUTHORIZED recording of these tunes??  Riddle
me this.


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

From: [e-mail]
Subject: Re: Masada live (was:Intellectual property is theft! II_
Date: 19 Apr 1997 22:24:47 -0400 (EDT)

In a message dated 97-04-12 11:35:25 EDT, [e-mail] (Mason
Wendell) writes:

(regarding the Masada live cd)

> I agree here too. Also, it sounds like even though it may have been
>  recorded with a fine microphone to DAT, that that's all that was
>  done. To my ears, it sounds like only one mic ws used, or perhaps two
>  were used insufficiently.

Just to get persniketty, that recording was not made with microphone(s) in
the audience, but it was professionally recorded, broadcast to FM radio, and
also televised on German TV.  That is the source for that cd.

On another note, I saw Masada a while back, and I was standing next to Bruce
Gallantler and Zorn walked by and said "hey that bootleg sounds pretty good,
I oughta release it myself"... He was joking about it, but he sure didnt
seemed like he felt threatened or was really pissed about the whole thing.
 Take that for what it's worth.

Jody McAllister
IOUaLive1


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

From: "Mason Wendell" <[e-mail]>
Subject: Re: Intellectual property is theft! II
Date: 19 Apr 1997 23:23:20 +0000


> In a message dated 97-04-12 22:00:58 EDT, [e-mail] (Mason
> Wendell) writes:
>
> > Mason
> >  ******************************************
> >  *           Mason Wendell                *
> >  * Prelapse- New Music for Loud Ensemble  *
> >  * Specializing in the unrecorded music   *
> >  *      of John Zorn's Naked City
>
> Mason,
> I have a question for you: You "specialize" in the unrecorded music of Naked
> City, and if I assume right, your band Prelapse plays this music.
>
> So how can you play this music if it was never recorded?  If these are just
> tunes that Naked City played live, then how is it possible that you can play
> them?  Did you attend a lot of Naked City shows, and transcribe the music in
> real time?  Or do you have such an incredible musical ear that you could
> remember the tunes note for note?
>
> OR, did you manage to get an UNAUTHORIZED recording of these tunes??  Riddle
> me this.
>
>

Prelapse plays from Zorn's original charts. Our CD for him has long
been in the works for Tzadik. We hope to finish it this summer. ;-)

Mason
******************************************
*           Mason Wendell                *
* Prelapse- New Music for Loud Ensemble  *
* Specializing in the unrecorded music   *
*      of John Zorn's Naked City         *
*  Sigmoid Flexure- Loud Free Improv     *
*        Blinder- rock band              *
******************************************


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

From: "Mason Wendell" <[e-mail]>
Subject: Re: Masada live (was:Intellectual property is theft! II_
Date: 19 Apr 1997 23:22:26 +0000

on 4/19/97 IOUaLive1 wrote:

> On another note, I saw Masada a while back, and I was standing next to Bruce
> Gallantler and Zorn walked by and said "hey that bootleg sounds pretty good,
> I oughta release it myself"... He was joking about it, but he sure didnt
> seemed like he felt threatened or was really pissed about the whole thing.
>  Take that for what it's worth.
>
>It's pretty well known that Bruce and Zorn have a special
arrangement. At least, that's my understanding.

Mason
******************************************
*           Mason Wendell                *
* Prelapse- New Music for Loud Ensemble  *
* Specializing in the unrecorded music   *
*      of John Zorn's Naked City         *
*  Sigmoid Flexure- Loud Free Improv     *
*        Blinder- rock band              *
******************************************


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

From: Tom Pratt <[e-mail]>
Subject: Redbird
Date: 20 Apr 1997 00:07:36 -0400

Could anyone here tell me what Redbird is like? I've heard that it is
acoustic but that's about all. I might be interested in this one so...
any thoughts?

            -Tom Pratt


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

From: Jeff Spirer <[e-mail]>
Subject: Re: Derek Bailey with djs
Date: 19 Apr 1997 21:33:16 -0700

At 02:49 PM 4/19/97 -0500, [e-mail] wrote:

>
>and I swear he has some tracks on at least one Laswell related comp,
>probably Tetragramatron.

This is correct, except that it is _Tetragramaton_.


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


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

From: Peter Cline <[e-mail]>
Subject: Re: Redbird
Date: 20 Apr 1997 00:55:28 -0400 (EDT)

On Sun, 20 Apr 1997, Tom Pratt wrote:

> Could anyone here tell me what Redbird is like? I've heard that it is
> acoustic but that's about all. I might be interested in this one so...
> any thoughts?
>
>             -Tom Pratt
>

Redbird is in my opinion, I very minimal piece.  If you don't like
minimalism, this probably is not your cup of tea.  Yet it is a different
kind of minimalism than say that of Philip Glass, or John Adams.  It isn't
nearly as rythmic.  A Lot of sustained tones.  Very mediative almost.  I
personally think it's pretty damn cool.  That's my assessment anyhow.

-Peter



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

From: James Douglas Knox <[e-mail]>
Subject: Re: "darling of academia"
Date: 20 Apr 1997 15:14:57 +1000 (EST)

Hi,

You'd better believe it! Bar Kokhba got 5 stars in a review in the Sydney
Morning Herald ("a classic"); yesterday's Weekend Australian also gave it
a favourable notice. Can't never remember Zorn getting the least
acknowledgement by this nation's regular (or much of the so-called
'alternative') press any time in the past.

Maybe this is the global paradigm shift we've all been waiting for
(well, maybe not...)

Cheers,

Jim

On Thu, 17 Apr 1997, Josh Miller wrote:

> i saw the kronos quartet tonight...it was great but kind of
> disapointing. 9 scheduled pieces, 3 encores, and they still didn't do
> any of the zorn pieces. oh well. they did do cage, harry patch, and ken
> valitsky, among others.
> one interesting thing: john zorn was mentioned in the program as a
> "modern master." the concert was at my university; does this mean zorn
> may yet become a "darling of academia"...?
>
>     josh
>



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

From: James Douglas Knox <[e-mail]>
Subject: Re: Koch's Tzadik webpage
Date: 20 Apr 1997 15:18:10 +1000 (EST)

Howdy!

On Fri, 18 Apr 1997, Andy Marks wrote:

> > From: peter tush <[e-mail]>
> > To: [e-mail]
> > Subject: Koch's Tzadik webpage
> > Date: Friday, April 18, 1997 6:06 AM
> >
>
> Does anyone know if Filmworks 4 is due to be released in the next
> batch on April 22? I recall that someone posted a review of it here
> a little while ago but I haven't seen it yet.
>
Oh, unnh: Filmworks 3 and 4 both came out the second week of March:
leastways in this part of the world. And they're both pretty excellent
(great to hear Zorn getting back to music concrete!)

Cheers,

Jim



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

From: Tom Pratt <[e-mail]>
Subject: Zony Mash
Date: 20 Apr 1997 01:54:12 -0400

Did you all know that the new Wayne Horvitz & Zony Mash-Cold Spell
features one song written by John Zorn? It's a pretty cool tune so all
of you super Zorn completists have to go out and get it right now!

            -Tom Pratt


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

From: BJOERN <[e-mail]>
Subject: Re: "darling of academia"
Date: 20 Apr 1997 13:31:16 +0200 (MESZ)

yeah,
funny thing i read a review of Bar Kokhba some weeks ago in our local
newspaper!!!
BJOERN

On Sun, 20 Apr 1997, James Douglas Knox wrote:

> Hi,
>
> You'd better believe it! Bar Kokhba got 5 stars in a review in the Sydney
> Morning Herald ("a classic"); yesterday's Weekend Australian also gave it
> a favourable notice. Can't never remember Zorn getting the least
> acknowledgement by this nation's regular (or much of the so-called
> 'alternative') press any time in the past.
>
> Maybe this is the global paradigm shift we've all been waiting for
> (well, maybe not...)
>
> Cheers,
>
> Jim
>
> On Thu, 17 Apr 1997, Josh Miller wrote:
>
> > i saw the kronos quartet tonight...it was great but kind of
> > disapointing. 9 scheduled pieces, 3 encores, and they still didn't do
> > any of the zorn pieces. oh well. they did do cage, harry patch, and ken
> > valitsky, among others.
> > one interesting thing: john zorn was mentioned in the program as a
> > "modern master." the concert was at my university; does this mean zorn
> > may yet become a "darling of academia"...?
> >
> >     josh
> >
>
>


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

From: peter tush <[e-mail]>
Subject: Re: Redbird
Date: 20 Apr 1997 08:28:35 -0400

Tom Pratt wrote:
>
> Could anyone here tell me what Redbird is like? I've heard that it is
> acoustic but that's about all. I might be interested in this one so...
> any thoughts?
>
>                         -Tom Pratt

"Redbird" is a very quiet cd. The instrumentation has a lot to do with it:
harp, cello, viola and percussion. There is an 8 minute piece for solo bass
drums that is VERY quiet and meditative, and a 41 minute composition for the
ensemble that moves very slowly. Several people have compared it with Morton
Feldman and that's not too far off the mark. It almost sounds Asian.

If you are not sure about it, check out the same ensemble's track on the new
"Filmworks v.IV." The cd features five cuts by different ensembles
including a Ribot/Quine dessert surf tune and a Keith Jarret-like piano piece
(!), but it also contains the "Redbird" ensemble doing a similar 17 minute
work. Personally I like this cut even better, it has more dynamics, and is
really an exquisite composition. But it led me to finally purchase "Redbird"
so I am happy.

Peter Tush
[e-mail]




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

From: Marc Lambert <[e-mail]>
Subject: Zorn's childhood
Date: 20 Apr 1997 13:16:06 -0400 (EDT)

Hey folks. Can anyone tell me something about the early years recording?
Is it recent recordings of material he wrote while very young? How
would yo describe the music itself? Thanks. Marc, Ann Arbor, MI.



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

From: Dwight Haden <[e-mail]>
Subject: Re: Filmworks IV
Date: 20 Apr 1997 18:14:31 +0000

>Date: Fri, 18 Apr 1997 08:48:21 -0400
>From: "Andy Marks" <[e-mail]>
>Subject: Re: Koch's Tzadik webpage
>
>Does anyone know if Filmworks 4 is due to be released in the next
>batch on April 22? I recall that someone posted a review of it here
>a little while ago but I haven't seen it yet.

If you "back out" to the Koch Home Page from the Tzadik page, and
select "New Releases", you'll find all of the new Koch titles for
April.  Included are Filmworks IV, New Traditions in East Asian Bar
Bands, as well as a few new and recent Avant titles.

What you won't see is descriptive information about each release, like
was found on the Tzadik page.  You also won't see the planned
releases for May listed yet.  April's didn't get put out there till
last week.

I recently emailed Koch, asking when they would update their web
pages, and if they would start carrying DIW releases.  What follows
is the response I got:

>thanks for the note.
>postings are coming.

Obviously, whoever's minding their web presence these days could give
a rat's ass.

And, just to clear up some confusion, Tzadik released a bunch of stuff
in March that was not released here in the USA.  Filmworks IV was
amoung several releases pushed back to April in the USA only.  My guess
is that Koch is too busy or too poor to keep up with Tzadik's release
schedule.


  Dwight Haden === [e-mail]



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

From: Tom Pratt <[e-mail]>
Subject: Re: Zorn's childhood
Date: 20 Apr 1997 15:27:34 -0400

Marc Lambert wrote:
>
> Hey folks. Can anyone tell me something about the early years recording?
> Is it recent recordings of material he wrote while very young? How
> would yo describe the music itself? Thanks. Marc, Ann Arbor, MI.

It's a really fucking wierd ass album.  A friedn of mine bought it a
year ago and I listened to it a little while. you can hear TV's and
vacuum cleaners in the back and it's just him making some noise. I would
not recommend it but hey, you might like it.

            -Tom Pratt


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

From: [e-mail]
Subject: Re: Intellectual property is theft! II
Date: 20 Apr 1997 15:59:13 -0400 (EDT)

In a message dated 97-04-19 23:44:12 EDT, [e-mail] (Mason
Wendell) writes:

> Prelapse plays from Zorn's original charts. Our CD for him has long
>  been in the works for Tzadik. We hope to finish it this summer. ;-)
>

Which titles are they?



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

From: Sean Terwilliger <[e-mail]>
Subject: Re: Buckethead vs Hellborg, Lane & Sipe
Date: 20 Apr 1997 17:45:01 -0400

[e-mail] wrote:
>
> I was going to mention this too, and I will definitely be there.  I guess the
> secret will be out that Shawn Lane is really Buckethead.  This will be guitar
> torture of the utmost intensity.

I don't mean to be dense, but... This can't possibly be true. Can it?

-Sean


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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Zorn's childhood
Date: 20 Apr 1997 19:45:13 -0400 (EDT)



On Sun, 20 Apr 1997, Marc Lambert wrote:

> Hey folks. Can anyone tell me something about the early years recording?
> Is it recent recordings of material he wrote while very young? How
> would yo describe the music itself? Thanks. Marc, Ann Arbor, MI.


It's old recordings of music he wrote while in college.  The music is very
rough-sounding, and consists largely of multilayered overdubs of found
sounds, electronic noise, and amateurishly played reeds, guitar, and
percussion.  Zorn is the only performer.  It's definitely juvenilia.  As
such, it's pretty interesting for people like me interested in Zorn's
early development, but it's not terribly good other than as foreshadowing
of things to come.  My guess is diehard Zorn fanatics won't feel ripped
off by it, but more casual fans probably won't get much out of it.

Chris Hamilton

Currently listening to _Dart Drug_, Derek Bailey's duet album with
percussionist Jamie Muir, who really needs to record more





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

From: Jeff Spirer <[e-mail]>
Subject: Re: Buckethead vs Hellborg, Lane & Sipe
Date: 20 Apr 1997 17:58:59 -0700

At 05:45 PM 4/20/97 -0400, Sean Terwilliger wrote:
>[e-mail] wrote:
>>
>> I was going to mention this too, and I will definitely be there.  I
guess the
>> secret will be out that Shawn Lane is really Buckethead.  This will be
guitar
>> torture of the utmost intensity.
>
>I don't mean to be dense, but... This can't possibly be true. Can it?
>

This misconception results from the fact that all guitarist look alike when
they wear a chicken bucket on their head.


