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From: Tom Pratt <tpratt@smtc.net>
Subject: Re: Fahey
Date: 24 Dec 1997 11:19:10 -0500
dennis summers wrote:
>
> Just wanted to take a moment to second somebody's (sorry, I've been catching
> up and lost track) positive comments on guitarist John Fahey's disk
> Womblife. I've been listening to it almost constantly since I got it a
> couple of weeks ago, and think it's easily one of the best disks of the
> year. It would not be out of place in any zornsters collections. It's got an
> ambient/wall of sound kind of approach, filled with noise and clatter, but
> also filled with emotion and the blues. Dark and disturbing, it doesn't get
> much better.
How does this disc compare to the recent 'City of Refuge'??
-Tom Pratt
-
-------------------------------------------------------------------------------
From: Jeff Spirer <jeffs@hyperreal.org>
Subject: Re: Fahay and Black
Date: 24 Dec 1997 11:59:18 -0800
At 06:35 AM 12/24/97 -0700, dennis summers wrote:
>this and the prior release. I know that his early work is also considered
>fantastic, but can anyone give me any insight?
His early work is quite trippy, although he denied any drug influences at
all. My favorite is the first, and most raw, of the Takoma releases,
called Blind Joe Death, sort of. The original LP cover had John Fahey in
black on the front and Blind Joe Death on the back. No indication of
title, or anything else, and given that he wasn't all that well-known at
the time, especially on the east coast, the whole thing had sort of a
strange and dark feeling that carried through into the music. There was
one very long piece, maybe the whole side, that was some sort of internal
exploration in a blues outfit.
This was followed by a number of releases on Takoma, some of which were
better than others, but they started having these bizarre inserts that
Fahey wrote, very much a product of the psychedelic era, even if not a
product of psychedelics. I would hazard a guess that most people who read
the whole inserts were chemical ingesters. (No comments on how many
inserts I read all the way through.)
Unfortunately, I don't think the Takomas are easy to find on CD if they
have ever been released. There is a 2-disk compilation, not bad, but it
includes some of his less interesting stuff from the Vanguard years and
later. My own take is that he went downhill on Vanguard, with each release
less interesting than the prior one.
One of the interesting things about Fahey is his influences, and while this
is straying very far from the normal Zorn topics, if you are interested in
Fahey's roots, check out Bukka White.
The funniest thing Fahey says in his quite detailed liner notes to the 2-CD
compilation is that he started playing faster because he thought Leo
Kottke, a great guitarist but far less original than Fahey (and Fahey had
the wisdom not to try to sing for us), was getting popular because he
played faster than Fahey. Or something like that. This is all from
memory, and given the number of liner notes that I did finish reading,
maybe that means you should take all of this with a certain amount of caution.
Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/
-
-------------------------------------------------------------------------------
From: Brian Olewnick <olewnik@IDT.NET>
Subject: Re: Fahay and Black
Date: 24 Dec 1997 17:17:40 -0800
dennis summers wrote:
>
> Just wanted to take a moment to second somebody's (sorry, I've been catching
> up and lost track) positive comments on guitarist John Fahey's disk
> Womblife. I've been listening to it almost constantly since I got it a
> couple of weeks ago, and think it's easily one of the best disks of the
> year. It would not be out of place in any zornsters collections. It's got an
> ambient/wall of sound kind of approach, filled with noise and clatter, but
> also filled with emotion and the blues. Dark and disturbing, it doesn't get
> much better. I know that Fahey's been around since the 60's, but I only have
> this and the prior release. I know that his early work is also considered
> fantastic, but can anyone give me any insight?
Actually, he's been recording since the late 50's. A great place to
start is 'The Legend of Blind Joe Death' (Takoma, TAKCD-8901-2), which
includes solo performances from 1959--67. Beautiful stuff. I especially
like the sense one gets of Fahey sitting around, playing these great
pieces for his own enjoyment and not making a big deal about it. And, I
swear, there's one piece that, had I been given a blindfold test on the
first few notes, I would've guessed Derek Bailey.
Brian O.
-
-------------------------------------------------------------------------------
From: chasinthetrane@juno.com (Jamie F Graves)
Subject: Zorn/Ribot/Sharp
Date: 24 Dec 1997 18:34:35 EST
After seeing Tim Berne's Bloodcount at the Old Office on Saturday, I
headed uptown to the cooler to check out Zorn with Marc Ribot and Elliot
Sharp. After leaving the homey atmosphere of the knit, the creepy
art-students-trying-to-impress-one-another, ooh we're being so creepy
atmosphere of the Cooler just pissed me off. After being subjected to a
few ridiculous experimental films, Zorn, Ribot and Sharp finally came on.
Now, I consider myself pretty open minded when it comes to avant-garde, I
love Derek Bailey, Eugene Chadbourne, etc, but I couldn't stand what was
being played. There didn't seem to be any real communication or passion
in the music. I didn't feel like sitting through it, and I left about 10
mintues into the set. So my question, (and there is one) is if I happened
to miss out on a mind blowing set that took a while to get going. Or was
this just another series of improvs from three masters?
Jamie
-
-------------------------------------------------------------------------------
From: "James L. Kirchmer" <candela@soukous.com>
Subject: Wayne Horvitz's PIGPEN
Date: 26 Dec 1997 09:05:44 -0800
Merry festivities to all of you -
and just a quick note today to let all you PIGPEN fans out there that
happen to live in the Pacific NW of the USA that this band is making a
RARE appearance tommorow, Saturday Dec. 27th, at the Rainbow in Seattle,
WA, located at the intersection(NE corner) of 45th St. and Interstate 5.
