ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/zorn-list/archive/zorn-list.9802

Internet Message Format | 1998-03-07 | 594KB

From: "Doug McKay" <[e-mail]>
Subject: Osaka Bondage [film]
Date: 01 Feb 1998 00:29:49

Osaka Bondage - A film by Henry Hills with music by Naked City.

Has anyone seen it? Is it a story, a porn film, a documentary, or what?

Doug McKay
In Minnesota

Picked up SPY vs Spy and Black Box today. Great stuff!






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From: Steve Smith <[e-mail]>
Subject: Re: John Fahey
Date: 01 Feb 1998 03:04:48 -0500

Perfect Sound Forever wrote:

> Funny that you mention George Winston as they happen to be pals- Fahey admits that
> George's stuff is pretty wishy-washy but still insists that the guy's got a wild
> and mischievous streak to him that doesn't come out in his recordings and
> concerts.

I saw George Winston play live once as an obligation of the job I held at the time.
It's probably the only concert at which I've actually fallen asleep.  I do remember at
one point a bat flew into the theatre and was far more interesting to track than
anything happening onstage.  Yet for his encore Barefoot George had the stagehands
haul the San Antonio Symphony's celeste onstage for him, and he played only Jelly Roll
Morton and Fats Waller tunes.  Would that *that* had been the concert instead... this
was as impish as anything I've ever known George Winston to do (aside from getting his
own label, Magenta, during the Windham Hill years and then using it to issue a
Professor Longhair LP and two volumes of Anthony Braxton playing standards).

Steve Smith
[e-mail]


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From: Steve Smith <[e-mail]>
Subject: Re: Filmworks 8
Date: 01 Feb 1998 03:13:46 -0500

Andy Marks wrote:

> Anybody know what the projected US
> release date for Filmworks 8 is?

Tuesday, February 17.  Other Zorn-related content to be issued that day:
Masada 9 (*fantastic* as usual) on DIW, EaSide Percussion (Pugliese,
Bard and Evans - haven't listened to it yet) and Pieces (Buckethead and
Brain - I was unimpressed but others will be) on Avant, and Milford
Graves solo "Grand Unification" on Tzadik.

> Also, is it just me or do other people have
> problems accessing the news sections at
> www.tzadik.com?

I haven't had this problem.

Steve Smith
[e-mail]


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From: David Newgarden <[e-mail]>
Subject: baxter/kagel/sato/fahey
Date: 01 Feb 1998 05:10:23 -0500 (EST)

John Q Citizen wrote:

>>Unnh; dunno if anyone really cares about this stuff - sorry if I've
>>wasted your time.
the Les Baxter/Sun Ra connection is very interesting...

>>Mauricio Kagel - Exotica (Deutsche Grammophon)
>>Anyone know anything about this title? Patrice??
(Steve Smith probably already answered this (I get the Zorn-digest), but
I'm sure he'd be appalled by my description so.....)
Released on Koch a few years ago (during the Steve Smith era) --
dozens of instruments from Indonesia, Africa, India, Asia, etc. and even
some samples of 'authentic' music played by The Ensemble Modern, but
sounding more like The Sun City Girls than any other E.M. I've heard...
the singing is wild...

>>Masaru Sato - The Film Music Of Masaru Sato, Vol. 11 (Soundtrack
>>Listeners Communication)
Major league Japanese film composer from the 50s to 90s (?), as
prolific as Rota, Morricone etc., his work ranges from Kurosawa (several
of Kurowsawa's late 50s films including Hidden Fortress) to Godzilla
flicks to The Silk Road.  There are at least 20 volumes in this series
which spells his name 'Satoh'  (liner notes in Japanese only).  I picked
up Vol.2 on Ikue's recommendation.