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


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

From: Tom Pratt <[e-mail]>
Subject: cool site.
Date: 20 Apr 1997 22:39:28 -0400

Any tape collectors out ther should go to
http://tapetracker.com/traderindex/ and submit their trader information.
It's a great place that just keeps growing and growing and growing
and...

            -Tom Pratt


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

From: [e-mail]
Subject: Re: Buckethead vs Hellborg, Lane & Sipe
Date: 20 Apr 1997 23:04:05 -0400 (EDT)

I also forgot to mention, that anyone going to this show, bring a camcorder,
dat recorder, or an etch a sketch to document this event.   This will be
something you may want your grandkids to hear.  The band allows it!


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

From: [e-mail] (Herb Levy)
Subject: Re: Redbird
Date: 20 Apr 1997 22:00:28 -0800

>Could anyone here tell me what Redbird is like? I've heard that it is
>acoustic but that's about all. I might be interested in this one so...
>any thoughts?
>

There are 2 works on the CD.  The first piece is for several bass drums,
played by Jim Pugliese. It's incredibly quiet & slow, low almost pitchless
drum vibrations swell out of whatever ambient sounds you're listening
within.  I won't have a good sense of the form until I get new neighbors,
though now that my work schedule's back to normal I may be able to fit it
in when no one's around.

Redbird is gorgeous.  Slow nearly static chords, shifting figure ground
relationships between the instruments (harp, viola, cello, mallet
percussion), very much related to the minimalism of Morton Feldman's late
works.

It doesn't sound like very many other recorded pieces by Zorn, except for a
shorter piece for the same instrumentation on one of the Filmworks
collections (#4 I think).  Zorn doesn't play on the disc, if that matters
to you.



Herb Levy
[e-mail]




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

From: Friedrich Feger <[e-mail]>
Subject: ?: Burt Bacharach double CD
Date: 21 Apr 1997 10:02:08 +0200

In his mail "Re: Koch's Tzadik webpage" at Sat, 19 Apr 1997 02:40:29, Steve
Smith wrote:

>here's my last shot: a tracklisting for the Burt Bacharach double CD (which
>in my humble opinion is amazing):    [...]

My first question: what's the name of this CD?

My second question: are there any more reviews about it?


Fritz


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

From: "Glenn Astarita" <[e-mail]>
Subject: Re: Buckethead vs Hellborg, Lane & Sipe
Date: 20 Apr 1997 20:11:11 -0500



----------
>
> [e-mail] wrote:
> >
> > I was going to mention this too, and I will definitely be there.  I
guess the
> > secret will be out that Shawn Lane is really Buckethead.  This will be
guitar
> > torture of the utmost intensity.
>
> I don't mean to be dense, but... This can't possibly be true. Can it?
>
> -Sean

It's not true....

glenn


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

From: "M.Ho" <[e-mail]>
Subject: jonas hellborg
Date: 21 Apr 1997 9:54:52 EDT

Does anyone know anything about bassist Jonas Hellborg?  He's
scheduled to play in Charlottesville, VA and heard he's great but can
anyone tell me what he's been on or have done?
Mary.


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

From: Jeff Spirer <[e-mail]>
Subject: Re: jonas hellborg
Date: 21 Apr 1997 07:25:28 -0700

At 09:54 AM 4/21/97 EDT, M.Ho wrote:
>Does anyone know anything about bassist Jonas Hellborg?  He's
>scheduled to play in Charlottesville, VA and heard he's great but can
>anyone tell me what he's been on or have done?

He plays in two basic types of things and you should try and find out what
he is doing.  He often plays solo bass, sometimes with an electric bass but
more often an acoustic bass guitar, an unusual instrument with a beautiful
tone.  How much you would like this could depend on how long you find a
solo instrument interesting.  He also plays electric bass with other
musicians, but what he plays depends on who is with him.  He has done quite
a bit of funk, some African stuff, some more jazzy stuff, some electronic
stuff.

He must have a dozen recordings out under his own name, many on his Day
Eight label.  He works a lot with Bill Laswell (trivia note - Bill Laswell
bought his studio from Hellborg), Ginger Baker and two guys named
Johansson.  My own favorites are his _Octave of the Holy Innocents_ with
Buckethead and Michael Shrieve and the recording he did with Glen Velez.


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


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

From: "Andy Marks" <[e-mail]>
Subject: Bun Ching Lam _Like Water_
Date: 21 Apr 1997 10:48:36 -0400

Anybody got this? I saw it the other day
and it looked interesting. What's it like?
Andrew Marks
Software Engineer
MTS-PowerTek, Inc.


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

From: Tom Pratt <[e-mail]>
Subject: Re: jonas hellborg
Date: 21 Apr 1997 12:14:34 -0400

> He plays in two basic types of things and you should try and find out what
> he is doing.  He often plays solo bass, sometimes with an electric bass but
> more often an acoustic bass guitar, an unusual instrument with a beautiful
> tone.  How much you would like this could depend on how long you find a
> solo instrument interesting.  He also plays electric bass with other
> musicians, but what he plays depends on who is with him.  He has done quite
> a bit of funk, some African stuff, some more jazzy stuff, some electronic
> stuff.

He's also done some Arabian things. He has analbum called 'The Word'
with Tony Williams and the Soldier String Quartet.  It's not all that
Arabian but I guess it's supposed to be. It just sounds cool. They do a
neat version of Hendrix's "Cherokee" I think it's called. He plays
acoustic bass guitar.  I also have a live show of acoustic duets of
Hellborg and John Maclaughlin. He's played in Mclaughlin's trio with
Trilok Gurtu I think and was a member of Mahavishnu Orchestra I'm pretty
sure. (please correct me if I'm wrong) He's from Sweden aqnd he's really
fast and he's one of the best bassists I've ever heard.

Hey Jeff! What did he do with Glen Velez. I love that guy.  He added
some neat stuff to Ned Rothenberg's "Power Lines" with Dave Douglas,
Mark Feldman, Erik Friedlander and others. check it out.

            -Tom Pratt


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

From: [e-mail] (Steve Smith)
Subject: Re: Filmworks IV
Date: 21 Apr 1997 12:29:00 -0400

Dwight Haden wrote:

>I recently emailed Koch, asking when they would update their web
>pages, and if they would start carrying DIW releases.  What follows
>is the response I got:
>
>>thanks for the note.
>>postings are coming.
>
>Obviously, whoever's minding their web presence these days could give
>a rat's ass.

Nope, it's not the person who minds their web presence (who, like I was, is
responsible for the publicity of the corporation and all of its classical
labels, not to mention radio promotion of same) who doesn't give a rat's
ass, but rather the company that employs him.

>And, just to clear up some confusion, Tzadik released a bunch of stuff
>in March that was not released here in the USA.  Filmworks IV was
>amoung several releases pushed back to April in the USA only.  My guess
>is that Koch is too busy or too poor to keep up with Tzadik's release
>schedule.

Neither... Koch just has very strict release schedules which have to do
with very strict major record stores and their data entry pecadilloes, not
to mention publication of the Koch release book.  Basically there has to be
a deadline and Tzadik just didn't make that one.  It didn't bother anyone
at Tzadik particularly (correct me if I'm wrong, D.), and most of us in the
U.S. are used to having Europeans get discs before us anyway, aren't we?
:-)

Steve Smith
ssmith@kochint... um, knittingfactory.com




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

From: [e-mail] (Steve Smith)
Subject: Re: Wayne Horvitz answers
Date: 21 Apr 1997 12:28:58 -0400

Patrice -

>> 3.  There's a new Pigpen album coming out on Tim/Kerr.  There's also another
>> project coming out on Intuition called Four Plus One Ensemble (the name may
>> change) that's a full band (with second keyboardist and an on-stage sound
>> processor) that apparently works in an avant-ish chamber style.
>
>Also coming out on T/K, a second Boodlers (E#, Fred Chalenor, Henry Franzoni
>and Joe Trump).

But isn't Tim/Kerr dead?  I mean, that's usually what's implied when your
company is taken over by a major (Mercury) and you fire your entire staff,
isn't it?  (Speaking as someone who had a friend among those who were
unceremoniously dumped...) Patrice, you're the homeboy... get Thor on the
phone and get to the heart of this for us.

Steve
[e-mail]




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

From: Jeff Spirer <[e-mail]>
Subject: Re: jonas hellborg
Date: 21 Apr 1997 10:10:50 -0700

At 12:14 PM 4/21/97 -0400, Tom Pratt wrote:

>
>He's also done some Arabian things.

My favorite track on _Octave_ is an Arabic thing.

>He has analbum called 'The Word'
>with Tony Williams and the Soldier String Quartet.  It's not all that
>Arabian but I guess it's supposed to be. It just sounds cool. They do a
>neat version of Hendrix's "Cherokee" I think it's called. He plays
>acoustic bass guitar.  I also have a live show of acoustic duets of

While I like Hellborg's playing on _The Word_, I think the project didn't
quite come together as well as a lot of other Hellborg recordings.  For
whatever reasons, it sounds like Hellborg, the Quartet, and Williams are
each playing their own thing.

>Hellborg and John Maclaughlin. He's played in Mclaughlin's trio with
>Trilok Gurtu I think and was a member of Mahavishnu Orchestra I'm pretty
>sure. (please correct me if I'm wrong) He's from Sweden aqnd he's really
>fast and he's one of the best bassists I've ever heard.

Well his resume shows that he played with Mahavishnu but I haven't seen him
on any of their recordings.

He plays on a number of Laswell things also, such as Ginger Baker's _Middle
Passages_, Deadline's _Dissident_, and probably some others I can't remember.

>
>Hey Jeff! What did he do with Glen Velez. I love that guy.  He added
>some neat stuff to Ned Rothenberg's "Power Lines" with Dave Douglas,
>Mark Feldman, Erik Friedlander and others. check it out.

The CD is on Day Eight, and I can't remember the name but it is in Spanish,
I believe.  There is some weird electronics on it, it is occasionally
almost in the "ambient" category.  Option gave it a lousy review so you
know it is good.


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


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

From: Glenn Astarita <[e-mail]>
Subject: Re: jonas hellborg
Date: 21 Apr 1997 12:21:06 -0500 (CDT)


I posted my reply to Jeff was meant to reply to the list:

At 12:14 PM 4/21/97 -0400, Tom Pratt wrote:

>
>He's also done some Arabian things.

My favorite track on _Octave_ is an Arabic thing.




>Hellborg and John Maclaughlin. He's played in Mclaughlin's trio with
>Trilok Gurtu I think and was a member of Mahavishnu Orchestra I'm pretty
>sure. (please correct me if I'm wrong) He's from Sweden aqnd he's really
>fast and he's one of the best bassists I've ever heard.

Well his resume shows that he played with Mahavishnu but I haven't seen him
on any of their recordings.

Adventures in Radio Land, another titled "Mahavishnu" and 1 one other, but the
title escapes me...



>
>Hey Jeff! What did he do with Glen Velez. I love that guy.  He added
>some neat stuff to Ned Rothenberg's "Power Lines" with Dave Douglas,
>Mark Feldman, Erik Friedlander and others. check it out.

The CD is on Day Eight, and I can't remember the name but it is in Spanish,
I believe.  There is some weird electronics on it, it is occasionally
almost in the "ambient" category.  Option gave it a lousy review so you
know it is good.


Indeed a fine cd. Velez plays the frame drum and assorted "acoustic"
percussion while Hellborg mans the acoustic bass.  no weird electonics.


glenn



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

From: Sean Terwilliger <[e-mail]>
Subject: Re: jonas hellborg
Date: 21 Apr 1997 13:37:34 -0400

Jeff Spirer wrote:
>
> While I like Hellborg's playing on _The Word_, I think the project didn't
> quite come together as well as a lot of other Hellborg recordings.  For
> whatever reasons, it sounds like Hellborg, the Quartet, and Williams are
> each playing their own thing.
>
It's probably both my least favorite Axiom release as well as my least
favorite Jonas record.

>
> Well his resume shows that he played with Mahavishnu but I haven't seen him
> on any of their recordings.

He plays on the 2 80's Mahavishnu records. One on WB - Mahavishnu and
one on Relitivity - Adventures in Radioland (on CD by verve) That was my
first experience with Jonas. Seeing him live, throwing his bass accross
the stage...

> >
> >Hey Jeff! What did he do with Glen Velez. I love that guy.  He added
>
> The CD is on Day Eight, and I can't remember the name but it is in Spanish,

Ars Moriende. It's just fantasitc.
For Material heads, try to find Axis - It's got Anton, Bernie, Nicky and
more. It's an excellent album.

-Sean


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

From: Jeff Spirer <[e-mail]>
Subject: Live Painkiller - Italy
Date: 21 Apr 1997 11:05:42 -0700

Painkiller will be playing in Verona Italy on June 21.  It will be at the
International Jazz Festival Verona.

NYC dates for Painkiller were cancelled.

Buy your airline tix now, you will get a better price.


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


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

From: Jeff Spirer <[e-mail]>
Subject: More Laswell Live Shows
Date: 21 Apr 1997 11:05:28 -0700

June 7, Frankfurt Transmutation Live at the International German Jazz
Festival.  Derek Bailey on guitar, Bill Laswell, Invisible Scratch Pickles,
DJ Disk.  This will be broadcast on German TV.

June 13, Brooklyn (NY) Anchorage.  Praxis.  Buckethead, Bill Laswell, DJ
Soul Slinger, DJ Disk.



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


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

From: a rancid amoeba <[e-mail]>
Subject: Re: Wayne Horvitz answers
Date: 21 Apr 1997 11:41:55 -0700 (PDT)


>
> But isn't Tim/Kerr dead?  I mean, that's usually what's implied when your
> company is taken over by a major (Mercury) and you fire your entire staff,
> isn't it?  (Speaking as someone who had a friend among those who were
> unceremoniously dumped...) Patrice, you're the homeboy... get Thor on the
> phone and get to the heart of this for us.
>

Mercury broke the deal shortly after making it (like 6 or 9 months later).
Tim/Kerr is free again but they did lose a few bands in the process.
Although I cant't find one iota of hard proof to back my theory up, I
think Mercury made the deal with Tim/Kerr with the intentions of breaking
it soon after.

chanel


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

From: [e-mail] (Steve Smith)
Subject: Re: ?: Burt Bacharach double CD
Date: 21 Apr 1997 15:05:34 -0400

>My first question: what's the name of this CD?