Special guests for the second set will include Timothy Young(Zony Mash)
and Skerik(Critters Buggin').
Sorry to make a post of such local nature, but the publicity for this
show has turned out to be minimal - and given that I'm such a rabid fan
I wouldn't want anyone out here to miss what might possibly be the FINAL
performance by this incredible outfit...
And for those of you not out here, celebrate Pigpen's swan song by
picking up their newly released CD titled DAYLIGHT. It is tres bien!
Happy new year in advance,
James Kirchmer, Seattle, WA
-
-------------------------------------------------------------------------------
From: ia zha nah er vesen <jwnarves@csclub.uwaterloo.ca>
Subject: another question about music
Date: 26 Dec 1997 20:11:02 -0500 (EST)
Was Dave Brubeck's band really the first one to play jazz in non-standard
time signatures?
Just wondering...
-jascha
-
-------------------------------------------------------------------------------
From: cdeupree@interagp.com (Caleb Deupree)
Subject: Re: another question about music
Date: 27 Dec 1997 08:55:21 -0500
At 08:11 PM 12/26/97 -0500, you wrote:
>
>Was Dave Brubeck's band really the first one to play jazz in non-standard
>time signatures?
Depends what you mean by non-standard time signatures. Max Roach had an
album Jazz in 3/4 Time (with Sonny Rollins, Kenny Dorham, Ray Bryant, etc.)
which predated Brubeck's and Desmond's experiments by a couple of years, and
which was considered pretty radical at the time. Nothing quite as
extraordinary as Desmond's Take Five, but for the mid 1950s....
--
Caleb T. Deupree
cdeupree@interagp.com, or
cdeupree@erinet.com
;; Computers are useless. They can only give you answers.
;; (Pablo Picasso)
-
-------------------------------------------------------------------------------
From: BJOERN <bjoern.eichstaedt@student.uni-tuebingen.de>
Subject: chadbourne vinyl
Date: 29 Dec 1997 12:17:51 +0100 (MEZ)
i found an old chadbourne & someotherguy vinyl which i really like...
"Torture time" (Parachute Records)....
any comments on that.
BJOERN
-
-------------------------------------------------------------------------------
From: Brent Burton <bburton@CapAccess.org>
Subject: Re: Zorn/Ribot/Sharp
Date: 29 Dec 1997 11:00:48 -0500 (EST)
On Wed, 24 Dec 1997, Jamie F Graves wrote:
> After leaving the homey atmosphere of the knit, the creepy
> art-students-trying-to-impress-one-another, ooh we're being so creepy
> atmosphere of the Cooler just pissed me off.
i've always liked the cooler. cool use of space and great booking.
don't be so cranky. just be glad that you can skip between two
clubs that support the avant-garde.
b
-
-------------------------------------------------------------------------------
From: "Schwitterz" <mcmullenm@vcss.k12.ca.us>
Subject: Re: Zorn/Ribot/Sharp
Date: 29 Dec 1997 08:11:11 -0800
>On Wed, 24 Dec 1997, Jamie F Graves wrote:
>
>> After leaving the homey atmosphere of the knit, the creepy
>> art-students-trying-to-impress-one-another, ooh we're being so creepy
>> atmosphere of the Cooler just pissed me off.
>
>i've always liked the cooler. cool use of space and great booking.
>don't be so cranky. just be glad that you can skip between two
>clubs that support the avant-garde.
>
>b
I wish we had such things to be pissed about in Lo-Cal So.California.
s~Z
-
-------------------------------------------------------------------------------
From: john shiurba <shiurba@sfo.com>
Subject: Re: chadbourne vinyl
Date: 29 Dec 1997 12:11:56 -0700
bjoern:
> i found an old chadbourne & someotherguy vinyl which i really like...
> "Torture time" (Parachute Records)....
> any comments on that.
'someotherguy' is actually a woman named Polly Bradfield.
my comments-- this is an incredible record. wacked out, screechy,
intense, noisy etc. an excellent example of the underappreciated art of
Polly Bradfield.
--
shiurba@sfo.com
http://www.sfo.com/~shiurba
-
-------------------------------------------------------------------------------
From: peter_risser@cinfin.com
Subject: Lyrebird
Date: 30 Dec 1997 13:04:03 UT
In the liners to Zorn's Strategies on Tzadik, he mentions that the pieces were
influenced by, among other things, the Lyrebird record on Folkways, which he
says is an "absolute classic". Does anyone know what this is?
Just wondering,
Peter
-
-------------------------------------------------------------------------------
From: peter_risser@cinfin.com
Subject: While we're at it
Date: 30 Dec 1997 13:12:34 UT
While I'm looking at liner notes, does anyone know the significance of the odd
clip-art collages in Strategies? Something similar also appeared in the archery
notes. Does anyone know what these are and if they have any special
significance?
Thanks,
Peter
-
-------------------------------------------------------------------------------
From: "R. Lynn Rardin" <RARDIN%ORION@BINAH.CC.BRANDEIS.EDU>
Subject: Zorn in EW
Date: 30 Dec 1997 09:19:37 -0500 (EST)
Is Zorn actually becoming <gasp> popular?! :^) He got two mentions in the
year-end double edition of Entertainment Weekly (#411/412; Dec. 26, 1997/
Jan. 2, 1998):
Page 65 under a "Burt Alert II" heading (Burt Alert I having been
about Burt Reynolds, of course :^):
Burt Bacharach had a rebirth of near-Tony Bennett proportions thanks to a
groovy cameo in Austin Powers and two tribute albums-one by pianist McCoy
Tyner, another from avant-jazzbos John Zorn and Bill Frisell."
