ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/zorn-list/archive/zorn-list.9710

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From: [e-mail]
Subject: Hidden picture in Duras:Duchamp
Date: 30 Oct 1997 21:59:40 +0000

Hi,

I just bought Duras:Duchamp today and enjoying it as well, when I saw
behind the CD holder some colours. I removed the holder to find a
picture of a naked woman (possibly dead) lying on the ground with a
candle in her hand. Just sharing info.

Jeremy
Harry
CUSTOM T-CLUB
[e-mail]
1-888-TEE-CLUB (1-888-533-2582)
Tel:[phone]  Fax: [phone]
980 Alness St., Unit #30,
Toronto, Ontario, Canada.
M3J 2S2



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From: Christopher Hamilton <[e-mail]>
Subject: Re: Zorn and Hip Hop
Date: 01 Oct 1997 02:01:26 -0400 (EDT)



On Tue, 30 Sep 1997, Herb Levy wrote:

> Zorn did include rap turntable artist Whiz Kid in one of the Locus Solus
> trios, but that seems to be the most recent (& so far only) collaboration
> with a performer from that end of the music business.

Not quite.  Zorn plays game calls on Joe Piscopo's 1985 "Honeymooners
Rap", which also features scratching by DST (now DXT) of "Rockit" fame.  I
trust both gentlemen were paid well for their time.

Chris Hamilton




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

From: Stephane Vuilleumier <[e-mail]>
Subject: Re: Zorn and Hip Hop
Date: 01 Oct 1997 08:31:36 +0200

>On Tue, 30 Sep 1997, Herb Levy wrote:
>
>> Zorn did include rap turntable artist Whiz Kid in one of the Locus Solus
>> trios, but that seems to be the most recent (& so far only) collaboration
>> with a performer from that end of the music business.
>
>Not quite.  Zorn plays game calls on Joe Piscopo's 1985 "Honeymooners
>Rap", which also features scratching by DST (now DXT) of "Rockit" fame.  I
>trust both gentlemen were paid well for their time.
>
>Chris Hamilton

And which Eddie Murphy is it on vocals?

029 - NEW JERSEY: Joe Piscopo

    2/ Honeymooners Rap                         (Schuckett, Willner)     3:58
    7/ Fat Boy                                  (T. Adams)               2:08

    Recorded at Power Station, New york

  Joe Piscopo: voice; Eddie Murphy: voice (2); Ralph Schuckett: keyboards;
  Lloyd Landesman: keyboards; Ira Siegel: guitar; John Siegler: bass; Anton
  Fig: drums; Jimmy Bralower: drum machine programming (2); D.S.T.: turnta-
  bles, digital sampler (2); John Zorn: game calls; The Uptown Horns (2);
  Terry Adams: background vocals (7), Hal Willner: background vocals (7).






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From: BJOERN <[e-mail]>
Subject: David Garland: Control Songs
Date: 01 Oct 1997 09:05:39 +0200 (MESZ)

well for any of you who do not know: David Garland`s record "Control
Songs" (zorn discog. #045) has been rereleased on CD on the German label
No Man`s land. John Zorn plays on track #6.....the CD reissue has some
bonus tracks...anyway i heard some of it and thought this was amazing

it can be ordered here in Germany from:
Gerhard Busse
Strassmannstr. 33
10249 Berlin
GERMANY

BJOERN



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

From: "Julian" <[e-mail]>
Subject: formal training
Date: 01 Oct 1997 20:11:14 +1000

Does anyone know what formal musical training John Zorn has had?



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: David Garland: Control Songs
Date: 01 Oct 1997 08:23:19 -0700


On Wed, 1 Oct 1997 09:05:39 +0200 (MESZ)  BJOERN wrote:
>
> well for any of you who do not know: David Garland`s record "Control
> Songs" (zorn discog. #045) has been rereleased on CD on the German label
> No Man`s land. John Zorn plays on track #6.....the CD reissue has some
> bonus tracks...anyway i heard some of it and thought this was amazing

That's a wonderful news!!!!! The songs have all this little twist which
makes them really interesting. Furthermore, the record is really enjoyable
(meaning that there is a non-zero risk that some of your friends might
like it :-).

    Patrice (who is longing for more Garland)




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

From: [e-mail]
Subject: Re: formal training
Date: 01 Oct 1997 11:04:13 -0500 (CDT)

They're listed in the liner notes of Redbird.  I forget them at the
moment, however.

On Wed, 1 Oct 1997, Julian wrote:

> Does anyone know what formal musical training John Zorn has had?
>
>




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

From: [e-mail]
Subject: Question...
Date: 01 Oct 1997 13:23:44 -0300 (GMT-0300)

Hi zorlisters:
    Anyone have some information of the old "No New York",
any information?.
    Thanks.

--Pablo.



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: formal training
Date: 01 Oct 1997 09:36:42 -0700


On Wed, 1 Oct 1997 20:11:14 +1000  "Julian" wrote:
>
> Does anyone know what formal musical training John Zorn has had?


His first intrument was piano. At the age of 10, he switched to guitar and
flute. At 14 he studied composition at the U.N. School in Manhattan with
Leonardo Balada (Argentine-born classical composer). At that time he was
mainly listening to contemporary classical music (Kagel, Ives, etc). At 16 he
discovered John Cage, and that sparked his interest in aleatory and improvi-
sed forms.

1971-1973 (1.5 years): he studied at the Webster College in Saint Louis under
Kendall Stallings.

It is at Webster that his interest for jazz started. It is there that he
discovered jazz music (the Black Artist Group). After listening to JCOA (or
FOR ALTO), he decides to learn alto saxophone.

At that time (1971) Oliver Lake was teaching at the Webster College, and many
great musicians, like Luther Thomas, were hanging around. The Black Arts
Group (BAG) and the Association for Advancement of Creative Musicians (AACM)
were instrumental in turning Zorn to jazz music. One of the reasons being
the energy they were dealing with and their concern for structures. After
listening to FOR ALTO (Anthony Braxton), he adopts the alto saxophone. Under
the influence of Steve Lacy, he will practice the soprano, but after two
years he will go back to alto definitely.

    Patrice.



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

From: [e-mail]
Subject: Ornette's keyboardist Dave Bryant...gig this Sunday
Date: 01 Oct 1997 12:45:57 -0400 (EDT)

Hey yallz!

     For those of you Ornette fans, this might be of particular interest:
an organization that I'm pleased to work with, the Boston Creative Music
Alliance, is hosting a gig for Dave Bryant, Prime Time's keyboardist. Wish
I could see it myself, but my free-improv group Saturnalia will play the
Knitting Factory in NYC (9pm) that night joined by Rain House (long-time
Living Theatre member) and improvisor extrodanaire Ed Chang.  So if ya live
in NYC and wanna see another really kewl show....you know. We also
perform a film soundtrack ("The Way Things Go") this Saturday Oct. 4th
at the Institute for Contemporary Art in Boston, noon and 2pm, FREE!

Sunday, October 5. The Dave Bryant Quintet featuring
George Garzone. The concert debut of a dynamic harmolodic quintet led
by the keyboardist for Ornette Coleman and Prime Time. The band features
saxophonist George Garzone, bassist John Turner, and drummers Chris
Bowmanand Bob Gullotti.  This and all BCMA concerts will begin at 8pm.
Tickets for the Boston Series are $10. Tickets for all other concerts are
$15.
Tickets are available in advance at Twisted Village, 12 Elliot St.,
Cambridge.
[phone]. For further information call the BCMA [phone].

The Boston Creative Music Alliance, winner of a 1997 Best of Boston Award
for its New Histories music series at the ICA (which included John Zorn's
Masada, Henry Threadgill, The Far East Side Band, etc.) is also pleased to
announce an
expanded season of programming in a new venue, including a special monthly
series featuring Boston-area performers, as well as concerts by Marty Ehrlich

and the Dark Woods Ensemble (November 1), the Equal Interest trio, (November
7th, featuring Joseph Jarman, Leroy Jenkins, and Myra Melford),  Kobold
(November 13), and the Dave Douglas Sextet (December 3rd).

All concerts will take place at the Dante Alighieri Society Cultural Center
at 41 Hampshire St., Cambridge. Conveniently located at the corner of
Hampshire and Portland St., near the Kendall Square cinema complex and the
pubs and restaurants at One Kendall Square, the Center seats more than 200
in an intimate performance space designed by world-renowned architect,
Pietro Belluschi. Only a five minute walk from the Kendall Square stop on
the Red Line, the Dante also had free parking in its adjoining lot.






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

From: [e-mail]
Subject: Ornette's keyboardist Dave Bryant...gig this Sunday
Date: 01 Oct 1997 12:47:57 -0400 (EDT)

Hey yallz!

     For those of you Ornette fans, this might be of particular interest:
an organization that I'm pleased to work with, the Boston Creative Music
Alliance, is hosting a gig for Dave Bryant, Prime Time's keyboardist. Wish
I could see it myself, but my free-improv group Saturnalia will play the
Knitting Factory in NYC (9pm) that night joined by Rain House (long-time
Living Theatre member) and improvisor extrodanaire Ed Chang.  So if ya live
in NYC and wanna see another really kewl show....you know. We also
perform a film soundtrack ("The Way Things Go") this Saturday Oct. 4th
at the Institute for Contemporary Art in Boston, noon and 2pm, FREE!

Sunday, October 5. The Dave Bryant Quintet featuring
George Garzone. The concert debut of a dynamic harmolodic quintet led
by the keyboardist for Ornette Coleman and Prime Time. The band features
saxophonist George Garzone, bassist John Turner, and drummers Chris
Bowmanand Bob Gullotti.  This and all BCMA concerts will begin at 8pm.
Tickets for the Boston Series are $10. Tickets for all other concerts are
$15.
Tickets are available in advance at Twisted Village, 12 Elliot St.,
Cambridge.
[phone]. For further information call the BCMA [phone].

The Boston Creative Music Alliance, winner of a 1997 Best of Boston Award
for its New Histories music series at the ICA (which included John Zorn's
Masada, Henry Threadgill, The Far East Side Band, etc.) is also pleased to
announce an
expanded season of programming in a new venue, including a special monthly
series featuring Boston-area performers, as well as concerts by Marty Ehrlich

and the Dark Woods Ensemble (November 1), the Equal Interest trio, (November
7th, featuring Joseph Jarman, Leroy Jenkins, and Myra Melford),  Kobold
(November 13), and the Dave Douglas Sextet (December 3rd).

All concerts will take place at the Dante Alighieri Society Cultural Center
at 41 Hampshire St., Cambridge. Conveniently located at the corner of
Hampshire and Portland St., near the Kendall Square cinema complex and the
pubs and restaurants at One Kendall Square, the Center seats more than 200
in an intimate performance space designed by world-renowned architect,
Pietro Belluschi. Only a five minute walk from the Kendall Square stop on
the Red Line, the Dante also had free parking in its adjoining lot.






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

From: Bob Boster <[e-mail]>
Subject: Re: Philip Gelb - Purple Wind (fwd)
Date: 01 Oct 1997 09:57:02 -0700 (PDT)




As both a zorn-list reader and a friend and collaborator  of Phil's I took
the opportunity to mention to him that he hade been plugged recently.  He
asked me to forward  a bit more info to the list.

Purple Wind is excellent and I highly recommend it, expecially for folks
interested in the places where traditional musics interface with
improvisation and/or where electronics interface with improvisation.  AS
the previous reviewer mentioned, both are present on Phil's disk, and to
good effect.

Phil's a recent transplant to the SF Bay Area and we've roped him into
curating the december installment of the Cultural Labyrinth series
(December 20 @ 2779 - formerly komotion, mail [e-mail] for
details)  He'll be leading an ensemble scoring a film during the show...

I've CCed him on this post, so you can contact him directly for more
information about other appearances and/or future releases.

---------- Forwarded message ----------

Not sure why my music is being spoken of on a zorn list but i do appreciate
the review!!

The other musicians on Pruple WInd (in case anyone was interested) are:
Miya Masaoka- koto
Gino Robair- percussion
Dana Reason - piano
Shaking Ray Levis - synth, percussion.

phil






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

From: [e-mail]
Subject: Re:  formal training
Date: 01 Oct 1997 11:01:07 -0400 (EDT)

John Zorn was a student at Webster College (now University) in St. Louis for
a couple semesters around 1972.  Oliver Lake and Hamiet Bluiett were working
in St. Louis in that period and I expect he was exposed to their music.





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

From: [e-mail]
Subject: Game pieces
Date: 01 Oct 1997 21:19:37 UT

Does anyone have a) a list of all the game pieces Zorn has written, b) what the
concepts and/or mechanics are behind them and c) where I can find some scores?

Or for that matter, any of his scores?

I know they must exist.  Does he publish with any music companies?



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

From: [e-mail]
Subject: Dangerous ground
Date: 01 Oct 1997 21:28:12 UT

All right, I know I'm on dangerous ground here, but...

My friends and I used to gather in the studio of a local radio station and make
noise, noise, noise.  We'd bring every instrument and item we could get our
hands on.  At one point, we even played against a recording of Zorn's
Strategies, so it sounded like he was in the room with us.  (Actually, that was
pretty damn neat. It sounds really cool.)  In any case, the free-wheeling stuff
we did does not sound that different than the structurally 'composed' Parachute
stuff on the box set I just purchased.  Admittedly, I think we were advanced in
the stuff we were doing, because we had already talked about how people don't
have to play all the time, etc etc, so we got a good mixture of dynamics and
sound qualities.

Dont' get me wrong, I really enjoy listening to the set.   It, uh, helps me
unwind, believe it or not.

I guess my question is, was it worth it?  Was it necessary?  Does having these
'games' really make a difference in the final musical output?  Can anyone else
comment?

My background pretty much stops at Zorn, too.  Some may say it's criminal, but I
have no real background in Parker, Bailey, Braxton, Chadbourne, etc.  I'm
wondering if maybe that's the problem, like, it's a step in the development of
improv that I'm seeing and not knowing the context, I might not see how radical
it is.

Any comments?



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

From: Tom Pratt <[e-mail]>
Subject: Gysi/tuba
Date: 01 Oct 1997 20:32:51 -0400

Does anyone here know what instrument a guy named Wadi Gysi plays. I've
discovered that he has a duo album out on Intakt with Hans Reichel who I
recently discovered and love. This album just might be of interest to
me. Any info is appreciated!

If anyone out there plays tuba, you need to go find Melvyn Poore's solo
tuba experiment's on Georg Graewe's Random Acoustics label. The album is
called 'Groundwork' and is all solo tuba compositions and improvisations
with assorted stereo delay, tape and live electronics systems. I just
got it and completely love it!

            -Tom Pratt



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

From: "Julian" <[e-mail]>
Subject: school
Date: 02 Oct 1997 12:14:53 +1000

anyone know why School didn't turn up on the Parachute Years?



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

From: "Jascha W. Narveson" <[e-mail]>
Subject: Re: Dangerous ground
Date: 01 Oct 1997 22:38:32 -0400 (EDT)

> All right, I know I'm on dangerous ground here, but...
>
> My friends and I used to gather in the studio of a local radio station and make
> noise, noise, noise.  We'd bring every instrument and item we could get our
<snip>
> I guess my question is, was it worth it?  Was it necessary?  Does having these
> 'games' really make a difference in the final musical output?  Can anyone else
> comment?
<snip>
> My background pretty much stops at Zorn, too.  Some may say it's criminal, but I
> have no real background in Parker, Bailey, Braxton, Chadbourne, etc.  I'm
> wondering if maybe that's the problem, like, it's a step in the development of
> improv that I'm seeing and not knowing the context, I might not see how radical
> it is.

hm!  I've done stuff like this as well and it seemed to work fine.  I
prepare to duck for cover as i say this, but i believe that this kind of
textural noisey stuff isn't really that challenging to play.  It still
takes quite alot of imagination, and, most importantly, *soul*, but no
theory or 'chops' or knowledge of how conventional music works at all.
This isn't to say it's not worthwhile, but it is to say that perhaps is
not the mysterious, inaccessible art form which, say, jazz piano is to
most, or Tabla playing...  And there's definitely the potential to do it
really badly (i've heard it done badly, sometimes by me), but to aware,
imaginative folks with noise-makers, the very real possibility of doing
interesting things with sound exists, even if they can't improvise a jazz
chord progression in twelve different keys.  I see this as a very good
thing.

-jascha





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From: "Jascha W. Narveson" <[e-mail]>
Subject: Re: school
Date: 01 Oct 1997 22:40:56 -0400 (EDT)


> anyone know why School didn't turn up on the Parachute Years?

"School"=game piece ----> school=game (according to Zorn anyway)?

-jascha





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

From: Christopher Hamilton <[e-mail]>
Subject: Re: school
Date: 01 Oct 1997 23:07:08 -0400 (EDT)



On Thu, 2 Oct 1997, Julian wrote:

> anyone know why School didn't turn up on the Parachute Years?

Probably because it's a Chadbourne composition.

Chris Hamilton




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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Dangerous ground
Date: 01 Oct 1997 23:05:42 -0400 (EDT)



On Wed, 1 Oct 1997 [e-mail] wrote:

> I guess my question is, was it worth it?  Was it necessary?  Does having these
> 'games' really make a difference in the final musical output?  Can anyone else
> comment?

Interesting questions, Peter.  First off, sometimes the games pretty
clearly make a difference in the way a piece sounds.  On the Parachute
box, this is clearest with "Hockey".  You'll notice that each performance
has a similar back-and-forth quality not shared by performances of other
pieces on th box.  Now, that's not to say that three musicians couldn't
have created the same noises without a game to guide them.  But this game
obviously leads them to make sounds within certain parameters.

     Second, the games seem to impose a Zornian sense of
structure on the players.  The majority of the performances involve the
kind of quick changes from one sound-event to another that Zorn favored in
the early part of his career.  It doesn't seem likely that all of these
musicians would have played that way outside of a game which
required/encouraged them to do so.

     Third, the game structure makes it easier for large ensembles, like
the one which performs "Archery", to improvise without the music becoming
overly cluttered.  While it's certainly possible for restrained players to
achieve this without some preconceived structure, such a structure is
certainly helpful.

     Fourth, it may not be so important that a game piece performance and
a totally free improvisation sound that different.  As Zorn writes in
the liner notes to _Pool_, "My concern is not so much with how things
SOUND, as with how things WORK."  It's certainly
a totally different experience as a performer, and it leads musicians to
think about what they're playing in a different way.  I can probably
expand on this point if people want to discuss it further.

> My background pretty much stops at Zorn, too.  Some may say it's criminal, but I
> have no real background in Parker, Bailey, Braxton, Chadbourne, etc.

That's criminal.  I'm calling the improv police.

>  I'm
> wondering if maybe that's the problem, like, it's a step in the development of
> improv that I'm seeing and not knowing the context, I might not see how radical
> it is.

Possibly.  It might be helpful to be familiar with other approaches to
structuring free music.  If you're interested in contrasting Zorn's
approach with others, you might check out Sun Ra's _The Magic City_,
Stockhausen's _Aus den sieben Tage_, and the London Jazz Composer's
Orchestra's _Ode_ strike me as some important earlier attempts to
structure free playing around something other than heads or modes without
just letting it all hang out.  And you might check out Butch Morris's
slightly later conduction pieces, such as _Current Trends in Racism in
Modern America_, for yet another take.

     Something that I've been thinking about lately is that the game-piece
approach in some ways loses much of what's most interesting about free
improvisation.  (Before I'm torn to bits, let me point out that I
really love this aspect of Zorn's work.  It sounds great, and on a certain
level, that's all that counts.)  The approach seems to be based on the
idea that what's important about free players is that they create very
unique sound-events, but it seems to me that much of the best free music
gets at least as much of its power from the novel stuctures which emerge
out of collective improvisation.  By imposing a metalogic on an
improvisation, Zorn keeps his musicians from doing one of the things
they're best at.  (Which is not to say that playing a game-piece does not
provide useful experience for improvisors.)

Chris Hamilton





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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Dangerous ground
Date: 01 Oct 1997 23:18:39 -0400 (EDT)



On Wed, 1 Oct 1997, Jascha W. Narveson wrote:

> i believe that this kind of
> textural noisey stuff isn't really that challenging to play.  It still
> takes quite alot of imagination, and, most importantly, *soul*, but no
> theory or 'chops' or knowledge of how conventional music works at all.

In some ways, this makes it more challenging.  There's nothing to fall
back on.  Of course, you can bullshit an audience sometimes.  But _you_
know when you've fucked up.  The vast majority of musicians in the history
of the world have done quite well without music theory.  I think it's also
misleading to say that it doesn't require chops.  If you're playing music,
you're using technique to do it.  Your technique is good if you can get
the sounds you want.  I do agree that this kind of music is open to
musicians with narrower technique than is required to play, say, bebop
piano, and in that sense it's more accessible.  However, its resistance to
theory makes it more mysterious in a way.

Chris Hamilton




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

From: "allen huotari" <[e-mail]>
Subject: RE: Gysi/tuba
Date: 01 Oct 1997 20:18:54 UT

Wadi Gysi is a guitarist

curious listeners are urged to investigate a recording on ReR entitled
"Vanishing Point" by the (EC) Nudes who are comprised of Wadi Gysi, Amy Denio,
and Chris Cutler. Not improv but "energetic and fun punk/folk/jazz/art-rock"
(to quote the Wayside catalogue) and "wow!" (to quote the Ponk catalogue)
actually fans of the Curlew/Amy Denio recording "Beautiful Western Saddle"
should want this disc also

another tuba recording of note is also on ReR and is entitled "Tuba Intim" by
Michael Vogt "a must for serious tuna lovers" (Ponk)

(and no I'm not on the Wayside or Ponk payroll)

tuba is also a prominently tasty feature of Henry Threadgill's Very Very
Circus recordings as well as a new one by the trio of Godard/Tadic/Nauseef
entitled "Loose Wires"

----------
Sent:     Thursday, October 02, 1997 1:32 AM

Does anyone here know what instrument a guy named Wadi Gysi plays. I've
discovered that he has a duo album out on Intakt with Hans Reichel who I
recently discovered and love. This album just might be of interest to
me. Any info is appreciated!

If anyone out there plays tuba, you need to go find Melvyn Poore's solo
tuba experiment's on Georg Graewe's Random Acoustics label. The album is
called 'Groundwork' and is all solo tuba compositions and improvisations
with assorted stereo delay, tape and live electronics systems. I just
got it and completely love it!

            -Tom Pratt







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

From: Todd Bramy <[e-mail]>
Subject: parachute box
Date: 01 Oct 1997 23:41:56 -0800

Well, it's described in our house as my early Christmas gift from my wife,
but I call it a yummy tub o'fun. It's the Parachute Years...finally...here
in my home.

Okay, enough drama. I got the set today and will be spending the next
several days giving some close scrutiny. All I've heard is about the first
half of the Lacrosse disc (and some skipping around), and I have to say
that I thought it was great.

I was a tad nervous, I must say, after some of the previews here on the
list. I got the impression that it was going to be extremely challenging
listening. It is. I also got the impression it was a rather aimless period
musically. I found this was not the case. The improvs are bold with plenty
of left over phrasing.

After looking through the notes, I too wonder...why no "School"?


Todd Bramy
[e-mail]





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

From: Stephane Vuilleumier <[e-mail]>
Subject: Re: Gysi
Date: 02 Oct 1997 08:49:40 +0200

I can give further details on the following records and quote all players
if anybody's offended but in essence Wadi Gysi plays guitar and
often other effects in "swiss german" groups like PALE NUDES / EC NUDES
(Denio, Cutler,ReR), BLAUER HIRSCH (with Werner Ludi, Unit), DIE HAND
(Peter Hollinger, Unit), Marco Kaeppeli connection (Plainisphere,
w/Nicolai, Koch,Schuetz), a unit compilation called 10 WIM Pern
(Unit)...There was also a group called Nuage du Courage (LP, Unit, 1987)
with Mich Gerber and Marc Jundt, which I
still listen to a lot.
BTW a catalogue of all this swiss label stuff (in english, german or
french) called Neighbours/Nachbarn/Voisins can be obtained from VIMS, the
association
of swiss improv musicians, at the following email address:
[e-mail]

Stephane

At 20:32 01.10.97 -0400, Tom Pratt wrote:
>Does anyone here know what instrument a guy named Wadi Gysi plays. I've
>discovered that he has a duo album out on Intakt with Hans Reichel who I
>recently discovered and love. This album just might be of interest to
>me. Any info is appreciated!
>




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

From: [e-mail] (Geoff S Gersh)
Subject: Straylight @ the Knit
Date: 02 Oct 1997 03:09:22 -0400

The ambient/world music imrpov. trio, Straylight, will be appearing at
the Knitting Factory Saturday Oct. 4th at 11pm in The Alterknit.

Features:

    Charles Cohen - analog Buchla Sound Easel
    Jason Finkelman - African/Brazilian & found percussion
    and yours truely on electric guitar






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

From: Mason Wendell <[e-mail]>
Subject: Sigmoid Flexure at the Knit- reminder
Date: 02 Oct 1997 09:11:45 -0400

Ohaiyo Gozaimasu folks,


Just sending out a little reminder about the rip-roarin' Sigmoid show at
the Knitting Factory. VERY IMPORTANT!!!  Please note the new set time. I
wouldn't want any of y'all to fly in  to the only to have to wait two
hours to get in.


Mon 10/6 11:00 PM (not 9:00) - Sigmoid Flexure

     Knitting Factory's Alterknit Theater

     74 Leonard St, NYC   w/ Spooky Actions


Sigmoid Flexure, Mason from Blinder and Prelapse's free improvisation
group, will play the Knitting Factory on Oct 6th. The sound is most
quickly described as Loud Free Improv. If you'd like a more detailed
description...  "Mixing equal parts free jazz and punk rock, Sigmoid
Flexure finds a home between the walls of chaotic ambiance, hard-core
composition, and spoken text rivers" I promise a great show. Come on
down!


Megan Gass - vocals, effects (from Blinder)

Emily Weber - tenor sax (from Ever Since Day One)

Chris Lavender - vibraphone

Dane Johnson - fretless guitar (from Prelapse)

Mason Wendell - fretless bass (from Blinder and Prelapse)

Rohin Khemani - drums



Hope to see you in NYC!

Mason

<bold>



</bold>

                        Mason Wendell

    Blinder- http://www.tiac.net/users/prelapse/blinder.html

               Sigmoid Flexure- Loud Free Improv

Prelapse- the music of Naked City and new music for loud ensemble

              Freelance Computer Music Copying



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

From: Brent Burton <[e-mail]>
Subject: Re: Dangerous ground
Date: 02 Oct 1997 11:07:01 -0400 (EDT)

On Wed, 1 Oct 1997, Jascha W. Narveson wrote:

> hm!  I've done stuff like this as well and it seemed to work fine.  I
> prepare to duck for cover as i say this, but i believe that this kind of
> textural noisey stuff isn't really that challenging to play.  It still
> takes quite alot of imagination, and, most importantly, *soul*, but no
> theory or 'chops' or knowledge of how conventional music works at all.

Sorry to be the curmudgeon, but there's a *big* difference between a
bunch of guys having fun with "textured noise" and working musicians
(Spontaneous Music Ensemble or Cobra or...) who have not only devoted
a large chunk of their lives to making improvised music, but also
(especially in the case of someone like Derek Bailey) spend a great deal
of each day practicing for these settings.  Yours is similar to the
old argument that someone's child could've painted a Picasso.  I think
you should give these guys a little more credit.

b



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

From: "Charles Gillett" <[e-mail]>
Subject: Game pieces, etc.
Date: 02 Oct 1997 11:29:34 +0000

On Wed,  1 Oct 1997 21:19:37 UT, [e-mail] wrote:
>
> Does anyone have a) a list of all the game pieces Zorn has written,
> b) what the concepts and/or mechanics are behind them and c) where
> I can find some scores?

   I don't know anything about where scores can be found, and I don't
know much about how the games work, but I have been compiling (in a
casual way) a list of Zorn's works so I can keep track of which ones
have not yet been recorded or released.  My main sources have been the
booklet for the Book of Heads, Cole Gagne's list of works in his
"Soundpieces 2," the notes from "Zornfest," and of course Patrice's
discography.  Some of the years might be wrong (Gagne's list doesn't
match up with the one in the Book of Heads), but the games thus far:

1977 Lacrosse (for between four and seven players)
1978 Curling (for four players?)
1978 Hockey (for three players)
1979 Pool (for four players)
1979 Archery (for twelve players)
1979 Tennis (for two keyboards or two drummers)
1980 Fencing (for three of the same instrument)
1980 Jai-Alai (opera) [a game opera? this is from Gagne's list]
1981 Croquet (for sixteen players)
1981 Go! (a play of roles)
1982 Track & Field (for any number of dancers, performance
     artists, and musicians)
1983 Rugby (for five players)
1983 Darts (for five dancers and five musicians)
1983 Sebastopol (for three trios [rock, classical, and improvising])
1984 Cobra (for ten or more players)
1985 Xu Feng (for six players)
1987 Ruan Lingyu (for three narrators and eight musicians)
1987 Hu Die (for two guitars and Chinese narration)
1988 Hwang Chin-ee (for two drummers and Korean narration)
1988 Que Tran (for two keyboards and Vietnamese narration)
1989 Bezique (for nine or more players)

and on Wed,  1 Oct 1997 21:28:12 UT, he wrote:
> I guess my question is, was it worth it?  Was it necessary?  Does
> having these 'games' really make a difference in the final musical
> output?  Can anyone else comment?

   The actual sound of a game piece is bound to share some
characteristics with that of a free improv by the same players.
However, the games force the players to concentrate on aspects of
playing and listening that they might ordinarily not consider.  They'll
still make that farting noise, but their reason for doing so will be
different.  This is somewhat like using Tarot cards--the cards don't
control anything by themselves, and your average rational person won't
agree that cosmic forces are guiding the cards, but the laying out of
the spread makes you consider aspects of your life that you may have
been ignoring, and thus focuses your meditation.  So the games focus
improvisation.  Very relevant here is Zorn's quote from Pool: "My
concern is not so much with how things SOUND, as with how things WORK."


-- Charles




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

From: [e-mail]
Subject: Re: Dangerous ground
Date: 02 Oct 1997 12:45:16 -0400 (EDT)

In a message dated 97-10-01 17:35:57 EDT, you write:

<< My friends and I used to gather in the studio of a local radio station and
make
 noise, noise, noise.  We'd bring every instrument and item we could get our
 hands on.  At one point, we even played against a recording of Zorn's
 Strategies, so it sounded like he was in the room with us.  (Actually, that
was
 pretty damn neat. It sounds really cool.)  In any case, the free-wheeling
stuff
 we did does not sound that different than the structurally 'composed'
Parachute
 stuff on the box set I just purchased.  Admittedly, I think we were advanced
in
 the stuff we were doing, because we had already talked about how people
don't
 have to play all the time, etc etc, so we got a good mixture of dynamics and
 sound qualities. >>

<< I guess my question is, was it worth it?  Was it necessary?  Does having
these
'games' really make a difference in the final musical output?  Can anyone
else
comment? >>

Hi all- first time poster after a week of lurking...