Various Artists: "Great Jewish Music - Burt Bacharach"

(It's my understanding that the whole series will be like this... the next
one will be "Great Jewish Music - Serge Gainsbourg")

And since someone else asked, the catalog number is TZA 7114-2

It's part of the Radical Jewish Culture series, of course.

SS




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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Wayne Horvitz answers
Date: 21 Apr 1997 12:39:04 -0700


On Mon, 21 Apr 1997 12:28:58 -0400  Steve Smith wrote:
>
> Patrice -
>
> >> 3.  There's a new Pigpen album coming out on Tim/Kerr.  There's also another
> >> project coming out on Intuition called Four Plus One Ensemble (the name may
> >> change) that's a full band (with second keyboardist and an on-stage sound
> >> processor) that apparently works in an avant-ish chamber style.
> >
> >Also coming out on T/K, a second Boodlers (E#, Fred Chalenor, Henry Franzoni
> >and Joe Trump).
>
> But isn't Tim/Kerr dead?  I mean, that's usually what's implied when your
    ^^^^^^^^^^^^^^^^^^^

You could reasonably believe that, but it does not seem to be the case (at
least it has not been officially announced).

> company is taken over by a major (Mercury) and you fire your entire staff,
> isn't it?  (Speaking as someone who had a friend among those who were
> unceremoniously dumped...) Patrice, you're the homeboy... get Thor on the
> phone and get to the heart of this for us.

T/K got bought by Mercury and got dumped six months after. Officially, the
company is still running.

Getting Thor on the phone? There are people who would have more needs than
me to succeed at doing that :-).

    Patrice.



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

From: Tom Benton <[e-mail]>
Subject: Re: john schott
Date: 21 Apr 1997 22:31:41 -0500 (CDT)

>Has anyone picked up up the Schott album on Tzadik?  With Ribot, Dunn,
>and Wolleson among others, it sounds like it would be quite good.  Any
>thoughts/impressions of the album?

Like someone mentioned before, no Ribot on this disc, just Schott, Dunn,
Wollesen, and NY Metropolitan Opera tenor John Horton Murray.
Regardless, I find it masterful.

Schott, Dunn, and Wollesen provide instrumental accompanyment while Murray
sings and intones texts in German, Yiddish, and Hebrew.  Those tracks are
separated by improvisations from the trio.  The music is very intimate and
beautiful, more like 20th century classical than anything else to my
ears.  Hard to believe this is the same John Schott who sings 'The Humpty
Dance' in concert with TJ Kirk.  Yes.  Quite baffling.


Another recommendation for a new record worth checking out (with the same
rhythm section, no less): 'Light At The Crossroads', a collection of music
for bass and Bb clarinets by Marty Ehrlich and Ben Goldberg (w/ Dunn &
Wollesen of course).  All originals by the two leaders (except one tune by
Wayne Horvitz), quite a captivating listen.

All for now...

-Tom




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

From: DR S WILKIE <[e-mail]>
Subject:       berne [UK radio]
Date: 22 Apr 1997 13:12:07 GMT0BST

There's an interview with Tim Berne on radio 3's "impressions"
programme, Sat. 26th. April.



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

From: Dwight Haden <[e-mail]>
Subject: Re: Filmworks IV
Date: 22 Apr 1997 07:20:24 +0000

At 04:29 PM 4/21/97, Steve Smith wrote:
>Dwight Haden wrote:
>
>>I recently emailed Koch, asking when they would update their web
>>pages, and if they would start carrying DIW releases.  What follows
>>is the response I got:
>>
>>>thanks for the note.
>>>postings are coming.
>>
>>Obviously, whoever's minding their web presence these days could give
>>a rat's ass.
>
>Nope, it's not the person who minds their web presence (who, like I was, is
>responsible for the publicity of the corporation and all of its classical
>labels, not to mention radio promotion of same) who doesn't give a rat's
>ass, but rather the company that employs him.

So, let me get this straight - Koch somehow forced their web minding
employee to provide me with a useless, non-answer to my simple question,
and it's not his fault.  Instead of taking an extra 15 seconds to type
"yes, we will be carrying DIW" or "No, we won't", the poor overworked
employee could only spare time for the above.  This is defensible?

Why bother to have an business email account if you only are able to
respond with glib, worthless, non-informative answers?  It doesn't reflect
well on your business.

And, while we're on the subject of 'not reflecting well', won't you please
wish Mark Perlson at the Knit a hardy "thanks for nothing" from me.  He
posted to the Zorn Digest in December, offering to mailorder Masada 7.  I
responded with name/addr and credit info, as requested, but never heard back.
A follow-up email was also ignored.  Even a "sorry, I changed my mind"
response would have been appreciated.

>>And, just to clear up some confusion, Tzadik released a bunch of stuff
>>in March that was not released here in the USA.  Filmworks IV was
>>amoung several releases pushed back to April in the USA only.  My guess
>>is that Koch is too busy or too poor to keep up with Tzadik's release
>>schedule.
>
>Neither... Koch just has very strict release schedules which have to do
>with very strict major record stores and their data entry pecadilloes, not
>to mention publication of the Koch release book.  Basically there has to be
>a deadline and Tzadik just didn't make that one.  It didn't bother anyone
>at Tzadik particularly (correct me if I'm wrong, D.), and most of us in the
>U.S. are used to having Europeans get discs before us anyway, aren't we?

So, Europe and Australia can get Tzadik releases on time because they don't
suffer from Koch's deadline limitations?  I thought Tzadik was a DOMESTIC
(i.e. USA) label, so why should it's new releases go everywhere else first?

Well, I have answered my own question (posted previously) about where to
get DIW releases, and thankfully, it doesn't involve Koch:

I received Masada 7 and David S. Ware's Godspelized today from Birdland,
in Australia.  Their website is

http://www.magna.com.au/~birdland/index.html

Cost was a little pricey, about $28.50 per disc, which includes shipping and
Aussie-to-US transaction fees.  Well worth it, in my opinion.  The discs
arrived in 6 days, in perfect condition.

Birdland carries what appears to be the complete DIW, Avant, and Tzadik
catalogs, in addition to many other fine jazz labels.  Check them out!

For a less comprehensive selection, and slightly better price, you could
look at Cheap Thrills, in Montreal.  Their website is

http://www.cam.org/~thrills/#catalogs

I've got the reissue of Masada 4 on order from them, can't vouch for
delivery speed or packaging yet.

And the cheapest place to get Avant/DIW/Tzadik discs mailorder in the US
is Forced Exposure, in Boston:

http://www.forcedexposure.com

Unfortunately, their DIW selection and most of their Avant titles are
limited to what's leftover from the good ol' Sphere Marketing days - They
just recently ran out of Masada and Naked City titles.  But, FE does have
the new (and limited) Koch distributed Avant titles, at an increased price.
And they've got plenty of other interesting CD's.

I hope this information proves useful to some of you...

  Dwight Haden === [e-mail]




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

From: N Vassiliou <[e-mail]>
Subject: amm
Date: 22 Apr 1997 18:20:14 BST

hallo
could anybody make any recomendations concerning AMM? There seem to be quite a lot of releases by
them around.
Thanks
Nick V





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

From: [e-mail] (Dave Trenkel)
Subject: Re: amm
Date: 22 Apr 1997 11:58:02 -0800

>hallo
>could anybody make any recomendations concerning AMM? There seem to be
>quite a lot of releases by
>them around.
>Thanks
>Nick V

Isn't it a great world when there's too many AMM discs to coose from?

Seriously, I'd recommend any/all of them except for 2: The disc of duos
between Lou Gare and Eddie Prevost, which is not bad, but is much more
conventionally "jazz" than other AMM, and "It had been an ordinary enough
day in Pueblo, Colorado", on ECM/JAPO, on which Keith Rowe tries to imitate
a rock guitarist. Many people prefer their earlier recordings, I personally
like the more recent Tilbury/Rowe/Prevost trio, but all are pretty
essential. Also worth checking out is Keith Rowe's solo disc, "A Dimension
of Perfectly Ordinary Reality".

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





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

From: [e-mail] (Matt Colonnese)
Subject: Re: amm
Date: 22 Apr 1997 15:15:34 -0400 (EDT)

>hallo
>could anybody make any recomendations concerning AMM? There seem to be
>quite a lot of releases by
>them around.
>Thanks
>Nick V

It is difficult to narrow down the AMM choices than by more than half.  The
releases are very temporally spread out, and they have substantially
different styles.  Roughly AMM begin in 1966 with a droney, chaotic, noisey
(with wonderfull quiet sections too) sound consisting of percussion, sax,
treated guitar, cello/violin, and transistor radio.  It becomes difficult
to tell what is what.  All of AMM's music is unrelentingly abstract, but
unlike most "noise" artists, defined by some inner logic that becomes
apparent.  Buy _AMMusic_ (recently rereleased with extra stuff, and the
cheapest AMM disk you'll find) for this era.  There's also _The Crypt_, but
it's much more expensive.
        AMM then have a number of duo disks which are good, but
unrepresentative.  Then, after loosing Lou Gare (sax), and gaining John
Tilbury (piano) they begin parsing down the sound throughout the 80's and
90's.  The radio begins disapearing (yeah!), and more focus is placed on
individual textures, silence, and chance occurances.  They claim to be
pursuing this on the in the 60s, but it is more apparent in the 80's and
90's.  I don't know a good 80's disk to recomend, but from the 90's_
Nameless Uncarved Block_ and _NewFoundland_ are both great.
        If you are pretty sure you'll like AMM (have heard them before)
there is a recent 3cd set call _laminates_ with performances from 1968,
1983 (?? I think, I don't have it heare) and 1994.  A good introduction,
but not cheap.
        I personally love the later period AMM, which seems to me more
carefully thought out, more beautiful and sparce, as well as lacking in
much of the pop art schtick exemplified by the radio bits (which just
distract me form the great sound being produced).  Newfoundland, NUB, and
the 1994 piece in Laminate are my favorites, but I haven't heard much of
the 80's material.  The classic introduction is problably AMMusic though.
Much denser, and musical (if noisy drones are music) because more
instruments are playing at once.  All of it is great stuff though.
        If y'all like AMM check out Skullflower's VHF records "Carved into
Roses" and "this is Skullflower" to hear what a art-rock appropriation of
AMMusic sounds like.

happy hunting

ps, Jim O'Rourke write embarrasingly bad liner notes for Laminates and
recorded for Tzadik...see Zorn content.


------
"Finally, something that would bring people together...even if it kept them
apart, spatially."





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

From: [e-mail] (Herb Levy)
Subject: Lam's _Like Water_ (& John Schott note)
Date: 22 Apr 1997 13:43:49 -0800

>Anybody got this? I saw it the other day
>and it looked interesting. What's it like?

I didn't immediately like it as much as Lam's Mountain Clear Water Remote
which came out on CRI
late in '96, but I know most of those pieces better, so that's not a slam
on Like Water.

I've only heard Like Water a couple, three times but each time I listen to
it, I like it more.  It's a nice work, pretty, with some subtle timbral
colors, played very well by the Abel/Steinberg/Winant Trio.

& for those who may care, Lam was John Schott's composition teacher when he
studied at Cornish College in Seattle.



Herb Levy
[e-mail]




some of
them are often several weeks behind in updating the data bases at their
Websites as well.  They're more responsive to e-mail cause they're (at
least in part) retail outlets.



Herb Levy
[e-mail]





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

From: Howard Shih <[e-mail]>
Subject: Re: More Laswell Live Shows
Date: 22 Apr 1997 16:52:19 -0400 (EDT)

On Mon, 21 Apr 1997, Jeff Spirer wrote:

> June 7, Frankfurt Transmutation Live at the International German Jazz
> Festival.  Derek Bailey on guitar, Bill Laswell, Invisible Scratch Pickles,
> DJ Disk.  This will be broadcast on German TV.
Is there anyone who can tape this??? Seems like some amazing sounds will
come out of this meeting.


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




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

From: [e-mail] (m. rizzi)
Subject: Re: Filmworks IV
Date: 22 Apr 1997 17:46:27 -0700 (PDT)

Dwight Haden, demi-God and Icon sez:
>
>So, let me get this straight - Koch somehow forced their web minding
>employee to provide me with a useless, non-answer to my simple question,
>and it's not his fault.  Instead of taking an extra 15 seconds to type
>"yes, we will be carrying DIW" or "No, we won't", the poor overworked
>employee could only spare time for the above.  This is defensible?

>Why bother to have an business email account if you only are able to
>respond with glib, worthless, non-informative answers?  It doesn't reflect
>well on your business.

>And, while we're on the subject of 'not reflecting well', won't you please
>wish Mark Perlson at the Knit a hardy "thanks for nothing" from me.

    This much vitriol can't be real...your goofing on
    us aren't you Dwight.  Subtle, but funny.

    Boy, am I glad I "got it" and didn't end up looking
    stoopid.

    mike

                   "Another nerd with a soulpatch"              -=home=-



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

From: [e-mail] (m. rizzi)
Subject: LIST ADMIN requests
Date: 22 Apr 1997 17:51:56 -0700 (PDT)



    Hola Funloving Zorn-List Folks!

    I'm taking a 2 week vacation (back east to Boston, Amherst,
    Providence (Terrastock Music Festival) and maybe NYC)
    and likely won't be near a computer. Hence, if y'all
    have any 'special' requests or problems that the list
    software, Majordomo, can't handle automagically...well
    then, by golly, you're gonna have to wait until my
    return.

    Now don't hit the liquor cabinet while I'm gone,
    mike rizzi
    zorn-list-owner
--
                   "Another nerd with a soulpatch"              -=home=-



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

From: [e-mail]
Subject: ESP & Smithsonian
Date: 22 Apr 1997 21:29:25 -0400 (EDT)

A recent issue of The Wire claimed that the Smithsonian was looking into
buying and reissuing the ESP catalog, along with new recordings.  This sounds
like a joke but didn't seem to be.  Does anybody know the story?

Lang Thompson



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

From: [e-mail]
Subject: ESP & Smithsonian
Date: 22 Apr 1997 21:33:10 -0400 (EDT)

A recent issue of The Wire claimed that the Smithsonian was looking into
buying and reissuing the ESP catalog, along with new recordings.  This sounds
like a joke but didn't seem to be.  Does anybody know the story?