The second mention comes on page 72 in the 1997 Timeline:
May 15. The Kids Are Albright. "Shut the f--- up," jazz performer John
Zorn yells at Manhattan's Knitting Factory, not realizing noisy
nightclubbers are Secretary of State Madeleine Albright, rocker Lou
Reed, and Czech president Vaclav Havel.
We knew this event couldn't possibly go unnoticed. Anyone care to
speculate whether or not Zorn would've taken this approach even if he
knew that Albright and crew were on board? EW implies not. I, on the
other hand, am not so sure.
-Lynn (rardin%orion@binah.cc.brandeis.edu)
-
-------------------------------------------------------------------------------
From: Bryan E Cornell <bcor@loc.gov>
Subject: Lyrebird -Reply
Date: 30 Dec 1997 09:52:36 -0500
Here's the bibliographic record of the lyrebird recording on Folkways from the Library of Congress' Web
page (http://lcweb.loc.gov). Back to lurking.
Bryan
Author: Halafoff, K. C.
Title: The lyrebird; a documentary study of its song.
[Sound recording]
Published: [n.p.] Folkways Records FX 6116. 1966.
Description: p. 2 s. 12 in. 33 1/3 rpm. microgroove.
Notes: "Commentary by K. C. Halafoff; read by Peter
Bruce."
Recorded in Australia by the author and Peter
Bruce.
"Introduction and background" and text of the
recording (4 p.) inserted in slipcase.
Subjects: Lyre-birds.
Bird-song.
Other authors: Bruce, Peter.
Control No.: r 68000565
>>> <peter_risser@cinfin.com> 12/30/97 08:04am >>>
In the liners to Zorn's Strategies on Tzadik, he mentions that the pieces were influenced by, among other
things, the Lyrebird record on Folkways, which he says is an "absolute classic". Does anyone know what
this is?
Just wondering,
Peter
-
-
-------------------------------------------------------------------------------
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: Zorn in EW
Date: 30 Dec 1997 08:11:07 -0800
On Tue, 30 Dec 1997 09:19:37 -0500 (EST) "R. Lynn Rardin" wrote:
>
> Is Zorn actually becoming <gasp> popular?! :^) He got two mentions in the
> year-end double edition of Entertainment Weekly (#411/412; Dec. 26, 1997/
> Jan. 2, 1998):
>
> Page 65 under a "Burt Alert II" heading (Burt Alert I having been
> about Burt Reynolds, of course :^):
>
> Burt Bacharach had a rebirth of near-Tony Bennett proportions thanks to a
> groovy cameo in Austin Powers and two tribute albums-one by pianist McCoy
> Tyner, another from avant-jazzbos John Zorn and Bill Frisell."
>
> The second mention comes on page 72 in the 1997 Timeline:
>
> May 15. The Kids Are Albright. "Shut the f--- up," jazz performer John
> Zorn yells at Manhattan's Knitting Factory, not realizing noisy
> nightclubbers are Secretary of State Madeleine Albright, rocker Lou
> Reed, and Czech president Vaclav Havel.
>
> We knew this event couldn't possibly go unnoticed. Anyone care to
> speculate whether or not Zorn would've taken this approach even if he
> knew that Albright and crew were on board? EW implies not. I, on the
> other hand, am not so sure.
I doubt he you have care to say anything if it were not them :-).
Patrice.
-
-------------------------------------------------------------------------------
From: "Schwitterz" <mcmullenm@vcss.k12.ca.us>
Subject: McCabes
Date: 30 Dec 1997 08:48:44 -0800
Any SoCalians Know what is happening at McCabes in Santa Monica? Nestled
among the folk bookings for the month of Jan. are appearances by Frisell and
Buckethead.
Hope springs eternal,
s~Z
-
-------------------------------------------------------------------------------
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: McCabes
Date: 30 Dec 1997 10:10:30 -0800
On Tue, 30 Dec 1997 08:48:44 -0800 "Schwitterz" wrote:
>
> Any SoCalians Know what is happening at McCabes in Santa Monica? Nestled
> among the folk bookings for the month of Jan. are appearances by Frisell and
> Buckethead.
Talking about Buckethead, it seems that his record on Avant is out.
Patrice.
-
-------------------------------------------------------------------------------
From: IOUaLive1 <IOUaLive1@aol.com>
Subject: Re: Zorn in EW
Date: 30 Dec 1997 14:06:23 EST
In a message dated 97-12-30 09:24:54 EST, RARDIN%ORION@BINAH.CC.BRANDEIS.EDU
writes:
<<
The second mention comes on page 72 in the 1997 Timeline:
May 15. The Kids Are Albright. "Shut the f--- up," jazz performer John
Zorn yells at Manhattan's Knitting Factory, not realizing noisy
nightclubbers are Secretary of State Madeleine Albright, rocker Lou
Reed, and Czech president Vaclav Havel.>>
I read a blurb about that incident in RollingStone? (or Musician, or Spin..
one of those magazines I pick up once in a while but rarely buy.)
<<
We knew this event couldn't possibly go unnoticed. Anyone care to
speculate whether or not Zorn would've taken this approach even if he
knew that Albright and crew were on board? EW implies not. I, on the
other hand, am not so sure. >>
I've heard him say worse things to people he knows in the audience!
Jody
-
-------------------------------------------------------------------------------
From: jihad7@juno.com (Nathan M Earixson)
Subject: Re: McCabes
Date: 30 Dec 1997 13:32:24 -0600
On Tue, 30 Dec 1997 10:10:30 -0800 "Patrice L. Roussel"
<proussel@ichips.intel.com> writes:
>
>Talking about Buckethead, it seems that his record on Avant is out.
>
> Patrice.