The free "jam" is the heartbeat of the improv movement.  After continual
meetings with musicians, you get to know what each musician does, feels,
loves, hates.  With no chart in front of you to dictate direction, each
musician is free to express himself alone, in duo, or with a group.  You can
choose to put down the horn and listen.  You can pick up the drumstick and
tap the bell of your horn.  You can read aloud from the book sitting on the
table next to you.  You can turn on the radio and play the Top 40 junk on
that FM station you absolutely hate.  It is structured anarchy.  It is
insanity crushing the structure.  It is the truest of expression that one can
share with their comrades while contributing to the whole.  It is freedom in
the truest sense.

Is it necessary?  Most definitely.  Is it "dangerous ground" to say that your
music is of an equal to Zorn's or any other musicians free jazz recordings?
 Absolutely not.  As far as i'm concerned, brilliance can be found anywhere
you look, you just don't always recognize it.

Hope this made sense.

=dgasque=



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

From: "David Brunelle" <[e-mail]>
Subject: Bernard Zekri
Date: 02 Oct 1997 10:48:21 PDT

Can someone tell me who Bernard Zekri is? I've seen his name as
co-writer on a lot of the old Celluloid singles, and more recently on
the APC Tracks discs. I was curious to know what he plays, and what else
he has done aside from these albums. Thanks in advance.

Dave
[e-mail]

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com



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

From: [e-mail]
Subject: Re: Dangerous ground
Date: 02 Oct 1997 14:03:55 -0400 (EDT)

In a message dated 97-10-02 11:10:26 EDT, you write:

<< Sorry to be the curmudgeon, but there's a *big* difference between a
 bunch of guys having fun with "textured noise" and working musicians
 (Spontaneous Music Ensemble or Cobra or...) who have not only devoted
 a large chunk of their lives to making improvised music, but also
 (especially in the case of someone like Derek Bailey) spend a great deal
 of each day practicing for these settings.  Yours is similar to the
 old argument that someone's child could've painted a Picasso.  I think
 you should give these guys a little more credit. >>

I've heard bad music by "working musicians" too.  I've heard good music by
weekend warriors.  Have you heard anything by Mr. Narveson to back up your
criticisim?

=dgasque=



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

From: john shiurba <[e-mail]>
Subject: Re: school
Date: 02 Oct 1997 13:57:17 -0700

> > anyone know why School didn't turn up on the Parachute Years?
>
> Probably because it's a Chadbourne composition.

actually, "School" is the title of the double lp split between Zorn and
Chadbourne. There's no piece on the record called "School" by either JZ or
EC. The contents of Zorn's half of the record are featured on the Parachute
box set-- "Lacrosse" (takes 3, 4 & 6) along with 3 other takes recorded at
the same time and one earlier version by Twins. Unfortunately the contents
of Chadbourne's half of the lp are not included, perhaps they're being saved
for the Eugene Chadbourne Parachute Years boxset...
--



[e-mail]

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



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

From: Herb Levy <[e-mail]>
Subject: Re school
Date: 02 Oct 1997 15:48:06 -0800

Chris Hamilton wrote:

>On Thu, 2 Oct 1997, Julian wrote:
>
>> anyone know why School didn't turn up on the Parachute Years?
>
>Probably because it's a Chadbourne composition.
>
>Chris Hamilton

Actually, it's not a composition by anyone, it's the title of the two disc
set on Parachute that included the original release of three takes of
Lacrosse on one disc.

The other disc contains mainly Chadbourne compositions from 1977-78,
several of which are recorded by groups which include Zorn (including a
couple of pieces by the Twins band that's also heard on the Parachute
years), as well as an improvised duet by Chadbourne & Zorn & a lovely solo
guitar version of Ellington's Solitude by Chadbourne.

Obviously the Parachute Years documents only Zorn's compositions from those
releases.  I'd like to have heard some of the previously unrecorded (or
unreleased) game pieces.  Oh well.



Herb Levy
[e-mail]





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

From: "Tim Schelfhout" <[e-mail]>
Subject: Zorn Spirit ?
Date: 02 Oct 1997 17:03:38 PDT

Hi Zorners,

Just got back from a free improv gig in Leuven (Belgium) featuring
Zeena Parkins, David Shea, Jim O'rourke, Toshinoro Kondo, DJ Low, etc..
I gotta tell ya, It was fockin' great!!  The way those ╡zics handle
their instruments is to obtain a friggin ╡sical orgasm. It woz as if
ZOrn led them by the hand.  As if he ever could do that ?

Anyone interested, they will continue performing FREE ?!* for the next
4 days at 't Stuc in Leuven (Belgium; for those who are American
minded).

Check it out!

P?S? : Does anyone know when Zorn will be in Belgium, again?  (Or am
I the only Zornboy in Belgium on tha net?)

Timpy

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Zorn Spirit ?
Date: 02 Oct 1997 21:04:29 -0400 (EDT)



On Thu, 2 Oct 1997, Tim Schelfhout wrote:

> Just got back from a free improv gig in Leuven (Belgium) featuring
> Zeena Parkins, David Shea, Jim O'rourke, Toshinoro Kondo, DJ Low, etc..

Sounds great!  Was O'Rourke playing guitar?  I'd heard a rumor he was
giving it up.

Chris Hamilton

(By the way, all, sorry for the fuckup regarding _School_.  I realized my
mistake about three minutes after hitting send, and decided to just hope
no one would read the message.  Mea culpa, mea culpa...)




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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Zorn Spirit ?
Date: 03 Oct 1997 00:42:20 -0400 (EDT)



On Thu, 2 Oct 1997, Christopher Hamilton wrote:

> Sounds great!  Was O'Rourke playing guitar?  I'd heard a rumor he was
> giving it up.

A speedy (private) response from another list member makes me think I
should stress this was a rumor with a capital R.  I don't put much
credence in it, but it made me wonder if O'Rourke was playing guitar or
something else.

Chris





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

From: [e-mail]
Subject: Re: Dangerous Ground
Date: 03 Oct 1997 13:29:05 UT

Brent Burton
> Sorry to be the curmudgeon, but there's a *big* difference between a
> bunch of guys having fun with "textured noise" and working musicians
> (Spontaneous Music Ensemble or Cobra or...) who have not only devoted
> a large chunk of their lives to making improvised music, but also
> (especially in the case of someone like Derek Bailey) spend a great deal
> of each day practicing for these settings.  Yours is similar to the
> old argument that someone's child could've painted a Picasso.  I think
> you should give these guys a little more credit.

Ya, I agree that you are being a bit of a curmudgeon.
First off, there's been a ton of Cobra performances by people who *haven't*
spent most of their lives making improv music.  You know?  I think I could paint
like Pollack.  No, I don't think my kid could paint like Pollack.  His isn't
just spilled paint, it's texture and structure and color choices, etc.  So, with
some practice, yeah, I could.  And with more practice, so could my kid.
(Pollack was a child once.)  In any case, I wasn't challenging the music or
saying it was easier to play.  I was saying does it make a difference if the
downtown set uses a game piece or not?  Because when I've jammed without
structure, the results sound similar.

On recollection, we were in fact imposing structure.  The very basics.  Not
just, make any noise you want, because that's boring.  The key that I think most
people forget is that you are playing music as an ensemble.  And I think that
other person (name forgotten) was right, that the game piece helps you
concentrate on that.  It was always very important for us to listen to what was
going on and play together.  And I think that's were we made the difference.

Back to using that Zorn record, that worked great, because we focused on playing
with the record and responding to what he was doing.  It concentrated us.

Anyway, there's been some fabulous comments.  I'm cataloging these so I can tell
my children why this stuff is important and how its supposed to work.  Thanks.

Peter



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

From: Matthew Ross Davis <[e-mail]>
Subject: Re: Dangerous Ground
Date: 03 Oct 1997 09:29:27 -0400 (EDT)

Well, I think Picasso is a bad example for this analogy (especially after
having seen the exhibit of early works (blue period, etc) at the National
Gallery...WOW) , but I catch your drift.

However, I think there are two important things to consider when
making statements like this and arguments against statements like this.

    #1. The music
    #2. The musician

The music - without getting into messy aesthetic issues, the music has
the ability to stand on its own. Yes, putting a performance of Cobra
(e.g. a highly structured improvisation, which I don't consider 'free'
whatsoever) next to a purely 'free' improv performance may yield absolutely
no differences in what's perceived and what's planned. You may be dealing
with highly proficient musicians on the one hand and amateurs on the
other, but the musical product has the ability to be similar.

The musicians - here, you're no longer considering the music so much as
respect and admiration for a particular artist. Respect for Picasso's
painting is hightened by the fact that his earlier, more realistic and
impressionistic works were equally amazing in scope and technique. Bailey's
technique and prowess as an improvisor makes us respect and appreciate his
music on a different level, because we know something of what's behind
the music, and how it's being played. An amateur player may produce similar
sounding music which we like very much on an aesthetic level, but our
appreciation of the artist themselves may be different - we may note their
instictiveness and passion instead of their amateur technique, and leave it
at that.

On the one hand, in the end it's the Music: it's what the product is, and
it's what we come to enjoy. On the other, there's the Musician: a creative
soul that we can appreciate and respect on many different levels. The two
aren't mutually exclusive, but their weight against each other colors how
each of us individually perceive the performance and the performer.

| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
m-a-t-t-h-e-w r-o-s-s d-a-v-i-s                university of maryland
http://www.artswire.org/~mrd                          school of music
| S | O | H | C | 4 | # | 3 | 6 | 5 | | | 7 | 9 | C | B | 6 | 5 | 0 |




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

From: Alain Potvin <[e-mail]>
Subject: Naked City video (Marquee Club)
Date: 03 Oct 1997 12:04:01 -0400

Hello all


Who sing/scream with Y. Eye on Leng T'che on the Naked City video at the
marquee club?

Thanks
Alain Potvin
1296 Julien
St-Felicien
Quebec, Canada



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

From: [e-mail]
Subject: ....... about Quine
Date: 03 Oct 1997 14:34:45 -0300 (GMT-0300)

Hi,
    Ayone have any information about Robert Qine, last proyect, new
proyects?
    Txs.

-- Pablo.



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

From: [e-mail] (Nathan M Earixson)
Subject: Re: ....... about Quine
Date: 03 Oct 1997 13:35:45 -0500

Was in the Voidoids.  Worked on at least one Richard Hell solo album.
On at least two Matthew Sweet albums (with Richard Lloyd)
On some of the Filmworks.
Plays on Ikue Mori's "Painted Desert" with Marc Ribot.
and that's all I know right now.
********************************************************
"What could possibly go wrong?"
"Melville".
********************************************************

On Fri, 3 Oct 1997 14:34:45 -0300 (GMT-0300) [e-mail] writes:
>Hi,
>    Ayone have any information about Robert Qine, last proyect,
>new
>proyects?
>    Txs.
>
>-- Pablo.
>
>



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

From: Stephane Vuilleumier <[e-mail]>
Subject: Re: ....... about Quine
Date: 03 Oct 1997 21:03:54 +0200

Surely there must be a Robert Quine discog somewhere!
I for one would love to see one...

RQ also played and recorded with Lydia Lunch, Lou Reed, Fred Maher,
lately also on the Corin Curschellas record with Ikue Mori,
Christian Marclay, Marc Ribot...


On Fri, 3 Oct 1997 13:35:45 -0500
[e-mail] (Nathan M Earixson) wrote:

>Was in the Voidoids.  Worked on at least one Richard Hell solo album.
>On at least two Matthew Sweet albums (with Richard Lloyd)
>On some of the Filmworks.
>Plays on Ikue Mori's "Painted Desert" with Marc Ribot.
>and that's all I know right now.
>
>On Fri, 3 Oct 1997 14:34:45 -0300 (GMT-0300) [e-mail] wrote:
>>Hi,
>>    Ayone have any information about Robert Qine, last proyect,
>>new
>>proyects?
>>    Txs.
>>
>>-- Pablo.
>>
>>
>
>
>



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

From: Valkwitch <[e-mail]>
Subject: Re: Zorn Spirit ?
Date: 03 Oct 1997 15:38:22 -0400

Christopher Hamilton wrote:
>
> On Thu, 2 Oct 1997, Tim Schelfhout wrote:
>
> > Just got back from a free improv gig in Leuven (Belgium) featuring
> > Zeena Parkins, David Shea, Jim O'rourke, Toshinoro Kondo, DJ Low, etc..
>
> Sounds great!  Was O'Rourke playing guitar?  I'd heard a rumor he was
> giving it up.
>
> Chris Hamilton

    i think o'rourke has given up the guitar entirely, according to an
interview/article in the latest 'Option' magazine.  He says he's bored
with the instrument and wants to do compositional work, i suppose...



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

From: "David Brunelle" <[e-mail]>
Subject: Re: ....... about Quine
Date: 03 Oct 1997 12:41:06 PDT


>Surely there must be a Robert Quine discog somewhere!
>I for one would love to see one...
>
>RQ also played and recorded with Lydia Lunch, Lou Reed, Fred Maher,
>lately also on the Corin Curschellas record with Ikue Mori,
>Christian Marclay, Marc Ribot...
>
He also played on some early Material tracks.

Dave Brunelle
[e-mail]

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com



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

From: Herb Levy <[e-mail]>
Subject: Harry Smith
Date: 03 Oct 1997 14:46:22 -0800

Smithsonian Folkways has recently re-issued a great collection called
Anthology of American Folk Music, originally compiled by Harry Smith, to
whom John Zorn dedicated the naked City disc Heretics.  Zorn describes
Smith there as "Mystical Animator, Pioneer Ethnomusicologist, Hermetic
Scholar, Creator of 'Heaven + Earth Magic' one of the greatest films of all
time."

This collection contains NO music by Zorn, or any other musician usually
name checked on this list.  & not everyone on this list will find things of
interest to them in the collection.

Still, those of you with an interest in the roots of American music, as
well as the roots of how the roots of American music came to influence the
music of the present, could do much worse than looking into this collection
of 84 examples of early blues, folk, gospel, bluegrass, and other
proto-weird musics of the United States.

When this anthology was first released in the early 50s much of the music
was totally unknown, Smith's collection helped to spark a revival in
interest and performance of these areas of music that still has impact on
musicians today.  The raw energy of many of these recorded performances, as
well as Smith's vision in compiling the set, is exemplary.

The final disc of the set is an expanded CD which, in addition to more than
40 minutesd of music, includes QuickTime videos (of performers as well as
some of Smith's own experimental films), interviews, and lots more on the
music and Smith, as well.



Herb Levy
[e-mail]





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

From: Zachary <[e-mail]>
Subject: Re: ....... about Quine
Date: 03 Oct 1997 18:16:01 -0400

On Fri, 3 Oct 1997 14:34:45 -0300 (GMT-0300) [e-mail] wrote:

>>>Hi,
>>>    Ayone have any information about Robert Qine, last proyect,
>>>new
>>>proyects?

On Fri, 3 Oct 1997 13:35:45 -0500
[e-mail] (Nathan M Earixson) replied:

>>Was in the Voidoids.  Worked on at least one Richard Hell solo album.
>>On at least two Matthew Sweet albums (with Richard Lloyd)
>>On some of the Filmworks.
>>Plays on Ikue Mori's "Painted Desert" with Marc Ribot.
>>and that's all I know right now.

Then, at 09:03 PM 10/3/97 +0200, Stephane Vuilleumier wrote:

>RQ also played and recorded with Lydia Lunch, Lou Reed, Fred Maher,
>lately also on the Corin Curschellas record with Ikue Mori,
>Christian Marclay, Marc Ribot...

He also did some abrasive stuff with Jim Thirlwell in Scraping Foetus Off
The Wheel.

>Surely there must be a Robert Quine discog somewhere!
>I for one would love to see one...

Agreed...it could very well be as long as Zorn's (and just as diverse).

-Zachary
-                   _________________________
             ))              Zachary              ((
           [|**|       [e-mail]       |**|]
            |__|    "Coffee Cures Everything"    |__|



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

From: Herb Levy <[e-mail]>
Subject: Periplum CDs: Greinke/Land & Deep Listening Band/Ellen Fullman
Date: 03 Oct 1997 16:54:27 -0800

Hi folks,

I'll keep this short.

Periplum has released 2 CDs this year: one is the second release by Jeff
Greinke & Land (Dennis Rea, Lesli Dalaba, Ed Pias, George Soler, Bill Moyer
and Greg Gilmore), called Archipelago with eight group compositions &
Suspended Music, a collaboration between the Deep Listening Band (Pauline
Oliveros, Stuart Dempster, David Gamper) & Ellen Fullman & the Long String
Instrument featuring both groups playing new compositions by Oliveros &
Fullman.

I'm offering these to list members for US$14 including postage for either
disc or US$26 including postage for both.

E-mail inquiries to <[e-mail]>, checks/money orders to Periplum,
POBox 95678, Seattle, WA 98145 USA.

Forthcoming releases, out in early 98, include a CD of interactive computer
music pieces by Canadian composer Martin Bartlett & a series of songs for
voice and piano by eleven US composers including John Luther Adams, Peter
Garland, Robin Holcomb, David Mahler, Maggi Payne, Susan Stenger.  Affter
that a few surprises, including some things that may be particularly
pertinent to this list.

Bests,

Herb


Herb Levy
[e-mail]





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

From: [e-mail]
Subject: about Quine..
Date: 03 Oct 1997 20:57:50 -0300 (GMT-0300)


Txs to all.

Yes i know that quine was working with Reed Dna Lunch John Zorn and so on..

But i these year has work in some project? maybe with Zorn? Masada?

Txs again ..



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

From: stephen drury <[e-mail]>
Subject: game pieces
Date: 03 Oct 1997 21:18:58 -0400

Let me add two quick comments to Chris Hamilton's excellent discussion of
Zorn's game pieces.  First, along with music of Butch Morris and
Stockhausen's "intuitive" pieces, it's really useful to consider Zorn's game
pieces in the light of non- (or semi-)improvised "open form" compositions by
Cage, Earle Brown, Christian Wolff and the like.  A "composition" which
maintains its identity from performance to performance, even though any two
performances sound completely different from each other was very much one of
Cage's preoccupations toward the end of his life (and throughout his
career).  Works of Cage like (warning:  Plug alert) "Music Walk" will be
nearly unrecognizable from one performance to another, while performances of
works like "Fourteen" will differ only in details.

Secondly (and I suppose this is obvious, in a way), just like Beethoven or
Ellington, Zorn's game music has meanings and mechanisms that only become
apparent once you've actually performed the pieces several times.  It's not
really possible to fully communicate those meanings verbally.  His written
out music is very much the same.

-- steve drury




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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: Harry Smith
Date: 03 Oct 1997 23:20:40 -0500 (CDT)

On Fri, 3 Oct 1997, Herb Levy wrote:

> The final disc of the set is an expanded CD which, in addition to more than
> 40 minutesd of music, includes QuickTime videos (of performers as well as
> some of Smith's own experimental films), interviews, and lots more on the
> music and Smith, as well.
>
> Herb Levy
> [e-mail]

Um, I don't remember any videos of performers (just of SMith's films and a
clip of him accepting a Grammy and another clip or two of him), which is
kinda disappointing.  It does have audio interviews with some of the
performers (or their wives), but AFAIK, no videos of the performers.

cya
brian




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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Harry Smith
Date: 04 Oct 1997 00:50:53 -0400 (EDT)



On Fri, 3 Oct 1997, Herb Levy wrote:

> This collection contains NO music by Zorn, or any other musician usually
> name checked on this list.  & not everyone on this list will find things of
> interest to them in the collection.

However, Frank Cloutier and the Victoria Cafe Orchestra's "Moonshiner's
Dance Part One" is, I swear to God, what Naked City would have sounded
like in 1927.  Every few bars, somebody shouts "1-2-3-4" and the band
changes genres.

Chris Hamilton




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

From: Christopher Hamilton <[e-mail]>
Subject: Re: ....... about Quine
Date: 04 Oct 1997 00:54:35 -0400 (EDT)



On Fri, 3 Oct 1997 [e-mail] wrote:

>     Ayone have any information about Robert Qine, last proyect, new
> proyects?

Earlier this year (I think), a Richard Hell spoken word CD came out which
featured musical accompaniment by Quine.  That's the most recent thing
I've heard about.

Chris Hamilton





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

From: Richard Williams <[e-mail]>
Subject: Re: Game pieces, etc.
Date: 03 Oct 1997 09:11:22 -0500

Charles Gillett wrote:
 but the games thus far:
>
> 1977 Lacrosse (for between four and seven players)
> 1978 Curling (for four players?)
> 1978 Hockey (for three players)
> 1979 Pool (for four players)
> 1979 Archery (for twelve players)
> 1979 Tennis (for two keyboards or two drummers)
> 1980 Fencing (for three of the same instrument)
> 1980 Jai-Alai (opera) [a game opera? this is from Gagne's list]
> 1981 Croquet (for sixteen players)
> 1981 Go! (a play of roles)
> 1982 Track & Field (for any number of dancers, performance
>      artists, and musicians)
> 1983 Rugby (for five players)
> 1983 Darts (for five dancers and five musicians)
> 1983 Sebastopol (for three trios [rock, classical, and improvising])
> 1984 Cobra (for ten or more players)
> 1985 Xu Feng (for six players)
> 1987 Ruan Lingyu (for three narrators and eight musicians)
> 1987 Hu Die (for two guitars and Chinese narration)
> 1988 Hwang Chin-ee (for two drummers and Korean narration)
> 1988 Que Tran (for two keyboards and Vietnamese narration)
> 1989 Bezique (for nine or more players)

Charles,

        Great job on the list. Brought back some great memories! Here's
another(though I'm not quite sure it Qualifies as a game piece)

1984  "Impressions of Africa" (for trio) (Zorn,David Moss,Mark Miller)

I've got a bunch of handbills and programs from the early-mid 80's,  but
they're in storage, when I get a chance I'll check for any others that I
might have documentation on.





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

From: Steve Smith <[e-mail]>
Subject: Re: ....... about Quine
Date: 04 Oct 1997 01:12:54 -0400

Christopher Hamilton wrote:

> >       Ayone have any information about Robert Qine, last proyect,
> new
> > proyects?
>
> Earlier this year (I think), a Richard Hell spoken word CD came out
> which
> featured musical accompaniment by Quine.  That's the most recent thing
>
> I've heard about.

His duo CD with Fred Maher has just been reissued by Virgin.  I had this
disc on order for something like an entire year back in the late '80s -
early '90s (can't remember exactly when it was issued to be honest) and
never got it -- because it went out of print, I later learned.  Can
anyone speak to what this thing is like?

Steve Smith
[e-mail]





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

From: "Julian" <[e-mail]>
Subject: yearbooks
Date: 04 Oct 1997 18:07:03 +1000

Does anyone know if those (Y)earbooks are still available anywhere? I seem
to remember someone posting about them a while ago.




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

From: [e-mail]
Subject: Re: ....... about Quine
Date: 04 Oct 1997 04:40:49 -0400 (EDT)

In a message dated 97-10-03 15:14:07 EDT, you write:

<< Surely there must be a Robert Quine discog somewhere!
 I for one would love to see one...

 RQ also played and recorded with Lydia Lunch, Lou Reed, Fred Maher,
 lately also on the Corin Curschellas record with Ikue Mori,
 Christian Marclay, Marc Ribot... >>

Also on an Editions EG LP (1984) with Fred Maher.

=dgasque=



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

From: Richard Williams <[e-mail]>
Subject: Re: ....... about Quine
Date: 04 Oct 1997 01:23:39 -0500

>Surely there must be a Robert Quine discog somewhere!
> for one would love to see one...


>RQ also played and recorded with Lydia Lunch, Lou Reed, Fred Maher, >
>lately also on the Corin Curschellas record with Ikue Mori>
>Christian Marclay, Marc Ribot...


He also made  "Escape" with Jody Harris, and a rythym section of Dave
Hofstra and Dennis Charles. A friend of mine, when hearing it for the
first time exclaimed: "Surf's up in Soho!" and thats as good a
description as I could come up with.





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

From: Richard Williams <[e-mail]>
Subject: Re: ....... about Quine
Date: 04 Oct 1997 01:39:58 -0500

Steve Smith wrote:

> His duo CD with Fred Maher has just been reissued by Virgin. .  Can
> anyone speak to what this thing is like?


 It's very much in the Material/Downtown rock sound of the early 80's.
Quine doubles on Bass, and Maher drums acousticly, and with machines.
Not a bad album, but IMO it could have been much better with a real
band. BTW, it's called "Basic" , and it was originally released on
Editions EG in 1984.




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

From: Jeff Spirer <[e-mail]>
Subject: Re: ....... about Quine
Date: 04 Oct 1997 08:29:19 -0700

I may have missed it if this was mentioned, but Quine played with Zorn and
Laswell and Ted Epstein (BIG) on the Rubaiyat (Elektra) recording.  The
Material appearance was first put out on the vinyl _American Songs_.

I thought there was also an instrumental surf LP with Jody Harris that I
once owned, would have come out in the mid-80s.


Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/



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

From: Caleb Deupree <[e-mail]>
Subject: No New York info
Date: 04 Oct 1997 11:42:13 -0600

>    Anyone have some information of the old "No New York",
>any information?.


Although there was a recent thread on the subject of this album (check the
archives), here's more complete technical info and track listings.  Antilles
release AN 7067, 1978.  Cover design (with Steve Keister), cover photo, and
production by Brian Eno.  Engineers Vishek Woszcyk, Kurt Munkasci, assistant
Roddy Hui.  Recorded at Big Apple Studio, NYC, Spring 1978.

Track listing:

Contortions, featuring James White (sax, vocals), Don Christensen (drums),
Pat Place (slide guitar), Jody Harris (guitar), George Scott III (bass), and
Adele Bertei (acetone organ): Dish it out, Flip your Face, Jaded, I Can't
Stand Myself

Teenage Jesus and the Jerks, featuring Lydia Lunch (guitar, vocal), Gordon
Stevenson (bass), Bradley Field (drum [sic]): Burning Rubber, The Closet,
Red Alert, I Woke Up Dreaming

Mars, featuring Sumner Crane (guitar, vocal), Nancy Arlen (drums), Mark
Cunningham (bass, vocal), and China Burg (guitar, vocal): Helen Fordsdale,
Hairwaves, Tunnel, Puerto Rican Ghost

D.N.A., featuring Robin Crutchfield (organ, vocal), Ikue Ile (drums), and
Arto Lindsay (guitar, vocal): Egomaniac's Kiss, Lionel, Not Moving, Size.

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




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

From: ia zha nah er vesen <[e-mail]>
Subject: Re: Harry Smith
Date: 04 Oct 1997 14:25:41 -0400 (EDT)

> > This collection contains NO music by Zorn, or any other musician usually
> > name checked on this list.  & not everyone on this list will find things of
> > interest to them in the collection.
> However, Frank Cloutier and the Victoria Cafe Orchestra's "Moonshiner's
> Dance Part One" is, I swear to God, what Naked City would have sounded
> like in 1927.  Every few bars, somebody shouts "1-2-3-4" and the band
> changes genres.

okay, this is starting to sound really cool...what's the exact info on
this set?   Label, title, places to find it?

-jascha




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

From: [e-mail] (Caleb Deupree)
Subject: Review: David Shea, Satyricon
Date: 04 Oct 1997 14:43:18 -0400

There has been some recent activity on the ambient list about David Shea, so
I'm submitting a brief review intended for the zorn list of his recent album
Satyricon.  While there is more ambient content here than on Shea's earlier
work, but there is also some material to which I could not give that
classification.

This new composition represents a very different direction from his other
studio releases.  In keeping with some of his most recent releases, this one
too is based on an ancient novel, but from Rome at the time of Nero (c. 50
CE), together with Fellini's film version.  The album has a very wide
variety of atmospheres and events, but few of the quick jumps which
characterized Shock Corridor and Prisoner.  I recommend it highly if you
liked Tower of Mirrors (which Satyricon now replaces as my candidate for
Shea's best work), or generally a lot of variety while still having a single
unified work.

Each track has a very different sound than the pieces which precede and
follow. After a short opening of low drones with Jim Pugliese on gongs and
Shea playing gong samples, there is a wonderful fast-ish techno piece, which
transforms gradually into solo piano playing similar loops and beats.  I've
never heard Shea play piano before at all, so to hear this kind of
instrumental chops on an acoustic instrument is an unexpected high moment.
Shea mentions in the notes that except for one piece at the end of the album
(a dream sequence), there are no sampled records or CDs, which helps unify
the work.

Then there are two pieces with bowed vibraphone (Pugliese again), a gorgeous
piece with voice (Tiziana Kutic) which wouldn't be too out of place on an
adventurous new age album, and pieces with Erik Friedlander, string quartet,
electronics, traditional northern Italian musicians, and the usual gang of
suspects (Zeena Parkins, Anthony Coleman, etc -- this one gets a little
noisy). I read somewhere recently an unfavorable review of the entire album
that Shea had made with a group of traditional Italian musicians, but here
as one of many colors it works quite well.  The melodies (yes, there are
some) have a Mediterranean quality to them, but the album darkens as it
progresses, with more electronics and harsh sounds.

On now: Maarten Altena, Cities and Streets

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




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

From: john shiurba <[e-mail]>
Subject: Re: yearbooks
Date: 04 Oct 1997 11:57:36 -0700

> Does anyone know if those (Y)earbooks are still available anywhere? I seem
> to remember someone posting about them a while ago.

the (Y)earbook CDs (on Rastascan) are still available. Try the label directly if you
can't find them in stores:

email [e-mail]
web: http://www.rastascan.com

They're all excellent
--



[e-mail]

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



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

From: [e-mail]
Subject: Frank Lowe Orchestra- Lowe and Behold LPs FS
Date: 04 Oct 1997 15:41:24 -0400 (EDT)

This week, I came across a two copies of this pretty free-wheeling affair,
recorded in 1977 in NYC, on the Musicworks label (cat. #3002).  The LPs are
SS and the covers are in EX condition.  Lots of heavies here:

Frank Lowe- tenor sax, composer, arranger
Joseph Bowie- trombone
Lawrence "Butch" Morris- coronet
Arthur Williams- trumpet
Billy Bang- violin
Polly Bradfield- violin
Eugene Chadborne- guitar
John Lindburg- Bass
Philip Wilson- drums and percussion
John Zorn- alto sax
Peter Kuhn- clarinet and bass clarinet

Side 1-
Heart in Hand or (How Vain I Am) (13:58)
A Hipster's Dream (4:24)

Side 2-
Lowe-commotion (7:58)
Heavy Drama (12:49)

I'm asking $10 plus shipping.

Interested parties may email me privately.

=dgasque=



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

From: [e-mail]
Subject: Re: Review: David Shea, Satyricon
Date: 04 Oct 1997 13:20:57 -0700

Great review, I'll have to have another listen to Satyricon.

>...I read somewhere recently an unfavorable review of the entire album
>that Shea had made with a group of traditional Italian musicians, but here
>as one of many colors it works quite well.