>>someone else said something or other about John Fahey collage pieces and
>>new age music
"Requia" (Vanguard, 1967) is way out. It's on CD and there was also a
new age lp reissue (on Terra Records with a VERY new age cover) that's
frequently in the used new age bins (generally very cheap, 'cause those
newagers have no use for vinyl.... Um...Die yuppie scum.....

dn


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From: David Newgarden <[e-mail]>
Subject: dragon blue
Date: 01 Feb 1998 05:25:41 -0500 (EST)

Tom Pratt writ:
>>Has anybody heard or heard anything about this new Avant disc?
>>DRAGON BLUE - Hades Park (AVAN-075)

Tenko's band with Otomo Yoshihide, Kato Hideki, Imahori Tsuneo, Sotoyama
Akira. Her previous album "Dragon Blue" (Sound Factory) had same line-up
except for Yoshida drumming instead of Sotoyama, playing live versions of
all of Tenko's 'hits' (from Mizutama Shobodan/Polka Dot Fire Brigade to
Death Praxis).


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From: "Schwitterz" <[e-mail]>
Subject: Re: John Fahey
Date: 01 Feb 1998 07:15:31 -0800

>I saw George Winston play live once as an obligation of the job I held at
the time.
>It's probably the only concert at which I've actually fallen asleep.
>
>Steve Smith

Similar thing happened to me, only I couldn't sleep, and there was no bat,
so I walked out.

s~Z



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From: katsuhiro hayasaka <[e-mail]>
Subject: carny
Date: 02 Feb 1998 02:51:27 +0900 (JST)

I bought "Angelus Novus" a few days ago. And I listened it 2 or 3
times. I think it's great. John Zorn is a truly contemporary composer.
"Carny" is my favorite piece. Stephen Drury is great, virtuosic !
It seems to me that it is a solo piano version of Naked City's
"speedfreaks" or "Automata of Al-jazari" in "First Recordings
1973". Highly Intensional, but at the same time beautiful piece, I think.
By the way I looked the liner notes, and I found carny is composed in
'89. Then I looked the liner notes of "Book of heads". I found carny is
compoed in '92. ??? Which is true ?

-----------------------
Katsuhiro Hayasaka
[e-mail]
-----------------------

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From: katsuhiro hayasaka <[e-mail]>
Subject: derek bailey new releases
Date: 02 Feb 1998 02:51:29 +0900 (JST)


Duo with Min Xiao Fen (pipa). Avant/Tzadik: spring 1998?
Possible issue of old trio with Milford Graves and Min Tanaka: Tzadik? 1998?

I found these in Derek Bailey's web site.
http://www.shef.ac.uk/misc/rec/ps/efi/mbailey.html

Does anyone know about these ?

-----------------------
Katsuhiro Hayasaka
[e-mail]
-----------------------

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From: "Felix" <[e-mail]>
Subject: TV Shit
Date: 01 Feb 1998 14:09:46 +0100

As anyone out there ever heard the album TV Shit with Yamantaka Eye and
Sonic Youth? If so, how's it like?

BTW, I'm new to the list and I worship John Zorn's music (but then again,
don't we all?)

Felix, who is realising that most of the good musical artists come from New
York.
[e-mail]


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From: "Felix" <[e-mail]>
Subject: Re: Osaka Bondage [film]
Date: 01 Feb 1998 13:56:39 +0100

>Osaka Bondage - A film by Henry Hills with music by Naked City.
>
>Has anyone seen it? Is it a story, a porn film, a documentary, or what?


Well, there is a song called Osaka Bondage. I must be on Black Box, in the
Torture Garden stuff. I have my Torture Garden included in a Nked City CD
called Grand Guignol which also has a 20 minute music called Grand Guignol
and some stuff originally composed by some classical composers like Debussy.
As wether it's a film, I don't know, but the song starts with what seems to
be a film (gunshot, pain moaning, a japanese woman crying something...)

Felix
[e-mail]



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From: Christopher Hamilton <[e-mail]>
Subject: Re: Osaka Bondage [film]
Date: 01 Feb 1998 14:22:54 -0500 (EST)



On Sun, 1 Feb 1998, Doug McKay wrote:

> Osaka Bondage - A film by Henry Hills with music by Naked City.

I may be misremembering, but I believe this is one of the Naked City songs
Hills did a video for.  So this may just be a music video.  (Lots of cutup
footage from actual Japanese bondage films if it's the one I'm thinking
of.)