>
BucketHeadLand? OR something new and wonderful?
**********************************************************
They broke up AT&T... why can't we break up God?
**********************************************************
-
-------------------------------------------------------------------------------
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: McCabes
Date: 30 Dec 1997 11:47:51 -0800
On Tue, 30 Dec 1997 13:32:24 -0600 Nathan M Earixson wrote:
>
>
> On Tue, 30 Dec 1997 10:10:30 -0800 "Patrice L. Roussel"
> <proussel@ichips.intel.com> writes:
>
> >
> >Talking about Buckethead, it seems that his record on Avant is out.
> >
> > Patrice.
> >
> BucketHeadLand? OR something new and wonderful?
No, another new record with a strange title.
Patrice.
-
-------------------------------------------------------------------------------
From: ia zha nah er vesen <jwnarves@csclub.uwaterloo.ca>
Subject: Re: Zorn/Ribot/Sharp
Date: 30 Dec 1997 16:08:06 -0500 (EST)
> > After leaving the homey atmosphere of the knit, the creepy
> > art-students-trying-to-impress-one-another, ooh we're being so creepy
> > atmosphere of the Cooler just pissed me off.
>
> i've always liked the cooler. cool use of space and great booking.
> don't be so cranky. just be glad that you can skip between two
> clubs that support the avant-garde.
i've only been to the cooler a couple of times (i live 14 hours away by
car...) They seem to really like extremely noisey acts...has anyone ever
seen something non-abrasive there?
-jascha
-
-------------------------------------------------------------------------------
From: ia zha nah er vesen <jwnarves@csclub.uwaterloo.ca>
Subject: Re: Zorn in EW
Date: 30 Dec 1997 16:10:03 -0500 (EST)
> May 15. The Kids Are Albright. "Shut the f--- up," jazz performer John
> Zorn yells at Manhattan's Knitting Factory, not realizing noisy
> nightclubbers are Secretary of State Madeleine Albright, rocker Lou
> Reed, and Czech president Vaclav Havel.
>
> We knew this event couldn't possibly go unnoticed. Anyone care to
> speculate whether or not Zorn would've taken this approach even if he
> knew that Albright and crew were on board? EW implies not. I, on the
> other hand, am not so sure.
They way i heard it, he knew exactly who was in the audience.
-jascha
-
-------------------------------------------------------------------------------
From: Brent Burton <bburton@CapAccess.org>
Subject: Re: Zorn/Ribot/Sharp
Date: 30 Dec 1997 16:20:41 -0500 (EST)
On Tue, 30 Dec 1997, ia zha nah er vesen wrote:
> i've only been to the cooler a couple of times (i live 14 hours away by
> car...) They seem to really like extremely noisey acts...has anyone ever
> seen something non-abrasive there?
yeah, mad professor.
b
-
-------------------------------------------------------------------------------
From: Jeff Spirer <jeffs@hyperreal.org>
Subject: Re: Zorn/Ribot/Sharp
Date: 30 Dec 1997 13:24:01 -0800
At 04:20 PM 12/30/97 -0500, Brent Burton wrote:
>On Tue, 30 Dec 1997, ia zha nah er vesen wrote:
>
>> i've only been to the cooler a couple of times (i live 14 hours away by
>> car...) They seem to really like extremely noisey acts...has anyone ever
>> seen something non-abrasive there?
>
>yeah, mad professor.
Also Last Poets.
Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/
-
-------------------------------------------------------------------------------
From: Joe Germuska <j-germuska@nwu.edu>
Subject: Re: Zorn List Digest V2 #198
Date: 30 Dec 1997 15:40:13 -0600
>Date: Wed, 24 Dec 1997 11:59:18 -0800
>From: Jeff Spirer <jeffs@hyperreal.org>
>Subject: Re: Fahay and Black
>
>Unfortunately, I don't think the Takomas are easy to find on CD if they
>have ever been released.
Within the last year or so, Fantasy records reissued a few Takoma albums on
CD. I've seen Fahey's "Voice of the Turtle" and Leo Kottke's "Six and
Twelve String Guitar," and from the CDNow website, it looks like a couple
of other Faheys and some other albums by other Takoma artists are
available...
>Date: Tue, 30 Dec 1997 13:24:01 -0800
>From: Jeff Spirer <jeffs@hyperreal.org>
>Subject: Re: Zorn/Ribot/Sharp
>
>At 04:20 PM 12/30/97 -0500, Brent Burton wrote:
>>On Tue, 30 Dec 1997, ia zha nah er vesen wrote:
>>
>>> i've only been to the cooler a couple of times (i live 14 hours away by
>>> car...) They seem to really like extremely noisey acts...has anyone ever
>>> seen something non-abrasive there?
>>
>>yeah, mad professor.
>
>Also Last Poets.
I think the Last Poets would be sad if you accused them of being
"non-abrasive" -- seems to me that's the point... ;-)
Happy new year,
Joe
* Joe Germuska {j-germuska@nwu.edu} | Learning Technologies Group
<http://www.nwu.edu/people/j-germuska> | Northwestern University
"The most familiar of objects, numbers are nonetheless surprisingly
slippery, their sheer slipperiness evidence that certain intellectual
tools may be successfully used before they are successfully understood"
-- David Berlinski
-
-------------------------------------------------------------------------------
From: Phil <phil@clarksonp.demon.co.uk>
Subject: New Buckethead (& Zorn)
Date: 30 Dec 1997 15:11:13 -0700
There's an advert in The Wire magazine for the new Buckethead CD - it's
called "Pieces" & features Buckethead & Brain. It's described as " a weird
kind of guitar/technoid mutation" & is apparently on a drum'n'bass tip -
yippee! It should be out on Avant by now.