But for the record, what is this other album you mention?

Thanks,

Alexander





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

From: dennis summers <[e-mail]>
Subject: Wilner
Date: 04 Oct 1997 16:48:45 -0600

I'm catching up on two weeks of zorn digests, and the Monk/Wilner
conversation makes me ask this question. As some of you have alluded, Wilner
is an extraordinary producer, and I try to snatch up everything I can find
that he has a hand in. As you may guess it's harder to find disks by
producer than by artist. Has anyone seen a Wilner discography. If not,
Patrice, are you looking for a serious challenge. I could help with what I
know (which probably doesn'r number much more than about 6 disks). I've been
meaning to write Wilner a fan letter for years now, but have yet to get
around to it. Anyone know how to reach him (other than picking one of the
record labels and hoping they'll forward it on)? Oh well, back to catching up.

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




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

From: Steve Smith <[e-mail]>
Subject: Re: Game pieces, etc.
Date: 04 Oct 1997 19:38:03 -0400

> Charles Gillett wrote:
>
> > 1983 Sebastopol (for three trios [rock, classical, and improvising])

Not that anyone exactly asked, but a recording of an excerpt of a
performance of "Sebastopol" is currently available on the Einstein
records compilation "A Confederacy of Dances, Vol. 1" featuring Zorn on
reeds, Vicki Bodner, oboe and English horn, Carol Emanuel, harp, Wayne
Horvitz, keyboard, Robert James, tapes and sound effects, Arto Lindsay,
voice and guitar, Christian Marclay, turntables, M.E. Miller, drums,
Ursula Oppens, piano, Robin Holcomb, prompter.

"The premiere performance of one of Zorn's 'game' environment pieces.
This one is for 3 classical musicians, 3 rock musicians and 3
improvisers.  As with the other pieces of this type, musicians use hand
gestures and musical cues to communicate which are controlled by a
'prompter' holding up instruction cards.  A faced-paced virtually
theatrical experience for the audience."

> > 1985 Xu Feng (for six players)

Likewise, there's an excerpt from a performance of "Xu Feng" on the
Rastascan compilation "(Y)earbook, Vol. 2," which features Zorn as
conductor with Myles Boisen, guitar, Gannon Hall, drums, Bob Ostertag,
sampler, David Slusser, sampler, Trey Spruance, guitar, and William
Winant, percussion.

"'Xu Feng' is an improvisational score or 'game piece' written by John
Zorn.  In performance, the musicians can be seen waving their hands like
eager schoolkids to attract the attention of Zorn (the conductor).  Once
chosen, a musician uses hand signals to indicate a particular change in
the current grouping, playing relationships, dynamics, etc. from the
various options described verbally in the score.  Zorn then signals this
change to the ensemble, generally conducting abrupt cues with one or
more hand-held placards.  Most of the cues are heard as splice-like
"cuts" within the piece, and since the musical material is completely
improvised from beginning to end, 'Xu Feng' is full of surprises for
listeners and players alike.  This was the first piece in the first set
of a concert organized with the help of Larry Ochs and the ROVA
Saxophone Quartet."

Speaking of ROVA, anyone who's ever seen them play Steve Adams's piece
"Cage" (inspired by the composer of the same name) will no doubt
recognize similar strategies in action; players encourage or circumvent
different musical activities through the use of handsignals throughout
the piece.

And the new Misha Mengelberg disc on hatOLOGY, "The Root of the
Problem," is described in its notes (by John Corbett) as "Musical chess
master Misha Mengelberg versus four worthy opponents.  A German
trumpeter [Thomas Heberer] and drummer [Achim Kremer], a French tuba
player [Michel Godard], and an American-born, French-resident (since
1972) saxophonist [Steve Potts].... matching wits in duets and trios.
One can sense the Maestro taking on all contestants, approaching the
music as a game of strategy, a set of moves and countermoves.... Chess
is also a suitable metaphor for the Dutchman's approach to instant
composition because it has no final or definitive form, no absolute and
irrefutable game-plan.. Within its rule structures, the game is
improvised."

Steve Smith
[e-mail]





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

From: Todd Bramy <[e-mail]>
Subject: RQ & SFOTW
Date: 04 Oct 1997 12:42:24 -0800

>>RQ also played and recorded with Lydia Lunch, Lou Reed, Fred Maher,
>>lately also on the Corin Curschellas record with Ikue Mori,
>>Christian Marclay, Marc Ribot...
>
>He also did some abrasive stuff with Jim Thirlwell in Scraping Foetus Off
>The Wheel.

Really? Which recordings, if you know?

Todd Bramy
[e-mail]





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

From: Christopher Hamilton <[e-mail]>
Subject: Re: ....... about Quine
Date: 05 Oct 1997 03:31:35 -0400 (EDT)



On Sat, 4 Oct 1997, Steve Smith wrote:

> His duo CD with Fred Maher has just been reissued by Virgin.  I had this
> disc on order for something like an entire year back in the late '80s -
> early '90s (can't remember exactly when it was issued to be honest) and
> never got it -- because it went out of print, I later learned.  Can
> anyone speak to what this thing is like?

It's been a while since I've listened to this one, but as I recall, it's
similar in feel to Brian Eno's _Music for Films_, but slightly more
energetic: brief snippets of mostly textural ideas, with little attempt at
development.  It's pretty slight, but good fun if you're a fan of these
guys.

Chris Hamilton





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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Harry Smith
Date: 05 Oct 1997 03:42:41 -0400 (EDT)



On Sat, 4 Oct 1997, ia zha nah er vesen wrote:

> okay, this is starting to sound really cool...what's the exact info on
> this set?   Label, title, places to find it?

Smithsonian Folkways Recordings, _Anthology of American Folk Music_, and
anywhere that sells 6CD sets of folk music manufactured by Sony.  But I
want to reemphasize that, despite my comparison to Naked City, this is not
avant-garde music in any of the usual senses: just rural U.S. popular
music of the late 20's/early 30's.  It's great stuff, but people on this
list who dislike roots music will probably despise it.

Chris Hamilton




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

From: [e-mail] (molony)
Subject: Re: Wilner
Date: 05 Oct 1997 10:57:56 +0100

>I'm catching up on two weeks of zorn digests, and the Monk/Wilner
>conversation makes me ask this question. As some of you have alluded, Wilner
>is an extraordinary producer, and I try to snatch up everything I can find
>that he has a hand in. As you may guess it's harder to find disks by
>producer than by artist. Has anyone seen a Wilner discography. If not,
>Patrice, are you looking for a serious challenge. I could help with what I
>know (which probably doesn'r number much more than about 6 disks). I've been
>meaning to write Wilner a fan letter for years now, but have yet to get
>around to it.
dennis summers <[e-mail]>

I'M GLAD THIS ONE CAME ALONG BECAUSE I'VE BEEN WONDERING WHAT HE'S UP TO.
OVER THE YEARS THERE'S BEEN TALK OF FOLLOW UP NINO ROTA, ELLINGTON AND
EDITH PIAF TRIBUTES. I SAW HIM TALKING ABOUT HIS WORK WITH BURROUGHS LAST
YEAR AT LACM  AND HE INTIMATED THAT THERE WAS ANOTHER ALBUM'S WORTH OF
STUFF THERE. SO IN THE LIGHT OF BOTH GINSBERG AND UNCLE BILL'S DEMISE
PERHAPS THAT WILL BE FORTHCOMING.A QUICH RUN THROUGH OF THE" FILE UNDER
WILNER" SHELVES HERE THROW THESE UP:-

MATHILDE SANTING-OUT OF THIS DREAm
LORI CARSON- SHELTER
ROTA TRIBUTE AMARCORD
MONK TRIBUTE
CARL STALLING VOLS 1&2.
WEIRD NIGHTMARE MINGUS TRIBUTE
STAY AWAKE DISNEY
LOST IN THE STARS WEILL
SEPTEMBER SONGS WEILL
MARIANNE FAITHFULL STRANGE WEATHER
MARIANNE FAITHFULL BLAZING AWAY
JAZZ PASSENGERS- IN LOVE
OST SHORT CUTS
LENNY PICKETT AND THE BORNEO HORNS
THER'S ALSO BEEN A COUPLE OF PRODUCTIONS I THINK FOR THE KNITTING FACTORY
LABEL. SPANISH FLY?? ALSO I HEARD OF A WILNER PRODUCED EP BY SP.FLY BUT
COULD NEVER TRACK IT DOWN.  ANYONE GOT ANY MORE INFO???REGARDS KEVIN M.






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

From:    [e-mail] (Patrick Carey)
Subject: Re: Review: David Shea, Satyricon
Date: 05 Oct 1997 09:43:56 -0400

>Great review, I'll have to have another listen to Satyricon.

>>...I read somewhere recently an unfavorable review of the entire album
>>that Shea had made with a group of traditional Italian musicians, but here
>>as one of many colors it works quite well.

>But for the record, what is this other album you mention?

It's called "The Poem De Nuestra Signora" and it's on the Italian
label More Music (MOMUS008-CD).


-Patrick


np: Alan Lamb - "Primal Image"





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

From: Perfect Sound Forever <[e-mail]>
Subject: ....... about Quine and Harry Smith
Date: 05 Oct 1997 09:59:03 -0400

Glad to see that Quine is getting some recognition, he's one of the most
under-rated guitarists around.  He did some amazing work with Richard
Hell/Voidoids and later with Matthew Sweet, Lloyd Cole, Brian Eno (NERVE
NET) and Lou Reed (BLUE MASK, LEGENDARY HEARTS, LIVE IN ITALY).  Recently,
he's been playing in a band with a guy named Michael Maxwell at some small
clubs here in NYC- in the ads, Quine's name is printed large (as it should
be).

Nice to see that BASIC (his LP with Fred Maher) is getting reissued.
Really unique stuff- some ambient, some twangy guitar, lotsa interesting
rhythms.  Definitely worth an investment of your pesos.

Someone asked about the Harry Smith boxset also in the last digest.  You
can order it from Folkways:
Call 1-[phone] (U.S. only, 9am - 5pm EST)
        Outside U.S. Call [phone]
I'm seen the major store chains carry this also- some as cheap as 50 bucks.
 It's an amazing music archive and Zorn was right to rave about it.

I might as well mention that we have an article about Smith, culled from
the liner notes- tributes by Peter Stampfel, John Fahey and Allen Ginsberg:
http://www.furious.com/perfect/harrysmith.html


Jason

Perfect Sound Forever
Warped perspectives on all types of music
[e-mail]
http://www.furious.com/perfect



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

From: Jeff Spirer <[e-mail]>
Subject: Re: ....... about Quine
Date: 05 Oct 1997 07:51:16 -0700

At 09:59 AM 10/5/97 -0400, Perfect Sound Forever wrote:
>Glad to see that Quine is getting some recognition, he's one of the most
>under-rated guitarists around.  He did some amazing work with Richard
>Hell/Voidoids

He was amazing live with them, much more intense than on the Voidoid
recordings, with the exception of the original EP with Blank Generation on
Terry Ork's label, which had a blistering, angular guitar line.  The only
thing I have heard similar is some of Buckethead's stuff.






Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/



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

From: Jesse Simon <[e-mail]>
Subject: Re: Willner
Date: 06 Oct 1997 11:46:12

At 10:57 AM 10/5/97 +0100, molony wrote:
>THER'S ALSO BEEN A COUPLE OF PRODUCTIONS I THINK FOR THE KNITTING FACTORY
>LABEL. SPANISH FLY?? ALSO I HEARD OF A WILNER PRODUCED EP BY SP.FLY BUT
>COULD NEVER TRACK IT DOWN.  ANYONE GOT ANY MORE INFO???REGARDS KEVIN M.

Indeed Hal Willner produced Spanish Fly's first album "Rags to Britches" on
Knitting Factory Works. It's an excellent album of loosely strung improv,
strangely arranged covers and other cool sounds courtesy of Tronzo (slide
guitar), Marcus Rojas (tuba) and Steven Bernstein (trumpet). The EP was
released on John Flansburgh's Hello Record Label and I don't believe it was
Willner produced. The EP was included on their second album "Fly by Night",
on Accurate Records.

Jesse




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

From: Herb Levy <[e-mail]>
Subject: Re: zorn-list Digest V2 #130
Date: 05 Oct 1997 14:00:02 -0800

Brian Beuchaw wrote:

>
>On Fri, 3 Oct 1997, Herb Levy wrote:
>
>> The final disc of the set is an expanded CD which, in addition to more than
>> 40 minutesd of music, includes QuickTime videos (of performers as well as
>> some of Smith's own experimental films), interviews, and lots more on the
>> music and Smith, as well.
>>
>> Herb Levy
>> [e-mail]
>
>Um, I don't remember any videos of performers (just of SMith's films and a
>clip of him accepting a Grammy and another clip or two of him), which is
>kinda disappointing.  It does have audio interviews with some of the
>performers (or their wives), but AFAIK, no videos of the performers.

Bad copy editing on my part, I moved some words around & left the
parenthetical comment about interviews in the wrong place.  Sorry for the
lack of clarity.

For the couple of folks looking for the set: The Anthology of American Folk
Music is released by Smithsonian Folkways recordings, distributed by Sony
Music Special Products.  The Web site for Smithsonian Folkways is
<http://www.si.edu/organiza/offices/folklife/folkways/>.

Check it out.

Bests,

Herb


Herb Levy
[e-mail]





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

From: [e-mail]
Subject: Re: ....... about Quine
Date: 05 Oct 1997 17:25:50 -0400 (EDT)

Robert Quine and Jody Harris recorded "Yes It Is", on the cd "Come Together:
Guitar Tribute to the Beatles Vol.2", which was produced by Mike Mainieri.
 It was released in 1995.




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

From: "Tim Schelfhout" <[e-mail]>
Subject: Re: Zorn Spirit ?
Date: 05 Oct 1997 14:55:39 PDT

//A speedy (private) response from another list member makes me think
//I
//should stress this was a rumor with a capital R.  I don't put much
//credence in it, but it made me wonder if O'Rourke was playing guitar
//or something else.

I can assure you O'Rourke WAS playing the guitar ... and VERY original
as well. The guitar was accompanied with a sampler though and it sounded
really weird.
As a matter of fact, they're playing right now again in the same line-up
(T. Kondo, Z. Parkins, O'Rourke, DJ Low, ...).  Unfortunately, I
couldn't go tonight, coz' I had to babysit.

Timpy

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com



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

From: [e-mail] (joel lewis)
Subject: RE: robert quine
Date: 05 Oct 1997 20:33:21 -0400 (EDT)

there was a quine/fred maher (ex-material drummer) out about 15 years ago
on e.g. records-- all instrumental, nice. not sure if ever reissued. also
am told that a lou reed live in italy had los of quine

joel lewis





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

From: Christopher Hamilton <[e-mail]>
Subject: Re: ....... about Quine
Date: 05 Oct 1997 21:01:46 -0400 (EDT)



On Sun, 5 Oct 1997, Jeff Spirer wrote:

> He was amazing live with them, much more intense than on the Voidoid
> recordings, with the exception of the original EP with Blank Generation on
> Terry Ork's label, which had a blistering, angular guitar line.  The only
> thing I have heard similar is some of Buckethead's stuff.

Which Buckethead are you thinking of?  I've never heard anything of his
I'd describe as angular, and I'd like to check it out.

Chris Hamilton




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

From: Ethan <[e-mail]>
Subject: info on harry smith
Date: 05 Oct 1997 22:39:32 -0400 (EDT)


for info on harry smith and some stills from his films check out

http://152.175.1.205/NISmith.html
http://www.absolutvodka.com/panushka/history/profiles/smith_h/indexbz.html
http://www.si.edu/folkways/

you can order the anthology of american folk music for $85.00 ppd. from
the smithsonian. (ouch.)
here's a blurb from the first URL, above:

Harry always considered himself more a painter than a filmmaker, and the
distinctions were sometimes moot; e.g., he created the first
frame-by-frame hand-painted films in America in the early 1940's. He was
among the first American artists to exhibit at the Louvre, around 1951,
in a two-man show with Marcel Duchamp.

He spent years living among American Indian tribes (cf. his recordings
of "Kiowa Peyote Rituals" on Folkways Records), and amassed an important
collection of sacred Indian religious ritual objects, now in a museum in
Stockholm. His other collections included his books (among the largest,
finest private libraries and a fantastic collection of Ukrainian painted
Easter eggs.

He even amassed what was undoubtedly the world's largest collection of
paper airplanes. For forty years, as he found one (and he found them
everywhere), he would note the date and place and file it away. By the
early 80s he had no less than a dozen large boxes. The Smithsonian
Air-Space Museum sent a special courier when he donated the collection.

He also spent years befriending and recording early American folk and
blues musicians, and in the early 1950's issued his multi-volume
"Anthology of American Folk Music" on Folkways Records. He received a
Lifetime Achievement Award at the 1991 Grammy Awards in New York for his
contribution to blues and folk music.

Many of his animated films employ overt magical symbolism, such as FILM
NO. 10, which he described as "an exposition of Buddhism and the
Kabbalah in the form of a collage. The final scene shows Agaric
mushrooms growing on the moon while the hero and heroine row by on a
cerebrum." Another early film was a collaboration with Thelonious Monk
(FILM # 11, MIRROR ANIMATIONS). Among his masterworks is HEAVEN AND
EARTH MAGIC (FILM NO. 12), created in the late 1950's and early '60s by
using chance operations to animate cutouts from old department store
catalogs and books. Smith declared that "my movies are made by God; I am
just the medium for them." His art was pure hermeticism, and he, a
modern Prospero.

e




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

From: Jeff Spirer <[e-mail]>
Subject: Re: ....... about Quine
Date: 05 Oct 1997 19:50:00 -0700

At 09:01 PM 10/5/97 -0400, Christopher Hamilton wrote:
>
>
>On Sun, 5 Oct 1997, Jeff Spirer wrote:
>
>> He was amazing live with them, much more intense than on the Voidoid
>> recordings, with the exception of the original EP with Blank Generation on
>> Terry Ork's label, which had a blistering, angular guitar line.  The only
>> thing I have heard similar is some of Buckethead's stuff.
>
>Which Buckethead are you thinking of?  I've never heard anything of his
>I'd describe as angular, and I'd like to check it out.

I would suggest the first Praxis and the forthcoming Arcana CDs for this.


Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/



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

From: [e-mail]
Subject: Re: Willner and Spanish Fly
Date: 05 Oct 1997 23:01:27 -0400 (EDT)

In a message dated 97-10-05 12:52:17 EDT, you write:

<< The EP was
 released on John Flansburgh's Hello Record Label and I don't believe it was
 Willner produced. >>

   This EP was, infact, produced by Wilner.  Wilner also supplied some very
amusing background vocals.  Come to think of it, there is very little about
this group wich isn't amusing.
                  -nick



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

From: Lang Thompson <[e-mail]>
Subject: Wilner Poe tribute (+Burroughs box)
Date: 06 Oct 1997 00:12:03 -0400

Here's what Hal Wilner's been up to, from the Addicted to Noise website:

The works of Beat novelist William Burroughs and gothic novelist/poet Edgar
Allen Poe as interpreted by musicians from Iggy Pop to Laurie Anderson will
be featured on two upcoming box sets.

                            Closed on Account of Rabies (Nov. 25), a two-CD
set produced by Hal Wilner (Allen Ginsberg, Charles Mingustribute),
features a number of actors/musicians paying homage to America's most
famous dark poet, Poe, who died 150 years ago.  Marianne Faithfull, Iggy
Pop, Ken Nordine, Diamanda Galas, the late Jeff Buckley, Dr. John, Deborah
Harry & the Jazz Passengers, actors Christopher Walken, Gabriel Byrne and
director Abel Ferrara are among those celebrating Poe's work on the
collection. The artists will lend their voices to such dark Poe classics as
"The Tell-Tale Heart," "The Raven," "The Black Cat" and "The Masque of the
Red Death."

                            Released on the same day will be a
still-untitled four-CD set honoring Burroughs (Naked Lunch, Junkie), who died
 this year at age 83. The CDs will highlight performances of some of
Burroughs' most well-known works, recorded live between 1971 and 1987.

                            The collection was produced by John Giorno, a
long-timefixture on the American poetry scene, who produced a number of
albums on his Giorno Poetry Systems Records in the late-1970s and
early-1980s which featured performances from Burroughs, and musical artists
Patti
Smith, Frank Zappa and Laurie Anderson.  The set will feature Burroughs,
known for his dry, laconic reading style, performing selections from his
most famous novels, including, Naked Lunch, The Wild Boys, Nova Express,
The Soft Machine and Junkie. -- Gil Kaufman[Fri., Oct. 3, 1997, 9 a.m. PDT]
Lang Thompson
http://members.aol.com/wlt4/index.htm



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

From: Jeff Spirer <[e-mail]>
Subject: Re: Wilner Poe tribute (+Burroughs box)
Date: 06 Oct 1997 07:22:00 -0700

It doesn't sound like Wilner had anything to do with the Burroughs, at
least from what you posted.  I couldn't find the original article at AtN's
site.

At 12:12 AM 10/6/97 -0400, Lang Thompson wrote:
>Here's what Hal Wilner's been up to, from the Addicted to Noise website:
>
>The works of Beat novelist William Burroughs and gothic novelist/poet Edgar
>Allen Poe as interpreted by musicians from Iggy Pop to Laurie Anderson will
>be featured on two upcoming box sets.
>
>                            Closed on Account of Rabies (Nov. 25), a two-CD
>set produced by Hal Wilner (Allen Ginsberg, Charles Mingustribute),
>features a number of actors/musicians paying homage to America's most
>famous dark poet, Poe, who died 150 years ago.  Marianne Faithfull, Iggy
>Pop, Ken Nordine, Diamanda Galas, the late Jeff Buckley, Dr. John, Deborah
>Harry & the Jazz Passengers, actors Christopher Walken, Gabriel Byrne and
>director Abel Ferrara are among those celebrating Poe's work on the
>collection. The artists will lend their voices to such dark Poe classics as
>"The Tell-Tale Heart," "The Raven," "The Black Cat" and "The Masque of the
>Red Death."
>
>                            Released on the same day will be a
>still-untitled four-CD set honoring Burroughs (Naked Lunch, Junkie), who died
> this year at age 83. The CDs will highlight performances of some of
>Burroughs' most well-known works, recorded live between 1971 and 1987.
>
>                            The collection was produced by John Giorno, a
>long-timefixture on the American poetry scene, who produced a number of
>albums on his Giorno Poetry Systems Records in the late-1970s and
>early-1980s which featured performances from Burroughs, and musical artists
>Patti
>Smith, Frank Zappa and Laurie Anderson.  The set will feature Burroughs,
>known for his dry, laconic reading style, performing selections from his
>most famous novels, including, Naked Lunch, The Wild Boys, Nova Express,
>The Soft Machine and Junkie. -- Gil Kaufman[Fri., Oct. 3, 1997, 9 a.m. PDT]
>Lang Thompson
>http://members.aol.com/wlt4/index.htm
>
>
>
Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/



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

From: Lang Thompson <[e-mail]>
Subject: Re: Wilner Poe tribute (+Burroughs box)
Date: 06 Oct 1997 23:03:02 -0400

Sorry for the confusion:  Wilner is only connected with the Poe tribute.
The info about the Burroughs box was part of the original article & I left
it in, thinking it would be of interest to list subscribers.

The original article is at
http://www.addict.com/MNOTW/lofi/971003/971003_1408.shtml



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



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

From: [e-mail]
Subject: Execution Ground, Again
Date: 07 Oct 1997 12:50:33 UT

All right.  I've seen people ask this question several times.  I am going to ask
it again.  I really really really want a copy of the three CD version of
Execution Ground and someone a long time ago said Tzadik was going to reissue
it.

Is this true, or was it just a rumor?  Does anyone know for sure?

If it is true, does anyone know when?


Please, could someone in the know clear this up?

Thanks,
Peter



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

From: Joseph S Zitt <[e-mail]>
Subject: Re: Harry Smith
Date: 07 Oct 1997 08:26:49 -0500 (CDT)

The lead article in the last week's  New York Press, "The Rabbi's Basement
Tapes", is about Harry Smith, from a somewhat... um... different POV than
the other articles I've seen.




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

From: Yves Dewulf <[e-mail]>
Subject: Gainsbourg
Date: 08 Oct 1997 09:46:38 +0200


Yes, I finally got the Great Jewish Music : Serge Gainsbourg-CD, and it is amazing. Brilliant tracks from Kramer,MMW,Mike Patton , Cibbo Matto, David Shea and the maestro himself.
Does anybody know if zorn makes the choice of artist and songs himself, or is every artist free to chose a song ? (It was pretty obvious to me that Cibbo Matto should cover "je t'aime, moi non plus").

Yves,

P.S. after Bacharach and Gainsbourg, who's the next victim in this Jewish-outing game? I can hardly wait !




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

From: Jeff Schwartz <[e-mail]>
Subject: Re: Gainsbourg
Date: 08 Oct 1997 13:38:19 -0400

Yves Dewulf wrote:
>
> Yes, I finally got the Great Jewish Music : Serge Gainsbourg-CD, and it is amazing. Brilliant tracks from Kramer,MMW,Mike Patton , Cibbo Matto, David Shea and
> Does anybody know if zorn makes the choice of artist and songs himself, or is every artist free to chose a song ? (It was pretty obvious to me that Cibbo Matto
>
> Yves,
>
> P.S. after Bacharach and Gainsbourg, who's the next victim in this Jewish-outing game? I can hardly wait !

Lou Reed, Bob Dylan, Gene Simmons (but all by their
original names).
--
Jeff Schwartz
[e-mail]
http://www.bgsu.edu/~jeffs/main.html



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

From: [e-mail]
Subject: Magma
Date: 08 Oct 1997 12:54:31 -0500 (CDT)

Who can tell me about the group Magma?  What exactly do they sound like?
What does "Live" sound like?




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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Magma
Date: 08 Oct 1997 11:18:16 -0700


On Wed, 08 Oct 1997 12:54:31 -0500 (CDT)  [e-mail] wrote:
>
> Who can tell me about the group Magma?  What exactly do they sound like?
> What does "Live" sound like?

Magma was a French band founded by the drummer Christian Vander in the late
'60s.

The band had various lineups, but always with Vander.

The band used a lot of vocals sung in a made-up language (Kobaien). With
vocals, the music could remind you of some Carl Orff clone (Carmina...).

The music was fairly heavy, non-psychedelic at all, generous on drums and
percussion (thanks to Vander), with brass. As you can see, light years
from the "peace and love" sound of SF/California :-).

The band got accused of propagating some right-wing ideas (imagine a little
bit Laibach 30 years ago). Although they were never on that side, it was
easy to get confused with the sometimes fairly military kind of rhythms,
the language, use of symbols, the martial discipline proned by its leader,
and, if I remember well, even the outfit. In general, a performance would
look like a black mass with its set of rites.

In concert? The band could play one unique track for 2 hours without a
break and interruption.

In short, if France ever had a good "rock" band, Magma is likely to be
that one.

    Patrice.



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

From: [e-mail]
Subject: Re: Magma
Date: 08 Oct 1997 13:25:29 -0500 (CDT)

I heard someone comparing Ruins to Magma.

On Wed, 8 Oct 1997, Patrice L. Roussel wrote:

>
> On Wed, 08 Oct 1997 12:54:31 -0500 (CDT)  [e-mail] wrote:
> >
> > Who can tell me about the group Magma?  What exactly do they sound like?
> > What does "Live" sound like?
>
> Magma was a French band founded by the drummer Christian Vander in the late
> '60s.
>
> The band had various lineups, but always with Vander.
>
> The band used a lot of vocals sung in a made-up language (Kobaien). With
> vocals, the music could remind you of some Carl Orff clone (Carmina...).
>
> The music was fairly heavy, non-psychedelic at all, generous on drums and
> percussion (thanks to Vander), with brass. As you can see, light years
> from the "peace and love" sound of SF/California :-).
>
> The band got accused of propagating some right-wing ideas (imagine a little
> bit Laibach 30 years ago). Although they were never on that side, it was
> easy to get confused with the sometimes fairly military kind of rhythms,
> the language, use of symbols, the martial discipline proned by its leader,
> and, if I remember well, even the outfit. In general, a performance would
> look like a black mass with its set of rites.
>
> In concert? The band could play one unique track for 2 hours without a
> break and interruption.
>
> In short, if France ever had a good "rock" band, Magma is likely to be
> that one.
>
>     Patrice.
>




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

From: Richard Williams <[e-mail]>
Subject: Re: ....... about Quine (correction)
Date: 08 Oct 1997 14:26:58 -0500

I had written:

> He also made  "Escape" with Jody Harris, and a rythym section of Dave
> Hofstra and Dennis Charles. A friend of mine, when hearing it for the
> first time exclaimed: "Surf's up in Soho!" and thats as good a
> description as I could come up with.

        Geez, guess I'm getting senile....... The Quine/Harris LP is
actually aduo with both guitarists doubling on bass and elec drums. The
LP I had it confused with is called "It Happened One Night"; which
consists of two different recording sessions. a trio of Harris, Hofstra
and Dennis Charles; and a quintet of Harris,Hofstra,Don Christianson on
Drums and Stanley Harrison and Richard Peck on Tenors Sax.




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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Magma
Date: 08 Oct 1997 11:57:17 -0700 (PDT)

On Wed, 8 Oct 1997 [e-mail] wrote:

> I heard someone comparing Ruins to Magma.

and with good reason...

hasta.

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




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

From: Robert Pleshar <[e-mail]>
Subject: Re: Gainsbourg
Date: 08 Oct 1997 14:07:58 -0500 (CDT)

At 01:38 PM 10/8/97 -0400, Jeff Schwartz wrote:

>> P.S. after Bacharach and Gainsbourg, who's the next victim in this
Jewish-outing game? I can hardly wait !
>
>Lou Reed, Bob Dylan, Gene Simmons (but all by their
>original names).

Also, Paul Stanley, that way you could have all of the great Kiss tunes
except "Cold Gin." If anyone says  "Beth" is a great Kiss tune, I'll slap them.

Ralph




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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Magma
Date: 08 Oct 1997 12:12:23 -0700


On Wed, 8 Oct 1997 11:57:17 -0700 (PDT)  SUGAR in their vitamins? wrote:
>
> On Wed, 8 Oct 1997 [e-mail] wrote:
>
> > I heard someone comparing Ruins to Magma.
>
> and with good reason...

This is kind of true only from the following points:

    - vocal (both use kind of opera/vocalise techniques)
    - power drums

But besides that, there are quite different.

    Patrice.



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Magma
Date: 08 Oct 1997 12:38:37 -0700 (PDT)

On Wed, 8 Oct 1997, Patrice L. Roussel wrote:

> This is kind of true only from the following points:

i was referring mostly to the fact
that Yoshida is very influenced
by Magma. yeah, Ruins are a
bit faster paced than Magma
with more stop-start change-ups
etc, but it's all still very
Magma-like. the new(ish) Koenjihiyaki
disc sounds almost exactly like
an updated version of Magma.

hasta.