Lang Thompson



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

From: [e-mail]
Subject: Info. on Zorn 100-CD Set?
Date: 22 Apr 1997 21:39:56 EDT


I was wondering if anyone might be able to provide me with any information
on the Zorn 100-Cd set? The latest Penguin Guide briefly alludes to the fact
that this set is in preparation. Also, I recall one or two persons in this
group making off-hand comments about this mamouth set. Any information as to
availability, price, etc. for this set would be greatly appreciated.

Many thanks,

-james



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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: Info. on Zorn 100-CD Set?
Date: 22 Apr 1997 21:49:50 -0500 (CDT)

On Tue, 22 Apr 1997 [e-mail] wrote:

>
> I was wondering if anyone might be able to provide me with any information
> on the Zorn 100-Cd set? The latest Penguin Guide briefly alludes to the fact
> that this set is in preparation. Also, I recall one or two persons in this
> group making off-hand comments about this mamouth set. Any information as to
> availability, price, etc. for this set would be greatly appreciated.
>
> Many thanks,
>
> -james

Last I heard, it was postponed until this year sometime.  I emailed Sound
Factory ([e-mail]) a coupla weeks ago and have heard nothing
(not even an autoresponder). :-(  They were pretty responsive when the set
was first announced, so unless they're too busy working on it to respond
to emails :-), I don't know what's going on.  Y'all might try emailing
them and if they get enough, they might respond to one of us.

cya
brian




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

From: [e-mail]
Subject: Re: amm
Date: 22 Apr 1997 23:14:58 -0400 (EDT)


In a message dated 4/22/97 8:44:33 PM, [e-mail] (Dave Trenkel) wrote:

<<>hallo
>could anybody make any recomendations concerning AMM? There seem to be
>quite a lot of releases by
>them around.
>Thanks
>Nick V

Isn't it a great world when there's too many AMM discs to coose from?

Seriously, I'd recommend any/all of them except for 2: The disc of duos
between Lou Gare and Eddie Prevost, which is not bad, but is much more
conventionally "jazz" than other AMM, and "It had been an ordinary enough
day in Pueblo, Colorado", on ECM/JAPO, on which Keith Rowe tries to imitate
a rock guitarist. Many people prefer their earlier recordings, I personally
like the more recent Tilbury/Rowe/Prevost trio, but all are pretty
essential. Also worth checking out is Keith Rowe's solo disc, "A Dimension
of Perfectly Ordinary Reality".>>

I agree with pretty much everything Dave said and would just like to add that
AMM are a band where the more of their records that you hear, the more it
allows you to appreciate their entire oeuvre. Good places to start would be
The Crypt, a double disc from the late sixties and the loudest, noisiest
thing they've done; Live In Allentown, a superb document from 1994 of the
trio who make up the core group; The Nameless Uncarved Block, maybe the best
place for jazz fans to start since it adds tenor sax player Lou Gare to the
trio (1990); or The Inexhaustible Document (1987) which adds cellist Rohan de
Saram of the Arditti Quartet to the trio. Also, last year's 3 CD release
Laminal contains two brilliant, essential performances with the third disc
not quite as good.

The only other starting place I would say to avoid (besides the two Dave
mentioned) is From A Strange Place (PSF), which hasn't grabbed me like most
of their other stuff.

Also, you could start at the start chronologically, with AMMusic 1966 on ReR.

Enough for now,
Jon



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

From: James Douglas Knox <[e-mail]>
Subject: Otomo Yoshihide Website
Date: 23 Apr 1997 14:00:22 +1000 (EST)

Hi,

Just found the great Otomo Yoshihide website
(http://www2.gol.com/users/miyuki/yotomo/yotomo.html). This 's gotta link
to a touring schedule for Otomo - a great and useful thing. Any chance
someone in the bigtallbuilding that is Koch could do such a thing for
Zorn? Or maybe somebody else?

Anyways, cheers

Jim




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

From: Christopher Hamilton <[e-mail]>
Subject: Re: amm
Date: 23 Apr 1997 00:40:10 -0400 (EDT)



On Tue, 22 Apr 1997, Matt Colonnese wrote:

> Buy _AMMusic_ (recently rereleased with extra stuff, and the
> cheapest AMM disk you'll find) for this era.  There's also _The Crypt_, but
> it's much more expensive.

Note, though, that it's _The Crypt_ is also a 2-CD set.  I prefer it
slightly to _AMMMusic 1966_, although AMM's music is so difficult for me
to fit into a standard conceptual apparatus that I'm unable to explain
this kind of fine distinction.

> I don't know a good 80's disk to recomend, but from the 90's_
> Nameless Uncarved Block_ and _NewFoundland_ are both great.

The two 80's records I own are _Generative Themes_ and _The Inexhaustible
Document_.  The latter is much like the two 90's records, except that it
includes Rohan de Saram (of the Arditti Quartet) on cello and it's
slightly (and inexplicably) less appealing to me than the 90's records.
     _Generative Themes_ is another story.  The first time I listened to
this, I inadvertantly played it at 45 rpm, and Prevost's playing sounded
shockingly Elvin Jones-influenced.  At the correct 33 rpm, it no longer
sounds so jazz-oriented, but it's still by far the most conventionally
musical thing I've heard by AMM.  I quite like it, although I'd go for any
of Matt's recommendations first.

Chris Hamilton





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

From: "Mark Cook" <[e-mail]>
Subject: derek bailey
Date: 23 Apr 1997 07:31:05 CST

>Currently listening to _Dart Drug_, Derek Bailey's duet album with
>percussionist Jamie Muir, who really needs to record more

Does anyone know where to find Dart Drug in the US?

-mark



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

From: [e-mail] (Steve Smith)
Subject: Re: Otomo Yoshihide Website
Date: 23 Apr 1997 10:13:43 -0400

>Just found the great Otomo Yoshihide website
>(http://www2.gol.com/users/miyuki/yotomo/yotomo.html). This 's gotta link
>to a touring schedule for Otomo - a great and useful thing. Any chance
>someone in the bigtallbuilding that is Koch could do such a thing for
>Zorn? Or maybe somebody else?

Don't hold your breath waiting for Koch to do it (and it's a
bigFLATbuilding, by the way), but maybe this could be incorporated into M.
Rizzi's upcoming Tzadik site...?

Steve Smith
[e-mail]






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

From: Christopher Burns <[e-mail]>
Subject: zorn's symphonic stuff
Date: 23 Apr 1997 10:58:30 -0400 (EDT)


hey,
  i've seen a few of zorn's symphonic and chamber pieces performed at
the NEC in boston, and i was wondering if anybody knew if any recordings
existed of this stuff. also, if anybody was at the NEC last tuesday, who
was the conductor of the zorn piece in the shiny pants and studded belt?

thanks,
chris



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

From: Scott T Chamberlin <[e-mail]>
Subject: Re: zorn's symphonic stuff
Date: 23 Apr 1997 15:27:21 -0500 (EST)

There are at least two recordings of string quartets done by the Kronos
Quartet.  One is on there Winter was Hard, the quartet is also on one
of Zorns releases, I cant remember which.  And another in on Kronos'
Short Stories release.  I do not remember the names of either of them
off hand, but the one on Winter was Hard is the best of the two in
my opinion, and that release is propbably the best String Quartet
release I have ever heard.
scott chamberlin
[e-mail]



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: zorn's symphonic stuff
Date: 23 Apr 1997 13:47:19 -0700


On Wed, 23 Apr 1997 15:27:21 -0500 (EST)  Scott T Chamberlin wrote:
>
> There are at least two recordings of string quartets done by the Kronos
> Quartet.  One is on there Winter was Hard, the quartet is also on one
> of Zorns releases, I cant remember which.  And another in on Kronos'
> Short Stories release.  I do not remember the names of either of them
> off hand, but the one on Winter was Hard is the best of the two in
> my opinion, and that release is propbably the best String Quartet
> release I have ever heard.

One less known:


111 - REAL TIME 2: Yuji Takahashi conducts music by Zorn, Miyake, Maceda

  This record features three compositions by John Zorn, Haruna Miyake, and
  Jose Maceda.

    1/ For Your Eyes Only            (John Zorn)        13:25
    2-5/ The Time Of Melancholy            (Haruna Miyake)        22:58
    6/ Dissemination                (Jose Maceda)        33:54

    Recorded on February 6, 1991

  Tokyo Symphony Orchestra conducted by Yuji Takahashi; Masahiko Togashi
  (2-5): percussions; Haruna Miyake (2-5): piano, synthesizer; Jose Maceda:
  conductor on (6).

    1991 - Fontec (Japan), FOCD3151 (CD)

  Note: Zorn does not play on this record.


    Patrice.



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

From: Brian Carlson <[e-mail]>
Subject: Re: zorn's symphonic stuff
Date: 23 Apr 1997 16:36:04 -0500 (CDT)

>Kronos Quartet is also on one of Zorns releases, I can't remember which.

They perform Forbidden Fruit on Spillane.

>And another is on Kronos' Short Stories release.  I do not remember the
names >of either of them off hand...

The name of the Zorn song on Short Stories is "Cat O' Nine Tails (Tex Avery
Directs the Marquis de Sade)"





Brian




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

From: Peter Cline <[e-mail]>
Subject: Re: zorn's symphonic stuff
Date: 23 Apr 1997 18:52:23 -0400 (EDT)

On Wed, 23 Apr 1997, Scott T Chamberlin wrote:

> There are at least two recordings of string quartets done by the Kronos
> Quartet.  One is on there Winter was Hard, the quartet is also on one
> of Zorns releases, I cant remember which.  And another in on Kronos'
> Short Stories release.  I do not remember the names of either of them
> off hand, but the one on Winter was Hard is the best of the two in
> my opinion, and that release is propbably the best String Quartet
> release I have ever heard.
> scott chamberlin
> [e-mail]
>
>

Winter was Hard and Zorn's Spillane both include Forbidden Fruit, for
quartet, voice, and turntable.  Short Stories includes Cat O' Nine Tails
(John Zorn directs Tex Avery)

-Peter




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

From: [e-mail] (Steve Smith)
Subject: Re: derek bailey
Date: 23 Apr 1997 22:30:13 -0400

>>Currently listening to _Dart Drug_, Derek Bailey's duet album with
>>percussionist Jamie Muir, who really needs to record more
>
>Does anyone know where to find Dart Drug in the US?
>
>-mark

There are probably more than a few stores that have it, but in this one
case I'm a pretty strong advocate for ordering direct from Incus.  Sure, it
takes a little longer, but it puts the highest percentage of money directly
in Derek's remarkably large hand.  Every Incus CD is available for $20 U.S.
postpaid from Incus, 14 Downs Road, London, E5 8DS England.  They take
cash, checks, money orders, whatever.  And it's generally pretty hard to
find Incus discs in stores for much less than $20 anyway.  Plus then you're
on the mailing list.

Of course, if there's any chance your e-mail address indicates you're at
UT-Austin, you don't really have to go any further than Waterloo...

Steve Smith
[e-mail]





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

From: "Andy Marks" <[e-mail]>
Subject: Boredoms Super Roots
Date: 24 Apr 1997 08:09:19 -0400

I've got Super Roots 1 and Super Roots 6 (i think,
maybe 5). Does anyone know if 2 - 5 were ever
released?  If so, anyone know where I could get
them from?
Andrew Marks
Software Engineer
MTS-PowerTek, Inc.



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

From: dennis summers <[e-mail]>
Subject: Masada 4
Date: 24 Apr 1997 08:39:10 -0600

Hey guys, I've been unavoidably out of touch for the last few weeks, and
likely the next few. Just wanted to drop a line and let you know that last
week I received Masada 4 in the mail from Depth Charge (England) at a fairly
reasonable price of about 14 lbs (`21 US bucks?), on charge card. It looks
legit to me, although the ink on the cd itself seems to be a different color
and texture than all the rest.

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




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

From: "Patrice L. Roussel" <[e-mail]>
Subject: NEW TRADITIONS IN EAST ASIAN BAR BANDS available?
Date: 24 Apr 1997 10:34:26 -0700


    Me again... Now that April 22nd is behind us, I might have more
luck :-).

    I asked this question few weeks ago and none of the people who
answered it had the record in their hand.

    Is it still the case? Does anybody succeeded in getting it?

    Patrice.



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

From: "[e-mail]" <[e-mail]>
Subject: Re: NEW TRADITIONS IN EAST ASIAN BAR BANDS available?
Date: 24 Apr 1997 13:30:00 -0500 (CDT)


On Thu, 24 Apr 1997, Patrice L. Roussel wrote:

>     Me again... Now that April 22nd is behind us, I might have more
> luck :-).

Sorry to dissapoint, but I think this has been pushed back to May 20th, at
least in the US.

Just in case anyone else was wondering, Naked City's _Black Box_ and
Zorn's _Filmworks IV_ both did come out on Tuesday.  _Black Box_ is a 2CD
set priced at $20.  It comes in a standard 2CD case so both _Torture
Garden_ and _Leng T'che_ are on individual discs.  There are copies of the
original booklets for each disc and the former back covers now appear
inside the case behind a clear disc holder.  There is also a booklet
talking about the artwork.  Really cool, especially if you never could
find _Leng T'che_ at a decent price.  And then of course there's the
little matter that I'm convinced _Torture Garden_ is one of the greatest
albums of all time....

Does anyone know if Tzadik is planning on getting the rights to _Filmworks
I_ from Warner Bros.?  I thought I heard someone mention something of the
sort a whiles back, but I'm not sure.

Out 2 Lunch With Lunchmeat,

Paul
[e-mail]





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

From: BJOERN <[e-mail]>
Subject: Re: NEW TRADITIONS IN EAST ASIAN BAR BANDS available?
Date: 24 Apr 1997 21:56:26 +0200 (MESZ)

>
>     Me again... Now that April 22nd is behind us, I might have more
> luck :-).
>
>     I asked this question few weeks ago and none of the people who
> answered it had the record in their hand.
>
>     Is it still the case? Does anybody succeeded in getting it?
>
>     Patrice.
>
yepp,
here in europe it is out...it was released the same day as Masada 4 here.
my local record store has it....i just had not enuff money to buy it
cause i bought the Burt Bacharach double CD (was more important in my
opinion)...but i looked at the booklets and stuff......so here is some
info i can give:
the CD has three (!) booklets...one for each piece (this Zorn guy because
kinda weird LOL)....one piece is played by Frith and Frisell....one has
Joey Baron and someone else (cannot remember who it was) and one features
Wayne Horvitz and someone else...the material was written and recorded
during 1988 and 1996.....
each piece (3 pieces in complete) features two instrumentalists and one
narrator (i guess who tells some stuff in asian languages).....
sorry thats all i can say......one of the covers looks very similar to
"Torture Garden"...when i first saw it i thought.....hey new Naked City
CD....(all the guys of Naked City play on this CD!!
BJOERN



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: NEW TRADITIONS IN EAST ASIAN BAR BANDS available?
Date: 24 Apr 1997 13:11:26 -0700


    Paul,

On Thu, 24 Apr 1997 13:30:00 -0500 (CDT)  "[e-mail]" wrote:
>
> On Thu, 24 Apr 1997, Patrice L. Roussel wrote:
>
> >     Me again... Now that April 22nd is behind us, I might have more
> > luck :-).
>
> Sorry to dissapoint, but I think this has been pushed back to May 20th, at
> least in the US.
  ^^^^^^^^^^^^^^^

I have not received at least one positive answer from Europe...