There's also an ad for a mouth-watering new CD by the Music Revelation
Ensemble - ie James "Blood" Ulmer's trio with Pharoah Sanders & John Zorn
called "Cross Fire" out on DIW - some things to chase away that New Year's
hangover!
Happy New Year, y'all!
Phil
phil@clarksonp.demon.co.uk
> On Tue, 30 Dec 1997 10:10:30 -0800 "Patrice L. Roussel"
> <proussel@ichips.intel.com> writes:
>
> >
> >Talking about Buckethead, it seems that his record on Avant is out.
> >
> > Patrice.
> >
> BucketHeadLand? OR something new and wonderful?
No, another new record with a strange title.
Patrice.
-
-------------------------------------------------------------------------------
From: Tom Pratt <tpratt@smtc.net>
Subject: Dreyblatt
Date: 30 Dec 1997 18:10:09 -0500
I just bought Arnold Dreyblatt's 'Animal Magnetism' on Tzadik and REALLY
enjoy it! At the Tzadik website, it is mentioned that Dreyblatt has
released other albums on India Navigation and Hat Art. Does anybody have
any information on these???
-Tom Pratt
-
-------------------------------------------------------------------------------
From: "Julian" <jcurwin@hartingdale.com.au>
Subject: Re: Zorn in EW
Date: 31 Dec 1997 11:31:55 +1100
> Is Zorn actually becoming <gasp> popular?! :^) He got two mentions in
the
> year-end double edition of Entertainment Weekly (#411/412; Dec. 26, 1997/
> Jan. 2, 1998):
Speaking of popularity, I read in the Australian Birdland catalogue that
"Bar Kokhba" has been voted as one of the best albums of 1997 by ABC. They
also said that they think it is one of the best things in the store. This
is pretty good praise, considering their large collection of all types of
jazz/classical/avant garde music.
-
-------------------------------------------------------------------------------
From: gsg@juno.com (Geoff S Gersh)
Subject: Zorn/Ribot/Sharp@theCooler
Date: 30 Dec 1997 21:32:17 EST
Ive seen Zorn and Ribot in improv. situations many times over the past
few years, and i feel that the set they did at the Cooler last week was
pretty boring......it was a short set that, to me, didnt really go
anywhere......Ribot and Sharp had some nice, interesting sounds coming
out of their guitars at times....but, the trains in the subways do
too......
did any of them come back out to play with any of the other performers??
i split after their set, i was pretty ill that night and the smoke was
really gettin to me......
Geoff
-
-------------------------------------------------------------------------------
From: "Glenn Astarita" <gastarit@comm.net>
Subject: Re: Zorn in EW
Date: 30 Dec 1997 21:55:52 -0600
----------
> From: Julian <
>
> > Is Zorn actually becoming <gasp> popular?! :^) He got two mentions in
> the
> > year-end double edition of Entertainment Weekly (#411/412; Dec. 26,
1997/
> > Jan. 2, 1998):
>
> Speaking of popularity, I read in the Australian Birdland catalogue that
> "Bar Kokhba" has been voted as one of the best albums of 1997 by ABC.
They
> also said that they think it is one of the best things in the store. This
> is pretty good praise, considering their large collection of all types of
> jazz/classical/avant garde music.
>
>
> -Bar Kokhba made many "best of lists" throughout the world, but wasn't it
released in mid-96 ?
glenn
>
-
-------------------------------------------------------------------------------
From: Matthew Ross Davis <mrd@artswire.org>
Subject: avant-garde complaints
Date: 30 Dec 1997 23:27:30 -0500 (EST)
> I wish we had such things to be pissed about in Lo-Cal So.California.
Ditto for DC.
mat
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| | m - a - t - t - h - e - w | r - o - s - s | d - a - v - i - s | |
| | http://www.artswire.org/mrd | | | | | | | UMD school of music | |
| | m-e-t-a-t-r-o-n p-r-e-s-s | | | http://www.artswire.org/comma | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
-
-------------------------------------------------------------------------------
From: Steve Smith <ssmith36@sprynet.com>
Subject: Re: Zorn in EW
Date: 31 Dec 1997 00:50:35 -0500
ia zha nah er vesen wrote:
> > May 15. The Kids Are Albright. "Shut the f--- up," jazz performer John
> > Zorn yells at Manhattan's Knitting Factory, not realizing noisy
> > nightclubbers are Secretary of State Madeleine Albright, rocker Lou
> > Reed, and Czech president Vaclav Havel.
> >
> > We knew this event couldn't possibly go unnoticed. Anyone care to
> > speculate whether or not Zorn would've taken this approach even if he
> > knew that Albright and crew were on board? EW implies not. I, on the
> > other hand, am not so sure.
>
> They way i heard it, he knew exactly who was in the audience.
He most certainly did. Interesting the reactions the event engendered here in
New York. For fans it just adds to Zorn's endearing bad boy mythos. I think
Zorn was reacting to what they were doing in a very honest manner, and rightly
so, as the identities of the noisemakers doesn't excuse the fact that they are
making noise, whereas many others (and I include myself in this number) would
simply have stewed silently while saying nothing in light of the celebrity (not
to mention the NATURE of the celebrity) of the people in question (well, at
least half of them). It's one thing for Zorn to make a wiseass crack at a
fellow musician, or to tell some kid from (fill-in-the-blank) to shut the fuck
up. But heads of state who come equipped with suitably imposing armed guards?
However, one major label head with whom I was speaking shortly after the event
felt the remark was so disrespectful that had Zorn been signed to his label, he
would have been dropped immediately. This is probably a good indication as to
why Zorn chooses not to pursue the major label path since leaving Nonesuch.