Chris Hamilton


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From: Perfect Sound Forever <[e-mail]>
Subject: Re: John Fahey
Date: 01 Feb 1998 18:18:53 -0500

At 03:04 AM 2/1/98 -0500, Steve Smith wrote:

>I saw George Winston play live once as an obligation of the job I held at
the time.
>It's probably the only concert at which I've actually fallen asleep.  I do
remember at
>one point a bat flew into the theatre and was far more interesting to
track than
>anything happening onstage.  Yet for his encore Barefoot George had the
stagehands
>haul the San Antonio Symphony's celeste onstage for him, and he played
only Jelly Roll
>Morton and Fats Waller tunes.  Would that *that* had been the concert
instead... this
>was as impish as anything I've ever known George Winston to do (aside from
getting his
>own label, Magenta, during the Windham Hill years and then using it to
issue a
>Professor Longhair LP and two volumes of Anthony Braxton playing standards).

Ugh- I hate to be in a position where I have to defend George Winston!  OK,
we all know that he's put out a lot of music that's been cited as unfair
competition from Somenex. Yet, as you say, he's also responsible for
putting out that Longhair LP (which is a major public service IHMO), the
Braxton material and even some good native Hawaiian music compilations that
are much more authentic than Don Ho.

I'm waiting to get some material from John's bio and then I'm going to put
up an interview I did with him.  He's an excerpt about what he thinks about
George Winston:

'He's... a rebellious type.  When he was in high school, he and his friends
decided that they wanted to destroy a talk show in Florida.  They recorded
about 90 minutes of lunatic phone calls that they made and they're funny as
hell.  Even though George plays nice, passive dinner music on stage,
backstage he's really good.  He plays really good guitar too.  There is a
lot of rebellion in him- he just doesn't show it onstage.'

Jason

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

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From: Tom Pratt <[e-mail]>
Subject: Zorn/Horvitz/Sharp/Previte CD!!
Date: 01 Feb 1998 17:45:32 -0500

The recordings of the January 17th gig at the Knitting Factory are
apparently going to be released on Previte's new label! I got this from
Elliott Sharp's Official Homepage at
http://www.algonet.se/~repple/esharp/es.html.

"The Zorn-Horvitz-Sharp-Previte upcoming CD will be named "QUARTET". It
is planned to be released in April on the "Depth Of Field" label."

I'll be waiting!

                -Tom Pratt

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From: "Jonas Thompson" <[e-mail]>
Subject: zorn and berne play...
Date: 01 Feb 1998 16:42:44 PST

sax players care:

zorn uses an early mark vi selmer alto. sounds like a dukoff mouthpiece
to me but i'm only guessing.

also, same question for tim berne: what's his mouthpiece? also a mark vi
alto, i don't know about his bari, and i'll guess at vandoren
mouthpieces. anybody really know this info?

thanks
jonas

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From: "Patrice L. Roussel" <[e-mail]>
Subject: upcoming releases on KF label
Date: 01 Feb 1998 16:54:11 -0800


    I just received the 1998 catalog from our favorite club.

    Patrice.

PS: the label seems to be called Knitting Factory Records (instead of Works).

February

  DIN OF INEQUITY: Sex Mob (KFR-209)
    with Steven Bernstein, Tony Scherr, John Medeski, Kenny Wollensen, Adam
    Levy, Briggan Krauss

  VIBES: Vibes (KFR-210)
    with Bill Ware, Brad Jones, EJ Rodriguez

March

  BLUIETT BARITONE SAXOPHONE GROUP (KFR-217)
    with Hamiett Bluiett, Patience Higgins, Alex Harding, James Carter,
    Ronnie Burrage

  THE REUNION: Odyssey Band (KFR-220)
    with James Blood Ulmer, Charles Burnham, Warren Benbow

April

  HOW ARE JEWS? Hasidic New Wave (KFR-221)
    with Frank London, Greg Wall, David Fiuczynski, Kenny Davis, Aaron
    Alexander

  ORANGE JEWS - IT AIN'T JUST FOR BREAKFAST ANYMORE: various artists (KFR-222)
    with Andy Statman, David Krakauer, Wally Brill, Andy Haas, Uri Caine,
    Anthony Coleman, Gary Lucas, etc