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




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

From: Brent Burton <[e-mail]>
Subject: Re: Gainsbourg
Date: 08 Oct 1997 15:54:03 -0400 (EDT)

On Wed, 8 Oct 1997, Robert Pleshar wrote:

> Also, Paul Stanley, that way you could have all of the great Kiss tunes
> except "Cold Gin." If anyone says  "Beth" is a great Kiss tune, I'll slap them.

"beth" is a great kiss tune.

b

p.s. c'mon, it's the first power-ballad!



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Magma
Date: 08 Oct 1997 12:52:29 -0700


On Wed, 8 Oct 1997 12:38:37 -0700 (PDT)  SUGAR in their vitamins? wrote:
>
> On Wed, 8 Oct 1997, Patrice L. Roussel wrote:
>
> > This is kind of true only from the following points:
>
> i was referring mostly to the fact
> that Yoshida is very influenced
> by Magma. yeah, Ruins are a
> bit faster paced than Magma
> with more stop-start change-ups
> etc, but it's all still very
> Magma-like. the new(ish) Koenjihiyaki
            ^^^^^^^^^^^^

Never heard about that one. What label?

    Patrice.





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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Magma
Date: 08 Oct 1997 13:39:50 -0700


On Wed, 8 Oct 1997 13:33:39 -0700 (PDT)  SUGAR in their vitamins? wrote:
>
> On Wed, 8 Oct 1997, Patrice L. Roussel wrote:
>
> > Never heard about that one. What label?
>
> koenjihyakei KOENJIHYAKE (CD, God Mountain: GMCD 027)
>
>  1. grembo zavia        (10:14)
>  2. gaddinoba revoss        (4:28)
>  3. sllina vezom        (5:28)
>  4. quidom            (3:43)
>  5. aramida            (5:53)
>  6. brahggo            (3:42)
>  7. cembell rotta        (4:48)
>  8. rissenddo rraimb        (9:17)
>  9. guoth dahha            (9:25)
> 10. pamillazze            (1:19)
>
> Tatsuya Yoshida: vocal, drums, keyboards, reeds
> Aki Kubota: vocal, keyboards
> Jin Harada: vocal, electric guitar, acoustic guitar
> Kengo Sakamoto: vocal, bass

You did not warn us that it was the Ruins Ensemble and not Ruins :-).

    Patrice.



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Magma
Date: 08 Oct 1997 13:33:39 -0700 (PDT)

On Wed, 8 Oct 1997, Patrice L. Roussel wrote:

> Never heard about that one. What label?

koenjihyakei KOENJIHYAKE (CD, God Mountain: GMCD 027)

 1. grembo zavia        (10:14)
 2. gaddinoba revoss        (4:28)
 3. sllina vezom        (5:28)
 4. quidom            (3:43)
 5. aramida            (5:53)
 6. brahggo            (3:42)
 7. cembell rotta        (4:48)
 8. rissenddo rraimb        (9:17)
 9. guoth dahha            (9:25)
10. pamillazze            (1:19)

Tatsuya Yoshida: vocal, drums, keyboards, reeds
Aki Kubota: vocal, keyboards
Jin Harada: vocal, electric guitar, acoustic guitar
Kengo Sakamoto: vocal, bass

recorded August 1996. released 1997.
Koenjihyakei is the "follow-up"
band/album to 100 Sights Of Koenji.

hasta.

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




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

From: Steve Smith <[e-mail]>
Subject: Re: Gainsbourg
Date: 08 Oct 1997 16:48:03 -0400

Robert Pleshar wrote:

> >> P.S. after Bacharach and Gainsbourg, who's the next victim in this
> Jewish-outing game? I can hardly wait !
> >
> >Lou Reed, Bob Dylan, Gene Simmons (but all by their
> >original names).
>
> Also, Paul Stanley, that way you could have all of the great Kiss
> tunes
> except "Cold Gin." If anyone says  "Beth" is a great Kiss tune, I'll
> slap them.

Hoo-eee, the mind reels.  "Great Jewish Music - Stanley Eisen and Chaim
Witz"!!!  I'm having a good time coming up with a potential track
listing, though.  Marc Ribot y los Cubanos play "Strutter"?  Wayne
Horvitz's Pig Pen in "Hotter than Hell" / "Firehouse"?  Pain Killer with
special guest Kevin Sharp on "God of Thunder"?  Perhaps Cibo Matto in "I
Was Made For Lovin' You"?  Anthony Coleman in "Christine Sixteen"?  And
certainly David Krakauer's Klezmer Madness in "Rock and Roll All
Nite"... Maybe Sean Lennon could sing "Hard Luck Woman" this time
around.  Throw in Mr. Bungle doing "Calling Dr. Love" and we'd have a
winner on our hands.

Okay, this is getting out of hand...

Steve Smith
[e-mail]
(who was videotaped in full facepaint and costume lip-syncing "Beth" and
air-drumming "God of Thunder" in sixth grade)





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

From: Steve Smith <[e-mail]>
Subject: Re: Gainsbourg
Date: 08 Oct 1997 16:58:12 -0400

Brent Burton wrote:

> On Wed, 8 Oct 1997, Robert Pleshar wrote:
>
> > Also, Paul Stanley, that way you could have all of the great Kiss
> tunes
> > except "Cold Gin." If anyone says  "Beth" is a great Kiss tune, I'll
> slap them.
>
> "beth" is a great kiss tune.
>
> b
>
> p.s. c'mon, it's the first power-ballad!

No way!!!  I loved it back in the day (if you saw the confessional sig
on my previous msg you already know this), but a power ballad?  It's a
WUSS ballad, with strings and horns!  Just like Alice Cooper's "I Never
Cry" or "Only Women Bleed" (and wasn't Bob Ezrin involved in both of
those songs too?).  For a power ballad you have to have the ridiculously
overblown electric guitar chords of the Scorpions's "Still Loving You,"
or Paul Stanley's somewhat later "I Still Love You."  On that song you
know he was pulling the hairs out of his chest.  On "Beth" Peter just
sounded like he was making weepy excuses to his wife on the phone so she
wouldn't think he was out ballin with the boys all night, probably
originally sung over the pay phone in the bathroom of the tiki lounge he
was at that night (comparing golf tips with Alice).

Okay, now I'm really done.

Steve Smith
[e-mail]





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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Magma
Date: 08 Oct 1997 13:58:52 -0700 (PDT)

On Wed, 8 Oct 1997, Patrice L. Roussel wrote:

> You did not warn us that it was the Ruins Ensemble and not Ruins :-).

think of it as a pleasant surprise...

hasta.

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




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

From: "Andy Marks" <[e-mail]>
Subject: Re: 100 Sights of Koenji
Date: 09 Oct 1997 07:48:08 -0400


> Koenjihyakei is the "follow-up"
> band/album to 100 Sights Of Koenji.

Does anybody have "100 Sights of Koenji"?
What's it like? There's a store near that has
had it for quite some time. I have considered
getting it many times as I knew some members
of the Ruins were involved, but I never actually
picked it up.



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

From: Johan Uusitalo <[e-mail]>
Subject: Black box?
Date: 10 Oct 1997 15:21:30 +0100 (MET)

Does anyone know when the next Naked City "black box" will be released?

J Uusitalo, Sweden



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

From: Mike Shepherd <[e-mail]>
Subject: Re: Black box?
Date: 10 Oct 1997 09:12:44 -0500 (CDT)

On Fri, 10 Oct 1997, Johan Uusitalo wrote:

> Does anyone know when the next Naked City "black box" will be released?
>
I guess I didn't think that there was gonna be another Black Box, that
those two particular records were packaged together because of their
brevity, the controversial art, and the fact that both were kinda outta
print.  I may be wrong on this one, though.  Someone let me know if I am,
please. - Mike


        "It's only romantic 'cause it never works."
                - Harriet the Spy

*********************************
Mike Shepherd
[e-mail]
Middle Tennessee State University
[phone]
*********************************





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

From: Toby Dodds <[e-mail]>
Subject: Zony Mash Tour & Tape Offer
Date: 10 Oct 1997 16:25:37 -0700 (PDT)

I hope you're not getting this twice....................................

The following are current tour dates for Wayne Horvitz & Zony Mash.  This
is bound to be a special tour with special guests showing up here and
there.

Recently during a week of shows in Seattle, Zony Mash welcomed
the likes of Bill Frisell, Skerik (Critters Buggin), Eyvind Kang (BFQ),
Robin Holcomb (vocalist on Nashville, among other solo projects), Briggan
Kraus (the immensely talented alto from Pigpen, Babkas and now Sex Mob)
and many others.  It was a monumental week of shows, even included a run
through of Torture Garden the classic Naked City document.  Wayne of
course
was a integral part of said group, with Frisell, Baron, Frith and Zorn.
OK
enough name dropping.

Basically, since moving out to Seattle 6 years ago Wayne has contributed
deeply to the music scene out here.  And he hardly ever tours!  So don't
miss out.  Zony Mash is his most recent project, and features excellent
work on the B3.  Recently Wayne has brought the Moog and the Yamaha DX7
out of the closet and will be touring with them as well.  Anyone whose
delved into the depths of Naked City or Pigpen knows that this is great
news
indeed.  I've never heard anyone solo on a synthesized keyboard like
Wayne.  He treats the instrument like the plastic toy that it is, and the
result is frightening at times.  The music of Zony Mash swings between
the avant jazz of Wayne's roots to soulful B3 organ based grooves.  Of
course
Zony Mash itself is the name of an old Meters tune..  Good influences indeed.

Thanks for listening and enjoy the shows!

ZONY MASH FALL TOUR 1997
thu 10/16 Portland, OR - Green Onion
sat 10/25 Madison, WI - Univ. of Madison
mon 10/27 Ann Arbor, MI - Gypsy Cafe
tue 10/28 Detroit, MI - Music Menu
thu 10/30 Cleveland , OH - Grog Shop
sat 11/01 Lexington, KY - Lynagh's (90% confirmed)
sun 11/02 Nashville, TN - Tommy Guns
tue 11/04 Atlanta, GA - Red Light Cafe
wed 11/05 Chapel Hill, NC - Local 506
fri 11/07 NY, NY - Knitting Factory
sat 11/08 Amherst, MA - Univ. of MA
tue 11/11 Philadelphia, PA - The Five Spot
fri 11/14 Chicago, IL - The Elbo Room
sat 11/15 Ames, IA - The Maintenance Shop

TAPE OFFER:
If you have any interest in these shows, please e-mail me or visit the
website: www.zonymash.com.  Anyone signing the mailing list (to recieve
concert and new release info...you won't be spammed I promise) who
mentions
the MMW list will receive a beautiful live tape of Zony Mash this August
with special guests Briggan Kraus and Mike Stone from Pigpen.  The tape
was recorded to DAT with a boom mic on stage.  It serves as a nice intro
to the genius of Wayne.  If you don't have access to a web browser just
e-mail me.

FINALLY:
Zony Mash is very TAPER FRIENDLY, so don't hesitate to bring your gear.
Just be sure to send the band a copy!  Thanks!

Toby
[e-mail]







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

From: Toby Dodds <[e-mail]>
Subject: re: Zony Mash offer
Date: 10 Oct 1997 17:12:16 -0700 (PDT)

OOOPS
If you read my post I mentioned a tape offer if you mentioned the
Medeski, Martin & Wood list.  That is the other list I posted this to.
Please specify the Zorn-list anyway...Cheers,
Toby



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

From: Jason Edward Kocol <[e-mail]>
Subject: Re: Kiss?
Date: 10 Oct 1997 18:17:22 -0700

> If anyone says  "Beth" is a great Kiss tune, I'll slap them.

     If anyone says ANY Kiss song is great, I'll slap them too.
Heheheh.

-Jason
http://suburban3.home.ml.org
http://members.tripod.com/~misterlazy



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

From: Steve Smith <[e-mail]>
Subject: Re: Kiss?
Date: 10 Oct 1997 21:27:06 -0400

Jason Edward Kocol wrote:

> > If anyone says  "Beth" is a great Kiss tune, I'll slap them.
>
>      If anyone says ANY Kiss song is great, I'll slap them too.
> Heheheh.

Many Kiss songs are great.  (Many others are not.)  Which cheek do you
prefer?

Steve Smith
[e-mail]





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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Zony Mash Tour & Tape Offer
Date: 11 Oct 1997 00:54:14 -0400 (EDT)



On Fri, 10 Oct 1997, Toby Dodds wrote:

> It was a monumental week of shows, even included a run
> through of Torture Garden the classic Naked City document.

The whole thing?!?! Even "Gob of Spit"?

Chris Hamilton





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

From: Matthew Ross Davis <[e-mail]>
Subject: Re: Zony Mash Tour & Tape Offer
Date: 11 Oct 1997 10:57:33 -0400

>The whole thing?!?! Even "Gob of Spit"?

This is absolutely my favorite Naked City tune on TG/GG!

| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
m-a-t-t-h-e-w r-o-s-s d-a-v-i-s                university of maryland
http://www.artswire.org/~mrd                          school of music
| S | O | H | C | 4 | # | 3 | 6 | 5 | | | 7 | 9 | C | B | 6 | 5 | 0 |





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

From: "Marc A.Foster" <[e-mail]>
Subject: cds for trade
Date: 11 Oct 1997 12:14:12 +0000

I have several CDs for trade. I'm not very interested in sale, but could
be convinced if that's what someone wants to do. Here they are:

John Zorn- The Book of Heads
David S. Ware- Cryptology
Medeski, Martin, and Wood- Shack-Man
Tim Berne- Fulton Street Maul
Tim Berne's Caos Totale- Nice View
Henry Kaiser- Re-Marrying for Money (with Bill Frisell and others)
Bootsy Collins/ Zillatron- Lord of the Harvest (with Buckethead,
Laswell, and others)
Heiner Goebbels/ Alfred 23 Harth- Goebbels Heart
Bill Laswell- Divination II
DJ Shadow- Endtroducing...
Melvins- Prick
Godflesh- Slateman/ Wound/ Cold World
Godflesh- Love & Hate in Dub
Autechre- Tri Repetae (double CD, but I'll trade it as 1)

In addition to regular trade, I'll trade 2 or 3-for-1 for new Masada 4,
7, or 8 or Naked City Black Box, for those of you who have easy access
to a good music store. Let me know if you're interested.

Marc A. Foster




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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: 100 Sights of Koenji
Date: 11 Oct 1997 16:39:43 -0700 (PDT)


On Thu, 9 Oct 1997, Andy Marks wrote:

> Does anybody have "100 Sights of Koenji"?

both 100 Sights and Koenjihyakei
are Ruins plus members of
Bondage Fruits. as always,
everything is orchestrated by Yoshida.
for 100 Sights, Masuda played
guitar instead of bass.

hasta.

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




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

From: Mike Shepherd <[e-mail]>
Subject: Re: Zony Mash Tour & Tape Offer
Date: 12 Oct 1997 01:37:35 -0500 (CDT)

On Sat, 11 Oct 1997, Matthew Ross Davis wrote:

> >The whole thing?!?! Even "Gob of Spit"?
>
> This is absolutely my favorite Naked City tune on TG/GG!
>
I am personally of the opinion that Gob of Spit is kinda silly, and might
have been better left unsaid, unplayed, whatever.  But who am I to argue
with the mighty JZ and NC?


        "It's only romantic 'cause it never works."
                - Harriet the Spy

*********************************
Mike Shepherd
[e-mail]
Middle Tennessee State University
[phone]
*********************************





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

From: "Schwitterz" <[e-mail]>
Subject: KISS my ass
Date: 11 Oct 1997 23:14:59 -0700

This is a multi-part message in MIME format.

------=_NextPart_000_0006_01BCD69B.7ECEFAA0
Content-Type: text/plain;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

just got home from sitting 6 feet from the blur they say is Cecil =
Taylor's hands...
it wasn't KISS, but it'll have to do...
amazing...

Sz


------=_NextPart_000_0006_01BCD69B.7ECEFAA0
Content-Type: text/html;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.71.1712.3"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>just got home from sitting 6 feet =
from the blur=20
they say is Cecil Taylor's hands...</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT><FONT size=3D2>it wasn't =
KISS, but it'll=20
have to do...</FONT></DIV>
<DIV><FONT size=3D2>amazing...</FONT> </DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>Sz</FONT></DIV>
<DIV> </DIV></BODY></HTML>

------=_NextPart_000_0006_01BCD69B.7ECEFAA0--




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

From: Alister Shew <[e-mail]>
Subject: cynical hysterie whoops
Date: 13 Oct 1997 22:27:43 -0000

In amongst the skithery joy of "Cynical Hysterie Hour", there's a squeaky
sound that comes up quite a lot. Would this be the 'wet-finger whoops'
mentioned on "Book of Heads"? I assume this is done with a wet finger(s)
on the body of the guitar?

Al



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

From: "Aaron Hertzmann" <[e-mail]>
Subject: Stargazer performances
Date: 13 Oct 1997 11:04:09 -0400

Stargazer, Dave Douglas' latest is good stuff.  Does anyone know if they plan
any performances to coincide with the album release?

Aaron



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

From: [e-mail]
Subject: Tzadik releases
Date: 13 Oct 1997 19:17:23 UT

Anyone know what's next for Tzadik?

Is there anyway to find out, besides the little rumors section on the Web?

Thanks,
Peter



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

From: Jesse Simon <[e-mail]>
Subject: Re: Tzadik releases
Date: 14 Oct 1997 15:24:49

At 07:17 PM 10/13/97 UT, [e-mail] wrote:
>Anyone know what's next for Tzadik?
>Is there anyway to find out, besides the little rumors section on the Web?

I don't know if you've been there already but http://www.tzadik.com is the
official web site of the label and they've got a schedule of new releases
up to about december or so.
(I was a bit disappointed to find no mention of the rumored Painkiller
re-issues. Maybe next year?)

best,
Jesse




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

From: "David Brunelle" <[e-mail]>
Subject: Re: Tzadik releases
Date: 13 Oct 1997 13:38:03 PDT


>(I was a bit disappointed to find no mention of the rumored Painkiller
>re-issues. Maybe next year?)

Someone in the chat section of the Dub Terrorist's pages said that
Tzadik would be re-issuing "Guts of a Virgin", "Buried Secrets" and the
3 disc "Execution Ground" later this year. Of course, he didn't say how
he came by this information.

Dave

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com



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

From: Damon Holzborn <[e-mail]>
Subject: Zu Casa
Date: 13 Oct 1997 20:31:58 -0700

Hello Zorn-listers,
I'm an improvisor in the San Diego area who's been lurking on the Zorn-list
for a while and just launched a web site that I thought I'd mention. Zu
Casa has videos, some web trinkets, and over four hours of music performed
by Hans Fjellestad and myself. In the future we'll also be including
collaborations with other artists, writers, and musicians.

We'll be adding a lot more stuff in the next few months so if you hear
anything you like don't forget to send email to [e-mail] and we'll
send you the occasional update.

Point your browsers to:
http://www.zucasa.com

Thanks,

===========================
Damon Holzborn
[e-mail]
[e-mail]

Zu casa es su casa...
http://www.zucasa.com
===========================





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

From: Steve Smith <[e-mail]>
Subject: Re: Stargazer performances
Date: 14 Oct 1997 01:16:52 -0400

Aaron Hertzmann wrote:

> Stargazer, Dave Douglas' latest is good stuff.  Does anyone know if
> they plan
> any performances to coincide with the album release?

There's at least a small tour planned, I know there's a Boston date in
early December.  And for you, Aaron, in particular (judging by the
".nyu." in your address) and other New York Zornlisters in general, look
for a week at the snazzy looking Lincoln Center-area club Iridium in
early December.  See you there...

Steve Smith
[e-mail]






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

From: Steve Smith <[e-mail]>
Subject: Re: Tzadik releases
Date: 14 Oct 1997 01:30:25 -0400

Jesse Simon wrote:

> [e-mail] wrote:
> >Anyone know what's next for Tzadik?
> >Is there anyway to find out, besides the little rumors section on the
> Web?
>
> I don't know if you've been there already but http://www.tzadik.com is
> the
> official web site of the label and they've got a schedule of new
> releases
> up to about december or so.

Say wha'?  "the little rumors section" to which Peter Risser referred IS
the new release page on the official Tzadik website (produced for
mass-consumption by the goldarned Knitting Factory, dontcha know) and I
don't see anything past the release scheduled for October 21.  Where are
you looking, exactly?

Steve Smith
[e-mail]




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

From: [e-mail]
Subject: And...
Date: 14 Oct 1997 10:03:55 -0500 (CDT)

Also, "Masada Live In N.Y. 1994"  ENCO600961 10/95?




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

From: [e-mail]
Subject: Chadborne tribute?
Date: 14 Oct 1997 10:02:31 -0500 (CDT)

I may be uninformed.  Have you guys heard of "In Memeory Of Eugene
Chadborne" by John Zorn?  IncusCD23 6/97




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

From: Steve Smith <[e-mail]>
Subject: Re: Chadborne tribute?
Date: 14 Oct 1997 12:14:08 -0400

[e-mail] wrote:

> I may be uninformed.  Have you guys heard of "In Memeory Of Eugene
> Chadborne" by John Zorn?  IncusCD23 6/97

Umm, that would be "In Memory of Nikki Arane" by John Zorn AND Eugene
Chadbourne.

It's exactly what you'd expect it to be.

Best,
Steve Smith
[e-mail]






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

From: [e-mail]
Subject: Re: Chadborne tribute?
Date: 14 Oct 1997 16:51:14 -0500 (CDT)

I saw the title in a German catalogue, and was a little surprised.

On Tue, 14 Oct 1997, Steve Smith wrote:

> [e-mail] wrote:
>
> > I may be uninformed.  Have you guys heard of "In Memeory Of Eugene
> > Chadborne" by John Zorn?  IncusCD23 6/97
>
> Umm, that would be "In Memory of Nikki Arane" by John Zorn AND Eugene
> Chadbourne.
>
> It's exactly what you'd expect it to be.
>
> Best,
> Steve Smith
> [e-mail]
>
>
>
>
>




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

From: Tom Pratt <[e-mail]>
Subject: AMM
Date: 14 Oct 1997 19:44:52 -0400

I would love to hear any AMM reccomendations you all have. I'm just
getting into them. I know there are different lineups. I'm thinking I
want to get either 'The Inexhaustible Document', the Prevost/Rowe duo
'It Had Been An...' or a Prevost/Rowe/Tilbury one (there are multiple).
What do YOU recommend????

            -Tom Pratt



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

From: "pjm" <[e-mail]>
Subject: Re: Zony Mash Tour & Tape Offer
Date: 14 Oct 1997 18:27:18 -0700

just one man's opinion: I think "Gob of Spit" is the greatest closing song
on any LP i've ever heard.



> > >The whole thing?!?! Even "Gob of Spit"?
> >
> > This is absolutely my favorite Naked City tune on TG/GG!
> >
> I am personally of the opinion that Gob of Spit is kinda silly, and might
> have been better left unsaid, unplayed, whatever.  But who am I to argue
> with the mighty JZ and NC?
>




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

From: [e-mail]
Subject: Nov. Koch releases.
Date: 14 Oct 1997 22:44:10 -0700

New Koch book is here!  Here are the goodies we save our nickels for...
KEN BUTLER: VOICES OF ANXIOUS OBJECTS
Tzadik7402 Lunatic Fringe (DDD)
Ken Butler, Stomu Takeishi, Seido Salifoski, Matt Darriau
Tzadik's Lunatic Fringe series continues with the work of manic visual
artist and amster of musical mayhem, Ken Butler.. Performing on hybrid
instruments of his own creation, Ken has been performing everywhere from
the Metropolitan Museum, of art to the Pink Pony bar. ...a delightful
anecdote ro the humdrum sounds of today's popular stylings.  Rubberband
trumpet, double axe cello, hammerbridge violin, gulfclub sitar/tabla,
and a snowshovel are just a few of the instruments you will hear...
Includes a 16 page booklet with notes by the artist and photographs of
the instruments.

SHAKUSHAIN - DESERT IN HAND
Knitting Factory Works 215
One of Japan'e premiere jazz bands, drawing massive crowds at European
festivals, Tokyo concert halls or intimate clubs. Comprised of many of
Japan's most notable musicians, composers, scorers and choreographers.
Kazutoki Umezu is the leader of Shakushain and had a solo release on KFW
called the "first deserter." Umexu is also a frequent collaborator of
Marc Ribot, John  Zorn and Tom Cora (of The Ex).

VARIOUS - DROP ACID...LISTEN TO THIS!!
Knitting Factory Works218
DJ Spooky, DJ Olive, William Hooker, Zony Mash, Umezu , Beatles, A dark
twisted,swirling morass of stylistic excess and atonal minimalism.

DAVID SOLDIER - SMUT
Avant019
Twangy guitars, droning brass and pornographic lyrics.  Dedicated to
Robert Mapplethorpe and David Wojnarowicz, these strange songs, adapted
from homo- and hetero-erotic Latin poetry of the middle ages,create a
medieval surf sound that will make you want to hit the beach with a copy
of Catullus.
    Using children's voices, rappers and city noises, Soldier structures
this work  like opposing mirrors, in a barber shop - imitation upon
imitation.

JOHN ZORN'S COBRA - TOKYO OPERATIONS '94
AVANT049
These recordings from the heart of Tokyo features a new generation of
Japan's most creative traditional musicians prompted by the enthusiastic
master Makigami Koichi.  Japanese instruments mix with guitar, bass,
vocals and percussion ina meeting of east meets west and north and south
and every point on the compass.

Hmm. There's more...I'll post the rest tomorrow.



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

From: Steve Smith <[e-mail]>
Subject: Re: Nov. Koch releases.
Date: 15 Oct 1997 03:00:00 -0400

[e-mail] wrote:

> KEN BUTLER: VOICES OF ANXIOUS OBJECTS
> Tzadik7402 Lunatic Fringe (DDD)
> Ken Butler, Stomu Takeishi, Seido Salifoski, Matt Darriau

For those who've visited the Knitting Factory and marveled at the
way-cool "musical instrument" sculptures hanging above the CD case in
the Front Bar, this is your chance to hear them actually being played by
the guy who built them.  Electric pitchfork and any number of other
instruments that look like they could only exist in a Picasso
cubist-period painting.  I confess I haven't actually heard Ken's music
but have heard it described as a sort of Middle Eastern fusion, which
would seem to be borne out by the presence of the fabulous Darriau
(Paradox Trio), Salifoski (Paradox Trio, Brad Shepik and the Commuters)
and Takeishi (Henry Threadgill).(Speaking of the "Lunatic Fringe," I saw
several NEW boxes of Bible Launcher CDs today at the office of the
company that oversees production of Tzadik releases, so I guess it's
time to uncork THAT bottle again...)

> SHAKUSHAIN - DESERT IN HAND
> Knitting Factory Works 215

Dr. Umezu is swell.  Wasn't there a small band release by him this month
on KFW, featuring Ribot and Horvitz among others?

> VARIOUS - DROP ACID...LISTEN TO THIS!!
> Knitting Factory Works218
> DJ Spooky, DJ Olive, William Hooker, Zony Mash, Umezu , Beatles, A
> dark
> twisted,swirling morass of stylistic excess and atonal minimalism.

Stupid title, stupid "concept" -- typical given the source.  The people
who write this copy have no idea what they are talking about musically
or otherwise.  Sorry if I come off as a curmudgeon (and gad I thought
you had to be way older than 31 to qualify as one of those...), but
please save your money for something worthy...

> DAVID SOLDIER - SMUT
> Avant019
> JOHN ZORN'S COBRA - TOKYO OPERATIONS '94
> AVANT049

Nice that Koch is resoliciting the Avant back catalog so that stores who
missed out the first time around can catch up.  Soldier's disc is
interesting... po-mo Carmina Burana?  Tokyo Operations is very cool.

Steve Smith
[e-mail]
standard disclaimer - ex-Koch, ex-Knitting Factory







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

From: john shiurba <[e-mail]>
Subject: Re: AMM
Date: 15 Oct 1997 00:31:33 -0700

tom pratt:
> I would love to hear any AMM reccomendations you all have. I'm just
> getting into them. I know there are different lineups. I'm thinking I
> want to get either 'The Inexhaustible Document', the Prevost/Rowe duo
> 'It Had Been An...' or a Prevost/Rowe/Tilbury one (there are multiple).

the early recordings (AMMusic, The Crypt, CD1 of Laminal) are the
noisiest. It's often hard to figure out how sax, piano, cello, guitar & drums
are producing the sounds you hear. these are highly recommended, but
perhaps the most 'challenging'

the 70s are represented only by 2 cds (It had been an ordinary enough
day..., To Hear and Back Again). these are easily my least favorite AMM
recordings. More in the free jazz terrain, which I don't think is their best
area. Keith Rowe actually plays conventionally on 'It had been...' (ie he
holds the guitar upright & plays notes) Keith Rowe is one of my few guitar
heroes, but this recording is not the reason.

the later stuff with John Tilbury is uniformly excellent. Long, often fairly
quiet very open sounding organically developing improvisations. the level
of detail, and the unusual group dynamic that appears to be based more on
layering sounds together, as opposed to reacting directly to one another,
are simply astonishing at times. I'd recommend 'Generative Themes' or
'The Inexhaustible Document' but they're all really good.

I think that a really good primer for AMM would be the 3CD set Laminal
that has recordings from 69, 82 and 94. The second CD (82) is one of my
favorite later AMM recordings, and the set of 3 nicely represents what
they've been up to all these years.
--



[e-mail]

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





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

From: [e-mail]
Subject: The MELA Foundation web site is up
Date: 15 Oct 1997 04:16:01 -0400 (EDT)

The MELA Foundation web site is up.
Information about Pandit Pran Nath, La Monte Young and Marian Zazeela
and their art and music.

http://www.virtulink.com/mela/main.htm

Dream House: Seven Years of Sound and Light has also
reopened for the season. Information at the above site.


* . * . . D a v i d   B e a r d s l e y .. [e-mail] *
      *            ..    *    ... .*             ....   *..  ..
   *       I M M P  &  B i i n k!   m  u  s  i  c   *   .  .  *
.. ..    *             ..                 ..           *   .
       J u x t a p o s i t i o n Ezine    *    *  . ..       .*
 . .*.. .           .. .     .    .*.   . . .     . ..     *  .
   http://www.virtulink.com/immp/lookhere.htm    *    .  .  .
. ..         .*..  *  . .  .       .*       ..*.   .   ..  . *.



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Dave Douglas Sextet/Stargazer
Date: 15 Oct 1997 10:55:20 GMT0BST

What Wayne Shorter tunes are on the album?  On The Milky
Way Express was broadcast from the Vortex, when they were in UK; in
Birmingham, the focus was more on Little (or, at least, on In
Our Lifetime) because Kenny Wheeler was specially guesting.
But they did play one original ("Goldfish"?) that was said to be part
of the upcoming Shorter album.