As the PR flack who arranged most of the media coverage of that notorious event
(covered not only by Rolling Stone and Jazziz but also by tawdry gossip columns
from London to Anchorage), it warms my heart to see it remembered in EW at
year's end. But it comes as little surprise, given that at least three of their
major music reviewers are huge Knit fans and one of their staffers used to work
at the Knit before my time. What would really be surprising is if they gave any
serious recognition to the kind of art that is produced at the club, as opposed
to namedropping a silly, gossippy event (or for that matter the Bacharach
tribute) to bestow an implied hipness to the magazine.
A magazine that I read semi-regularly for my Gillian Anderson fix nonetheless...
;-)
Steve Smith
ssmith36@sprynet.com
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From: Steve Smith <ssmith36@sprynet.com>
Subject: Re: Zorn/Ribot/Sharp
Date: 31 Dec 1997 00:59:31 -0500
ia zha nah er vesen wrote:
> i've only been to the cooler a couple of times (i live 14 hours away by
> car...) They seem to really like extremely noisey acts...has anyone ever
> seen something non-abrasive there?
The world premiere of John Zorn's "Pueblo" was held there.
I've never been more frustrated at a show. "Pueblo" was billed as an ambient
piece, which I have no problem with. It's very quiet and sedate.
Unfortunately it was attended by the biggest crowd I've ever seen at the
Cooler (perhaps rivalled by the recent Cecil and Thurston gigs) and I got
there a bit late so I couldn't get into the main room. I was stuck in the
bar to the left side of the main room (as you face the stage), and out there
the scenesters were so little into what was on stage and so much into their
conversations that all I could hear for the duration of the piece, even
though I could see a fair amount of activity on the stage, was a muffled
"dummmm, dum-dummmm, dummmm, dum-dummmm,dummmm, dum-dummmm..." I wanted to
scream. And didn't go back to the Cooler for a really long time. But a
recent free Monday night bill included Chris Speed's quartet, Skuli
Sverrisson solo bass stuff, Christina Wheeler and DJ Olive, so I went and
enjoyed. And then there was that Cecil and Thurston thing, easily one of the
best things I saw all year...
Steve Smith
ssmith36@sprynet.com
>
>
> -jascha
>
> -
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From: "Silent Watcher" <silent_watcher@hotmail.com>
Subject: Re : Zorn in EW
Date: 30 Dec 1997 22:40:18 PST
Someone I used to work with told me that the New York Post had a blurb
about the incident at the KF, implying that Zorn knew exactly who he was
talking to. Of course, it would be typical of the Post to say he did,
even if it was untrue.
SW
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From: "Silent Watcher" <silent_watcher@hotmail.com>
Subject: Looking for info on 2 albums
Date: 30 Dec 1997 22:43:16 PST
I came across articles mentioning two albums that Laswell was supposedly
involved in, but I haven't come across them at any of my usual sources.
Can anybody clue me in?
King Cobb Steelie - Project Twinkle
Jill Kroesan - Stop Vicious Cycles
Thanks,
SW
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From: Brent Burton <bburton@CapAccess.org>
Subject: Re: Dreyblatt
Date: 31 Dec 1997 09:42:30 -0500 (EST)
On Tue, 30 Dec 1997, Tom Pratt wrote:
> I just bought Arnold Dreyblatt's 'Animal Magnetism' on Tzadik and REALLY
> enjoy it! At the Tzadik website, it is mentioned that Dreyblatt has
> released other albums on India Navigation and Hat Art. Does anybody have
> any information on these???
"animal magnetism" is a fantastic album - maybe my favorite tzadik
release yet.
evidently jim o'rourke and david grubbs are reissuing the indian
navigation album ("nodal excitations" i think) on their dexter's cigar
label. of course it was supposed to come out this summer around the same
time that the folke rabe cd came out, yet hasn't appeared.
the album on hat art is still in print. from what other people have
told me, "animal magnetism" is the least traditionally minimalist album
of the three albums dreyblatt's released. the drums are evidently a
new feature.
hope that helps.
b
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From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: Looking for info on 2 albums
Date: 31 Dec 1997 08:35:38 -0800
On Tue, 30 Dec 1997 22:43:16 PST "Silent Watcher" wrote:
>
> I came across articles mentioning two albums that Laswell was supposedly
> involved in, but I haven't come across them at any of my usual sources.
> Can anybody clue me in?
>
> King Cobb Steelie - Project Twinkle
> Jill Kroesan - Stop Vicious Cycles
*** - STOP VICIOUS CYCLES: Jill Kroesen
1/ Wayne Hayes Blues (Kroesen) 2:54
2/ I Am Not Seeing That You Are Here (Kroesen) 3:00
3/ Ride Your Pony (Naomi Neville) 3:15
4/ Honey, You're So Mean (Kroesen) 3:50
5/ I'm Sorry I'm Such A Weenie (Kroesen) 2:45
6/ I Am Not Seeing That You Are Here (Kroesen) 2:02
7/ Alexander The Great (Kroesen) 2:37
8/ Fay Shism Blues (Kroesen) 9:20
9/ I'm Just A Human Being (Kroesen) 6:23
Recorded December 1979-February 1982
Produced by Peter Gordon and Jill Kroesen
Jill Kroesen: vocal, Hammond organ, congas, percussion, piano, clavinet;
Rebecca Armstrong (1): vocal; Peter Gordon (1,2,3,5,8): vocal, saxophone,
Prophet 5, organ, clavinet; Bill Laswell (1,2,3,5,8): bass, saxophone;
George Lewis (1,2,5): trombone; Tony Machine (1,2,5,8): Tama drums; David
Van Tieghem (1,5): percussion; Don Christensen (3): drums; Jody Harris (3):
guitar; Larry Saltzman (3): guitar; Fred Maher (8): guitar; Arthur Russell
(8): cello; Fred Smith (8): bass; "Blue" Gene Tyranny (8): piano.