May

  TRIO: Joe Morris Trio (KFR-224)
    with Joe Morris, Ken Vandermark, Hans Poppel

  THE MUSIC OF SPIKE JONEZ [sic]: Jazz Passengers
    with Roy Nathanson, Curtis Fowlkes, Bill Ware, EJ Rodriguez, Brad Jones,
    Jim Nolet, Deborah Harris

June

  CORONA IMPERIAL: Red (KFR-226)
    power trio from Chicago with Jeff Parker (Tortoise), Jimmy Weinstein,
    Oscar Noriega

  VISITATION RIGHTS: Briggan Krauss
    with Briggan Krauss, Wayne Horovitz [sic], Kenny Wollensen

  MASUPUST: Tin Can Trio

And beyond...

  new records by We, WM. Hooker plays Sonic Youth, Dave Douglas, Marc Dresser,
  Prima Materia, Rebecca Moore, Zony Mash, and more


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From: [e-mail]
Subject: Re: Zorn List Digest V2 #219
Date: 01 Feb 1998 20:22:08 EST

i saw BUCKETHEAD twice this weekend..... it wuz da bomb!

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From: "todd furey" <[e-mail]>
Subject: Question?
Date: 01 Feb 1998 20:50:18 -0600

Hello Everyone-

Just looking to see if anyone has any info on the Raphe Malik Quartet.
They are playing a small gig in downtown albany, ny on february 21st.  If
there are any people interested that have heard of him, feel free to email
me and I will send you all the appropriate information.

As far as my question, just looking for a little insight besides what I
have read on his flyer.....

thank you
todd furey

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From: "Charles Gillett" <[e-mail]>
Subject: Re: John Fahey
Date: 01 Feb 1998 19:56:40 +0000

On Wed, 28 Jan 1998 13:09:51 -0800 (PST), SUGAR in their vitamins?
<[e-mail]> wrote:
> On Wed, 28 Jan 1998, Caleb Deupree wrote:
> > works from this period include Transfiguration of Blind Joe Death
> > (from 1959, not 1969 as mentioned in some sources); one with more
> > electronics would be Voice of the Turtle.  Many of these works have
> > not yet been reissued on CD.
>
> not so.
>
> Takoma re-issued two discs in 1996. one is "The Legend of Blind
> Joe Death" which features tracks from his first record as well as
> some odds and ends and previously unreleased material. the other
> disc, the title escapes me because i don't own it, but it's where
> he began the inclusion of tapes and such into his playing.

  "The Legend of Blind Joe Death" CD reissue features two versions
of Fahey's first, self-released album "Blind Joe Death."  The first
recording of BJD was made in '59, but Fahey rerecorded part of it
in '63 and all but one tune in '67.  The '63 and '67 versions are
the ones on the CD; the liner notes by Glenn Jones (of Cul de Sac)
conflict with the session notes on the back of the case, so it's
hard to tell which recordings came from which year.

  "The Transfiguration of Blind Joe Death" is a completely different
album from 1965, and was also reissued on CD recently.  I'm not sure
which album is being referred to as the one on which he started using
tapes, but Vanguard has reissued "Requia" on CD and the long suite
"Requiem for Molly" features a lot of tape work.  I enjoy it greatly.
It sounds a bit like Gastr del Sol, I think.


-- Charles

(apologies if this appears twice)

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From: Brian Olewnick <[e-mail]>
Subject: Braxton at KF in March
Date: 01 Feb 1998 21:46:03 -0800

Anyone have details on AB's three shows at KF this March? (Line-ups,
solo? ghost trance? piano group? etc...)

Thanks,

Brian Olewnick

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From: [e-mail]
Subject: Re: John Fahey
Date: 01 Feb 1998 23:16:08 EST


In a message dated 2/1/98 9:04:13 PM, [e-mail] wrote:

<<"The Legend of Blind Joe Death" CD reissue features two versions
of Fahey's first, self-released album "Blind Joe Death."  The first
recording of BJD was made in '59, but Fahey rerecorded part of it
in '63 and all but one tune in '67.  The '63 and '67 versions are
the ones on the CD; the liner notes by Glenn Jones (of Cul de Sac)
conflict with the session notes on the back of the case, so it's
hard to tell which recordings came from which year.>>

I think that Revenant is putting out the initial recording of this (the 1959
one) out on CD in the near future.