I am getting more and more convinced that the record has been postponed. Will
NEW TRADITIONS... end up like the KF COBRA (always announced, never in the
stores :-)?

    Patrice.



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

From: [e-mail] (keefe j murren)
Subject: Marc Ribot/Frisell
Date: 24 Apr 1997 15:39:39 -0500

Hey,

 Has anyone heard/know anything about the new Marc Ribot album: Shoe String
Symphonettes? or the new Frisell album: Nashville?

Thanks,
keefe j murren





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

From: [e-mail] (Steve Smith)
Subject: Re: Marc Ribot/Frisell
Date: 24 Apr 1997 19:55:15 -0400

>Hey,
>
> Has anyone heard/know anything about the new Marc Ribot album: Shoe String
>Symphonettes? or the new Frisell album: Nashville?

The Frisell album is an album of very country-influenced instrumentals
interspersed with a few very folkish vocals by Robin Holcomb - one Neil
Young tune (don't remember which one), one old pop tune ("It's the End of
the World" - NOT the REM song), one old folk tune ("May Jesus Wash the
Bloodstains from Your Hands").

It's performed with members of Alison Krauss's band Union Station.  It's
lovely, but if you're waiting for Frisell to step out and WAIL you'll be
waiting a long time.  It's really not a jazz album, just Frisell examining
the roots of an obvious source of his distinctive style.

There's a great piece on Frisell (along with pieces on Wayne Horvitz, Bill
Laswell and Butch Morris and a great Harvey Pekar review of "Bar Kokhba")
in the new issue of Jazziz.  (Look for a bright yellow cover with a
squiggly self-portrait of Bill on the cover.)  Jazziz - whoulda thunk?

Steve
[e-mail]





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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Marc Ribot/Frisell
Date: 24 Apr 1997 17:28:04 -0700


On Thu, 24 Apr 1997 19:55:15 -0400  Steve Smith wrote:
>
> There's a great piece on Frisell (along with pieces on Wayne Horvitz, Bill
> Laswell and Butch Morris and a great Harvey Pekar review of "Bar Kokhba")
> in the new issue of Jazziz.  (Look for a bright yellow cover with a
> squiggly self-portrait of Bill on the cover.)  Jazziz - whoulda thunk?
                                ^^^^^^^

Something used to annoy me a lot with JAZZIZ: the editorial with the picture
of the editor in a corporate room three-piece suit and a satisfied smile.
The picture was enough to turn me of :-).

I don't know if the editor is the same, but the removal of the picture
coincided with a significant increase in the quality of the magazine
(which starting from zero...).

As I said in a previous mail, the regular readers are still left behind
(as the music pool shows: Grover Washington and Kenny G still the best
soprano sax players). Is the magazine running for suicide?

This last issue is really surprising and I could not resist buying it!

Magazine going down is common. The opposite is very rare. How long the
regular readers of the magazine will tolerate such innovation?

    Patrice.




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

From: [e-mail]
Subject: ESP & Smithsonian
Date: 24 Apr 1997 20:42:28 -0400 (EDT)

A recent issue of The Wire claimed that the Smithsonian was looking into
buying and reissuing the ESP catalog, along with new recordings.  This sounds
like a joke but didn't seem to be.  Does anybody know the story?

Lang Thompson



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

From: [e-mail]
Subject: more on Jonas Hellborg
Date: 24 Apr 1997 22:53:05 -0400 (EDT)

Sorry I am replying late, but to whoever had a chance to see him in
Charlottesville, I hope you did.  I heard that it was an incredible show.

The musicians he is currently playing with are guitarist Shawn Lane, and
drummer Jeff Sipe (aka Apt. Q258).  Check out these recordings:
"Two Doors" by Michael Shreive.  This features the above mentioned trio.  And
on the other half of the cd, it features the trio of Shrieve, Bill Frisell,
and Wayne Horvitz!  So you cant go wrong with this one.

Ginger Baker- "Unseen Rain" featuring Jonas on acoustic, and Jens Johansson
on piano.

Trilok Gurtu- "Usfret" great record by the percussion master, this also
features Don Cherry, L. Shankar, Ralph Towner, Nana Vasconcelos, et al.

And Jonas' own recordings:
"Temporal Analogues of Paradise" with Shawn Lane and Jeff Sipe.  I guess what
you would call improvised fusion, its live, and pretty intense.

"Abstract Logic" with Shawn Lane and Kofi baker (Ginger's son) on drums.

"e" This is a killer one, Jonas on electric bass, and Jens and Anders
Johansson on organ and drums.  Very dry, funky, in your face recording.

For a really abstract one, check out RAF - "Ode to a Tractor" which features
Laswell, Peter Brotzman, Jamal Evans, Otto Van Waldenberg, and some others.

His solo acoustic bass albums are great, like "Elegant Punk" and "The Silent
Life".  Actually I like anything where he plays acoustic bass (Ars Moriende,
Octave of the Holy Innocents, etc.)
I personally LOVE "The Word", with Tony Williams and the Soldier string
quartet.  I have definitely heard worse sounding records on Axiom (wont say
which ones!)

Jonas is an extremist, his recordings and tastes run the gamut.  There is a
record called "No Other World" by Shining Path where he plays mostly
distorted electric bass- its borderline death metal, played at insane speeds.
 I cant think of too many more bass players whos tastes and styles are so
wide ranging.

There are only two Mahavishnu records that feature Jonas.  Unfortunately
there were no recordings put out by the McLaughlin, Hellborg, Trilok Gurtu
trio.  Or the McLaughlin/ Hellborg duo, although these groups toured alot in
the mid to late eighties.  I also dont think Jonas has ever done any solo
bass performances in the US, but he has in Europe, where he is much more
popular than he is here.

Jody McAllister
IOUaLive1







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

From: [e-mail]
Subject: Re: Wayne Horvitz/Zony Mash  in Chicago
Date: 24 Apr 1997 23:27:12 -0400 (EDT)

Hello friends:


Wayne Horvitz and Zony Mash will perform a free concert at 4.00 pm on
Saturday April 26th.  The location is at the Jazz Recored Mart--444 North
Wabash.  1-312/222-1467.

Later that same day, they will be at the Beat Kitchen at 10.00 pm.  The
address is 2100 West Belmont.  1-773/281-4444.


If you are able to make it and help support them and the stores/clubs that
bring em, drop in and hear the music.  "Once it is gone..."


Best


Damian



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

From: peter tush <[e-mail]>
Subject: Re: Marc Ribot/Frisell
Date: 24 Apr 1997 23:08:05 -0400

keefe j murren wrote:
>
> Hey,
>
>  Has anyone heard/know anything about the new Marc Ribot album: Shoe String
> Symphonettes? or the new Frisell album: Nashville?
>
> Thanks,
> keefe j murren

I mentioned this earlier, so skip it if you've heard it before, but I was
really surprised and pleased by Ribot's "Shoe String Symphonettes," which is
quite varied. It has a couple Jazz Passenger/Lounge Lizard ensemble cuts from
1987 (without the Luries), a Cuban-style band piece, a solo acoustic
flamenco-tinged cut, several nice, dark chamber pieces for string trio (bass,
violin and guitar), several pieces with Dave Douglas that sound like Evan
Lurie compositions, and some downtown jumpcut style compositions for "Aleta
Queen of Mars" that shift between European aleatory-chamber and schlocky,
overly familiar beer hall/march tunes. This is primarily a composer's
album, so there is nothing like "Shrek" or "Rootless Cosmopolitans" except
for a very brief surf riff and a quoted riff from "Jesus Christ Superstar"
(!!). Nor is there anything remotely resembling his playing on the Tom Waits
and Elvis Costello albums. I like it alot, but it is probably not what you
would expect. Recommended.

For some great Ribot guitar playing (especially compared to "Shoestring..."),
try Zorn's new "Music for Films v.III." This is definitely the one I was
waiting for, with part of it resembling "Godard." Definitely a varied
release, similar to "Music for Films v.2" Ribot's playing is great,
especially on the Zorn/Ribot duets.

By the way, has anyone heard Elliott Sharp's "Figure to Ground" yet? Any
opinions?




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

From: Jim McLoughlin <[e-mail]>
Subject: Re: more on Jonas Hellborg
Date: 25 Apr 1997 00:11:47 -0400 (EDT)

According to [e-mail]:
>
> Sorry I am replying late, but to whoever had a chance to see him in
> Charlottesville, I hope you did.  I heard that it was an incredible show.

    I had the pleasure of seeing this show.  Very good indeed.  Jonas
Hellborg was wandering all over the stage - standing on the bass cabinets,
hiding in the shadows in the corner, dancing in a robotic fashion,
etceteras.  The music was quite funkin.  Hellborg played bass solos at
very high speeds, and was really busy playing chords and two notes at
once.
    During the last number, Jeff Sipe (APT Q-258, also he tore it up
the whole time doing very cool cymbal work) started to freak out and
knocked over the mic stand above the drum set (seemingly accidentally).
It fell, knocking over two of his cymbals, with the mic ending up pressed
against another cymbal.  Then Hellborg was hitting his bass against the
knocked over equipment, Sipe played Hellborg's bass with his drum sticks,
and Sipe rounded out the tune playing his beat up drum set.  Quite the
finale.
    There were tapers patched into the soundboard, if any would mind
settign up a trade for this show, please contact me.

    Also, on the Shawn Lane=Buckethead rumor tip, I heard (again just
hearsay as I have never seen buckethead) that buckethead is not as
big a guy as Shawn Lane.  So was that just unfounded jiberish?

    Seeya!

--



    Jim McLoughlin
    [e-mail]



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

From: Jim McLoughlin <[e-mail]>
Subject: Mishigas
Date: 25 Apr 1997 00:15:38 -0400 (EDT)

    Hi there

    There is a show in my town featuring kitting factory artists
Mishigas playing free-jazz type stuff next Tuesday in Charlottesville
(according to local newspaper).  There are two opening bands so the whole
lineup is:

    Harry Pussy
    Pelt
    Mishigas

    Can anyone give me information on any of the above bands as I have
not heard them before.  Thanks.



 --



    Jim McLoughlin
    [e-mail]



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

From: Jeff Spirer <[e-mail]>
Subject: Re: more on Jonas Hellborg
Date: 24 Apr 1997 21:30:02 -0700

At 12:11 AM 4/25/97 -0400, Jim McLoughlin wrote:

>    Also, on the Shawn Lane=Buckethead rumor tip, I heard (again just
>hearsay as I have never seen buckethead) that buckethead is not as
>big a guy as Shawn Lane.  So was that just unfounded jiberish?

Well to start with, I know Buckethead, I know who his family is, and I know
their name is not Lane.  I have never seen Shawn Lane.  Buckethead is about
6'6" tall and skinny as a scarecrow.  Probably can't weigh more than 150,
despite his height.  So if Shawn Lane is big, I seriously doubt that it is
anything but jiberish (or gibberish.)




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



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

From: Howard Shih <[e-mail]>
Subject: Re: more on Jonas Hellborg
Date: 25 Apr 1997 00:30:15 -0400 (EDT)

On Fri, 25 Apr 1997, Jim McLoughlin wrote:

>     Also, on the Shawn Lane=Buckethead rumor tip, I heard (again just
> hearsay as I have never seen buckethead) that buckethead is not as
> big a guy as Shawn Lane.  So was that just unfounded jiberish?

I've got a copy of an article from Guitar Player where Buckethead was
unmasked as... Brian Carroll from somewhere in California. Err... Let me
bring the article in tommorrow and I'll post the exact details but I do
remember Buckethead isn't Shawn Lane.

Did anyone catch the Wetlands show???

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




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

From: Friedrich Feger <[e-mail]>
Subject: Medeski/Martin/Wood: Shack-man
Date: 25 Apr 1997 10:06:51 +0200

Hi,

I just purchased Medeski/Martin/Wood: "Shack-man", and I'm a little
disappointed. I dug the couple of notes Medeski plays on Zorn's "Bar
Kokhba" much more than the whole record of his own trio. IMO most pieces
sound like a seventies soul or fusion band playing rhythm tracks, but the
vocal track was finally forgotten. The only thing which brings it in the
neighbourhood of NY downtown music are occasional hysterical breakouts
*grin* of single musicians, never of the whole band. Some time ago there
was a discussion on Medeski setting a new Hammond-B3 sound paradigm - I
can't share this opinion. Not only his B3 sounds quite familiar to me, also
his Wurlitzer and analog Synthesizer stuff is no real step forward compared
to the original seventies stuff (One thing I like very much is the toy
piano he uses, and some percussion  and the double bass on the first track
are cool too). Plus the groove orientated setting doesn't always keep the
promise: I think they (mainly Medeski himself) are some(few)times on top of
the beat, means light. Any other or similar opinions?

Trivia: Since the whole thing was recorded in Hawaii I wonder if the trio
lives there. Does anybody know about that?

Fritz.