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

From: Yves Dewulf <[e-mail]>
Subject: DXT
Date: 15 Oct 1997 12:28:34 +0200


Yesterday I was listening to the excellent DXT-contributions on the Bill
Laswell-compilations Vallis (I & II) and altered beats.
I know that DXT is the same person as DST, who was scratching on
"rock-it" of Herbie Hancock.
Does anybody know what DXT has been doing in between this recordings
(quite a long time, since "rock-it" was early 80's if I remember well !)
 and are there any solo-recordings by him ?








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

From: louie <[e-mail]>
Subject: re: painkiller re-issues
Date: 15 Oct 1997 08:07:29 -0600

> Someone in the chat section of the Dub Terrorist's pages said that
> Tzadik would be re-issuing "Guts of a Virgin", "Buried Secrets" and the
> 3 disc "Execution Ground" later this year. Of course, he didn't say how
> he came by this information.

i read the same thing, if anyone in the know has any info i'm sure there
are many zorn-list folks who would love to find out if this is
true.(these albums are slowly becoming larger than life, hopefully when
the day comes that i hear them (i have execution ground) i'm not
disappointed!);\

maybe if we whine enuff they'll release all three plus "rituals" as a
box set. maybe they could call it "pill box" or "you can't find that in
stores anymore (vol.1 -4)" or "the valium years" or...

(sorry guys, it's kind of early)
-louie



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Dave Douglas Sextet/Stargazer
Date: 15 Oct 1997 08:13:08 -0700


On Wed, 15 Oct 1997 10:55:20 GMT0BST  DR S WILKIE wrote:
>
> What Wayne Shorter tunes are on the album?  On The Milky
> Way Express was broadcast from the Vortex, when they were in UK; in
> Birmingham, the focus was more on Little (or, at least, on In
> Our Lifetime) because Kenny Wheeler was specially guesting.
> But they did play one original ("Goldfish"?) that was said to be part



073 - STARGAZER: Dave Douglas

    1/ Spring Ahead                             (Douglas)                4:24
    2/ Goldfish                                 (Douglas)               10:28
    3/ Stargazer                                (Douglas)                6:39
    4/ Four Sleepers                            (Douglas)               10:23
    5/ On The Milky Way Express                 (Wayne Shorter)          4:12
    6/ Pug Nose                                 (Wayne Shorter)          4:41
    7/ Dark Sky                                 (Douglas)                5:53
    8/ Intuitive Science                        (Douglas)                8:49
    9/ Diana                                    (Wayne Shorter)          4:32

    Recorded on December 30, 1996

  Dave Douglas: trumpet; Chris Speed: tenor, clarinet; Joshua Roseman: trom-
  bone; Uri Caine: piano; James Genus: bass; Joey Baron: drums.

    1997 - Arabesque (USA), AJ0132 (CD)


    Patrice.



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: painkiller re-issues
Date: 15 Oct 1997 08:11:47 -0700


On Wed, 15 Oct 1997 08:07:29 -0600  louie wrote:
>
> > Someone in the chat section of the Dub Terrorist's pages said that
> > Tzadik would be re-issuing "Guts of a Virgin", "Buried Secrets" and the
> > 3 disc "Execution Ground" later this year. Of course, he didn't say how
> > he came by this information.
>
> i read the same thing, if anyone in the know has any info i'm sure there
> are many zorn-list folks who would love to find out if this is
> true.(these albums are slowly becoming larger than life, hopefully when
> the day comes that i hear them (i have execution ground) i'm not
> disappointed!);\
>
> maybe if we whine enuff they'll release all three plus "rituals" as a
> box set. maybe they could call it "pill box" or "you can't find that in
> stores anymore (vol.1 -4)" or "the valium years" or...

Last news:

    EXECUTION GROUND (the 3xCD set with LIVE IN OSAKA) should be
    reissued by Tzadik next January or February

    Patrice.



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

From: Anthony  Fabio <[e-mail]>
Subject: mystery (to me) group
Date: 15 Oct 1997 11:11:28 -0400 (EDT)


has anyone heard of a band called N.A.D.? i think they are an italian
band. i keep seeing at a used CD store a CD by them in which i have
been tempted to buy several times. zeena parkins, sonny sharrock, elliot
sharp and others play on various cuts. the album is titled something like
"ghosts".

tony


|=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|  Here we go Steelers, here we go!
|Anthony Fabio, MPH, RD, Doctoral Student|=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
| Department of Epidemiology             |   E-mail: [e-mail]  or   |
|     University of Pittsburgh           |           [e-mail]  |
*******************************************************************************




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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Nov. Koch releases.
Date: 15 Oct 1997 08:36:17 -0700


On Wed, 15 Oct 1997 03:00:00 -0400  Steve Smith wrote:
>
> and Takeishi (Henry Threadgill).(Speaking of the "Lunatic Fringe," I saw
> several NEW boxes of Bible Launcher CDs today at the office of the
> company that oversees production of Tzadik releases, so I guess it's
> time to uncork THAT bottle again...)

Hum...

> > SHAKUSHAIN - DESERT IN HAND
> > Knitting Factory Works 215
>
> Dr. Umezu is swell.  Wasn't there a small band release by him this month
> on KFW, featuring Ribot and Horvitz among others?

Yep and it seems to be out:


092 - FIRST DESERTER: Umezu Kazutoki

  Umezu Kazutoki: soprano, saxcello, alto, baritone saxophone, clarinet, bass
  clarinet, penny whistle, kojok, kehn; Marc Ribot: guitars, alto trumpet;
  Wayne Horvitz: piano, organ, keyboards, kehn; Tom Cora: cello, kehn; Sam
  Bennett, drums, percussion, samples, loops, kehn.

    1995 - Off Note (Japan), ON-7 (CD)
    1997 - Knitting Factory Works (USA), KFW 214 (CD)


really looking for it!

    Patrice.



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

From: Mark Michael Mathis <[e-mail]>
Subject: Bill Frisell in Texas
Date: 15 Oct 1997 10:43:31 -0500 (CDT)

I saw Bill Frisell (quartet) about a week ago in Austin.  The show was
absolutely amazing, in my opinion.  At the beginning he said, "We've never
been here before. So this is Texas? Sure doesn't seem like it."  Later,
after much applause and a couple encores, he said, "We should have come
here a long time ago."  This brings up an interesting question.  Why
doesn't anybody come to Texas?  When painkiller toured for "execution
ground" they played on the coasts and in like Chicago.  Why?  I know tons
of people here that would love to see John Zorn play.

Mark Mathis




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

From: "David Brunelle" <[e-mail]>
Subject: Praxis
Date: 15 Oct 1997 08:48:08 PDT

While looking through CDNow, I noticed that Subharmonic is preparing to
issue "1984" on CD the beginning of November. I assume this is part of
their plan to make money off of Laswell, since he stopped putting stuff
out on the label. I also saw "Transmutations Live" listed at $12.99.
Does this mean that Douglas finally found US distribution?

Dave
[e-mail]

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Nov. Koch releases.
Date: 15 Oct 1997 08:52:41 -0700


On Tue, 14 Oct 1997 22:44:10 -0700  [e-mail] wrote:
>
> New Koch book is here!  Here are the goodies we save our nickels for...
> KEN BUTLER: VOICES OF ANXIOUS OBJECTS
> Tzadik7402 Lunatic Fringe (DDD)
  ^^^^^^^^^^

Really? I thought 7402 was the catalog number of BIBLE LAUNCHER.

    Patrice.



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Praxis
Date: 15 Oct 1997 15:44:54 -0400 (EDT)



On Wed, 15 Oct 1997, David Brunelle wrote:

> While looking through CDNow, I noticed that Subharmonic is preparing to
> issue "1984" on CD the beginning of November.

Is this title being given to the original _Praxis_ EP (home of the track
"1984") or is this something else/more?

Chris Hamilton





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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Bill Frisell in Texas
Date: 15 Oct 1997 15:50:37 -0400 (EDT)



On Wed, 15 Oct 1997, Mark Michael Mathis wrote:

> This brings up an interesting question.  Why
> doesn't anybody come to Texas?  When painkiller toured for "execution
> ground" they played on the coasts and in like Chicago.  Why?  I know tons
> of people here that would love to see John Zorn play.

I always assumed that this was because, although Texas is pretty hip, the
surrounding states really aren't.  For example, when Television did their
reunion tour a few years back, they ended up cancelling the Austin date
because they couldn't get gigs in surrounding states.  Things do seem to
be improving though.  When I was in Houston in August, William Parker and
his wife were playing there, and evidently it was worth Frisell's while
to play there as well.

Chris Hamilton
Texan-in-Exile





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

From: john shiurba <[e-mail]>
Subject: Re: Bill Frisell in Texas
Date: 15 Oct 1997 13:39:12 -0700

>  This brings up an interesting question.  Why
> doesn't anybody come to Texas?  When painkiller toured for "execution
> ground" they played on the coasts and in like Chicago.  Why?

well, among other possible reasons, I heard they were asking for an
astronomical guarantee on that tour.
--



[e-mail]

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



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

From: [e-mail]
Subject: Re: Bill Frisell in Texas
Date: 15 Oct 1997 15:37:47 -0500 (CDT)

Well, I saw Bungle in Dallas.  And during the South-By-Southwest festival
in Austin every spring, you can see some pretty cool bands.  But, really,
I live mainly vicariously, through my NY buds for concerts.

On Wed, 15 Oct 1997, Christopher Hamilton wrote:

>
>
> On Wed, 15 Oct 1997, Mark Michael Mathis wrote:
>
> > This brings up an interesting question.  Why
> > doesn't anybody come to Texas?  When painkiller toured for "execution
> > ground" they played on the coasts and in like Chicago.  Why?  I know tons
> > of people here that would love to see John Zorn play.
>
> I always assumed that this was because, although Texas is pretty hip, the
> surrounding states really aren't.  For example, when Television did their
> reunion tour a few years back, they ended up cancelling the Austin date
> because they couldn't get gigs in surrounding states.  Things do seem to
> be improving though.  When I was in Houston in August, William Parker and
> his wife were playing there, and evidently it was worth Frisell's while
> to play there as well.
>
> Chris Hamilton
> Texan-in-Exile
>
>
>
>




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

From: Christopher Hamilton <[e-mail]>
Subject: re: painkiller re-issues
Date: 15 Oct 1997 15:52:59 -0400 (EDT)



On Wed, 15 Oct 1997, louie wrote:

> maybe if we whine enuff they'll release all three plus "rituals" as a
> box set. maybe they could call it "pill box" or "you can't find that in
> stores anymore (vol.1 -4)" or "the valium years" or...

If we are gonna do a group whine, I'd really prefer we go for separate
reissues, so that those of us who have some of this material don't have to
buy it all over again.

Chris Hamilton




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

From: Brian Olewnick <[e-mail]>
Subject: Re: mystery (to me) group
Date: 15 Oct 1997 17:06:33 -0700

Anthony Fabio wrote:
>
> has anyone heard of a band called N.A.D.? i think they are an italian
> band. i keep seeing at a used CD store a CD by them in which i have
> been tempted to buy several times. zeena parkins, sonny sharrock, elliot
> sharp and others play on various cuts. the album is titled something like
> "ghosts".
>
> tony
>
>
> |=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|  Here we go Steelers, here we go!
> |Anthony Fabio, MPH, RD, Doctoral Student|=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
> | Department of Epidemiology             |   E-mail: [e-mail]  or   |
> |     University of Pittsburgh           |           [e-mail]  |
> *******************************************************************************
The entire name is Niu Abdomineaux Dangereux (think I got the spelling
right) and it's a pretty fun album. Th guest musicians you mentioned are
scattered throughout and are basically in a support role. The band does
a few interesting covers: a kinda country version of 'Ghosts', Ornette's
'Broadway Blues' and a wonderful version of 'Bibbidi-Bobbidi-Boo'
(possible spelling error once again).

I once posted on rmb for further info on this band and received zero
responses, so they remain otherwise mysterious to me also!

Brian Olewnick



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

From:    [e-mail] (Patrick Carey)
Subject: Re: DXT
Date: 15 Oct 1997 18:39:13 -0400

>Does anybody know what DXT has been doing in between this recordings
>(quite a long time, since "rock-it" was early 80's if I remember well !)
>and are there any solo-recordings by him?

Don't know what DXT was doing during the 80's, but his latest
project is the recent Elixir CD, "Hegalien Zone" on Laswell's
ION label.  DXT on drums, electronic keyboards, percussion, turntable
& voice, Laswell on bass, Sassan on flutes & samples, Sluys on samples,
and Umar Bin Hassan providing spoken word on one track.


-Patrick


np: Praxis - "Live in Poland"





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

From: "Richie Teh" <[e-mail]>
Subject: Mike Patton, Merzbow, KK Null and Michael Sheridan concert
Date: 16 Oct 1997 08:11:48 +0000

Hi all,

Thot you might be interested. Mike Patton (of Faith No More/Mr Bungle
fame) will be performing in a concert with Merbow here in Melbourne,
Australia
on the 28 Oct 97. Supporting them will be Michael Sheridan (Peril)
and KK Null.

I'll be there!



Regards,
Richie Teh
IT Specialist
Clearview Technologies Pty Ltd            Tel  : [phone]
Level 3, 207 Bouverie Street            Fax  : [phone]
Carlton Victoria 3053                Email: [e-mail]
Australia
        http://www.clearview.com.au/



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

From: [e-mail] (Nathan M Earixson)
Subject: Re: Nov. Koch releases.
Date: 15 Oct 1997 16:55:24 -0500

This may be common Knowledge, but Umezu also has an excellent Cd called
"eclecticism" with Marc Ribot and others.  It's on Knitting Factory works

and is, um,
 Eclectic.

********************************************************
"What could possibly go wrong?"
"Melville".
********************************************************

On Wed, 15 Oct 1997 08:36:17 -0700 "Patrice L. Roussel"
<[e-mail]> writes:
>
>On Wed, 15 Oct 1997 03:00:00 -0400  Steve Smith wrote:
>>
>> and Takeishi (Henry Threadgill).(Speaking of the "Lunatic Fringe," I
>saw
>> several NEW boxes of Bible Launcher CDs today at the office of the
>> company that oversees production of Tzadik releases, so I guess it's
>> time to uncork THAT bottle again...)
>
>Hum...
>
>> > SHAKUSHAIN - DESERT IN HAND
>> > Knitting Factory Works 215
>>
>> Dr. Umezu is swell.  Wasn't there a small band release by him this
>month
>> on KFW, featuring Ribot and Horvitz among others?
>
>Yep and it seems to be out:
>
>------------------------------------------------------------------------------
>
>092 - FIRST DESERTER: Umezu Kazutoki
>
>  Umezu Kazutoki: soprano, saxcello, alto, baritone saxophone,
>clarinet, bass
>  clarinet, penny whistle, kojok, kehn; Marc Ribot: guitars, alto
>trumpet;
>  Wayne Horvitz: piano, organ, keyboards, kehn; Tom Cora: cello, kehn;
>Sam
>  Bennett, drums, percussion, samples, loops, kehn.
>
>    1995 - Off Note (Japan), ON-7 (CD)
>    1997 - Knitting Factory Works (USA), KFW 214 (CD)
>
>------------------------------------------------------------------------------
>
>really looking for it!
>
>    Patrice.
>
>



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

From: Steve Smith <[e-mail]>
Subject: Re: Bill Frisell in Texas
Date: 15 Oct 1997 18:23:44 -0400

Mark Michael Mathis wrote:

> I saw Bill Frisell (quartet) about a week ago in Austin.  The show was
>
> absolutely amazing, in my opinion.  At the beginning he said, "We've
> never
> been here before. So this is Texas? Sure doesn't seem like it."
> Later,
> after much applause and a couple encores, he said, "We should have
> come
> here a long time ago."

Frisell is forgetting that he played solo in Austin in April 1993.  A
friend and I found out about that show via a little bin card stuck in
his section at Tower Records (the only Tower in all of Texas).  We had
driven to Austin from Houston (no small hike) to see the Willem Breuker
Kollekief and sadly could not make the trip again the next week to see
Frisell.  To the best of my knowledge that was his only previous visit.

>  This brings up an interesting question.  Why
> doesn't anybody come to Texas?  When painkiller toured for "execution
> ground" they played on the coasts and in like Chicago.  Why?  I know
> tons
> of people here that would love to see John Zorn play.

Usually it's a matter of tour economics... there are not enough venues
established in Texas and surrounding states to make it feasible for most
tours to swing through the South, although that's hopefully changing
with the recent upswing in grassroots level presenting agencies
prevalent in the Southeast and Midwest -- the idea being that if you
want something to come to you, make it happen yourself, which is what
the friend I mentioned earlier is now doing in Washington, DC with great
results.  He gained a lot of experience bringing the likes of Tim Berne
and ROVA to Rice University in the '80s.  You can get a list of these
presenters from Joe Germuska at the WNUR Jazzweb if you want to do a
little research into the logistics of DIY concert producing, but be
prepared for a LOT of work.

The perception of the potential audience is pretty lackluster when it
comes to the established clubs... I once attended a burning Ronald
Shannon Jackson set in Austin that was attended by about 12 people.  And
Kenny Wheeler gave an amazing large ensemble concert at a club in
Houston which drew perhaps 50 people in February of 1993.  The same club
sold out a long weekend of shows by Branford Marsalis, so naturally the
club is going to follow the money.

I did hear plenty of great music while in Houston thanks to the
International Festival (World Sax Quartet, David Murray Trio with
Phillip Wilson, Milton Nascimento, Thomas Mapfumo, Dennis Gonzalez with
a band that featured Louis Moholo and Carlos Ward) and the Houston Jazz
Festival (Charles Gayle, who emptied an audience of several hundred down
to about 40 with his first piece, Billy Harper, Dennis Gonzalez again,
this time with Frank Lowe, and others).  But the cool people who ran
those two festivals are both gone now.  And for a while there was great
stuff happening at the Caravan of Dreams in Ft. Worth, where I heard
Ulmer once and Sun Ra twice, but that place petered out sometime after
presenting a show by Cecil Taylor's great Feel Trio, which I didn't hear
about until afterwards.  While in school in San Antonio I also heard
many good things like two amazing sets by the Art Ensemble of Chicago
thanks to the Carver Center.  Dallas has always been pretty lame for
creative music, a surprise given the presence nearby of the powerful
music school at the University of North Texas.

But typically I'd hear more great stuff in a week visiting my sister in
New York than I'd hear all year in Houston, and now that I'm living in
NYC myself I've heard more in the last four years than I'd heard in my
entire life in Texas.  But I'm certainly sympathetic and felt the same
way not so long ago.

Steve Smith
[e-mail]






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

From: "David Brunelle" <[e-mail]>
Subject: Re: Praxis
Date: 15 Oct 1997 15:12:24 PDT


>Is this title being given to the original _Praxis_ EP (home of the
track
>"1984") or is this something else/more?
>
>Chris Hamilton

That was all the info they had, save for it being $8.99 for the CD. I
assumed that it's the original EP, but I could be wrong.

Dave Brunelle

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com



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

From: Steve Smith <[e-mail]>
Subject: Re: mystery (to me) group
Date: 15 Oct 1997 18:34:02 -0400

Brian Olewnick wrote:

> Anthony Fabio wrote:
> >
> > has anyone heard of a band called N.A.D.?

> The entire name is Niu Abdomineaux Dangereux (think I got the spelling
>
> right) and it's a pretty fun album. Th guest musicians you mentioned
> are
> scattered throughout and are basically in a support role. The band
> does
> a few interesting covers: a kinda country version of 'Ghosts',
> Ornette's
> 'Broadway Blues' and a wonderful version of 'Bibbidi-Bobbidi-Boo'
> (possible spelling error once again).

The band was a project led by Italian guitarist Roberto Zorzi, the same
guy who led the band that recorded the album "Omonimo" under the name
The Bang.  That band featured Tim Berne, Herb Robertson, Mark Feldman,
Percy Jones, Bobby Previte and Italian keyboardist Matteo Ederle.
Despite that stellar lineup it's not an especially good album.  There's
also a tape floating around in trader's circles featuring the same band
minus Ederle and plus Elliott Sharp, billed as the New Traditionalists.
Both the tape and the disc feature a loose cover version of Led
Zeppelin's "Dazed and Confused," and the tape also features a bent cover
of "Ladies of the Road" by King Crimson.  I haven't heard anything else
about Zorzi or N.A.D. since that first album, but if it's cheap it's
worth hearing.  The Bang, on the other hand, is very hard to find but
not nearly as worthwhile.

Steve Smith
[e-mail]





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

From: Tom Pratt <[e-mail]>
Subject: Re: mystery (to me) group
Date: 15 Oct 1997 19:36:12 -0400

> The band was a project led by Italian guitarist Roberto Zorzi, the same
> guy who led the band that recorded the album "Omonimo" under the name
> The Bang.  That band featured Tim Berne, Herb Robertson, Mark Feldman,
> Percy Jones, Bobby Previte and Italian keyboardist Matteo Ederle.
> Despite that stellar lineup it's not an especially good album.

I don't know about that. I have this and I really like it quite a bit.
Aside from Matteo Ederle, who I really don't like on this album, the
others pretty much tear it up. The Zorzi/Ederle composition seemed out
of place due to it's lack of energy but "Dartman" and "Rose In The Beer"
are great. I like the live tape of New Traditionalists much more though.
Matteo Ederle doesn't play on it and Elliott Sharp is with them. Herb
Robertson has some crazy vocal things at the end of some tune. Percy
Jones rips it up throughout. I don't know why you didn't like it but oh
well... just a different opinion.

The live tape beats out the album for sure though.

Anybody know anything else Roberto Zorzi's done?

            -Tom Pratt



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

From: Jeff Spirer <[e-mail]>
Subject: Re: Praxis
Date: 15 Oct 1997 17:15:17 -0700

At 08:48 AM 10/15/97 PDT, David Brunelle wrote:
>While looking through CDNow, I noticed that Subharmonic is preparing to
>issue "1984" on CD the beginning of November. I assume this is part of
>their plan to make money off of Laswell, since he stopped putting stuff
>out on the label.

They can do whatever they want with what they own the rights to.  The
musicians don't get paid for additional sales in that case.

>I also saw "Transmutations Live" listed at $12.99.
>Does this mean that Douglas finally found US distribution?

Not yet, but maybe someone has decided to jump the gun.

By the way, Douglas is a US-based label (out of LA).  A little strange that
people have had to buy stuff through a circuitous route.

Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/



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

From: Steve Smith <[e-mail]>
Subject: Re: mystery (to me) group
Date: 16 Oct 1997 00:03:26 -0400

Tom Pratt wrote:

> > Despite that stellar lineup it's not an especially good album.
>
> I don't know about that. I have this and I really like it quite a bit.
>
> [snip] I don't know why you didn't like it but oh
> well... just a different opinion.

Well, I wouldn't go so far to say that I don't like it!  I haven't been
in any rush to part with it.  I think there's some fine, energetic
playing on the part of most everybody concerned, and further think that
Herb Robertson has gotten so little exposure in recent years that just
about anything you can find with him is worth having.  It's also the
only place you'll find Berne's tune "Dartman," so ain't no way I'm
giving it up.  I think what I *should* have said is that it's *okay* but
isn't really as amazing as you might expect it to be given the lineup.
And you're right, the tape is stronger than the CD (which is also a live
recording) for all the reasons you mentioned.

> Anybody know anything else Roberto Zorzi's done?

He's got a website at http://rcvr.univr.it/spettaco/musica/zorzi/, but
the server there is not repsonding at present so I can't answer your
question although I do know that there's more than just NAD and the
Bang.  The site is completely in Italian, but if you poke around enough
you may find something of interest.

Steve Smith
[e-mail]





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

From: "Tim Schelfhout" <[e-mail]>
Subject: Re: mystery (to me) group
Date: 16 Oct 1997 00:38:21 PDT

Buy it!!! It's awesome.
I mean Parkins, Sharrock, Frith ... should I go on! If you see these
names on a CD all you can do is BUY.  They don't play along the whole
ride though nevertheless it's worth it.
I recall that when I saw this particular CD I bought it immediately and
I have to say the music kinda has to grow on ya but once it has it
boggles the mind.
The music is kinda weird since they use samples in between
straightforward jazz tunes.  Close you're eyes and enjoy the movie...
coz' basically that's what it is.  Drawing pictures in the mind.

TIMPY

----Original Message Follows----


has anyone heard of a band called N.A.D.? i think they are an italian
band. i keep seeing at a used CD store a CD by them in which i have
been tempted to buy several times. zeena parkins, sonny sharrock, elliot
sharp and others play on various cuts. the album is titled something
like
"ghosts".

tony


|=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|  Here we go Steelers, here we
go!
|Anthony Fabio, MPH, RD, Doctoral
Student|=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
| Department of Epidemiology             |   E-mail: [e-mail]
or   |
|     University of Pittsburgh           |
[e-mail]  |
*******************************************************************************






______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com



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

From: [e-mail]
Subject: Re: Nov. Koch releases.
Date: 16 Oct 1997 04:55:53 -0400 (EDT)

In a message dated 97-10-15 18:37:40 EDT, it was written:

<< This may be common Knowledge, but Umezu also has an excellent Cd called
 "eclecticism" with Marc Ribot and others.  It's on Knitting Factory works >>

Hope this isn't repeat information, but he also has a few LPs out on the
Swiss label Hat Hut/Hat Art.  Not sure if they are still in print.

spinning: Creedle- When the Wind Blows



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

From: [e-mail] (Caleb Deupree)
Subject: Re: painkiller re-issues
Date: 16 Oct 1997 08:43:12 -0400

>>>>> "louie" == louie  <[e-mail]> writes:

    >> Someone in the chat section of the Dub Terrorist's pages said
    >> that Tzadik would be re-issuing "Guts of a Virgin", "Buried
    >> Secrets" and the 3 disc "Execution Ground" later this year. Of
    >> course, he didn't say how he came by this information.

    louie> i read the same thing, if anyone in the know has any info
    louie> i'm sure there are many zorn-list folks who would love to
    louie> find out if this is true.(these albums are slowly becoming
    louie> larger than life, hopefully when the day comes that i hear
    louie> them (i have execution ground) i'm not disappointed!);\

You should know that Buried Secrets is very short, only about 20
minutes if I remember correctly.  One track is only three seconds
long.

---
Caleb T. Deupree
;; Opinions do not reflect on management

Computers are useless.  They can only give you answers.
(Pablo Picasso)




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

From: [e-mail] (Rusty Crump)
Subject: Re: Bill Frisell in Texas
Date: 16 Oct 1997 08:49:45 -0500

>On Wed, 15 Oct 1997, Mark Michael Mathis wrote:
>
>> This brings up an interesting question.  Why
>> doesn't anybody come to Texas?  When painkiller toured for "execution
>> ground" they played on the coasts and in like Chicago.  Why?  I know tons
>> of people here that would love to see John Zorn play.
>
>I always assumed that this was because, although Texas is pretty hip, the
>surrounding states really aren't.  For example, when Television did their
>reunion tour a few years back, they ended up cancelling the Austin date
>because they couldn't get gigs in surrounding states.  Things do seem to
>be improving though.  When I was in Houston in August, William Parker and
>his wife were playing there, and evidently it was worth Frisell's while
>to play there as well.
>
>Chris Hamilton
>Texan-in-Exile

I thank my lucky stars that JZ included Memphis in Masada's 10-city tourlet
last year. I'm not sure what prompted (heh... a little Cobra humor...) him
to start with a southern swing, but it sure was appreciated. The problem is
that Memphis is seen, to a degree, as a blues town only. Chris Walker at
Barrister's has done what he can to bring in alternatives (Masada, Zeni
Geva, Tortoise, Test Dept., etc.) to the same old hamhocks bluesin' it up
on stage, but it's an uphill struggle. I've seen way too many bands doing
southern swings and going from Texas to New Orleans to Atlanta without
stopping in Memphis. Or never going souther of Chicago in the first place.
Hmf.

Rusty Crump





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

From: Brent Burton <[e-mail]>
Subject: the grassroots
Date: 16 Oct 1997 09:57:19 -0400 (EDT)

On Wed, 15 Oct 1997, Steve Smith wrote:

> the idea being that if you want something to come to you, make it
> happen yourself, which is what the friend I mentioned earlier is now
> doing in Washington, DC with great results.

if yr talking about transparent productions then i just gotta say that
they're doing an amazing job of bringing jazz to dee cee.  ever since dc
space closed in the early 90's, this area has been kind of a wasteland
for indie/underground jazz, but since this summer transparent has sponsored
shows by the likes of joe mcphee, ellery eskelin trio, david s. ware
quartet, joe morris trio and william parker (the wm. parker show evidently
made $1000).  plus they have shows lined up for leo smith and fred ho as
well as a possible dave douglas show next month.

b



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: mystery (to me) group
Date: 16 Oct 1997 08:28:48 -0700


On Thu, 16 Oct 1997 00:38:21 PDT  "Tim Schelfhout" wrote:
>
> Buy it!!! It's awesome.
> I mean Parkins, Sharrock, Frith ... should I go on! If you see these
    ^^^^^^^^^^^^^^^^^^^^^^^

From my memory, their appearance is more obvious on the sleeve of the
record than in the music :-).

    Patrice.

> names on a CD all you can do is BUY.  They don't play along the whole
> ride though nevertheless it's worth it.
> I recall that when I saw this particular CD I bought it immediately and
> I have to say the music kinda has to grow on ya but once it has it
> boggles the mind.
> The music is kinda weird since they use samples in between
> straightforward jazz tunes.  Close you're eyes and enjoy the movie...
> coz' basically that's what it is.  Drawing pictures in the mind.
>
> TIMPY
>
> ----Original Message Follows----
> Date: Wed, 15 Oct 1997 11:11:28 -0400 (EDT)
> From: Anthony  Fabio <[e-mail]>
> To: [e-mail]
> Subject: mystery (to me) group
>
>
> has anyone heard of a band called N.A.D.? i think they are an italian
> band. i keep seeing at a used CD store a CD by them in which i have
> been tempted to buy several times. zeena parkins, sonny sharrock, elliot
> sharp and others play on various cuts. the album is titled something
> like
> "ghosts".
>
> tony
>
>
> |=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-|  Here we go Steelers, here we
> go!
> |Anthony Fabio, MPH, RD, Doctoral
> Student|=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
> | Department of Epidemiology             |   E-mail: [e-mail]
> or   |
> |     University of Pittsburgh           |
> [e-mail]  |
> *******************************************************************************
>
>
>
>
>
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
>
>




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

From: [e-mail]
Subject: Nov. Koch Releases
Date: 16 Oct 1997 08:39:45 -0700

Fushitsusha - Allegorical Misunderstanding
Avant008
Haaino Keiji, Ozawa Yasushi, Kosugi Jun.
Influenced by everything from Scarlatti to Partch, Blood Ulmer to
Django, Munir Bachir to Vassilis Tsitsanis, Haino's music is intense,
visceral and brutally honest.This is also Haino's first studio recording
ever.  Produced by John Zorn and recorded by Martin Bisi, this is a
special one of a kind listening experience.  Haino plays for lovers
only.