1982 - Lovely Music (USA), VR 1501 (LP)
Patrice.
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From: Jeff Spirer <jeffs@hyperreal.org>
Subject: Re: Looking for info on 2 albums
Date: 31 Dec 1997 08:47:29 -0800
At 10:43 PM 12/30/97 PST, Silent Watcher wrote:
>I came across articles mentioning two albums that Laswell was supposedly
>involved in, but I haven't come across them at any of my usual sources.
>Can anybody clue me in?
>
>King Cobb Steelie - Project Twinkle
Canadian ska-rock band that Bill produced. I'm not sure what his
connection with them was, they have used another producer since this. It's
not very interesting - I don't think I ever got through the whole thing.
Jeff Spirer
Axiom/Material
http://www.hyperreal.org/axiom/
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From: Jason Tors <jtors@usinteractive.com>
Subject: Tom Waits
Date: 31 Dec 1997 09:55:06 -0700
Suggestions for select material by Tom Waits would be much appreciated.
Thanks,
Happy New Year!
J.
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From: "Silent Watcher" <silent_watcher@hotmail.com>
Subject: Re: Looking for info on 2 albums
Date: 31 Dec 1997 11:44:02 PST
>>King Cobb Steelie - Project Twinkle
>
>Canadian ska-rock band that Bill produced. I'm not sure what his
>connection with them was, they have used another producer since this.
It's
>not very interesting - I don't think I ever got through the whole
thing.
Thanks for the info (you too, Patrice). The article I saw was an
interview with the band about the album after this one. It didn't
mention how they hooked up with Laswell. They didn't slam him
completely, but they didn't care for his "too hands on" approach. I
assume this was one of those projects that "needed some direction", as
Laswell put it in an interview somewhere"
SW
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From: Joshua A Miller <umillj08@mcl.ucsb.edu>
Subject: Re: Tom Waits
Date: 31 Dec 1997 14:54:09 -0800 (PST)
two words- rain dogs! (or is it one word? I'll have to check on that)
also, the film "big time" is great, as is the accompanying cd.
josh
On Wed, 31 Dec 1997, Jason Tors wrote:
> Suggestions for select material by Tom Waits would be much appreciated.
> Thanks,
> Happy New Year!
> J.
>
>
>
> -
>
>
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From: Joshua A Miller <umillj08@mcl.ucsb.edu>
Subject: don king
Date: 31 Dec 1997 14:57:31 -0800 (PST)
i just saw a blurb about a reissue of stuff by a band called don king,
which i think was a no wave era band with lucy hamilton and arto
lindsay's brother (and also arto). it was compared favorably to test
dept. anybody ever heard them? also, i forgot what label it was on, so if
anyone has any info, it would be appreciated. thanks
josh
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From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: don king
Date: 31 Dec 1997 15:49:28 -0800
On Wed, 31 Dec 1997 14:57:31 -0800 (PST) Joshua A Miller wrote:
>
> i just saw a blurb about a reissue of stuff by a band called don king,
> which i think was a no wave era band with lucy hamilton and arto
> lindsay's brother (and also arto). it was compared favorably to test
> dept. anybody ever heard them? also, i forgot what label it was on, so if
> anyone has any info, it would be appreciated. thanks
Don't know Test Department, hence won't attempt any comparison. I would not
say that it is the record of the century, but definitely an interesting
"document" about the NY scene.
Patrice.
028 - ONE-TWO PUNCH: Don King
1/ Revelry (Don King)
2/ Tanajura (Don King, D. Lindsay)
3/ The Don Goes On (Don King)
4/ Never Decide (Don King, A. Lindsay)
5/ Marco Polo (Don King)
Recorded at B.C. Studios by Martin Bisi
Mark Cunningham: trumpets, bass guitar, background vocal; Lucy Hamilton:
bass clarinet, guitar, vocal; Duncan Lindsay: trap drums, DX, synare, tym-
pani, ganza, vocal; Arto Lindsay: snare, tom, DX, surdo; Toni Nogueira:
surdo, dumbek, synare, tympani, agogo, hi-hat, snare.
1985 - Double Vision, DVR 14 (12")
1997 - Atavistic (USA), ALP49CD (CD)
Note: the CD reissue (called ONE-TWO PUNCH (KNOCKOUT)) has extra tracks; it
has the following content:
1/ Revelry (Remix) (Don King)
2/ Tanajura (Don King)
3/ The Don Does On (Don King)
4/ Never Decide (Don King)
5/ Marco Polo (Don King)
6/ Flesh (Don King)
7/ Street Of Dreams (Don King, S. Lewis)
8/ Change Partners (Don King, I. Berlin)
9/ Hatred And Kisses (Don King)
10/ Summertime (Gershwin)
(1) recorded at Hi-5 Studios
(2-5) recorded at B.C. Studios
(6) recorded at Fun City, in October 1985
(7-10) recorded in Spring 1987
Mark Cunningham: trumpets, bass guitar, background vocal, delay samples;
Lucy Hamilton: bass clarinet, guitar, vocal; Duncan Lindsay (1-6): trap
drums, DX, snare, tympani, ganza, vocal; Toni Nogueira (1-6): surdo, dumbek,
synare, tympani, agogo, hi-hat, snare; Arto Lindsay (1-5): snare, tom, DX,
surdo; Tony Maimone (7-10): bass; Bill Perry (7-10): drums.