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

From: Scott Russell <[e-mail]>
Subject: Re: Medeski/Martin/Wood: Shack-man
Date: 25 Apr 1997 11:47:58 +0000

--MimeMultipartBoundary
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Friedrich Feger wrote:
>
> Hi,
>
> I just purchased Medeski/Martin/Wood: "Shack-man", and I'm a little
> disappointed. I dug the couple of notes Medeski plays on Zorn's "Bar
> Kokhba" much more than the whole record of his own trio. IMO most pieces
> sound like a seventies soul or fusion band playing rhythm tracks, but the
> vocal track was finally forgotten. The only thing which brings it in the
> neighbourhood of NY downtown music are occasional hysterical breakouts
> *grin* of single musicians, never of the whole band. Some time ago there
> was a discussion on Medeski setting a new Hammond-B3 sound paradigm - I
> can't share this opinion. Not only his B3 sounds quite familiar to me, also
> his Wurlitzer and analog Synthesizer stuff is no real step forward compared
> to the original seventies stuff (One thing I like very much is the toy
> piano he uses, and some percussion  and the double bass on the first track
> are cool too). Plus the groove orientated setting doesn't always keep the
> promise: I think they (mainly Medeski himself) are some(few)times on top of
> the beat, means light. Any other or similar opinions?
>
> Trivia: Since the whole thing was recorded in Hawaii I wonder if the trio
> lives there. Does anybody know about that?
>
> Fritz.


Fritz

I too had a copy of Shack Man and also found it disappointing. Despite many
people on this list's comments that Medeski is the 'Hendrix' of the Hammond I
found the feel of the whole thing to be basically 70's fusion with a slick 90's
finish. There's no doubt MMW are great players but then so is Stanley Clarke,
that doesn't make him any more pleasurable to listen to. A dash of hip hop and
funky Hammond does not hide the fact that there is an awful lot of 'muso'
technoflash going on in MMW.

Great chops do not make a great musician: imagination does that. I don't listen to
Zorn because he can play sheets of demi-semi quavers in funny time signatures. I
listen to him because of the sounds he invents, the contexts he uses them in and
the places they take me.

There are too many people who are worshipped because of their technical
prowess. Remember Frank Zappa's litany of prerequisites to satisfy the
'consumer amoeba'? Biggest, loudest, fastest, mostest.

Worship of technicalities is just athletics, it has nothing to do with making
music. Witness Beefheart, San Ra, Can, The Velvet Underground, The Beach
Boys. All of whom made great, transcendent music that was greater than the
sum of the players involved. Let's have some discussion on the content not the
nuts and bolts.

I'll sign off here, having offended everybody.

Cheers

Scott Russell.
--MimeMultipartBoundary--



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

From: Sean Terwilliger <[e-mail]>
Subject: Buckethead
Date: 25 Apr 1997 08:44:27 -0400

Just saw announced in the local arts rag here in western Mass,
Buckethead will be playing a local club here. Does anyone know who is
touring with him now?
BTW, Jonas Hellborg is playing another day at the same place, so I doubt
it's the same billing as Wetlands.

-Sean



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

From: Jennifer Weintraub <[e-mail]>
Subject: Re: Medeski/Martin/Wood: Shack-man
Date: 25 Apr 1997 08:51:00 -0500

RE: Trivia

I was under the impression that MMW had a somewhat steady gig on Monday
nights at the KF, at least this fall.  I don't know if this is so right
now, but reports I heard made it sound really great, if you like their
music.  This would preclude them from living in Hawaii, I imagine.  I also
know that they've spent a lot of the last few years touring, so its
possible they don't even have a home.  I seem to remember a Boston, or at
least Eastern seabord connection.





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

From: [e-mail]
Subject: Disklavier Fest Sun. April 27th at the Knit
Date: 25 Apr 1997 10:20:28 -0400 (EDT)

Is anyone planning on attending the Disklavier festival this weekend at the
Knitting Factory?  It's being currated by Elliott Sharp and features
performances by several great players, as well as pre-programmed pieces.
 From what I understand, the Disklavier is an acoustic grand piano that has
been rigged up so as to be able to be "played" remotely via various midi
controllers.  The show starts at 9pm and features:

VERNON REID: disklavier and electric guitar
JARON LANIER:theremin-controoled disklavier
ZEENA PARKINS:electric harp midi'd to disklavier
ELLIOTT SHARP:midi-bass clarinet with Max software
                          triggering disklavier
LUCAS LIGETTI:live pianist and disklavier

There will also be new, pre-programmed pieces by such composers as:
Muhal Richard Abrams, Carl Stone, Rhys Chatham, David Lang, Annie Gosfield,
Ikue Mori, Anthony Coleman, Frank Rothkamm, Norman Yamada, Virgil Moorfield,
Charles K. Noyes, and, I think, Wayne Horvitz.

I'm heading down after the benefit for Ptolemaic Terrascope magazine in
Providence to check it out.  See ya there?

Jonathan LaMaster


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"Saturnalia" - free improv ensemble...

                       "...a festival of excess"

                       "...more fun than nude Greco-Roman wrestling"
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~






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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Medeski/Martin/Wood: Shack-man
Date: 25 Apr 1997 08:19:02 -0700


On Fri, 25 Apr 1997 10:06:51 +0200  Friedrich Feger wrote:
>
> Hi,
>
> I just purchased Medeski/Martin/Wood: "Shack-man", and I'm a little
> disappointed. I dug the couple of notes Medeski plays on Zorn's "Bar
> Kokhba" much more than the whole record of his own trio. IMO most pieces
> sound like a seventies soul or fusion band playing rhythm tracks, but the
> vocal track was finally forgotten. The only thing which brings it in the
> neighbourhood of NY downtown music are occasional hysterical breakouts
> *grin* of single musicians, never of the whole band. Some time ago there
> was a discussion on Medeski setting a new Hammond-B3 sound paradigm - I
> can't share this opinion. Not only his B3 sounds quite familiar to me, also
> his Wurlitzer and analog Synthesizer stuff is no real step forward compared
> to the original seventies stuff (One thing I like very much is the toy
> piano he uses, and some percussion  and the double bass on the first track
> are cool too). Plus the groove orientated setting doesn't always keep the
> promise: I think they (mainly Medeski himself) are some(few)times on top of
> the beat, means light. Any other or similar opinions?
>
> Trivia: Since the whole thing was recorded in Hawaii I wonder if the trio
> lives there. Does anybody know about that?

According to an interview in a local magazine, the band has a house over there
where they spend two months every year (at least for the past two) to prepare
new records.

    Patrice.



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

From: Tom Pratt <[e-mail]>
Subject: Re: Medeski/Martin/Wood: Shack-man
Date: 25 Apr 1997 12:13:25 -0400

I think I need to step in on this one. As a big MMW fan I say that
'Shack-Man' is the weakest recording of theirs. I was pretty
disappointed in it.  I want all of you guys who thought that 'Shack-Man'
to pick up a different album. I think you should get 'Friday Afternoon
In The Universe' because I think it would be the most appealing to the
Zorn fan.  It's my favorite by far.  If your more of a jazz guy, then
pick up 'Notes From The Underground' on Accurate records.  This features
Medeski on piano, and they play much more jazz than funk.  There is
another album out called 'It's A Jungle In Here' that features some horn
arrangements and is a transition album (I would say) from 'Notes From
The Underground' to 'Friday Afternoon In The Universe'. Check out their
ofiicial website at http://www.netspace.org/mmw to find more about them.
They really are a great band. Oh Yeah, try to find some live tapes of
theirs because everybody I've heard that thinks MMW's albums suck really
like the live show. They are phenomenal live. Every album is COMPLETELY
different so don't give up yet!!!!!!! If any of you guys that don't like
MMW have any live tapes to trade (of anyone) then let me know and maybe
we can set up a trade for you to hear them live

Zorn content-just picked up Big Gundown and really like it.

            -Tom Pratt



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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: Filmworks I
Date: 25 Apr 1997 10:28:09 -0500 (CDT)

On Thu, 24 Apr 1997, [e-mail] wrote:

> Does anyone know if Tzadik is planning on getting the rights to _Filmworks
> I_ from Warner Bros.?  I thought I heard someone mention something of the
> sort a whiles back, but I'm not sure.
>
> Out 2 Lunch With Lunchmeat,
>
> Paul
> [e-mail]

According to the latest Tzadik catalog, on the back it lists upcoming
releases and both Filmworks I and VII are listed under the archival
series.

cya
brian





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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: Boredoms Super Roots
Date: 25 Apr 1997 10:34:02 -0500 (CDT)

On Thu, 24 Apr 1997, Andy Marks wrote:

> I've got Super Roots 1 and Super Roots 6 (i think,
> maybe 5). Does anyone know if 2 - 5 were ever
> released?  If so, anyone know where I could get
> them from?

Um, here's the scoop from a pretty good Boredoms web page
(hamp.hampshire.edu/~ngzF92/bo/point.html - if that doesn't work, go to
ubl.com and look up Boredoms and it's called the BO-Point page):

Super Roots 1 was released in the US and Japan
Super Roots 2 was released in Japan only and is apparently out of print
Super Roots 3 was released in Japan only and is apparently still in print
Super Roots 4 hasn't been released yet
Super Roots 5 was released in Japan only and is apparently still in print
Super Roots 6 was released in the US and Japan

As far as getting them, try www.cdeurope.com or www.gemm.com

Hope this helps....

cya
brian





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

From: Michamilton <[e-mail]>
Subject: Marc Ribot
Date: 25 Apr 1997 10:40:05 -0700 (PDT)


While visiting a friend in California a while bace I spent some time
digging through the Pomona College radio station's record library. The
description written on one of Ribot's albums (presumably written by some
station music processer peson) mentioned in passing that Ribot had been
the guitarist in Captain Beefheart's Magic Band. I was wondering if there
is any truth in this assertion.

        -michamilton
- - - - - - - - - - - - - - - - - - -
 "There is a saloon in West Berlin where the barstools are five feet high.
And the earth...the floor...is...so...far...below you. I will not give up
things like that."

    -Edward Albee "Who's Afraid of Virginia Woolf?"




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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: ESP & Smithsonian
Date: 25 Apr 1997 12:39:49 -0500 (CDT)

On Thu, 24 Apr 1997 [e-mail] wrote:

> A recent issue of The Wire claimed that the Smithsonian was looking into
> buying and reissuing the ESP catalog, along with new recordings.  This sounds
> like a joke but didn't seem to be.  Does anybody know the story?
>
> Lang Thompson

I just checked Folkways web site and there wasn't anything there about it,
so I sent them an email.  I'll let y'all know what kind of response I get.

cya
brian





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

From: Tom Pratt <[e-mail]>
Date: 25 Apr 1997 13:21:54 -0400




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

From: Tom Pratt <[e-mail]>
Subject: Re: Medeski/Martin/Wood: Shack-man
Date: 25 Apr 1997 14:21:18 -0400

> According to an interview in a local magazine, the band has a house over there
> where they spend two months every year (at least for the past two) to prepare
> new records.
>
>         Patrice.

It's more of a primitive shack in the jungle of Hawaii where Medeski
cooks, Martin paints and Wood gathers firewood. They just chill, make
music and according to their newsletter they once played pure intensity
very loudly in the middle of a huge storm with a tsunami wave coming
right at them.  The shack in Hawaii is basically a resting point/home
place where they can relax and do what they want away from everyone.

            -Tom Pratt



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

From: [e-mail]
Subject: Re: more on Jonas Hellborg
Date: 25 Apr 1997 15:15:50 -0400 (EDT)

There are several guitarists who portray Buckethead.  Brian Carrol, Shawn
Lane, Vernon Reid, Yngwie Malmsteen, and once in a while Jimmy Page.

The show at the Wetlands in on Wednesday.

Buckethead will be at CBGB's tomorrow (Saturday) night.  Earlier today I saw
Marc Ribot walking down the street with a KFC Bucket in his hand... makes you
wonder.



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

From: Sean Terwilliger <[e-mail]>
Subject: Phantom City
Date: 25 Apr 1997 14:31:44 -0400

Has anyone heard this. It's said to include Laswell, Kondo, Brotzmann
and more. Is it scheduled for a US release?

Thanks,

Sean



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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: ESP & Smithsonian
Date: 25 Apr 1997 12:39:49 -0500 (CDT)

On Thu, 24 Apr 1997 [e-mail] wrote:

> A recent issue of The Wire claimed that the Smithsonian was looking into
> buying and reissuing the ESP catalog, along with new recordings.  This sounds
> like a joke but didn't seem to be.  Does anybody know the story?
>
> Lang Thompson

I just checked Folkways web site and there wasn't anything there about it,
so I sent them an email.  I'll let y'all know what kind of response I get.

cya
brian





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

From: "Gary M. Gettier" <[e-mail]>
Subject: Re: Buckethead
Date: 25 Apr 1997 22:20:23 -0400 (EDT)

According to Sean Terwilliger:
>
>Just saw announced in the local arts rag here in western Mass,
>Buckethead will be playing a local club here. Does anyone know who is
>touring with him now?
>BTW, Jonas Hellborg is playing another day at the same place, so I doubt
>it's the same billing as Wetlands.

Yeap, He's playing in Baltimore too in May.

Gary

Gary M. [e-mail] | Don't Buy CDs at Wal-Mart | Tax The Churches
"Do you ever get down on your knees and thank God that you know me and
 have access to my dementia?" - George Constanza




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

From: Jon Sawyer <[e-mail]>
Subject: Intro/MMW
Date: 25 Apr 1997 19:58:13 +0100

Howdy All,

A brief intro: I am Jon, I am in Seattle, could possibly be moving down
to the bay area soon.
Anyway, I first got turned on to Zorn when I saw Naked City in
Ravinnia/Highland Park I". Unfortunately Frisell missed the gig due to
bad weather- his plane couldn't land. That was around 88 or 89. I also
saw Masada here in Seattle last year.

Anyway, a few comments about MMW. They don't live in Hawaii fulltime. But
they do own a shack/modern recording studio there, hence the title 'Shack
Man'. As for the Knit- when Shack Man was first released, they played
around 8 weeks in a row or so there, & they were known as shack parties,
lotsa special guests, etc. I know on some of the tapes I've heard Mark
Ribot, Danny Bloom, & DJ Logic are some of the cats who sit in. The shack
parties weren't intended to be permanant. Just for the record, MMW was
born up in the Boston area I believe. My favorite CD is their third (outa
5) titled 'Friday Afternoon in the Universe'

OK back to lurk mode, any DAT taper/traders contact me if you want to
trade some music

U Dig-

Jon

http://www.nwlink.com/~jsawyer/



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

From: Michamilton <[e-mail]>
Subject: Marc Ribot
Date: 25 Apr 1997 10:40:05 -0700 (PDT)


While visiting a friend in California a while bace I spent some time
digging through the Pomona College radio station's record library. The
description written on one of Ribot's albums (presumably written by some
station music processer peson) mentioned in passing that Ribot had been
the guitarist in Captain Beefheart's Magic Band. I was wondering if there
is any truth in this assertion.