Jon

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From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: John Fahey
Date: 01 Feb 1998 20:30:19 -0800 (PST)

On Sun, 1 Feb 1998 [e-mail] wrote:

> I think that Revenant is putting out the initial recording of this (the 1959
> one) out on CD in the near future.

yes, the original "Blind Joe Death"
was supposed to be released this
month, according to their ad.

hasta.

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


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From: Steve Smith <[e-mail]>
Subject: Re: baxter/kagel/sato/fahey
Date: 02 Feb 1998 00:14:26 -0500

David Newgarden wrote:

> Released on Koch a few years ago (during the Steve Smith era) --

LOL!!! :-)

And I found your description of the piece to be just fine.

Steve Smith
[e-mail]


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From: Steve Smith <[e-mail]>
Subject: Re: Zorn/Horvitz/Sharp/Previte CD!!
Date: 02 Feb 1998 00:24:57 -0500

Tom Pratt wrote:

> The recordings of the January 17th gig at the Knitting Factory are
> apparently going to be released on Previte's new label!

This wasn't my understanding originally.  They actually recorded in the
studio a few days earlier.  The Knit date was mainly set up to make back
enough money to defray the cost of Wayne's plane ticket.  But it's possible
that they also plan to include the live material on the disc, whenever it
happens.

I still don't recall hearing any reports of what that show was like,
however.  Anyone?  Bueller?  Bueller?

Steve Smith
[e-mail]


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From: Steve Smith <[e-mail]>
Subject: Re: upcoming releases on KF label
Date: 02 Feb 1998 00:37:52 -0500

Patrice L. Roussel wrote:

>         I just received the 1998 catalog from our favorite club.

Speak for yourself... ;-)

>   DIN OF INEQUITY: Sex Mob (KFR-209)
>     with Steven Bernstein, Tony Scherr, John Medeski, Kenny Wollensen, Adam
>     Levy, Briggan Krauss

Postponed due to licensing by Sony for issue on Columbia in September or October.
The spelling of Kenny Wollesen's name upholds a longstanding Knit tradition of
failure to proofread.

>   HOW ARE JEWS? Hasidic New Wave (KFR-221)

Now re-titled "HE-BOP."

>   VISITATION RIGHTS: Briggan Krauss
>     with Briggan Krauss, Wayne Horovitz [sic], Kenny Wollensen

"Wollensen" is pretty [sic] too...

>   new records by [snip] Dave Douglas [snip]

It's a Tiny Bell Trio records BTW.

Steve Smith
[e-mail]


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From: "Scott Handley" <[e-mail]>
Subject: Fwd: VICTO 98
Date: 02 Feb 1998 06:45:49 PST

Would someone be kind enough to post the lineup for this year's
>Victoriaville Festival again?
>Thanks.
>
>James Hale
>