PIGPEN - V AS IN VICTIM
Avant027
Wayne Hortitz, Fred Chalenor, Briggan Krauss, Mike Stone.
HOrvitz is a master of many styles, but few have been as exciting as
Pigpen.  Featuring the talented young alto saxophonist Briggan Krauss,
Victim takes traditional instrumentation of sax, keyboard, bass and
drums into new places.  From Jazz to hardcore to moody soundpieces, with
a good dose of Booker T and Frank Zappa thrown in for good measure,
Wayne's various obsessions come together brilliantly in this 1993
recording.

MARK DRESSER  - BANQUET
Tzadik7027 - Composer SEries
W/ Matthias Ziegler, Mark Feldman, Erik Friedlander, Chris Speed and
others.
One of the world's greatest virtuoso bass players, Mark Dresser has
worked with Anthony Davis, Diamanda Galas, Bob Osterag and Anthony
Braxton. He has created soundtracks for the Cabinet of Dr. Caligari and
Un Chien Andalou.  This CD features two of Mark's most important recent
works.  "Banquet" is a double concerto for flute, bass and string
quartet.  "Loss of the Innocents," written for tuba, cello and clarinet
is a kaddish for the victims of TWA Flight 800; a memorial to two
members of the Wayne SHorter family who dies in the crash.

NAFTULE'S DREAM - SEARCH FOR THE GOLDEN DREYDL
Tzadik 7118 - Radical Jewish Culture

Adventuropus originals and surprising re-interpretations of traditional
Jewish classics, Boston-based Naftule's Dream has created an
instrumental music of passion and intensity.  Fiery improv weaves in and
out of complex arrangements in a style reminiscent of Mingus at his
best.

Finally CRI is releasing "The Harry Partch Collection."
CRI751  (Vol. 1)
    11 Intrusions (1949-50)
    Plectra & Percussion Dances (1952)
    Ulysses at the Edge (1955)

CRI 752 (Vol.2)
    The Wayward:
    U.S. Highball (1943, rev.1955)
    San Francisco (1943, rev. 1955)
    The Letter (1943, rev. 1972)
    Barstow (1941, rev. 1968)
    And On The Seventh Day Petals Fell in Petaluma (1963-64, rev. 1966)

CRI753 (Vol. 3)
    The Dreamer That Remains  -  A Study in Living (1972)
    Rotate That Body in All Its Planes - Ballad For Gymnasts (1961)
    Windsong (1958)
    Water! Water! (1961)

CRI754 (Vol. 4)
    The Bewitched - A Dance  Satire (1954)



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

From: Scott Russell <[e-mail]>
Subject: Andy Haas
Date: 16 Oct 1997 16:44:07 +0000

--MimeMultipartBoundary
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Has anyone heard the Andy Haas digeridoo duets disc on Avant? I've seen
it in a local shop but at the usual not-so-cheap price so I'd like some
opinions.

Scott Russell
--
Without  theory all we have  is opinion  and  shopping.  Chris Cutler
--MimeMultipartBoundary--



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

From: "Schwitterz" <[e-mail]>
Subject: ATTN: TOM PRATT
Date: 16 Oct 1997 08:37:37 -0700



>Finally CRI is releasing "The Harry Partch Collection."
>CRI751  (Vol. 1)
> 11 Intrusions (1949-50)
> Plectra & Percussion Dances (1952)
> Ulysses at the Edge (1955)
>
>CRI 752 (Vol.2)
> The Wayward:
> U.S. Highball (1943, rev.1955)
> San Francisco (1943, rev. 1955)
> The Letter (1943, rev. 1972)
> Barstow (1941, rev. 1968)
> And On The Seventh Day Petals Fell in Petaluma (1963-64, rev. 1966)
>
>CRI753 (Vol. 3)
> The Dreamer That Remains  -  A Study in Living (1972)
> Rotate That Body in All Its Planes - Ballad For Gymnasts (1961)
> Windsong (1958)
> Water! Water! (1961)
>
>CRI754 (Vol. 4)
> The Bewitched - A Dance  Satire (1954)
>
>




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

From: [e-mail]
Subject: Re: Nov. Koch releases.
Date: 16 Oct 1997 08:59:05 -0700

Patrice L. Roussel wrote:
>
> On Tue, 14 Oct 1997 22:44:10 -0700  [e-mail] wrote:
> >
> > New Koch book is here!  Here are the goodies we save our nickels for...
> > KEN BUTLER: VOICES OF ANXIOUS OBJECTS
> > Tzadik7402 Lunatic Fringe (DDD)
>   ^^^^^^^^^^
>
> Really? I thought 7402 was the catalog number of BIBLE LAUNCHER.
>
>         Patrice.

I just re-checked the book, and it looks like they are re-cycling the
the 7402 number.  I guess that if there ARE boxes of Bible Launcher CDs
sitting around somewhere, I'd appreciate it someone would offer to sell
me one!

They even have the bar-code under the art of the Ken Butler  CD.



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Andy Haas
Date: 16 Oct 1997 09:07:22 -0700


On Thu, 16 Oct 1997 16:44:07 +0000  Scott Russell wrote:
>
> --MimeMultipartBoundary
>
> Has anyone heard the Andy Haas digeridoo duets disc on Avant? I've seen
> it in a local shop but at the usual not-so-cheap price so I'd like some
> opinions.

If you can stand one hour of didjeridu, it is worth buying.

    Patrice.



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

From: [e-mail]
Subject: Re:  Andy Haas
Date: 16 Oct 1997 12:39:33 -0400 (EDT)

<<Has anyone heard the Andy Haas digeridoo duets disc on Avant? I've seen
it in a local shop but at the usual not-so-cheap price so I'd like some
opinions.>>

I heard it once through. I was very interested in it because some of my
favorite musicians (Makigami Koichi, Keiji Haino) are prominently featured. I
must say that I was underwhelmed, however. I love the sound of the didgeridoo
but about halfway through the album, I had heard enough didgeridoo to last me
for months. All in all, I would say it was less than the sum of its parts but
your mileage may vary.

Jon





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

From: [e-mail] (James T Graves)
Subject: Wasserman, Wallerman?
Date: 16 Oct 1997 13:10:02 EDT

I stumbled upon one of JZ's upcoming gigs at the Knitting Factory home
page a few days ago. I'm sure you're all familiar with it, Zorn will be
playing next Wednesday  with John Medeski, Marc Ribot, and some guy named
Wasserman. A friend of mine said he had a few CD's with this guy on it,
but he couldn't remember which ones.

So, I have three questions. First, who is this guy, is he just another
downtown drummer whose played with everyone, or should I be stumbling all
over myself to see him. Second, does anyone know what the group will be
playing? I assume they'll be playing Zorn stuff (which only narrows it
down to a few dozen genres...) Perhaps Bar Kokhaba stuff? Unfortunately I
have not gotten around to purchasing that album yet, but I know Medeski
and Ribot are on it, does Wasserman (Wallerman?) play on it too?

Jamie



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Wasserman, Wallerman?
Date: 16 Oct 1997 10:46:10 -0700


On Thu, 16 Oct 1997 13:10:02 EDT  James T Graves wrote:
>
> I stumbled upon one of JZ's upcoming gigs at the Knitting Factory home
> page a few days ago. I'm sure you're all familiar with it, Zorn will be
> playing next Wednesday  with John Medeski, Marc Ribot, and some guy named
> Wasserman. A friend of mine said he had a few CD's with this guy on it,
> but he couldn't remember which ones.
>
> So, I have three questions. First, who is this guy, is he just another
> downtown drummer whose played with everyone, or should I be stumbling all
    ^^^^^^^^^^^^

Drummer? I know of a Rob Wasserman, but he is a bass player. He has appeared
on few records along with Marc Ribot, hence my guess that it could be the same
person:

*** - THE LION FOR REAL: Allen Ginsberg
    1989 - Great Jones, GJ6004 (LP)
    1989 - Great Jones, CCD6004 (CD)
    ???? - Antilles, AN8750 (LP)
    1997 - Mercury (USA), 314 534 908-2 (CD)

*** - MIGHTY LIKE A ROSE: Elvis Costello
    1991 - Warner Bros. (USA), 9 26575-2 (CD)
    1991 - Warner Bros. (USA), W2 26575 (CD)

    Patrice.



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

From: Jesse Simon <[e-mail]>
Subject: Re: Nov. Koch Releases
Date: 17 Oct 1997 13:09:27

>Fushitsusha - Allegorical Misunderstanding
>Avant008
>Haino Keiji, Ozawa Yasushi, Kosugi Jun.
>Influenced by everything from Scarlatti to Partch, Blood Ulmer to
>Django, Munir Bachir to Vassilis Tsitsanis, Haino's music is intense,
>visceral and brutally honest.This is also Haino's first studio recording
>ever.  Produced by John Zorn and recorded by Martin Bisi, this is a
>special one of a kind listening experience.  Haino plays for lovers
>only.

I can't recommend this album highly enough. Track number 9 is a fourteen
minute guitar assault propelled by a dark and driving bass line and some
brilliantly abstract drumming. This album contains some of Keiji Haino's
most melodic guitar playing and yet it still manages to maintain the hard
edge and uncompromising darkness that we've come to expect from Fushitsusha.

>Finally CRI is releasing "The Harry Partch Collection."

And none to soon either.




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

From: [e-mail]
Subject: Re: Wasserman, Wallerman?
Date: 16 Oct 1997 13:12:41 -0500 (CDT)

If it's John Wasserman, he's a bass player of some esteem.  He's put out
atleast a couple of albums, "Duos" and "Trios."

On Thu, 16 Oct 1997, James T Graves wrote:

> I stumbled upon one of JZ's upcoming gigs at the Knitting Factory home
> page a few days ago. I'm sure you're all familiar with it, Zorn will be
> playing next Wednesday  with John Medeski, Marc Ribot, and some guy named
> Wasserman. A friend of mine said he had a few CD's with this guy on it,
> but he couldn't remember which ones.
>
> So, I have three questions. First, who is this guy, is he just another
> downtown drummer whose played with everyone, or should I be stumbling all
> over myself to see him. Second, does anyone know what the group will be
> playing? I assume they'll be playing Zorn stuff (which only narrows it
> down to a few dozen genres...) Perhaps Bar Kokhaba stuff? Unfortunately I
> have not gotten around to purchasing that album yet, but I know Medeski
> and Ribot are on it, does Wasserman (Wallerman?) play on it too?
>
> Jamie
>
>




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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: Allegorical Fushitsusha
Date: 16 Oct 1997 21:11:13 -0500 (CDT)

On Fri, 17 Oct 1997, Jesse Simon wrote:

> >Fushitsusha - Allegorical Misunderstanding
> >Avant008
> >Haino Keiji, Ozawa Yasushi, Kosugi Jun.
> >Influenced by everything from Scarlatti to Partch, Blood Ulmer to
> >Django, Munir Bachir to Vassilis Tsitsanis, Haino's music is intense,
> >visceral and brutally honest.This is also Haino's first studio recording
> >ever.  Produced by John Zorn and recorded by Martin Bisi, this is a
> >special one of a kind listening experience.  Haino plays for lovers
> >only.
>
> I can't recommend this album highly enough. Track number 9 is a fourteen
> minute guitar assault propelled by a dark and driving bass line and some
> brilliantly abstract drumming. This album contains some of Keiji Haino's
> most melodic guitar playing and yet it still manages to maintain the hard
> edge and uncompromising darkness that we've come to expect from Fushitsusha.

Hmmm, I was not very impressed with this one.  It was the 3rd or 4th of
theirs that I bought and it just didn't do too much for me.  To kinda
paraphrase one reviewer - the sound seemed contained in a kind of crystal
field and was never really able to let loose (actually I think this was
said about a Haino solo release, but it applies here).  To my ears, it
doesn't really represent what Fushitsusha *really* sounds like (live *and*
fully unleashed in the studio), but your mileage may vary.....

cya
brian




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

From: clockwise <[e-mail]>
Subject: Re: painkiller re-issues
Date: 16 Oct 1997 22:12:03 -0500

At 08:43 AM 10/16/97 -0400, Caleb Deupree wrote:
>You should know that Buried Secrets is very short, only about 20
>minutes if I remember correctly.  One track is only three seconds
>long.

I believe you're thinking of 'Guts of a Virgin'. 'Buried Secrets' is the
album with two amazing tracks featuring the Godflesh boys (tracks on which,
Justin Broadrick told me, Mick Harris is not playing).




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

From: [e-mail] (Matthew Colonnese)
Subject: Re: Allegorical Fushitsusha
Date: 16 Oct 1997 23:18:21 -0400 (EDT)

While _Allegorical Misunderstanding_ is for me not the best and deffinately
not the most representative Fushitsusha album it played an intrumental role
in my comprehension of what they were doing.  I like full on stuff quite
alot, but after hearing this new worlds in the louder stuff opened up.  I
still like the album quite a bit though in its own right.  Sure they don't
"let loose" but there's more to life (and music, even free music) than "the
wailing ultimate" (to quote sst).  Crytalized and delicate are wonderfull
descriptions for this album which I would use as complements.  I would
recomend the album, and deffinately say pick it up for anyone looking for
an "in" to Haino's world (and it makes a nice antithical pair with _A
Caution Appears_).

The Tzadik album is, IMHO, less completely successfull but was also
critical in enhacing my appreciation of Haino's louder work.  Specificially
the way he holds notes and tones and manipulates the overtones most of all.






>On Fri, 17 Oct 1997, Jesse Simon wrote:
>
>> >Fushitsusha - Allegorical Misunderstanding
>> >Avant008
>> >Haino Keiji, Ozawa Yasushi, Kosugi Jun.
>> >Influenced by everything from Scarlatti to Partch, Blood Ulmer to
>> >Django, Munir Bachir to Vassilis Tsitsanis, Haino's music is intense,
>> >visceral and brutally honest.This is also Haino's first studio recording
>> >ever.  Produced by John Zorn and recorded by Martin Bisi, this is a
>> >special one of a kind listening experience.  Haino plays for lovers
>> >only.
>>
>> I can't recommend this album highly enough. Track number 9 is a fourteen
>> minute guitar assault propelled by a dark and driving bass line and some
>> brilliantly abstract drumming. This album contains some of Keiji Haino's
>> most melodic guitar playing and yet it still manages to maintain the hard
>> edge and uncompromising darkness that we've come to expect from Fushitsusha.
>
>Hmmm, I was not very impressed with this one.  It was the 3rd or 4th of
>theirs that I bought and it just didn't do too much for me.  To kinda
>paraphrase one reviewer - the sound seemed contained in a kind of crystal
>field and was never really able to let loose (actually I think this was
>said about a Haino solo release, but it applies here).  To my ears, it
>doesn't really represent what Fushitsusha *really* sounds like (live *and*
>fully unleashed in the studio), but your mileage may vary.....
>
>cya
>brian


------
"Finally, a thing-a-ma-giggy that would bring people together...even if it
kept them apart, spatially."





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

From: [e-mail]
Subject: Re: zorn-list Digest V2 #135
Date: 17 Oct 1997 00:32:33 -0400 (EDT)

Does anyone have info. on Ribot's new project "Los Cubanos?" Line-up?
Recording plans? Is it true they are on Atlantic?



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

From: [e-mail]
Subject: FS: Creedle- When the Wind Blows CD
Date: 17 Oct 1997 02:16:27 -0400 (EDT)

I've got a copy of this great CD for $5 plus $2 p/h.  For those not familiar
with the group, Creedle is very much in the mold of Naked City/Painkiller-
era Zorn.  On this, their third CD, they have taken on more of a _Spillaine_
-era sound...avant/bop with plenty of suprises.  I'm sure there are many Zorn
fans out there that will flip over this.  Email me privately if interested,
or if you wish for more details.

=dgasque=



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

From: "Tim Schelfhout" <[e-mail]>
Subject: Re: mystery (to me) group
Date: 17 Oct 1997 02:13:44 PDT


You should listen more carefully!
For one I can hear Sharrock and Parkins easily.  It's true however that
it's not their usual musical behaviour.

Take care
TIMPY

----Original Message Follows----
cc: [e-mail], [e-mail], [e-mail]


On Thu, 16 Oct 1997 00:38:21 PDT  "Tim Schelfhout" wrote:
>
> Buy it!!! It's awesome.
> I mean Parkins, Sharrock, Frith ... should I go on! If you see these
    ^^^^^^^^^^^^^^^^^^^^^^^

From my memory, their appearance is more obvious on the sleeve of the
record than in the music :-).

    Patrice.



______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com



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

From: "Anthony 'Twizzler' Saunders" <[e-mail]>
Subject: Re: painkiller re-issues
Date: 17 Oct 1997 11:13:48 -0400 (EDT)

On Thu, 16 Oct 1997, clockwise wrote:

> At 08:43 AM 10/16/97 -0400, Caleb Deupree wrote:
> >You should know that Buried Secrets is very short, only about 20
> >minutes if I remember correctly.  One track is only three seconds
> >long.

 Well, buried secrets does have the song trailmarker, which is only three
seconds. But it also has two 6+ minute pieces. The rest of the album is
short songs. I think it clocks in at 30 minutes. "Guts of a virgin" is
also very short, very very good.

 anthony

"You know, Arthur, when evil is afoot, and you don't have any arms,
you've gotta use your head.  And when evil is ahead and you're behind,
you've gotta do the legwork.  But, (dramatic pause) when you can't get a
leg up, you gotta be hip.  You gotta keep your chin up, and kick some..."
"Tick, we get the idea."
 - "Armless not harmless" espisode of The Tick




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

From: "Patrice L. Roussel" <[e-mail]>
Subject: happy New Yorkers
Date: 17 Oct 1997 08:25:23 -0700


    Got the following flyer in my mail box yesterday. For a couple of
seconds, I thought it was happening in Porltland...

    Patrice.


Millennium Film Workshop presents:

        HENRY HILLS in person with

        the New York premiere of

        MECHANICS OF THE BRAIN

        a film by Henry Hills & Sally Silvers

        plus HERETIC, MONEY, & LITTLE LIEUTENANT

ANTHOLOGY FILM ARCHIVES
East 2nd Street and 2nd Avenue

Saturday, October 25, 8:00pm





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

From: "Schwitterz" <[e-mail]>
Subject:  Eugene Chadbourne
Date: 17 Oct 1997 11:32:35 -0700

Eugene Chadbourne is in Californee this week.

Friday, Saturday, and Sunday in the SF Bay area.

Monday Night at the Alligator Lounge in Santa Monica.

Tuesday Night at the Mercury Lounge in Goleta.

Wednesday Night at the Daily Grind in Ventura.

If you want more details, e-mail me.
Keith McMullen
[e-mail]

Sz





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

From: "Schwitterz" <[e-mail]>
Subject: Ventura CA New Music Series & Newsletter
Date: 17 Oct 1997 16:12:10 -0700

I am in the process of sending out the first mailing of the newsletter
(pfMENTUM) introducing the Ventura New Music Series.

If you are interested in a free subscription and are not already on the
mailing list, please e-mail me with your snail-mail address.

Keith McMullen
[e-mail]






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

From: louie <[e-mail]>
Subject: goin' to japan
Date: 18 Oct 1997 07:18:53 -0600

a friend of mine is going to japan next week. do any of you
zornothologists know a cd store where he might find painkiller or other
zorn stuff? he'll be spending most of his time in tokyo i think.
-louie



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

From: Karim Ratib <[e-mail]>
Subject: Tzadik Website Up
Date: 18 Oct 1997 16:53:33 +0100

Hi,
I haven't seen a post for the this so I'm posting this. I checked on
www.tzadik.com and it worked. It is created by the people the at the
knit. It's not fully up, there is a section for Zorn called "Zorn's
corner" and "Zorn's top 10", but they're not up yet. I apologize if
you already know.

Jeremy



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

From: [e-mail]
Subject: A Benefit for La Monte Young and Marian Zazeela
Date: 18 Oct 1997 12:09:17 -0400 (EDT)

A Benefit for
La Monte Young and Marian Zazeela

Vocal concert of North Indian Ragas with
Terry Riley
Disciple of Faquir Pran Nath

Accompanied by
Michael Harrison - Voice and Tamboura
Lee Torchia - Tamboura
Rose Okada - Sarangi
Rik Masterson - Tabla

Saturday, October 25th - 8pm

The Tribe Dance Studio
137 Duane Street, Buzzer 203, NYC

between West Broadway & Church Street
2 blocks north of Chambers
Subway: 1, 2, 3, 9, A, E or C to Chambers
4, 5 or 6 to Brooklyn Bridge
N or R to City Hall

Admission - $15

Please call: Zarifah Sander Manzella
@ 212-265-5199 for information

MELA Foundation web site:
http://www.virtulink.com/mela/main.htm

Also from Mark Weber:

>thought you might like to know about the benefit
>concert i have organised for la monte young and
>marian zazeela. i don't know if you're aware, but
>marian has been quite ill recently & doctor's haven't
>yet made a satisfactory diagnosis. she spent about 60
>days incapacitated in bed with severe back pains and
>general numbness. this of course meant they were
>unable to continue with their work and made their
>financial problems very obvious. the concert is on
>october 31st at the barbican centre in london and will
>feature special performances by pulp, spiritualized,
>gavin bryars ensemble and the english chamber orchestra
>performing steve martland. there will also be exclusive
>tape contributions from terry riley and spring heel
>jack. we will be showing video excerpts of la monte
>performing the well-tuned piano and with the blues band.
>please let anyone you know in the uk know about the
>concert, which will be officially announced on friday
>17th with la monte on the front cover of the guardian
>newspaper's arts supplement.
>best wishes,
>mark webber


* David Beardsley
* [e-mail]
*
* virtual dream house monitor
* for
* the MELA Foundation
*
* http://www.virtulink.com/mela/main.htm






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

From: Tom Benton <[e-mail]>
Subject: Re:  Wasserman, Wallerman?
Date: 18 Oct 1997 11:30:25 -0500 (CDT)

James T Graves had this to say...

>I stumbled upon one of JZ's upcoming gigs at the Knitting Factory home
>page a few days ago. I'm sure you're all familiar with it, Zorn will be
>playing next Wednesday  with John Medeski, Marc Ribot, and some guy named
>Wasserman.
>
>So, I have three questions. First, who is this guy, is he just another
>downtown drummer whose played with everyone, or should I be stumbling all
>over myself to see him. Second, does anyone know what the group will be
>playing? I assume they'll be playing Zorn stuff (which only narrows it
>down to a few dozen genres...) Perhaps Bar Kokhaba stuff? Unfortunately I
>have not gotten around to purchasing that album yet, but I know Medeski
>and Ribot are on it, does Wasserman (Wallerman?) play on it too?

The mystery man in question is Kenny Wollesen, a downtown drummer who has
indeed played with just about everyone.  They're going to be playing the
music of organ great Larry Young.  Should be fun.  Go check it out.

-Tom




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

From: "allen huotari" <[e-mail]>
Subject: RE: goin' to japan
Date: 18 Oct 1997 08:40:41 UT

I'd highly recommend Disk Union (multiple locations)
one is at 3-31-4 Shinjuku, Shinjuku-ku, Tokyo 160
another is at 2-13-1 Iidabashi Chiyoda-Ku Tokyo 102

another good shop is World Disque at 404 SY Bldg 3-15-18 Shimo-Ochiai,
Shinjuku-ku Tokyo 161

there is also a small shop in Shinjuku called Like A Edison which specializes
in music of the more extreme variety (unfortunately I've misplaced the
address)

if my memory serves, there is also another good shop called Xephyr Collectors
Ltd. (also in Shinjuku)

and while I 've never been to these shops, my friends/contacts in Japan have
also recommended the following shops: Opus Avantra (Tokyo 104)
Parallax Records (Tokyo 600)
Locus Solus aka ReR Japan (Tokyo 180)
(no other address info given to me...sorry...)

but there are dozens of obscure little shops all within easy walking distance
of each other in Shinjuku
one could easily spend all day and most of an evening wandering through these

and if all else fails, Virgin Records and Tower Records in Tokyo are
surprisingly good



----------
Sent:     Saturday, October 18, 1997 2:18 PM

a friend of mine is going to japan next week. do any of you
zornothologists know a cd store where he might find painkiller or other
zorn stuff? he'll be spending most of his time in tokyo i think.
-louie







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

From: [e-mail] (Geoff S Gersh)
Subject: ????
Date: 19 Oct 1997 00:42:34 -0400

I thought that Kenny Wolleson is on that gig Wed. Oct. 22??



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

From: [e-mail]
Subject: AMM LPs
Date: 19 Oct 1997 01:48:46 -0400 (EDT)

FYI- Somebody is selling some early AMM LPs on the rec.music.ambient group-
at premium prices.

>>Combine & Laminates   Pogus Productions P201-4  Mint $25

>>The Inexhaustible Document   w/booklet  Matchless  MR13  Mint $35

>>Generative Themes    Matchless  MR6  Mint  $40

Reply to [e-mail] (OLDSCHREC) for info.

=dgasque=



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

From: katsuhiro hayasaka <[e-mail]>
Subject: Lois V Vierk
Date: 19 Oct 1997 23:06:09 +0900

I found  this passage in "http://www.webcom.com/jimp/vierk.html"

#Spring 1998 - TZADIK to release Vierk CD
#
#CD with "River Beneath the River" and "Into the Brightening Air" for string quartet, "Red
#Shift" for cello, electric guitar, percussion, synthesizer, "Jagged Mesa" for 2 brass choirs.
#Features SIRIUS STRING QUARTET; also Ted Mook, cello; David Seidel, elec. guitar; Gary
#Trosclair, trumpet; Bruce Eidem, trombone; Christopher Banks, bass trombone.

and

#1998 -- Book "Arcana: Musicians on Music" edited by John Zorn
#
#Includes Vierk's article "Studying Gagaku" about her 12-year study of Japanese Court Music,
#in Los Angeles and Tokyo. To be published by Sun and Moon Press in 1998. Info via fax:
#510-704-8350.

Does anyone know who is she ?

-------------------------
Katsuhiro Hayasaka
[e-mail]
-------------------------



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

From: "K.O" <[e-mail]>
Subject: Re: goin' to japan
Date: 19 Oct 1997 23:39:08 +0000

Try "Disk Union" at Shinjuku.

Kotaro Otake

Yokohama, Japan



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

From: ia zha nah er vesen <[e-mail]>
Subject: Re: goin' to japan
Date: 19 Oct 1997 16:20:05 -0400 (EDT)

there's a store called "The Wave" (i think) in one of the more southerly
downtowns in tokyo (there are about 7 downtowns in tokyo....).

i also found disk union there...address inside many of jz's cds.

On Sat, 18 Oct 1997, louie wrote:

> a friend of mine is going to japan next week. do any of you
> zornothologists know a cd store where he might find painkiller or other
> zorn stuff? he'll be spending most of his time in tokyo i think.
> -louie
>
>




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

From: Steve Smith <[e-mail]>
Subject: Re: the grassroots
Date: 20 Oct 1997 00:21:06 -0400

Brent Burton wrote:

> On Wed, 15 Oct 1997, Steve Smith wrote:
>
> > the idea being that if you want something to come to you, make it
> > happen yourself, which is what the friend I mentioned earlier is now
>
> > doing in Washington, DC with great results.
>
> if yr talking about transparent productions then i just gotta say that
>
> they're doing an amazing job of bringing jazz to dee cee.

That's exactly who I'm talking about.  That group was started by my
friend from Houston and a bunch of like-minded folks he met in DC.  And
there appear to be groups like that popping up all over the place now.
Vive la difference.

Steve Smith
[e-mail]





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

From: Steve Smith <[e-mail]>
Subject: Re: zorn-list Digest V2 #135
Date: 20 Oct 1997 00:32:32 -0400

[e-mail] wrote:

> Does anyone have info. on Ribot's new project "Los Cubanos?" Line-up?
> Recording plans? Is it true they are on Atlantic?

It is true they are on Atlantic.  As are Moondog, Olu Dara, the Art
Ensemble of Chicago and Lester Bowie's Brass Fantasy.  Will miracles
never cease?

Steve Smith
[e-mail]






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

From: Steve Smith <[e-mail]>
Subject: Re: Lois V Vierk
Date: 20 Oct 1997 01:16:19 -0400

katsuhiro hayasaka wrote:

> I found  this passage in "http://www.webcom.com/jimp/vierk.html"
>
> #Spring 1998 - TZADIK to release Vierk CD
>
> Does anyone know who is she ?

She's a quite wonderful young American composer who has written some
very effective pieces for the Kronos Quartet and others.  I find her to
be one of the best composers to emerge from post-minimalism.  There was
a PBS special on New York composers that showed her working with an
ensemble of Japanese traditional instrumentalists.

It's great news to hear that Zorn's giving her props... I hope she meets
with fabulous success.  Thanks for the lead to her page.

Steve Smith
[e-mail]




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

From: Brian Whitman <[e-mail]>
Subject: Broadcast of free-improv thing
Date: 20 Oct 1997 12:06:10 -0400 (EDT)


Thursday, October 23rd, at 8:30pm, the 'Blitter vs. Gimcrak' concert will
be broadcasted live over a RealAudio stream from WXJM studios in
Harrisonburg, VA. Both Blitter and Gimcrak are from Alfred Bizarro to be
Exactly / perfusely. You'll need the free RealPlayer (www.real.com) and a
internet connection with a soundcard / speakers.

The performance is a duet; elec- tronic and tric textures...

Gimcrak (Chris Moutenot): guitars, effects, speakers
Blitter (Brian Whitman): sampler, analog synth, function generator, bass

Tune in to http://www.netspace.org/users/bwhitman/blitcrak

Thanks! Any questions drop them my way.

Brian Whitman
[e-mail]




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

From: "The Penguin" <[e-mail]>
Subject: Bible Launcher?
Date: 20 Oct 1997 09:20:02 PDT

I am curious about this Bible Launcher CD I have seen mentioned. What is
it, and how do I get it?

Thanks Much...

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com



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

From: Yves Dewulf <[e-mail]>
Subject: Re: Bible Launcher?
Date: 20 Oct 1997 18:42:01 +0200



>   I am curious about this Bible Launcher CD I have seen mentioned. What is
>   it, and how do I get it?

>   Thanks Much...


Bible Launcher is drums/guitar/bass/sax - quartet that plays
noise-funk-speedmetal, (sometimes they sound a bit like the
more noisy Naked-City -stuff).

There are 32 songs on the CD and most of them are build around
samples of television - evangelists and priests (recently I saw the
record most of the samples come from, but I don't have it over here),
sometimes in combination with samples of porn movies.

I like the record very much (some of it reminds me of the Jezebel-Spirit
track of Eno/Byrne), although I must admit it becomes a bit boring after
half an hour.

Now the sad part of the story : it seem's that the record was deleted after
complaints of the religious son of a bitch. (well, after all they are the
fifth member of the band.)

Regards,
yves



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

From: Scott Russell <[e-mail]>
Subject: Bible Launcher
Date: 20 Oct 1997 18:18:49 +0000

--MimeMultipartBoundary
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

As we seem to be reviving the Bible Launcher thread, has anyone out
there got a spare copy to trade or sell? I've never seen it at all in
the UK and would really like to get a copy.