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From: burns@te-cats.COM (John Burns)
Subject: D n' D
Date: 31 Dec 1997 17:00:43 PST
Long time lurker, first-time poster
Dreyblatt-Animal Magnetism sparkles...stacatto pieces of sustaining
^ (never resolved) tension. I have been "minimally"
exposed to his HatHut work (a couple of tracks on
a comp) It was interesting, but lacks the percussive punch
of the Tzadik release.
Don King- Has plenty o' that knockout punch. This blew me away,
^ downtown 80's No-Wave but with horns...I had never
heard of 'em before. "Revelry" in particular is like a
Spaceheads (Andy Diagram) track on steroids.
Attaboy Atavistic! If you have the original Double
Vision release, cool points to you.
Happy New 'Ear
-John
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From: Nuno BARREIRO <nbar@iml.univ-mrs.fr>
Subject: Gainsbourg
Date: 10 Dec 1997 16:42:14 +0100
> Herb Levy wrote:
>
> Zorn's project in re: Radical Jewish Culture (& the Great Jewish Music
> discs are just a part of the Tzadik subset called Radical Jewish Culture)
> seems to be about expanding what is recognized as "Jewish" culturally
> betond just the religious realm. So the lengthy discussion of whether
> Gainsbourg & his music are "really" Jewish, speaks directly to the point.
>
> Most of the work presented as Radical Jewish Culture, both on CD or as part
> of the several festivals with this title that Zorn has curated, has little
> or no relationship to Judaism as a religion, but rather to a broader range
> of experiences shared by some if not all Jews.
We knew all this from the begining of the discussion. It is precisely what it
is all about. The point is that one should be able to decide whether or not to
belong to such a movement (which Gainsbourg didn't). And to decide for the dead
has never been a reasonable practice (there have been cases, in history, of
elections in which the dead have voted, but usually nobody is proud of such
things).
> I've cited these before, but let me reiterate the quote from Gershom
> Scholem that's on the packaging for all of the Masada CDs & the notes by
> Anthony Coleman for his disc called "Selfhaters". Taken together these
> help to place the concept of Radical Jewish Culture outside the religious
> tradition & what might commonly be considered "Jewish music." In fact,
> taken together, they posit a kind of culture that is rooted in how any
> people live, rather than on any traditions may have been passed down (see
> my comments on Black music below).
>
> Gershom Scholem: "There is a life of tradition that does not merely
> consist of consertvative preservation, the constant continuation of the
> spoiritual and cultural possessions of a community. There is such a thing
> as a treasure hunt within tradition which creates a living relationship to
> tradition and to which much of what is best in current jewish consciousness
> is indebted, even where it was - and is - expressed outside the framework
> of orthodoxy."
This certainly applies to Zorn... but in the case of Gainsbourg what
tradition are we talking about? He certainly belonged to the jewish
community (as, for instance, Michel Droit - a journalist of the
right-wing newspaper Figaro - didn't forget to mention when criticizing
Gainsbourg's reggae version of the french hymn, in 1979). But, in 1958, when
he played the guitar and the piano at the Milord d'Arsouville (where he has
been sideman of Boris Vian, amongst others), he would often present himself in
a most provocative way: "Bonsoir, je suis le gigolo youpin!" Perhaps you
don't know it, but, in french, the word "youpin" is to "jew" what, in english,
the word "nigger" is to "black"... This clearly shows the relation he had
to his jewishness!
> Anthony Coleman: 'Selfhater. It describes a way of seeing. A perception.
> True? Diengaged. Disinterested? Are slefhaters traitors or secret
> agents? For which side? Do they show the rest of the world the picture
> that they believe anyway, or do they strip away an element of false
> consciousness implicit in a sense of "belonging" to a "culture." And which
> culture? Jerusalem, Belz, the Lower east Side, or Rockland County? Or the
> culture of wandering, the culture of acquisitiveness, of
> having-no-voice-of-one's-own, of mauscheling in any & all languages. Well,
> this disc doesn't puport to answer. Some say that's Jewish, too..."
This I don't understand... doesn't make any sense. It is perhaps bad poetry.
Gershom Scholem is clearly much more gifted for writing than A. Coleman,
who should stick to musisc.
> While I don't know many of the details of Gainsboutg's life, at least some
> aspects as repoorted here seem to relate to Coleman's evocation of
> assimilated Jews as participants in a specifically Jewish cultural
> tradition. Which seems to be part of Zorn's point.
>
> Rather than taking the tradition of cantorial & klezmer musics as the
> limits of what constitutes "Jewish music", Zorn is calling into question
> the pigeonholes often used to hold things in place. Compare this to, say,
> Anthony Braxton, Cecil Taylor, Sun Ra & others who insist that their work
> comes out of a Black tradition, despite the fact that much of what they
> create doesn't sound much like the most commonly recognized styles of
> "Black music."
That is the point where you get it all wrong! Their work come from a black
tradition indeed... but a MUSICAL one, which is deeply and strongly connected
to black culture and isn't arbitrary at all.
Steve Coleman has created a black musical movement called M-BASE, which you may
decide to belong to (or not). That corresponds to the Radical Jewish Culture of
John Zorn. It's a movement, a fight for something, a cultural identity, or
whatever you may want to call it. I've always liked it (in both Coleman and
Zorn cases) and I wish there could be lots of such movements.
But Zorn can't create "Great Jewish Music" just because he decided to. It's
not because there is a Radical Jewish Culture movement that any jew is forced
to agree and participate. Specially when it's Gainsbourg... who certainly
doesn't fit in any "pigeon hole".
Best wishes,
Nuno
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