        -michamilton
- - - - - - - - - - - - - - - - - - -
 "There is a saloon in West Berlin where the barstools are five feet high.
And the earth...the floor...is...so...far...below you. I will not give up
things like that."

    -Edward Albee "Who's Afraid of Virginia Woolf?"




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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Mishigas
Date: 26 Apr 1997 02:19:36 -0400 (EDT)



On Fri, 25 Apr 1997, Jim McLoughlin wrote:

>     Harry Pussy
>     Pelt
>     Mishigas
>
>     Can anyone give me information on any of the above bands as I have
> not heard them before.  Thanks.

Harry Pussy are a noise-rock band from Florida.  I've not heard them, but
they've been compared positively by people I know to Mars and Teenage
Jesus & the Jerks.  My band (the Balls Ball Memorial Quartet) opened up
for for the Mishigas in Pittsburgh Wednesday night.  They are a tenor
sax/guitar/drums trio in a very energy music (Ayler/Trane/Gayle) vein,
although the guitarist tends to play intriguing backgrounds rather than
Sharrock-style noise.  The drummer, John (or Jon), is, I think, the J W
listed as having some sort of Knitting Factory staff position on the Knit
home page, and does some very interesting stuff.  They're also very nice
guys.  Check 'em out, and tell 'em I sent ya.

Chris Hamilton
The Balls Ball Memorial Quartet
Pittsburgh, PA





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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: Boredoms Super Roots
Date: 25 Apr 1997 10:34:02 -0500 (CDT)

On Thu, 24 Apr 1997, Andy Marks wrote:

> I've got Super Roots 1 and Super Roots 6 (i think,
> maybe 5). Does anyone know if 2 - 5 were ever
> released?  If so, anyone know where I could get
> them from?

Um, here's the scoop from a pretty good Boredoms web page
(hamp.hampshire.edu/~ngzF92/bo/point.html - if that doesn't work, go to
ubl.com and look up Boredoms and it's called the BO-Point page):

Super Roots 1 was released in the US and Japan
Super Roots 2 was released in Japan only and is apparently out of print
Super Roots 3 was released in Japan only and is apparently still in print
Super Roots 4 hasn't been released yet
Super Roots 5 was released in Japan only and is apparently still in print
Super Roots 6 was released in the US and Japan

As far as getting them, try www.cdeurope.com or www.gemm.com

Hope this helps....

cya
brian





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

From: Tom Pratt <[e-mail]>
Subject: Re: Medeski/Martin/Wood: Shack-man
Date: 25 Apr 1997 12:13:25 -0400

I think I need to step in on this one. As a big MMW fan I say that
'Shack-Man' is the weakest recording of theirs. I was pretty
disappointed in it.  I want all of you guys who thought that 'Shack-Man'
to pick up a different album. I think you should get 'Friday Afternoon
In The Universe' because I think it would be the most appealing to the
Zorn fan.  It's my favorite by far.  If your more of a jazz guy, then
pick up 'Notes From The Underground' on Accurate records.  This features
Medeski on piano, and they play much more jazz than funk.  There is
another album out called 'It's A Jungle In Here' that features some horn
arrangements and is a transition album (I would say) from 'Notes From
The Underground' to 'Friday Afternoon In The Universe'. Check out their
ofiicial website at http://www.netspace.org/mmw to find more about them.
They really are a great band. Oh Yeah, try to find some live tapes of
theirs because everybody I've heard that thinks MMW's albums suck really
like the live show. They are phenomenal live. Every album is COMPLETELY
different so don't give up yet!!!!!!! If any of you guys that don't like
MMW have any live tapes to trade (of anyone) then let me know and maybe
we can set up a trade for you to hear them live

Zorn content-just picked up Big Gundown and really like it.

            -Tom Pratt



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

From: Tom Pratt <[e-mail]>
Subject: why is my message reposting itself????
Date: 26 Apr 1997 13:16:53 -0400

Does anybody know why the hell my Medeski, Martin & Wood posts keep
posting themselves again on this list. I'm not sending these over and
over so don't yell at me for it. It's not my fault. Hopefully it will
stop but I've received the same MMW post by me about 2 or 3 times. Mr.
Rizzi... do you know what's up?

            -Tom Pratt



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

From: [e-mail]
Subject: Re: Buckethead
Date: 26 Apr 1997 14:01:21 -0400 (EDT)

In a message dated 97-04-26 03:48:03 EDT, [e-mail] (Gary M.
Gettier) writes:

> According to Sean Terwilliger:
>  >
>  >Just saw announced in the local arts rag here in western Mass,
>  >Buckethead will be playing a local club here. Does anyone know who is
>  >touring with him now?
>  >BTW, Jonas Hellborg is playing another day at the same place, so I doubt
>  >it's the same billing as Wetlands.
>
>  Yeap, He's playing in Baltimore too in May.

But the question is, who is he playing with?  Tonight he will be at CBGB's,
playing with "GR2".  I am not sure who else is in that band though.  I assume
that it is this band that will be touring these other places.



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

From: [e-mail]
Subject: Re: Super Roots
Date: 26 Apr 1997 14:09:59 -0400 (EDT)

I have a copy of Super Roots 3 and must submit a warning for anyone who might
pay 30 bucks for the import.   Basically, it's one 30 minute cut, one thrash
riff (though played in many different keys throughout the song), only seconds
worth of vocals at the beginning and end.   The back of the CD describes it
as "Hard Trance (anarchy's) Way"  and "Karaoke of Cosmos."  I imagine using
this album for those purposes would be interesting, other than that it's not
really worth the 30 bucks.   I am so scarred from buying it that I haven't
invested in Super Roots 6, could someone describe that one to me?   I loved
Super Roots 1.



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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: Filmworks I
Date: 25 Apr 1997 10:28:09 -0500 (CDT)

On Thu, 24 Apr 1997, [e-mail] wrote:

> Does anyone know if Tzadik is planning on getting the rights to _Filmworks
> I_ from Warner Bros.?  I thought I heard someone mention something of the
> sort a whiles back, but I'm not sure.
>
> Out 2 Lunch With Lunchmeat,
>
> Paul
> [e-mail]

According to the latest Tzadik catalog, on the back it lists upcoming
releases and both Filmworks I and VII are listed under the archival
series.

cya
brian





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

From: "Anthony 'Twizzler' Saunders" <[e-mail]>
Subject: Problems with my mail server
Date: 26 Apr 1997 16:13:05 -0400 (EDT)


 First off, sorry to those who recieve this twice or more... I'm sending
it to my entire address book.

 It has come to my attention that I have been sent many e-mail messages
that have not arrived. I realized this after two different people have put
the comment: "Well, for some reason you've refused to reply to my earlier
messages, but I try again..." in their e-mail to me. Some of my e-mail
shows up three weeks late. Most of it arrives just fine though, so I'm not
sure what is up. So, if you have sent me mail and not recieved a reply,
please re-send the messages, hopefully they will arrive this time.

 Sorry about the mass mailing...

 anthony

"A thing is right when it tends to preserve the integrity, stability, and
beauty of the biotic community. It is wrong when it tends otherwise"
 - Aldo Leopold, The Land Ethic

"URRGH"
 -Rocky Horror




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

From: BJOERN <[e-mail]>
Subject: Pool, School and others
Date: 26 Apr 1997 22:26:16 +0200 (MESZ)

will some of the early zorn stuff ever be rereleased on cd?????
any comments?
BJOERN



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Pool, School and others
Date: 26 Apr 1997 18:05:13 -0400 (EDT)



On Sat, 26 Apr 1997, BJOERN wrote:

> will some of the early zorn stuff ever be rereleased on cd?????

_The Parachute Years_ box set has been pushed back a number of times, but,
as of the recent Tzadik catalogue, is still supposed to be coming out.

Chris Hamilton





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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Medeski/Martin/Wood: Shack-man
Date: 25 Apr 1997 08:19:02 -0700


On Fri, 25 Apr 1997 10:06:51 +0200  Friedrich Feger wrote:
>
> Hi,
>
> I just purchased Medeski/Martin/Wood: "Shack-man", and I'm a little
> disappointed. I dug the couple of notes Medeski plays on Zorn's "Bar
> Kokhba" much more than the whole record of his own trio. IMO most pieces
> sound like a seventies soul or fusion band playing rhythm tracks, but the
> vocal track was finally forgotten. The only thing which brings it in the
> neighbourhood of NY downtown music are occasional hysterical breakouts
> *grin* of single musicians, never of the whole band. Some time ago there
> was a discussion on Medeski setting a new Hammond-B3 sound paradigm - I
> can't share this opinion. Not only his B3 sounds quite familiar to me, also
> his Wurlitzer and analog Synthesizer stuff is no real step forward compared
> to the original seventies stuff (One thing I like very much is the toy
> piano he uses, and some percussion  and the double bass on the first track
> are cool too). Plus the groove orientated setting doesn't always keep the
> promise: I think they (mainly Medeski himself) are some(few)times on top of
> the beat, means light. Any other or similar opinions?
>
> Trivia: Since the whole thing was recorded in Hawaii I wonder if the trio
> lives there. Does anybody know about that?

According to an interview in a local magazine, the band has a house over there
where they spend two months every year (at least for the past two) to prepare
new records.

    Patrice.



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

From: [e-mail]
Subject: Disklavier Fest Sun. April 27th at the Knit
Date: 25 Apr 1997 10:20:28 -0400 (EDT)

Is anyone planning on attending the Disklavier festival this weekend at the
Knitting Factory?  It's being currated by Elliott Sharp and features
performances by several great players, as well as pre-programmed pieces.
 From what I understand, the Disklavier is an acoustic grand piano that has
been rigged up so as to be able to be "played" remotely via various midi
controllers.  The show starts at 9pm and features:

VERNON REID: disklavier and electric guitar
JARON LANIER:theremin-controoled disklavier
ZEENA PARKINS:electric harp midi'd to disklavier
ELLIOTT SHARP:midi-bass clarinet with Max software
                          triggering disklavier
LUCAS LIGETTI:live pianist and disklavier

There will also be new, pre-programmed pieces by such composers as:
Muhal Richard Abrams, Carl Stone, Rhys Chatham, David Lang, Annie Gosfield,
Ikue Mori, Anthony Coleman, Frank Rothkamm, Norman Yamada, Virgil Moorfield,
Charles K. Noyes, and, I think, Wayne Horvitz.

I'm heading down after the benefit for Ptolemaic Terrascope magazine in
Providence to check it out.  See ya there?

Jonathan LaMaster


~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
"Saturnalia" - free improv ensemble...

                       "...a festival of excess"

                       "...more fun than nude Greco-Roman wrestling"
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~






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

From: [e-mail]
Subject: Buckethead on tour
Date: 27 Apr 1997 04:54:39 -0400 (EDT)

Just got back from some severe guitar dismemberment at CBGB's.  GR2 was
playing, this is Bucketheads new band, which features a drummer (Pinch Face),
bassist (Louie), and a DJ (DJ Disk).  He told me the rest of the dates for
this short east coast tour (actually he scribbled them down, he is a mute you
know).

4/28/97- The Saint, Asbury Park, NJ 908-776-8913
4/30/97- The Wetlands, NYC 212-966-4225  with Lane, Hellborg and Sipe
5/1/97- Auerbach Hall, University of Hartford, CT 860-768-7382
5/3/97- The Iron Horse, North Hampton, MA 413-584-7111
and I believe, 5/5/97- The Summerville Theatre, Summerville, MA with The Jazz
Mandolin Project









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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Charles K. Noyes?
Date: 28 Apr 1997 02:23:33 -0400 (EDT)



On Fri, 25 Apr 1997 [e-mail] wrote:

> There will also be new, pre-programmed pieces by such composers as:
> Muhal Richard Abrams, Carl Stone, Rhys Chatham, David Lang, Annie Gosfield,
> Ikue Mori, Anthony Coleman, Frank Rothkamm, Norman Yamada, Virgil Moorfield,
> Charles K. Noyes, and, I think, Wayne Horvitz.
  ^^^^^^^^^^^^^^^^

Noyes is a pretty ubiquitous presence on the early 80's portion of my
record collection, and, until now, I'd seen his name on nothing since
then.  Anyone know what he's been up to over the last ten years?

Chris Hamilton





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

From: Scott Russell <[e-mail]>
Subject: Bailey/Metheny
Date: 28 Apr 1997 09:05:06 +0000

--MimeMultipartBoundary
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Dear all

The new issue of the Wire magazine has just come out. It has an advert from
Knitting Factory about the forthcoming Derek Bailey/Pat Metheny disc.
Apparently this is to be a 3 disc set! Can anyone tell me any more about it? No
release date is mentioned and the Knit site only mentions May. Was anyone at
this gig? Was it so stupendous that a 3 disc set was the only way to do it
justice?

Information, Please!

Scott Russell.
--MimeMultipartBoundary--



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

From: DR S WILKIE <[e-mail]>
Subject:       hellborg -ars moriende
Date: 28 Apr 1997 09:21:11 GMT0BST

if your trying to find "ars moriende" (or anything else by jonas),
try www.cyboard.com/audiophile ([e-mail]) - they have alot of
stuff listed..."ars moriende" may be deleted, but they still might
have a few copies.



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

From: [e-mail] (Geoff S Gersh)
Subject: Ribot.....
Date: 28 Apr 1997 04:55:32 PST

for those of you in/around NY

Marc Ribot plays compositions for guitars that dont work....April 30 @
Roulette




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

From: [e-mail]
Subject: Re: Ribot.....
Date: 28 Apr 1997 09:15:07 -0400 (EDT)

In a message dated 97-04-28 05:34:36 EDT, you write:

> Marc Ribot plays compositions for guitars that dont work....April 30 @
>  Roulette

This puts a smile on my face this rainy Monday NYC morning because he just
announced on Saturday night that his Gibson ES-225 (?) had just fallen in
ruin that afternoon -- he came to the gig without an electric guitar and had
to request one from the audience!

P



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

From: NGUYEN VAN TAN Olivier <[e-mail]>
Subject: FW: La Mailing Liste du FENNEC !!!! (in FRENCH)
Date: 28 Apr 1997 17:16:01 +0200

Hello,

Sorry for this wild mass mailing but I would like to introduce you to =
"La Mailing Liste du Fennec".
If you don't get a word of French, forget it or forward it to someone =
who can speak French.