Thanks in advance.

Scott Russell

(apologies to Yves whom I sent this to already!)
--
Without  theory all we have  is opinion  and  shopping.  Chris Cutler
--MimeMultipartBoundary--



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

From: [e-mail]
Subject: K.Haino
Date: 20 Oct 1997 15:06:57 -0500 (CDT)

WHo can tell me the best Keiji Haino recordings to check out?  I've heard
some of his stuff with a group called something like Fush...something.
I've always head what a great guitarist and musician he is, but this
sounded a little like a Sonic Youth jam.  And I'm not looking for that
stuff.




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

From: Valkwitch <[e-mail]>
Subject: Re: K.Haino
Date: 20 Oct 1997 23:50:13 -0400

[e-mail] wrote:
>
> WHo can tell me the best Keiji Haino recordings to check out?  I've heard
> some of his stuff with a group called something like Fush...something.
> I've always head what a great guitarist and musician he is, but this
> sounded a little like a Sonic Youth jam.  And I'm not looking for that
> stuff.

i've heard a keiji haino/fushitishi? track and it sounded much like
sonic youth guitarism. but that was only one track. i have the haino
album on tzadik "no tenshi..." and it has no guitars, just interesting
percussive beats, bell sounds and vocals...



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

From: katsuhiro hayasaka <[e-mail]>
Subject: Tzadik Upcoming Releases (re:Tzadik releases)
Date: 21 Oct 1997 19:06:00 +0900

I have Tzadik catalog. This catalog contains "Upcoming Releases".
I got this 6 months ago. So, some are already released.
Sorry if you already know.

Composers Series
 Eyvind Kang vol.2          Mamoru Fujieda vol.2 <-----Patterns of Plants
 Mark Dresser               John Zorn
 Norman Yamada              Mark Degliantoni
 Lois Vierk                 Anthony Coleman
 Bob Ostertag               Fred Frith

Radical Jewish Culture
 Gary Lucas                 Serge Gainsbourg:Great Jewish Music
 Frank London               Selfhaters

New Japan Series
 Yasunao Tone <-----Solo for Wounded CD
 Tenko and Otomo            Tetsu Inoue
 Yuka Honda                 Toshinori Kondo

Archival Series
 Cynical Hysterie Hour      Duras
 Godard                     Aporias:Requia for Piano and Orchestra
 The Parachute Years(3CD)   Painkiller-Guts of a Virgin
 Painkiller-Buried Secrets  Painkiller-Execution Ground(3CD)
 Filmworks 1 , 7

Film Music
 Nana Vasconcelos           Ikue Mori

P.S.
 In "Lunatic Fringe", Bible Launcher CD (TZ 7402) is deleted.

-------------------------
Katsuhiro Hayasaka
[e-mail]
-------------------------



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

From: ia zha nah er vesen <[e-mail]>
Subject: trade?
Date: 21 Oct 1997 07:07:19 -0400 (EDT)



I own copies of the Zorn/Eye CDs 'Nani Nani' and 'Zohar'.  Although i'm
sort of a zorn completist, i really don't listen to these discs very
often. If anyone has something cool to trade me for either/both of these,
do let me know.

cha,
    jascha











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

From: [e-mail] (Matthew Colonnese)
Subject: Re: K.Haino
Date: 21 Oct 1997 10:54:59 -0400 (EDT)

>[e-mail] wrote:
>>
>> WHo can tell me the best Keiji Haino recordings to check out?  I've heard
>> some of his stuff with a group called something like Fush...something.
>> I've always head what a great guitarist and musician he is, but this
>> sounded a little like a Sonic Youth jam.  And I'm not looking for that
>> stuff.
>
>i've heard a keiji haino/fushitishi? track and it sounded much like
>sonic youth guitarism. but that was only one track. i have the haino
>album on tzadik "no tenshi..." and it has no guitars, just interesting
>percussive beats, bell sounds and vocals...

Fushitsusha, and I don't know what albums y'all have heard but they sound
very little like Sonic Youth.  Sure they both turn their amps to '11'
(sonic youth much less recently) and arange the detrius into musical forms,
but SY use lots of Branca harmonic strum and nimble (not that nimble)
rythmn, while Fushitsusha work in degraded Blue Cheer inspired
sludge/drone, K. Haino working his guitar like an exploding hurdy gurdy.
Anyone who works with feedback does not sound like SY.
        In anycase if you don't like this kinda thing (noisy guitars) you
should probably avoid K. Haino.  Sure their are a number of items in his
catalogue, but you'll spend alot of time trying to cherry pick the
non-noisy, atypical items.  That said, give Fushisusha's _Allegorical
Misunderstanding_(just discussed here) a shot (which actually sounds the
MOST like recent SY to me), or the Tzadik album above, or the Hurdy Gurdy
album on PSF, or perhaps the best choice is Ninjimu (Nijimu? sp? help me
out here) _Era of Sad Wings_ on PSF which is electro-acoutic medival music,
or for quieter but more 'typical' Haino, the _Ninjimu_ album under his own
name on PSF (is this still in print).

matt


------
"Finally, a thing-a-ma-giggy that would bring people together...even if it
kept them apart, spatially."





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

From: Craig Rath <[e-mail]>
Subject: Haino
Date: 21 Oct 1997 12:35:06 -0500

>> WHo can tell me the best Keiji Haino recordings to check out?  I've heard
>> some of his stuff with a group called something like Fush...something.
>> I've always head what a great guitarist and musician he is, but this
>> sounded a little like a Sonic Youth jam.  And I'm not looking for that
>> stuff.

If you're looking for a good mixture of his different styles, try "A
Challenge to Fate".  Everything from his harsh noise to his more melodic side.

There are many others that I would recommend, my current favorite being "I
Said, This is the Son of Nihilism" on Table of the Elements.  For a very
different take on his non-guitar work, try "Gerry Miles" where he teams up
with Alan Licht recording with Organ, Clarinet, Vocals and Percussion,
recorded in a cathedral.  Very different sound.  Or his various recent
collaborations, including Derek Bailey, Peter Brotzmann, Barre Phillips,
etc.  The list goes on.

For a very good, rather complete listing of his various works, check out the
Unofficial Keiji Haino Homepage at http://www.cems.umn.edu/~keffer/  -
probably the most complete listing of his available catalog you'll ever
find, up to about 75 items at last count.





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

From: Jesse Simon <[e-mail]>
Subject: Re: K.Haino
Date: 22 Oct 1997 13:19:10

>WHo can tell me the best Keiji Haino recordings to check out?  I've heard
>some of his stuff with a group called something like Fush...something.
>I've always head what a great guitarist and musician he is, but this
>sounded a little like a Sonic Youth jam.  And I'm not looking for that
>stuff.

Keiji Haino on his own can be pretty unpredictable. On the very recent "So,
Black is Myself" he sings along to an electronic drone generator and plays
some unspecified eastern-sounding stringed instrument. It's quite hypnotic
in it's own way.
But as far as straight ahead guitar (and the occasional vocal) is concerned
I would recommend the two Forced Exposure releases "Execration That Accept
to Acknowledge" and "Book of Eternity Set Aflame" or the Table of the
Elements release "I said this is the son of nihilism". I would recommend
these because not only are they excellent albums that will give you a feel
for the scope of Keiji Haino's playing but they are also domestic releases
and therefore don't cost $28 a pop.

But they're all good in their own way,

Jesse




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

From: [e-mail] (Matthew Colonnese)
Subject: Re: K.Haino/ground zero
Date: 21 Oct 1997 23:48:40 -0400 (EDT)


>But as far as straight ahead guitar (and the occasional vocal) is concerned
>I would recommend the two Forced Exposure releases "Execration That Accept
>to Acknowledge" and "Book of Eternity Set Aflame" or the Table of the
>Elements release "I said this is the son of nihilism".

I can't speak for the TOTE release, but to me both Forced Exposure titles
were pretty lackluster Haino releases, espessially _Book of Eternity..._
which contains a simply ENDLESS very monodynamic drone for some (if I'm
remembering right) 30odd minutes.  Really nothing happens (and this is
comming from someone who listens to alot of drone music) until the end
(which is kinda nice actually).  _Execration..._ is not bad but sort of
unfocused; I never play it, but that may be because many of the "riffs"
sound similar to the dbllive Fushitsusha cd.  I would suggest bumping up a
couple bucks for the Japanese or French imports, its worth the cash.  (only
the recent major label stuff is $28).

I forgot about the Gerry Miles cd with Alan Licht, that would be a great
title to get if one wanted to avoid the guitar histronics (though not the
vocal ones).

onto Ground Zero.  _plays standards_ is a pretty great album. Deffinately
their most "fun" and less conceptual.  The pattern:  take an old tune
(preferably nice and cheasy) with personal meaning, add another, play
samples while the band goes town with that crazy punked up noise they do so
well.  This is really a rocking album, much nimbler than previous ones
which could vear more tward the pounding and metalic.  One highlight is the
closer,using Roland Kirk's version of Bacharach tune which the Ground Zero
plays along too.  Zorn coulda used this to liven up the _Great Jewish
Music_ cds cause it's just crazed.


------
"Finally, a thing-a-ma-giggy that would bring people together...even if it
kept them apart, spatially."





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

From: Steve Smith <[e-mail]>
Subject: Zorn at the Knit 10/22 - new lineup
Date: 22 Oct 1997 00:08:07 -0400

Yes, it's still Zorn, Medeski, and Ribot.  But Bobby Previte is now the
drummer tomorrow night.  And it's most likely not going to be an
all-Larry Young program anymore, but Bobby refused to say what it would
be instead.

Steve Smith
[e-mail]





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

From: [e-mail]
Subject: Haino/Z'ev
Date: 22 Oct 1997 00:23:19 -0400 (EDT)

I understand Keiji Haino & Z'ev just did a series of duet shows together in
Japan which all were recorded & possibly might see the light of day at some
point! Let's hope!! A devastating duo to be sure!

I've heard little about the Z'ev/Avant release mentioned here. Any comments?



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: the music of Larry Young
Date: 22 Oct 1997 09:48:54 GMT0BST

Does anybody out there have any of the Larry Young/Grant Green/Elvin
Jones albums?  (I Want To Hold Your Hand is about to be
reissued)  I'm sure I can provide an interesting "trade" of
cassettes if anybody gets in touch ...

Dr. Sean Wilkie

"Music is the pleasure the mind takes from numbers when it knows not
that it is counting" (approx.) - Leibniz



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

From: [e-mail]
Subject: Books on Downtown Jazz scene
Date: 22 Oct 1997 06:31:43 -0400 (EDT)

For one of my school courses we have to analyze a 10 year period in history
with a certain topic so I thought I would do the knitting factory and the
downtown music scene. The problem though is I  need 10 sources. Anyone know
any books or articles relevant to either the knit or Zorn, frisell etc.
Thanks
Matt



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

From: Tom Pratt <[e-mail]>
Subject: new releases
Date: 22 Oct 1997 07:54:53 -0400

There is a new Buckethead/Brain duo album on Avant (they call themselves
"Pieces"), plus an album by the Music Revelation Ensemble called "Cross
Fire" (w/Blood Ulmer, Brad Jones, Cornell Rochester, Pharoah Sanders,
and John Zorn) on DIW. I don't know if these are released yet or when
they will be released but I thought you might be interested.

            -Tom Pratt



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

From: [e-mail] (Caleb Deupree)
Subject: Re: Z'ev
Date: 22 Oct 1997 08:54:25 -0400

>>>>> "WINRECORDS" == WINRECORDS  <[e-mail]> writes:

    WINRECORDS> I've heard little about the Z'ev/Avant release
    WINRECORDS> mentioned here. Any comments?

Please bear in mind that I haven't heard any other Z'ev release
besides this one, and this description is from memory.  There are
alternating sections of drums/percussion and sampled voices.  There
are no silences between the tracks, so the whole album flows together
without a break.

The percussive parts are all measured in BPM, most of them fairly
quick.  I typically associate BPM with dance music, but I wouldn't
call any of this danceable by any stretch.  It is driving and fairly
intense for drum music.  I think I also remember that there are some
subtle electronic treatments, but not enough to disguise what's going
on, nor enough to move it to Muslimgauze territory (and there's much
less ethnic percussion than the Muslimgauze that I've heard).

The vocal parts are relatively short and provide some much needed
breathing space from the drum solos.

Every time I play this album it sounds incomplete, like it should be
included in some greater mix.  All of the individual tracks seem
static, not really going anywhere.  Maybe I just haven't listened
closely enough.

---
Caleb T. Deupree
;; Opinions do not reflect on management

Computers are useless.  They can only give you answers.
(Pablo Picasso)




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

From: "Schwitterz" <[e-mail]>
Subject: Chadbourne
Date: 22 Oct 1997 07:27:18 -0700

Last night Eugene Chadbourne said he may be bringing Leo Smith with him to
his performance tonight in Ventura.

Sz





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

From: [e-mail] (Matthew Colonnese)
Subject: Re: Ground Zero\Plays Standards
Date: 22 Oct 1997 11:25:22 -0400 (EDT)

>> onto Ground Zero.  _plays standards_ is a pretty great album. Deffinately
>
>Where did you pick this up at? I have been trying to get one for quite a
>while. You might consider posting to the zorn-list as I'm sure others
>would be interested as well.

I got it at the Downtown Music Gallery
[e-mail]

happy hunting.
matt


------
"Finally, a thing-a-ma-giggy that would bring people together...even if it
kept them apart, spatially."





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

From: Tony Reif <[e-mail]>
Subject: new releases/lost email
Date: 22 Oct 1997 13:57:28 -0700 (PDT)

=46irst the new releases:

Brad Shepik and the Commuters, The Loan (SGL 1518-2)
Released Oct. 1
Debut of BABKAS and Pachora co-leader (and member of Dave Douglas's Tiny
Bell Trio and the Paradox Trio) features his compositions arranged for a
Balkan/Turkish/Persian (and occasionally Afro/Celtic) flavored quintet.
Supercharged world jazz. Shepik, guitars, electric saz, banjo, cumbus, with
Peter Epstein (alto and soprano sax), Tony Scherr (electric bass), Kenny
Wollesen (drums) and Seido Salifoski (dumbek).

"Virtuoso rootless-cosmopolitan groovesmanship at its finest..."
Richard Gehr, Village Voice

=46ran=E7ois Houle and Beno=EEt Delbecq, Nancali (SGL 1519-2)
Release date Nov. 1
=46rench pianist/prepared pianist Delbecq (Paintings, Kartet, The Recyclers)
meets Canadian clarinettist Houle (whose septet Et Cetera was the first
Songlines release back in '92). Their program of improvisations and
compositions draws on contemporary classical (Ligeti, Nancarrow),
jazz/improv, and non-western (Aka pygmy) traditions. Probing and highly
empathetic.

"First-rate performance of rigorously melodic jazz improvisation by an
under-recognized clarinetist."
            Ben Ratliff, New York Times

"One of the most fascinating pianists of the new generation."
Michel Contat, T=E9l=E9rama

=46or ordering informaton or a catalogue:
Tony Reif, Songlines Recordings
1003 - 2323 W. 2nd Ave.
Vancouver V6K 1J4, Canada
[phone] * fax [phone]
e-mail [e-mail]

Distributors: Allegro (US and Canada, also mail order: 1 800 288 2007), 99
Records (Germany), I.R.D. (Italy), Plainisphare (Switzerland), Challenge
(Benelux), Distribution DAM (France), Anabasis (Australia)

And now a request:

In late September I lost all my email files back to the end of January in a
computer crash. There are many people who I was in correspondence with
during that time who I have no other record of and of course no email
address for now. So please get in touch again if you haven't heard from me,
and if possible please send me any still relevant/useful correspondence we
had during that period.

I'd also be really grateful, if you've kept any of my posts to the list
that still seem interesting enough to bother about, if you could send them
back to me as well.

Many thanks.
Tony

Tony Reif (Songlines Recordings)





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

From:    [e-mail] (Patrick Carey)
Subject: Trying To Contact SAI KONG ...
Date: 23 Oct 1997 04:12:51 -0400

Hello,

Please pardon the non-musical use of bandwidth & the cross-posting ...

I urgently need to get in contact with SAI KONG, who used to be at
U. Stony Brook, NY <[e-mail]>, but has now changed email
addresses ...

Sai, if you see this, please contact me.

Thanks


-Patrick





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

From: katsuhiro hayasaka <[e-mail]>
Subject: Tzadik.com
Date: 24 Oct 1997 01:16:31 +0900

Tzadik.com was updated !!
Please see "Tzadik Gossip" and "Zorn`s Top 10" !

-------------------------
Katsuhiro Hayasaka
[e-mail]
-------------------------



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

From: Brian Olewnick <[e-mail]>
Subject: Bailey at KF
Date: 23 Oct 1997 20:33:03 -0700

Does anyone have a complete list of the people to be performing with DB
next week? I take it JZ and Mori are doing at least the first evening
and Ruins is with him on Wednesday. How about Thursday?

Thanks

Brian Olewnick



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

From: [e-mail] ( =?iso-8859-1?Q?R=E9mi?= Bissonnette)
Subject: Keiji Haino/Caspar Brotzmann
Date: 23 Oct 1997 22:38:56 -0400

With all this recent talk about Keiji Haino, I'm wondering if anybody has
heard the Keiji Haino/Derek Bailey duet "Drawing Close, Attuning -- The
Respective Signs of Order and Chaos"?  I think it was released last June or
something.  If somebody has it please post a short review or comments.

And speaking of guitar duets, does anybody know what Caspar Brotzmann (the
son of Last Exit saxophonist Peter Brotzmann) has been doing since the
release of the "Zulutime" CD with Page Hamilton?  A new Massaker disc in
the works, perhaps?

Bruno Bissonnette

R=E9mi Bissonnette Ph.D.
Professeur titulaire
=46acult=E9 d'=C9ducation physique et sportive
Universit=E9 de Sherbrooke
Sherbrooke, Qu=E9bec
J1K 2R1
=20





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

From: Scott Chamberlin <[e-mail]>
Subject: Elysian Fields
Date: 24 Oct 1997 00:26:51 -0500

The band playing the first track on the tribute to Serge Gainsbourg disc
is listed as Elysian Fields.  I was looking for some stuff about this
band on the web becuase I really liked the woman's "Jennifer Charles"
voice.  I found a band called Elysian Fields but they are some
death/dark metal band, and the band members are not the same ones that
are listed in the album.  Does amyone know about who the "Elysian
Fields" is that the Serge Gainsbourg disc is featuring, or do you know
anything about the individual works of Jennifer Charles?
-Scott
[e-mail]



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Keiji Haino/Caspar Brotzmann
Date: 24 Oct 1997 02:09:02 -0400 (EDT)



On Thu, 23 Oct 1997, [iso-8859-1] R=E9mi Bissonnette wrote:

> With all this recent talk about Keiji Haino, I'm wondering if anybody has
> heard the Keiji Haino/Derek Bailey duet "Drawing Close, Attuning -- The
> Respective Signs of Order and Chaos"?  I think it was released last June =
or
> something.  If somebody has it please post a short review or comments.

Bailey in his skronky electric mode.  Haino sounding very similar to
Bailey.  It's fine, but not a spectacular addition to Bailey's
discography.  I lack the background to contextualize it with respect to
Haino's work.

Chris Hamilton





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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Elysian Fields
Date: 24 Oct 1997 02:13:48 -0400 (EDT)



On Fri, 24 Oct 1997, Scott Chamberlin wrote:

> Does amyone know about who the "Elysian
> Fields" is that the Serge Gainsbourg disc is featuring, or do you know
> anything about the individual works of Jennifer Charles?

Charles is new to me as well, but Oren Bloedow (credited with
guitar/bass/drums) released a fine solo album of slightly twisted pop on
Knitting Factory Works about five years ago.  I seem to recall that he
was briefly associated with the Lounge Lizards as well, but I'm less sure
about that.

Chris Hamilton





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

From: [e-mail]
Subject: ReR records
Date: 24 Oct 1997 13:28:25 UT

Anyone know where I can buy ReR records on the net?  Or where the Wayside
catalog and Dr. Nerve's site went?  I appreciate the help.

Thanks,
Peter



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

From: louie <[e-mail]>
Subject: filmworks II
Date: 23 Oct 1997 22:33:13 -0600

i happened to catch a movie on the tube the other nite called
"trespass". during one of the first scenes i thought i recognized some
music. right after that i noticed the director was Walter Hill.
then it hit me, "filmworks II, music for an untitled film by Walter
Hill". sure enough, all the names of the tunes on the disk related to
the movie exactly. but no other music from the disk was used other than
that part at the beginning.
(of all people to do the film's music - ry cooder).
zorn did get a thank you at the absolute end of the film (i think it was
the fourth or fifth from the last name). it would be interesting to know
why they chose not to use zorn's music.
oh well, just thought i'd pass that along. any other movies at the
"local video store" anyone could recommend that has a zorn score?




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

From: [e-mail] (Caleb Deupree)
Subject: Re: ReR records
Date: 24 Oct 1997 09:00:35 -0400

>>>>> "peter" == peter risser <[e-mail]> writes:

    peter> Anyone know where I can buy ReR records on the net?  Or
    peter> where the Wayside catalog and Dr. Nerve's site went?  I
    peter> appreciate the help.

Wayside's still at http://members.aol.com/Cuneiform2/cuneiform.html.
---
Caleb T. Deupree
;; Opinions do not reflect on management

Computers are useless.  They can only give you answers.
(Pablo Picasso)




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

From: Jeff Spirer <[e-mail]>
Subject: Re: filmworks II
Date: 24 Oct 1997 14:11:00 -0700

At 10:33 PM 10/23/97 -0600, louie wrote:
>i happened to catch a movie on the tube the other nite called
>"trespass". during one of the first scenes i thought i recognized some
>music. right after that i noticed the director was Walter Hill.
>then it hit me, "filmworks II, music for an untitled film by Walter
>Hill". sure enough, all the names of the tunes on the disk related to
>the movie exactly. but no other music from the disk was used other than
>that part at the beginning.
>(of all people to do the film's music - ry cooder). ...

Well we had a big discussion of this last year.

However...the last comment is irritating.  What is the dig at Cooder
supposed to mean?  And it is quite expected, since Walter Hill has used Ry
Cooder for scores to almost all of his movies (The Long Riders, Trespass,
Johny Handsome,  Blue City, Crossroads, Geronimo,...) and I thought the
score to this one  quite good, especially with the combination of Cooder's
use of a floor slide and Jon Hassel's trippy horn.

It isn't necessary to knock something in order to like something else.  Buy
the score (although it has been unavailable for a while) and listen to it
as something independent.  You might find it good enough to like.
Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/



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

From: Mark Turner <[e-mail]>
Subject: Re: filmworks II
Date: 24 Oct 1997 07:54:53 -0700 (PDT)

Jeff Spirer on Ry Cooder's "Trespass" score:

> It isn't necessary to knock something in order to like something else.  Buy
> the score (although it has been unavailable for a while) and listen to it
> as something independent.  You might find it good enough to like.

EAR/Rational Music has a copy of this CD on their sale page:
http://www.xmission.com/~ear/.

--
 Mark Turner
 [e-mail]



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: filmworks II
Date: 24 Oct 1997 08:38:23 -0700


On Thu, 23 Oct 1997 22:33:13 -0600  louie wrote:
>
> i happened to catch a movie on the tube the other nite called
> "trespass". during one of the first scenes i thought i recognized some
> music. right after that i noticed the director was Walter Hill.

Talking about Hill, and for the New Yorkers:


Millennium Film Workshop presents:

        HENRY HILLS in person with

        the New York premiere of

        MECHANICS OF THE BRAIN

        a film by Henry Hills & Sally Silvers

        plus HERETIC, MONEY, & LITTLE LIEUTENANT

ANTHOLOGY FILM ARCHIVES
East 2nd Street and 2nd Avenue

Saturday, October 25, 8:00pm


    Patrice.



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

From: Matthew Moran <[e-mail]>
Subject: Re: Elysian Fields
Date: 24 Oct 1997 14:29:59 -0400 (EDT)

I can tell you that together, Oren and Jennifer have a band called
Elysian Fields, with two or three albums out.  The band includes Ben
Perowsky (sp?) on drums, James Genus on bass, and Uri Caine on keyboard.

-matt

On Fri, 24 Oct 1997, Christopher Hamilton wrote:

>
>
> On Fri, 24 Oct 1997, Scott Chamberlin wrote:
>
> > Does amyone know about who the "Elysian
> > Fields" is that the Serge Gainsbourg disc is featuring, or do you know
> > anything about the individual works of Jennifer Charles?
>
> Charles is new to me as well, but Oren Bloedow (credited with
> guitar/bass/drums) released a fine solo album of slightly twisted pop on
> Knitting Factory Works about five years ago.  I seem to recall that he
> was briefly associated with the Lounge Lizards as well, but I'm less sure
> about that.
>
> Chris Hamilton
>
>
>



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

From: "Carlos Murat" <[e-mail]>
Subject: Re: Chadbourne
Date: 24 Oct 1997 19:22:14 -0300

Can anybody tell me the adress of Chadbourne┤s site
Thanks

----------
> From: Schwitterz <[e-mail]>
> To: [e-mail]
> Subject: Chadbourne
> Date: miΘrcoles 22 de octubre de 1997 11:27
>
> Last night Eugene Chadbourne said he may be bringing Leo Smith with him
to
> his performance tonight in Ventura.
>
> Sz
>
>
>




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

From: "Schwitterz" <[e-mail]>
Subject: Re: Chadbourne
Date: 24 Oct 1997 15:45:48 -0700

Did you say some Eugene Chadbourne sites?

http://wymple.gs.net/~aaswell/eugene.html
http://www.duke.edu/~pbr/chadbourne/chadsolo1.html
http://www.shmooze.net/exclaim/9612/nf/reviews/cbk/cbk01.htm
http://cdnow.com/cgi-bin/mserver/SID=1298229893/pagename=/RP/CDN/FIND/album.
html/ArtistID=FRN-Chadbourne*Eugene/ddcn=SD-78876+4+2

Sz




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

From: Steve Smith <[e-mail]>
Subject: Re: Bailey at KF
Date: 25 Oct 1997 03:08:02 -0400

Brian Olewnick wrote:

> Does anyone have a complete list of the people to be performing with
> DB
> next week? I take it JZ and Mori are doing at least the first evening
> and Ruins is with him on Wednesday. How about Thursday?

Actually, this is how the latest ad reads:

Monday:  8 pm - Bailey solo; 9 pm - Bailey with Zorn and (Mark) Kramer;
10 pm - Bailey with Zorn and Ikue Mori
Tuesday:  Improv Evening with John Zorn (no specific players listed)
Wednseday:  Ruins, Akaten, Zubizuva-X (no mention of Bailey whatsoever)
Thursday:  8 pm - Bailey and Min-Xiao Fen; 9 pm - Tsuyama Atsushi solo;
10 pm - Derek and the Ruins

The obvious highlights for me are the solo set, the rather unpredictable
meeting with Kramer, the Improv Evening (I'd bet money that the fabulous
Jim Staley will be in the house, and Shelley Hirsch wouldn't half
surprise me either - but I still wish some non-Zorn circle members like
Ted Reichman, Matt Moran and John Hollenback would be invited), Bailey
and Min-Xiao Fen (amazing pipa player - they recorded last winter and
witnesses say its just amazing), and of course Derek and the Ruins.

I get the feeling my wife won't be seeing much of me next week...

Steve Smith
[e-mail]




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

From: Brian Olewnick <[e-mail]>
Subject: Sugarbullet?
Date: 25 Oct 1997 12:24:47 -0700

Several years ago, JZ was hosting a broadcast on WKCR, playing his usual
variety of unusual, impossible-to-find music. One cut was a very
impressive piece by a, I think, British band named (again, as best as I
can recall) Sugarbullet. It was a very loud and fast noisecore piece
overlaid with a hardcore rap vocal line, as I remember. I've seen
occasional vague references to this group here and there, but have never
seen a recording or heard them since.

Anyone know?

Brian O.



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

From: Tom Pratt <[e-mail]>
Subject: Fujieda, Ostertag
Date: 25 Oct 1997 19:15:32 -0400

I got two CD's the other day. One was Mamoru Fujieda's 'Patterns of
Plants' on Tzadik and the other was Bob Ostertag's 'Verbatim' on
Ratascan.

'Patterns of Plants' is mostly played by an instrument called the koto
which is a japanese string instrument. It's very hypnotic sort of
new-agey even. I was actually dissapointed by this CD a little bit. It
was a little sparse and repetitive for my tastes. It's pretty good but
didn't do a whole lot for me. This is my first Fujieda disc. How does it
compare to his other Tzadik disc?

Bob Ostertag's 'Verbatim' is really cool. This is the third part of his
'Say No More' series. Ostertag recorded Mark Dresser, Gerry Hemmingway
and Phil Minton doing solo improvisations without interaction with each
other. He then using computer manipulations, etc created a collage and
released it as 'Say No More'. Then he wrote out the score to this and
had the four of them play it live which he recorded and released as 'Say
No More In Person'. With the results of that, Ostertag went even further
with his computer manipulations and made yet another collage which he
released as 'Verbatim', the one I have. Really creppy vocals by Phil
Minton!! Anybody have any recommendations of his. I'm looking for either
a solo or duo Minton album. Right now, I think I'll get 'Dada Da', the
duo with percussionist Roger Turner.

            -Tom Pratt



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

From: Tom Pratt <[e-mail]>
Subject: Keiji Haino
Date: 25 Oct 1997 19:34:48 -0400

At the CD store I found two Haino discs.

Lost Aaraaff - Lost Aaraaff
Haino Keiji - Tenshi No Gijinka

I'm very interested in hearing his stuff so could someone tell me a bit
about each so that I can decide which to get!!! Thanks.

Listening to: Esquivel!!!!!

            -Tom Pratt



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

From: "allen huotari" <[e-mail]>
Subject: RE: Fujieda, Ostertag
Date: 26 Oct 1997 10:24:12 UT

"Voice of America" (on Rec Rec), a live recording of Frith, Minton, Ostertag,
is of interest

on the Victo label: "Mouthful of Ecstasy" by Phil Minton Quartet
(Minton-voice, John Butcher-sax, Veryan Weston-piano, and Roger Turner-drums)
is a good starting point

and on Rift Records is "A Doughnut In Both Hands" (solo voice)
(available from Wayside on lp for a mere $7.50)

although not improvised music, Minton's vocal contributions to Lindsay Cooper
"Oh Moscow" (also on Victo and including Hugh Hopper and Alfred 23 Harth) are
remarkable (this recording also reminds the listener that he's an accomplished
trumpeter)

Minton has also recorded a disc of Hendrix covers accompanied by a number of
other British jazz musicians
the title escapes me at the moment (I've only heard a few samples on tape) but
I know at least one fellow zornlister can help out here (hey Glenn !)
anyway, quite fun to hear Minton gargle, guffaw, and groan his way through
"Foxy Lady" and "Purple Haze"



----------
Sent:     Saturday, October 25, 1997 11:15 PM

I got two CD's the other day. One was Mamoru Fujieda's 'Patterns of
Plants' on Tzadik and the other was Bob Ostertag's 'Verbatim' on
Ratascan.