This French-speaking-mailing list is just about all avant guarde, =
downtown music, free jazz or creative music...

Hope you will enjoy it !

----------

Bonjour,

Excusez-moi tout d'abord de ce mailing sauvage mais je vous voudrais =
vous informer de la naissance
de la mailing liste du FENNEC !


Le Projet
=3D=3D=3D=3D=3D=3D=3D
Il est simple=A0: cr=E9er une mailing-liste sur Internet entre des =
passionn=E9s francophones=20
autour du th=E8me des musiques cr=E9atives et improvisees (jazz, =
free-jazz, avant guarde, etc...).=20

Je compte donc sur vous pour aller jeter un coup d'oeil sur la page du =
FENNEC sur le Web a:
http://www.micronet.fr/~onvt

Vous aurez ainsi tous les details concernant la liste et sur ce projet =
...


Pour s'inscrire sur la Mailing Liste du FENNEC
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D
Il suffit d'envoyer un message vide =E0 [e-mail]
Ensuite, vous pourrez participer aux discussions sur la mailing liste du =
FENNEC.
(n'oublier pas de vous presenter dans votre premier message...)



N'hesiter pas a me faire part de vos impressions, conseils et avis quant =
a ce projet.
Vous pouvez aussi "forwarde" ce message a vos amis qui sont susceptibles =
d'etre interesses.

Je reste a votre disposition.
Et, j'espere vous compter parmi les fennecs : a tres bientot !



Olivier NGUYEN VAN TAN, Fennec parmi les Fennecs

[e-mail]
http://www.micronet.fr/~onvt





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

From: [e-mail] (Steve Smith)
Subject: Re: Charles K. Noyes?
Date: 28 Apr 1997 12:28:47 -0400

>Noyes is a pretty ubiquitous presence on the early 80's portion of my
>record collection, and, until now, I'd seen his name on nothing since
>then.  Anyone know what he's been up to over the last ten years?
>
>Chris Hamilton

I can't say what he's been up to for the last 10 years (no one that I've
spoken with seems to know, really) but I do know he's revived the trio
Invite the Spirit, which originally included Henry Kaiser and Sang-won
Park.  These days Jim O'Rourke substitutes for Kaiser.  I've heard a pretty
swell tape of the trio that was recorded by Noyes at Roulette last year.
They're scheduled to play here in the Alterknit Theater at the Knitting
Factory this Friday, May 2,  at 9 and 11.

Steve Smith
[e-mail]






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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: Bailey/Metheny
Date: 28 Apr 1997 11:31:36 -0500 (CDT)

On Mon, 28 Apr 1997, Scott Russell wrote:

> Dear all
>
> The new issue of the Wire magazine has just come out. It has an advert from
> Knitting Factory about the forthcoming Derek Bailey/Pat Metheny disc.
> Apparently this is to be a 3 disc set! Can anyone tell me any more about it? No
> release date is mentioned and the Knit site only mentions May. Was anyone at
> this gig? Was it so stupendous that a 3 disc set was the only way to do it
> justice?
>
> Information, Please!
>
> Scott Russell.

From what I've seen, there are two other guys involved (both
percussionists/drummers, if I remember right - don't remember their names
tho).  I have no idea what kind of configuration they all play in, but it
*does* sound interesting.  Oh well, didn't contribute lots, but hope this
helped a bit.

cya
brian





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

From: Matt Moffett <[e-mail]>
Subject: Eugene Chadborne
Date: 28 Apr 1997 15:31:11 -0400 (EDT)

For all those in the Wash DC or Baltimore area, he'll be playing at
Phantasmagoria in late May.

matt





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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Marc Ribot/Frisell
Date: 28 Apr 1997 13:57:42 -0700


On Thu, 24 Apr 1997 23:08:05 -0400  peter tush wrote:
>
> By the way, has anyone heard Elliott Sharp's "Figure to Ground" yet? Any
> opinions?

It features four pieces:

    DREAMING OUT LOUD, a choregraphy
    DADDY AND THE MUSCLE ACADEMY, a movie
    PREY, a video installation
    THE SALT MINES, a movie

Because of that, the music is quite different from piece to piece (and even
within each piece!).

Although the support for which the music was written is missing, I do not
feel at all that something needs to be added. The music stands by itself
wonderfully.

Hard to guess what instruments Elliott plays on most of the tracks (could it
the Buchla Thunder?). With the exception of a couple of bluesy short tracks
and the sax on the THE SALT MINES, the music is mainly electronic and very
original.

To conclude: an excellent and exciting record (and a good intro to E#'s
musical universe).

    Patrice.



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Elliott Sharp
Date: 29 Apr 1997 00:26:42 -0400 (EDT)



On Mon, 28 Apr 1997, Patrice L. Roussel wrote:

> To conclude: an excellent and exciting record (and a good intro to E#'s
> musical universe).

So what are other good intro/essential Sharp records?  I own a few, but I
don't feel like I've ever developed a good feel for his work as a whole.
Of the three or four I own, I like _Nots_ a lot, find the first Boodlers
record kinda dull, can't remember the title or anything else about the one
Carbon record I own, and haven't been able to listen to the Semantics
record yet because my turntable's broken.  So where should I be diving in,
E# fans?

Chris Hamilton





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

From: "Toshi D. Makihara" <[e-mail]>
Subject: Re: Charles K. Noyes?
Date: 29 Apr 1997 06:10:33 +0900

In message
<[e-mail]
u>
   "Re: Charles K. Noyes?"
   "Christopher Hamilton <[e-mail]>" wrote:

> Noyes is a pretty ubiquitous presence on the early 80's
portion of my
> record collection, and, until now, I'd seen his name on
nothing since
> then.  Anyone know what he's been up to over the last ten
years?

I saw his performance in March at Judson Church with the
dancer Ms. Chang.. (sorry I do not remember her first name..)
The duo is called "Chang & Noyse" and indeed the performance
was splendid.. Noyse had various "stations" on stage with
different instruments, and throughout the long piece, he
moved from one station to another.. I had a very good talk
with him afterwards.. Very nice person! I still remember his
solo gig at Studio Henry.. (remember that place?).. In any
case, he's active..

T o s h i   D.   M a k i h a r a  -  percussionist
[e-mail]  |  http://www.voicenet.com/~tosmos
IMP!:  http://www.voicenet.com/~tosmos/pin.htm
BASE-MENT:  http://ourworld.compuserve.com/homepages/tosmos




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

From: M.Ho <[e-mail]>
Subject: Re: Eugene Chadborne
Date: 29 Apr 1997 9:40:49 EDT

>
> For all those in the Wash DC or Baltimore area, he'll be playing at
> Phantasmagoria in late May.
>
> matt

As well as Buckethead and "special late night guest" this Thursday at
State of the Union.

Mary.




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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Elliott Sharp
Date: 29 Apr 1997 09:20:50 -0700


On Tue, 29 Apr 1997 00:26:42 -0400 (EDT)  Christopher Hamilton wrote:
>
> On Mon, 28 Apr 1997, Patrice L. Roussel wrote:
>
> > To conclude: an excellent and exciting record (and a good intro to E#'s
> > musical universe).
>
> So what are other good intro/essential Sharp records?  I own a few, but I
> don't feel like I've ever developed a good feel for his work as a whole.
> Of the three or four I own, I like _Nots_ a lot, find the first Boodlers
                     ^^^^^^

I also like NOTS a lot, but the music is 15 years old! and E# has done quite
a bit since.

Among other great documents of Elliott's older music:

061 - MONSTER CURVE: Elliott Sharp/Carbon (1988 - SST (USA), SST CD 208 (CD))
077 - SILI/CONTEMP/TATION: Elliott Sharp/Carbo (1990 - Ear-Rational (Germany),
    ECD 1018 (CD))
154 - I/S/M 1980-1983: Elliott Sharp (1996 - Atavistic (USA), ALP 61 (CD))

> record kinda dull, can't remember the title or anything else about the one
> Carbon record I own, and haven't been able to listen to the Semantics
  ^^^^^^

Carbon is a must to start with. Among my favorites are:

081 - DATACIDE: Elliott Sharp/Carbon (1990 - Enemy Records, EMY 116-2 (CD))
087 - TOCSIN: Elliott Sharp/Carbon (1991 - Enemy Records, EMY 134-2 (CD))
145 - INTERFERENCE: Elliott Sharp/Carbon (1995 - Atavistic (USA), ALP 50 CD)

great rhythmic pulse and sound blast!

Another important facet of E# are his string compositions:

055 - HAMMER, ANVIL, STIRRUP: Elliott Sharp, Soldier String Quartet
  (1987 - SST, SST CD 232 (CD))
112 - CRYPTID FRAGMENTS: Elliott Sharp & The Soldier String Quartet (1993 -
    Extreme (Australia), XCD 020 (CD))

The first one documents his early string pieces. Most of the pieces on the
second are very different (no as beat driven as the first ones). I found
CRYPTID FRAGMENTS fascinating in its search for new sounds and great success
at defining new ways to write for strings.

This is definitely on the classical contemporary side. Who would have guessed
that there were still interesting things to do with string chamber music?

> record yet because my turntable's broken.  So where should I be diving in,
> E# fans?

Not a E# record but a must have for the list:

STATE OF THE UNION with zillions of downtown artists

which is getting better and better every three years :-). The pieces are
very short (< 1mn) but the diversity makes the 2xCD a fascinating journey
through more than one decade of (mainly) NY downtown music. Will he release
a 4xCD set for January 1st, 2000?

    Patrice.



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

From: Tom Pratt <[e-mail]>
Subject: JMP & Hellborg
Date: 29 Apr 1997 21:32:14 -0400

I want ALL of you to know that I just called the Somerville Theater
(Boston) about this show (Friday) and I was told that only 300 out of
900 tickets have been sold. GO! GO! GO! GO! This will be an unbelievable
concert! Jazz Mandolin Project and Hellborg/Lane/Apt. Q-258 with
Buckethead opening! How can you go wrong... and for $12!!!!  If anybody
wants ALL the info about this concert then contact me! See ya there!

            -Tom Pratt



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

From: Christopher Hamilton <[e-mail]>
Subject: New Henry Threadgill
Date: 29 Apr 1997 22:36:08 -0400 (EDT)



I picked up Henry Threadgill's new album with Make A Move today.  It's
called _Where's Your Cup?_, it's on Columbia, and it's produced by Bill
Laswell (thus making it on-topic for this list).  Anyway, I think it's
fantastically good and you should all buy it.  It sounds to me like an
extremely well integrated mix of jazz, funk, various Asian musics, and
perhaps some early twelve-tone music.  What knocks me out the most about
it is the daring speed at which it's played.  It's really slow in places,
and builds a tremendous amount of tension.  The music's mostly anchored by
electric bassist Stomu Takeishi, with a very dense, and nearly constant,
overlay of sound by accordion/harmonium player Tony Cedras.  Great, great
stuff.  I can't believe this is on a major label.  Now I wonder what the
chances are of its getting any promotion?

Chris Hamilton

P.S. I don't know if Threadgill has plans to do any more gigs with this
lineup, but I caught them last July and they gave maybe the best
performance I've ever seen.  Check them out, if you get the chance.





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

From: [e-mail]
Subject: Re: JMP & Hellborg
Date: 30 Apr 1997 02:38:51 -0400 (EDT)

In a message dated 97-04-29 23:56:32 EDT, [e-mail] (Tom Pratt) writes:

> I want ALL of you to know that I just called the Somerville Theater
>  (Boston) about this show (Friday) and I was told that only 300 out of
>  900 tickets have been sold. GO! GO! GO! GO! This will be an unbelievable
>  concert! Jazz Mandolin Project and Hellborg/Lane/Apt. Q-258 with
>  Buckethead opening! How can you go wrong...

300.. not bad!!  I have to also say that this should be a great night of
music.  I may even make the trek for this one.

I just saw Buckethead in Asbury Park, NJ, play in front of about 20 people!
 He played a killer set though.

IOU



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

From: Julien Quint <[e-mail]>
Subject: Boredoms Super Roots 6
Date: 30 Apr 1997 11:54:45 +0200

> I am so scarred from buying it that I haven't
> invested in Super Roots 6, could someone describe that one to me?   I loved
> Super Roots 1.

I too have heard that Super Roots 3 & 5 were kinda... scary. However, Super
Roots 6 is a really good album; it has 18 tracks (if I remember correctly)
that have a number as name and are mostly instrumental. It has very little in
common with Super Roots 1, though: I would say it is more rock-oriented, many
tracks being psychedelic guitar riffs. However, there are some 'tribal'
tracks, even some fake world music (pygmy chants, etc.)

As always with the Boredoms, this is a bit challenging, but if you liked Wow2
you should definitely like it. The artwork is very good, too, and there's even
the sleeve for Super Roots 7!

BTW, I have the japanese release, is it any different from the american one?
And does anybody have any info about the Boredoms signing to Blast First in
Europe? Will there be european releases of their albums, new releases ?





                                           Rank    Xerox    Research     Centre
                                           [e-mail]
                                           6  chemin  de  Maupertuis  Fax:  +33
                                           (0)4 76 61 50  99  38240   Meylan  -
                                           France Phone:  [phone]





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

From: Bob Kowalski <[e-mail]>
Subject: Ribot / Film Works / Naked City / Frith / Space in my
Date: 30 Apr 1997 16:14:37 -0500

A few random thoughts, responses and questions :
For those looking for more work by Mr. Ribot I would recommend Evan
Lurie's first album "Selling Water by the Shore" (I think thats the title) as
well as Sam Phillips wonderful "Omnipop."  The Tom Waits / Lounge
Lizards & even the Elvis Costello contributions are all excellent as well.
And a thumbs up for "Shoe String Symphonies."
The new Filmworks IV is great and the new Naked City boxed set
decently priced (almost a 2 for 1 at the local shops.)  I'm looking forward
to finding the new Fred Frith film series disc.  Has anyone a good (or
bad) word for it?
Have y'all heard the Bill Frisell / Elvis Costello live disc?  Its an import
recorded maybe a couple of years ago and they do maybe six tunes
(mostly Elvis C songs) with a quiet guitar and a whispering vocal.  Yet
another great album.
Where do people put all the CDS that seem to proliferate endlessly?
Suppose there could be worse problems to debate in life.
Phew ~  Chow for now.
Bob
Somerville, MA