'Patterns of Plants' is mostly played by an instrument called the koto
which is a japanese string instrument. It's very hypnotic sort of
new-agey even. I was actually dissapointed by this CD a little bit. It
was a little sparse and repetitive for my tastes. It's pretty good but
didn't do a whole lot for me. This is my first Fujieda disc. How does it
compare to his other Tzadik disc?

Bob Ostertag's 'Verbatim' is really cool. This is the third part of his
'Say No More' series. Ostertag recorded Mark Dresser, Gerry Hemmingway
and Phil Minton doing solo improvisations without interaction with each
other. He then using computer manipulations, etc created a collage and
released it as 'Say No More'. Then he wrote out the score to this and
had the four of them play it live which he recorded and released as 'Say
No More In Person'. With the results of that, Ostertag went even further
with his computer manipulations and made yet another collage which he
released as 'Verbatim', the one I have. Really creppy vocals by Phil
Minton!! Anybody have any recommendations of his. I'm looking for either
a solo or duo Minton album. Right now, I think I'll get 'Dada Da', the
duo with percussionist Roger Turner.

            -Tom Pratt







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

From: "Schwitterz" <[e-mail]>
Subject: Re: Fujieda, Ostertag
Date: 26 Oct 1997 10:48:49 -0800

>although not improvised music, Minton's vocal contributions to Lindsay
Cooper
>"Oh Moscow" (also on Victo and including Hugh Hopper and Alfred 23 Harth)
are
>remarkable (this recording also reminds the listener that he's an
accomplished
>trumpeter)

Minton also croons remarkably on STATE OF VOLGOGRAD/TRIO TRABANT A ROMA with
Lindsay Cooper and Alfred 23 Harth (FMP 57) and THE ENCHANTED MESSENGER/TONY
OXLEY'S CELEBRATION ORCHESTRA (Soul Note 121284-2). On the latter his
trumpet sensibilities clearly inform his vocal sparring with the great Bill
Dixon.

Should we start a thread on which zorn-listers say what number they would
choose for a middle name and why?

Keith 69 McMullen





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

From: "Glenn Astarita" <[e-mail]>
Subject: Re: Fujieda, Ostertag
Date: 26 Oct 1997 13:05:57 -0600



>
> Minton has also recorded a disc of Hendrix covers accompanied by a number
of
> other British jazz musicians
> the title escapes me at the moment (I've only heard a few samples on
tape) but
> I know at least one fellow zornlister can help out here (hey Glenn !)
> anyway, quite fun to hear Minton gargle, guffaw, and groan his way
through
> "Foxy Lady" and "Purple Haze"
>
>
>
>..."Plays The Music of Jimi Handrix"...which also features Christy Doran,
Django Bates, Freddy Studer and Amin Ali.....Hendrix like you've never
imagined....................

glenn



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

From: john shiurba <[e-mail]>
Subject: Molecules on East Coast
Date: 26 Oct 1997 12:39:15 -0700

For those of you on the East Coast, My group The Molecules will be on tou=
r=20
for the next two weeks. We combine elements of punk, improv, noise and=20
art rock in a gtr/bass/drums (w/ vocals) trio. Should be of interest to=20
those of you interested in Zorn's harder edged projects, as well of fans =
of=20
the Boredoms & The Ruins. Say hello if you stop by-- I play bass


Wed/29    Knitting Factory, New York with Marc Ribot (Alterknit?)
    =09
Thu/30        Upstairs at Nick=B9s, Philadelphia

Fri/31        The Loft, Baltimore

Sat/1        Dad=B9s Garage, Atlanta

Sun/2        unk. venue, Louisville

Mon/3        Beehive, Pittsburgh

Tue/4        Speak in Tongues, Cleveland

Wed/5        Chelsea=B9s, Columbus

Thu/6        ??Harrisburg

Fri/7        As220, Providence

Sat/8        ??Boston or Portland

Sun/9        2pm --Brass City Records, Connecticut
        9pm-- 244 E. Houston, New York

--=20



[e-mail]

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



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

From: [e-mail]
Subject: Alva?
Date: 26 Oct 1997 11:33:25 -0800

This turned up on the indie-pop list of all places:

>> another chocolate usa member, liza wakeman, is now in the quite
>> incredible alva, who have a CD out on avant called "fair-haired
>> guillotine". sounds like disturbed children writing classical
>> music soundtracks for cartoons

Surprised at not having seen anything about this on this list - is this
really the same Avant?  Anybody heard this?

Thanks,

Alexander

.Radio Khartoum.           www.algonet.se/~elegans/radiok/





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

From: [e-mail]
Subject: AEOC plays jimi
Date: 26 Oct 1997 18:16:34 -0500 (EST)

In a message dated 97-10-26 17:58:47 EST, you write:

<< >..."Plays The Music of Jimi Handrix"...which also features Christy Doran,
 Django Bates, Freddy Studer and Amin Ali.....Hendrix like you've never
 imagined....................
  >>
  Speaking of Hendrix like you've never imagined, I remember seeing "Purple
Haze" listed on an Art Ensemble of Chicago import, I don't recall which one.
 Can anyone comment on the nature of this rendition, or on the album as a
whole?
                     -Nick



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

From: Steve Smith <[e-mail]>
Subject: Re: Alva?
Date: 26 Oct 1997 23:31:09 -0500

[e-mail] wrote:

> This turned up on the indie-pop list of all places:
>
> >> another chocolate usa member, liza wakeman, is now in the quite
> >> incredible alva, who have a CD out on avant called "fair-haired
> >> guillotine". sounds like disturbed children writing classical
> >> music soundtracks for cartoons
>
> Surprised at not having seen anything about this on this list - is
> this
> really the same Avant?  Anybody heard this?

It's the same Avant... catalog number 072.  Haven't listened to it in a
while but I'd have to say that the above is a pretty fair description.
For some reason I was also put in mind of early (classic) Residents
(though it's an all female trio), but like I said, it's been a while.

Steve Smith
[e-mail]





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

From: Steve Smith <[e-mail]>
Subject: Re: AEOC plays jimi
Date: 26 Oct 1997 23:58:14 -0500

[e-mail] wrote:

>   Speaking of Hendrix like you've never imagined, I remember seeing
> "Purple
> Haze" listed on an Art Ensemble of Chicago import, I don't recall
> which one.
>  Can anyone comment on the nature of this rendition, or on the album
> as a
> whole?

I'm an Art Ensemble of Chicago completist and lack only a few
recordings, so naturally you might expect a positive reaction towards
anything they release and you'd be somewhat right.  Having said that, I
must state that I find _Ancient to the Future_ possibly the most
disappointing AE recording I've ever heard.  It's not horrible, mind you
(though some might say that that's my bias speaking).  But while one of
the Art Ensemble's strong points has always been the way they've
encompassed the entirety of the black music tradition(s), I'm not
convinced that literally performing cover versions of Ellington, Otis
Redding. Bob Marley, Hendrix and Fela was necessary.  Still, the group
seemed somewhat adrift in the late '80s-early '90s... _The Alternative
Express_ was a strong effort and there are things to like about their
South African collaborations, their Coltrane album and their Monk
tribute with Cecil Taylor, but there has been no statement nearly as
strong as the ECM releases of the early '80s.  And it's a shame that
Jarman has left, but I'm certainly hopeful that the remaining quartet
with find inspiration to make great recordings for their new contract
with Atlantic.

On the other hand, there's something kind of *fun* about hearing the
AEOC covering Ellington, Redding, Marley, Hendrix and Fela... :-)

Steve Smith
[e-mail]





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

From: [e-mail] ( =?iso-8859-1?Q?R=E9mi?= Bissonnette)
Subject: Keiji Haino/Caspar Brotzmann
Date: 27 Oct 1997 00:19:42 -0400

I sent this message a few days ago but for some reasons it doesn't seem to
have actually been posted or seen by the people on the list.  If it has,
sorry for the repetition.  Anyway:

About Keiji Haino; has anybody out there heard Keiji's collaboration with
Derek Bailey, "Drawing Close, Attuning -- The Respective Signs of Order and
Chaos" out last June, I believe?  If so, please post comments or a brief
review if possible.

Secondly, speaking of guitar duets, does anybody know what Caspar Brotzmann
(son of Last Exit saxophonist Peter Brotzmann) has been doing since the
release of "Zulutime", his collaboration with Page Hamilton?  A new
Massaker recording in the works, perhaps?

Bruno

R=E9mi Bissonnette Ph.D.
Professeur titulaire
=46acult=E9 d'=C9ducation physique et sportive
Universit=E9 de Sherbrooke
Sherbrooke, Qu=E9bec
J1K 2R1
=20





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

From: Tom Pratt <[e-mail]>
Subject: Lost Aaraaff
Date: 27 Oct 1997 17:48:27 -0500

I found a self-titled CD called 'Lost Aaraaff' under Keiji Haino at the
CD store. Does anybody know anything about this one???? I bought Haino's
Tzadik disc yesterday and I think it's pretty good but I wanted to hear
some more guitar work. Thanks.

            -Tom Pratt



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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: Lost Aaraaff
Date: 27 Oct 1997 21:05:37 -0600 (CST)

On Mon, 27 Oct 1997, Tom Pratt wrote:

> I found a self-titled CD called 'Lost Aaraaff' under Keiji Haino at the
> CD store. Does anybody know anything about this one???? I bought Haino's
> Tzadik disc yesterday and I think it's pretty good but I wanted to hear
> some more guitar work. Thanks.
>
>             -Tom Pratt

Then don't buy Lost Aaraaff (or however it's spelled on this disc).  This
group doesn't have Haino playing guitar, just vocalizing (ain't no way it
can be called singing).  This was his first group from the early 70s with
him, a drummer and a pianist (if I remember right).  If you want Haino
doing guitar, email me privately and I can recommend stuff (as I'm sure
most of us don't wanna go over this again on the list (or maybe that was
another list I'm on....)).

cya
brian

BTW, new Arcana is out - got it yesterday, but haven't listened to it yet.




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

From: [e-mail]
Subject: Re: Fujieda, Ostertag
Date: 28 Oct 1997 04:58:09 -0500 (EST)

In a message dated 97-10-26 13:58:37 EST, you ([e-mail])
write:

<< Minton also croons remarkably on STATE OF VOLGOGRAD/TRIO TRABANT A ROMA
with
 Lindsay Cooper and Alfred 23 Harth (FMP 57) and THE ENCHANTED MESSENGER/TONY
 OXLEY'S CELEBRATION ORCHESTRA (Soul Note 121284-2). On the latter his
 trumpet sensibilities clearly inform his vocal sparring with the great Bill
 Dixon. >>

And if not previously mentioned, Minton is also a regular in Mike Westbrook's
many recordings.

on now: Fourth Estate- See What I See

=dgasque=



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

From: [e-mail]
Subject: off-topic
Date: 28 Oct 1997 09:20:02 -0600 (CST)

Not Zorn related: just want to recommend "Base Of Fiction," a CD by a
group of the same name on God Mountain records (Japan).  Schoenberg gets a
rock band, and plays opera.  Great classical-rock synthesis; like a
serious Bungle.  And I received a Tzadik catalogue when I ordered the CD,
so somebody knows about them.




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

From: Steve Smith <[e-mail]>
Subject: Third Rail in NYC
Date: 28 Oct 1997 17:36:18 -0500

Hey gang -

Don't remember seeing this mentioned before: Third Rail with the Last
Poets opening have been booked at the Knitting Factory December 5-6.

(Bailey-Zorn-Kramer-Mori last night was amazing...)

Steve Smith
[e-mail]



-



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

From: "Jason J. Tar" <[e-mail]>
Subject: Painkiller _Guts of a Virgin_
Date: 28 Oct 1997 18:39:19 -0500

Hello,
I'm new to the list, but have read through some of the digests at the
archives.  Noticed you'd been mentioning Painkiller's _Guts of a Virgin_.
If you go to Earache's website, and find an e-mail link, you'll find they
still have copies of this cd for sale.  They are out of _Buried Secrets_
though, but said they'd be re-issuing it soon.  (Which seems odd as Tzadik
is supposedly re-releasing both cds soon as well.)
Just thought you may want to know....

JJTar

---
Peace Hugs and Unity,
Jason J. Tar
        Vampire Rodent Productions
    http://pilot.msu.edu/user/tarjason/VRodents.htm
Featuring: Vampire Rodents, Ether Bunny, and Dilate.

-



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

From: Jeff Spirer <[e-mail]>
Subject: Re: Painkiller _Guts of a Virgin_
Date: 28 Oct 1997 16:12:53 -0800

For anyone (well one someone) looking for the three CD set of _Buried
Secrets_, Tower Records in San Mateo (if you don't know where San Mateo is,
you aren't close enough) had one copy in the import section as of Friday.
Good price too, around $30 I think.

At 06:39 PM 10/28/97 -0500, Jason J. Tar wrote:
>Hello,
>I'm new to the list, but have read through some of the digests at the
>archives.  Noticed you'd been mentioning Painkiller's _Guts of a Virgin_.
>If you go to Earache's website, and find an e-mail link, you'll find they
>still have copies of this cd for sale.  They are out of _Buried Secrets_
>though, but said they'd be re-issuing it soon.  (Which seems odd as Tzadik
>is supposedly re-releasing both cds soon as well.)
>Just thought you may want to know....
>
>JJTar
>
>---
>Peace Hugs and Unity,
>Jason J. Tar
>        Vampire Rodent Productions
>    http://pilot.msu.edu/user/tarjason/VRodents.htm
>Featuring: Vampire Rodents, Ether Bunny, and Dilate.
>
>-
>
>
>
Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/

-



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

From:    [e-mail] (Patrick Carey)
Subject: Re: Painkiller _Guts of a Virgin_
Date: 29 Oct 1997 04:59:33 -0500

Mr. Spirer <[e-mail]> wrote:

>For anyone (well one someone) looking for the three CD set of _Buried
>Secrets_, Tower Records in San Mateo (if you don't know where San Mateo is,
>you aren't close enough) had one copy in the import section as of Friday.
>Good price too, around $30 I think.

You obviously mean _Execution Ground_, right?  ;-)


-Patrick



-



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

From: Yves Dewulf <[e-mail]>
Subject: 1984
Date: 29 Oct 1997 11:56:16 +0100



Yesterday I saw a subharmonic-CD entitled "Praxis 1984", released in 1997.
There was no cover so I don't have more information.
Is this a Material-CD or a Praxis -CD (or something else) and who is
actually playing on it ?
Who has  more info on this CD ?


Yves

-



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

From: Jeff Spirer <[e-mail]>
Subject: Re: Painkiller _Guts of a Virgin_
Date: 29 Oct 1997 06:10:50 -0800

At 04:59 AM 10/29/97 -0500, Patrick Carey wrote:
>Mr. Spirer <[e-mail]> wrote:
>
>>For anyone (well one someone) looking for the three CD set of _Buried
>>Secrets_, Tower Records in San Mateo (if you don't know where San Mateo is,
>>you aren't close enough) had one copy in the import section as of Friday.
>>Good price too, around $30 I think.
>
>You obviously mean _Execution Ground_, right?  ;-)

I don't think I've been sleeping enough since the time change...you're right.

Someone should buy this though, given how many people seem to be looking
for it.


Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/

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From: Jeff Spirer <[e-mail]>
Subject: Re: 1984
Date: 29 Oct 1997 06:19:11 -0800

At 11:56 AM 10/29/97 +0100, Yves Dewulf wrote:
>
>
>Yesterday I saw a subharmonic-CD entitled "Praxis 1984", released in 1997.
>There was no cover so I don't have more information.
>Is this a Material-CD or a Praxis -CD (or something else) and who is
>actually playing on it ?
>Who has  more info on this CD ?

This came out in 1984, it's Bill alone as far as I know (never asked him
about it.)  It's a beats with some synth.  It does not sound like any of
the recent Praxis lineups but it is definitely interesting.

It was also fairly short.

I haven't heard the CD - there is no longer a relationship with
Subharmonic, so I don't get advance copies - but since Bill stopped giving
stuff to them, they have had serious quality problems with both pressings
and artwork.


Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/

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From: "David Brunelle" <[e-mail]>
Subject: Re: 1984
Date: 29 Oct 1997 10:09:16 PST


>Yesterday I saw a subharmonic-CD entitled "Praxis 1984", released in
1997.
>There was no cover so I don't have more information.
>Is this a Material-CD or a Praxis -CD (or something else) and who is
>actually playing on it ?
>Who has  more info on this CD ?
>
Jeff Spirer (I think) said that the owner of Subharmonic was in the
process of obtaining some of Laswell's Celluloid recordings, of which I
see that Mandingo's first album is being re-released (although not by
Subharmonic-I forget the record company name). The point being that Jeff
said that the artists were getting no royalties from the releases.
Obviously, it's a personal decision, but no matter how much I really
want to but some of the hard to find early Laswell releases, I'd rather
keep searching 2nd hand shops than put money in the pocket of a typical
music business sleaze as this person appears to be.

Dave B.

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

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From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: 1984
Date: 29 Oct 1997 10:25:02 -0800


On Wed, 29 Oct 1997 10:09:16 PST  "David Brunelle" wrote:
>
>
> >Yesterday I saw a subharmonic-CD entitled "Praxis 1984", released in
> 1997.
> >There was no cover so I don't have more information.
> >Is this a Material-CD or a Praxis -CD (or something else) and who is
> >actually playing on it ?
> >Who has  more info on this CD ?
> >
> Jeff Spirer (I think) said that the owner of Subharmonic was in the
> process of obtaining some of Laswell's Celluloid recordings, of which I
> see that Mandingo's first album is being re-released (although not by
> Subharmonic-I forget the record company name). The point being that Jeff
> said that the artists were getting no royalties from the releases.
> Obviously, it's a personal decision, but no matter how much I really
> want to but some of the hard to find early Laswell releases, I'd rather
> keep searching 2nd hand shops than put money in the pocket of a typical
> music business sleaze as this person appears to be.

If you really want to go this way, you might even have to stop buying
vinyls... There are more than one label with such stories floating
around. I have seen recently many Laswell reissues from the '80s coming
from Germany...

    Patrice.

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

From: Jeff Spirer <[e-mail]>
Subject: Re: 1984
Date: 29 Oct 1997 10:44:26 -0800

At 10:09 AM 10/29/97 PST, David Brunelle wrote:
>
>>Yesterday I saw a subharmonic-CD entitled "Praxis 1984", released in
>1997.
>>There was no cover so I don't have more information.
>>Is this a Material-CD or a Praxis -CD (or something else) and who is
>>actually playing on it ?
>>Who has  more info on this CD ?
>>
>Jeff Spirer (I think) said that the owner of Subharmonic was in the
>process of obtaining some of Laswell's Celluloid recordings, of which I
>see that Mandingo's first album is being re-released (although not by
>Subharmonic-I forget the record company name). The point being that Jeff
>said that the artists were getting no royalties from the releases.
>Obviously, it's a personal decision, but no matter how much I really
>want to but some of the hard to find early Laswell releases, I'd rather
>keep searching 2nd hand shops than put money in the pocket of a typical
>music business sleaze as this person appears to be.

I did say something like this, but I believe that he has complete rights to
the entire Celluloid catalog at this time.  He is certainly responsible for
the fact that there are numerous overlapping Golden Palominos compilations
on a variety of labels.


Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/

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

From: Jeff Spirer <[e-mail]>
Subject: Re: 1984
Date: 29 Oct 1997 10:50:13 -0800

At 10:25 AM 10/29/97 -0800, Patrice L. Roussel wrote:
>
>On Wed, 29 Oct 1997 10:09:16 PST  "David Brunelle" wrote:
>>
>>
>> >Yesterday I saw a subharmonic-CD entitled "Praxis 1984", released in
>> 1997.
>> >There was no cover so I don't have more information.
>> >Is this a Material-CD or a Praxis -CD (or something else) and who is
>> >actually playing on it ?
>> >Who has  more info on this CD ?
>> >
>> Jeff Spirer (I think) said that the owner of Subharmonic was in the
>> process of obtaining some of Laswell's Celluloid recordings, of which I
>> see that Mandingo's first album is being re-released (although not by
>> Subharmonic-I forget the record company name). The point being that Jeff
>> said that the artists were getting no royalties from the releases.
>> Obviously, it's a personal decision, but no matter how much I really
>> want to but some of the hard to find early Laswell releases, I'd rather
>> keep searching 2nd hand shops than put money in the pocket of a typical
>> music business sleaze as this person appears to be.
>
>If you really want to go this way, you might even have to stop buying
>vinyls... There are more than one label with such stories floating
>around. I have seen recently many Laswell reissues from the '80s coming
>from Germany...

Comes from the same place...


Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/

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

From: Joe Weil <[e-mail]>
Subject: Small Sale
Date: 29 Oct 1997 16:44:33 -0500 (EST)


Fellow Zornites,
I have duplicates of the following CDs and wish to pass them
on to people who would appreciate them. All CDs are still wrapped
and will sell for 13$ a piece. First to claim will get it.
Thanks
Joe Weil


1. Tim Berne - Bloodcount - Discretion
2. Tim Berne - Paraphrase - Visitation Rites
3. Mamoru Fujieda - Patterns of Plants
4. Brian Ferneyhough - 1 (Arditti String Quartet)

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

From: clockwise <[e-mail]>
Subject: Re: 1984
Date: 29 Oct 1997 18:24:12 -0600

I have the original 12", and for some reason (probably the extreme
difference in sound) I always assumed that this was a Material 12" entitled
"Praxis" (especially since it says '...Material Productions' or sume such
thing on the back). It's very reminiscent of Herbie Hancock's "Rockit".
Worth it if you're into that early NY club sound, but it doesn't sound
anything like Praxis, and only slightly like very early Material.


>At 11:56 AM 10/29/97 +0100, Yves Dewulf wrote:
>>
>>
>>Yesterday I saw a subharmonic-CD entitled "Praxis 1984", released in 1997.
>>There was no cover so I don't have more information.
>>Is this a Material-CD or a Praxis -CD (or something else) and who is
>>actually playing on it ?
>>Who has  more info on this CD ?
>
>This came out in 1984, it's Bill alone as far as I know (never asked him
>about it.)  It's a beats with some synth.  It does not sound like any of
>the recent Praxis lineups but it is definitely interesting.
>
>It was also fairly short.
>
>I haven't heard the CD - there is no longer a relationship with
>Subharmonic, so I don't get advance copies - but since Bill stopped giving
>stuff to them, they have had serious quality problems with both pressings
>and artwork.
>
>
>Jeff Spirer
>Axiom/Material
>http://www.hyperreal.org/axiom/
>
>-
>
>


-



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

From: Jeff Spirer <[e-mail]>
Subject: Re: 1984
Date: 29 Oct 1997 17:05:09 -0800

At 06:24 PM 10/29/97 -0600, clockwise wrote:
>I have the original 12", and for some reason (probably the extreme
>difference in sound) I always assumed that this was a Material 12" entitled
>"Praxis" (especially since it says '...Material Productions' or sume such
>thing on the back). It's very reminiscent of Herbie Hancock's "Rockit".
>Worth it if you're into that early NY club sound, but it doesn't sound
>anything like Praxis, and only slightly like very early Material.

I think the only reason that the person who owns the rights to Subharmonic
is putting it out is the opportunistic use of the Praxis name.  Although
most of Bill's groups are floating ensembles with no common elements from
one to the next, the more recent Praxis (as opposed to 1984) always has
Buckethead, and probably would not exist without him.

I am wondering how much more stuff is on the CD, or is it just the original
12" stuff?  Anyone bought the CD?


Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/

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

From: clockwise <[e-mail]>
Subject: Re: 1984
Date: 29 Oct 1997 19:49:35 -0600

>I am wondering how much more stuff is on the CD, or is it just the original
>12" stuff?  Anyone bought the CD?
>
>
>Jeff Spirer
>Axiom/Material
>http://www.hyperreal.org/axiom/
>

according to the ad in Caroline Distribution's mailer, its the same track
listing, nothing extra.


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From: Ted Reichman <[e-mail]>
Subject: PROMO: alt.coffee music schedule
Date: 29 Oct 1997 21:07:53 -0500 (EST)

apologies to those who received this more than once.  Since there seemed
to be interest on the zorn-list the last time I posted the schedule....

Music at alt.coffee

November-December Schedule


11/3    Cuong Vu
        Stomu Takeishi-elec.bass, Cuong Vu-trmpt, Kenny Wollesen-drums,
        Tim Ziesmer-guitar

11/10   The Mellow Edwards
        Curtis Hasselbring-trmbn, Matt Moran-vibes, Oscar Noriega-winds,
        Stomu Takeishi-el.bass, Cuong Vu-trumpet, Kenny Wollesen-drums

11/17   Barry Mitterhoff-mandolin, Peter Stan-accordion

11/24   The Claudia Quintet
    Drew Gress-bass, John Hollenbeck-percussion, compositions, Matt
    Moran-vibes, Ted Reichman-accordion, Chris Speed-clarinet, tenor sax

12/1    Dan Willis Quartet
        Drew Gress-bass,John Hollenbeck-percussion, Ben Monder-guitar,
        Dan Willis-winds

12/8    Andy Laster's Lessness
        Erik Friedlander-cello, Andy Laster-winds, Cuong Vu-trumpet,
        Kenny Wollesen-drums

12/15   Polygraph Lounge
        Rob Schwimmer-keyboards, theremin, etc; Mark Stewart-guitar,
        cello, mandocello, voice, etc. (please note: this is Mark Stewart
    of Bang On a Can, Fred Frith Guitar Quartet, Steve Reich Ensemble,
    etc.  People were confused last time...)

12/22   The Claudia Quintet
    Drew Gress-bass, John Hollenbeck-percussion, compositions, Matt
        Moran-vibes, Ted Reichman-accordion, Chris Speed-clarinet, tenor sax

12/29   Andrew D'Angelo's In Hear
        Andrew D'Angelo-winds, Adam Good-elec.guitar, Matt Moran-vibes,
        Jamie Moore-drums

all shows are at 9:00 pm and include two sets.

no cover. donations accepted.

alt.coffee
139 Avenue A (between St. Mark's & 9th)
212-529-CAFE

There is a lot going on in alt.coffee-land.  More info soon....

-Ted


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

From: Christopher Hamilton <[e-mail]>
Subject: Re: 1984
Date: 29 Oct 1997 22:22:04 -0500 (EST)



On Wed, 29 Oct 1997, clockwise wrote:

> It's very reminiscent of Herbie Hancock's "Rockit".
> Worth it if you're into that early NY club sound, but it doesn't sound
> anything like Praxis, and only slightly like very early Material.

I agree with the "Rockit" comparison, although _Praxis_ is a bit less
accessible as it doesn't really have any strong melodies.  Personally,
it's one of my favorite Laswell projects, although I wouldn't swear that's
not just the result of some evil record-collector love of obscurity.  Does
anyone know of other similarly quirky instrumental electro-funk?

Chris Hamilton



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From: clockwise <[e-mail]>
Subject: Re: 1984
Date: 29 Oct 1997 21:52:49 -0600

Yes, DJ Qbert is doing stuff today that sounds straight out of the early
80's NY club scene. He did the scratching for the Dr. Octagon project, and
I'm not sure what it was off of, but I dl'ed an mp3 under his name off of
ww.rap.org (back when you could) and I was amazed that someone was taking
Dj'ing back to the old school (captures the period without sounding dated).

At 10:22 PM 10/29/97 -0500, you wrote:
>
>
>On Wed, 29 Oct 1997, clockwise wrote:
>
>> It's very reminiscent of Herbie Hancock's "Rockit".
>> Worth it if you're into that early NY club sound, but it doesn't sound
>> anything like Praxis, and only slightly like very early Material.
>
>I agree with the "Rockit" comparison, although _Praxis_ is a bit less
>accessible as it doesn't really have any strong melodies.  Personally,
>it's one of my favorite Laswell projects, although I wouldn't swear that's
>not just the result of some evil record-collector love of obscurity.  Does
>anyone know of other similarly quirky instrumental electro-funk?
>
>Chris Hamilton
>
>
>
>-
>
>


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

From: Steve Smith <[e-mail]>
Subject: Re: PROMO: alt.coffee music schedule
Date: 30 Oct 1997 01:48:58 -0500

Ted Reichman wrote:

> 11/24   The Claudia Quintet
>         Drew Gress-bass, John Hollenbeck-percussion, compositions,
> Matt
>         Moran-vibes, Ted Reichman-accordion, Chris Speed-clarinet,
> tenor sax

I am only going to say this once... if you are in New York and at all
interested in jazz you should see this band.  Not only does it feature
five incredibly strong improvisers (as you may recall from the last time
I ranted about Moran & Hollenbeck) but when I saw this band not too long
ago I was also blown away by Hollenbeck's writing.  Not just free improv
splat (which can be very, very fine at times of course), this guy can
also write really well... in a range from avant garde to neo-classical
to quite lovely modern mainstream a la Marty Ehrlich or Dave Douglas's
sextet records.  There are a lot of things to appreciate about the band:
Chris Speed's understated clarinet, Ted's own ability to jump from
subtle comping to tongue-in-cheek, grandiose "Lady of Spain" bravura in
a heartbeat, and Moran and Hollenbeck's exceptional playing as well as
their uncanny ability to make goofy noises with cheap plastic toys while
maintaining perfectly straight faces.  I haven't heard Gress in this
particular band but judging from his work elsewhere it should be quite
in keeping with the high level of play the others display.  Look, maybe
I'm being a little over the top.  I admit it.  But it's been a long time
since I've heard a new band that I've enjoyed so much.  Jeez... it's
free.  Just go and I'll stop gushing.

> 12/8    Andy Laster's Lessness
>         Erik Friedlander-cello, Andy Laster-winds, Cuong Vu-trumpet,
>         Kenny Wollesen-drums

This band made Laster's best album to date, "Impressions of Lessness."

> 12/22   The Claudia Quintet
>         Drew Gress-bass, John Hollenbeck-percussion, compositions,
> Matt
>         Moran-vibes, Ted Reichman-accordion, Chris Speed-clarinet,
> tenor sax

Okay, maybe I'll say it more than just once...

> 12/29   Andrew D'Angelo's In Hear
>         Andrew D'Angelo-winds, Adam Good-elec.guitar, Matt
> Moran-vibes,
>         Jamie Moore-drums

More good, nice room, all free, let's go.

Steve Smith
[e-mail]


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

From: "Patrice L. Roussel" <[e-mail]>
Subject: help with KF tape
Date: 17 Oct 1997 10:50:09 -0700


    Does anybody have a copy of the following?


*** - SAMPLER A.V. ARTS VOL. 1 (KNITTING FACTORY - MUWORKS): various artists

  This record features excerpts from Improvised Music New York 1981.

    1992 - Musiche (Italy), No 13 (CT)


I know that Fred Frith appears on but I am curious of who else does also...

    Any info about this is welcome,

    Patrice.




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