Here it is!  The much anticipated VICTORIAVILLE festival schedule for
this
year, May 14th to 18th:
1.JOHN ZORN chamber works w/ Friedlander, Shea, Feldman, Coleman, Winant
2.ACCORDIAN TRIBE w/ Lars Hollmer, Guy Klucevsek, Maria Kalanemi
3.MARILYN CRISPELL/JOELLE LENDRE/FRITZ HAUSER
4.CLUSONE TRIO w/ Micheal Moore, Ernst Reijseger, Han Bennink
5.GERRY HEMINGWAY QUINT. w/ Ray Anderson, Ellery Eskelin, Mark Dresser
6.VOLAPUK ex-Etron Fou
7.DOPPELMOPPEL w/ Konrad & Johannes Bauer, Uwe Kropinski, Joel Sache
8.The EX!!
9.URS LEIMGRUBER Trio
10.IKUE MORI/JOHN ZORN/MIKE PATTON
11.MATTHEW SHIPP TRIO
12.CHRIS BURN UNIT w/ John Butcher, John Russel, Stevie Wishart
13.THE NIHILIST SPASM BAND
14.MIKE PATTON UNIT w/ Shea, Friedlander, Feldman, Winant, Pugliese
15.RENE LUSSIER solo
16.PAVEL FAJT & PLUTO
17.MARTIN TETRAULT solo turntables
18.MIYA MASAOKA solo koto, buddy of Henry Kaiser
19.KLETKA RED yiddish punk w/ member(s) of the Ex
20.NORMAND GUILBEAULT w/ Jean Derome, Pierre Tanguay...
21.ARTURO PARRACOUSMATIQUE w/ Francis  Dhomont, Robert Normandeau
22.HARD RUBBER ORCHESTRA from Vanvouver
23.INTERFERENCES SARDINES from Quebec
24.BRAAXTAAL w/ Jaap Blonk crazy vocalist from Holland
25.QUEEN MAB cool female improv duo from Canada
26.MALCOLM GOLDSTEIN solo violin
     pretty fucking amazing!!   This will be my 10th year going up to
Victo, can't wait!!  --Bruce

All eyez on VICTO98!


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From: "Scott Handley" <[e-mail]>
Subject: Re: Braxton at KF in March
Date: 02 Feb 1998 08:34:48 PST

ON FEB 1 you wrote:

>Anyone have details on AB's three shows at KF this March? (Line-ups,
>solo? ghost trance? piano group? etc...)
>
>Thanks,
>
>Brian Olewnick


have you checked the details on Braxton's own Tri-Centric Foundation
home page?  lotsa great details, dozens of essays written by Mr Braxton,
liner notes, etc. go to:

            www.wesleyan.edu/music/braxton

Pardon if this is a question redundant to this list, but what does
everybody think about A.B.'s work?  I finally bought my own copy of
FORCES IN MOTION the other day (a British first edition, no less! I
suppose I am at last a fetishist!) What I mean is: does anyone have some
record faves or great live experiences?  And has ANYONE read the
Tri-Centric Writings or Composition Notes (I imagine there are more
people reading FINNEGANS WAKE; the WRITINGS are just about as difficult,
from what I've heard). He's about as prolific as Our Patron Saint
"Anger", if a little less ready or capable to distribute his
collaborators' work.  For those who don't know, there will apparently be
two huge Ghost Trance box sets (10 cds and 12 cds, Knit and Oakland,
respectively) coming out soon (?).  I am a huge fan of the
"Drespellingway" quartet, but the ghost trance quartet CD on Brax's
label kind of bored me.  Maybe I didn't listen hard enuff?  Any opinions
on the other Ghost Trance stuff?

A related tidbit: for those who don't know (but most probably do),
Brax's FOR ALTO solo record was what inspired Mr Zorn to take up the
saxophone (I used to have an interview in which Zorn says that record
"took my head off"---in some ways it might to Zorn as what Hemphill's
DOGON A.D. was to Tim Berne.) Well, Brax saw Zorn playing at a festival
with the Sonny Clark Memorial group and approached him at one point,
saying something like, "Well, you really CAN play the saxophone after
all." (This was according to Zorn in another damn interview I can't
find.) Of course, both gentlemen do things on the small horn that simply
wasn't done (and documented) before, but I still have problems with
Zorn's consistent repetition of his own cliches when he plays "straight"
(in TIME, that is; case in point: Masada). True, most of the greats have
done this.  I would just point out that in some ways someone like Joe
Lovano or even---ideologuery (sp?) aside--Wynton Marsalis is a more
consistently, if less persistently, inventive improvisor.  For all their
adherence to the confines of traditional harmony and roles (rhythm plus
soloists), these select few JAZZ musicians play more spontaneously more
often. What Zorn, to take one example prominent among others, has on the
above guys is a really STRONG sense of concept, of framework. The ideas
and sounds (with the exception of the horrible noise and stupid dada
jokes that waste my money---and I do NOT mean Naked City so relax)are
almost always NEW, dammit. It's NEVER just "more jazz" (to quote Eno).
But this profusion of invention and re-invention should not be, IMHO,
confused with SUBSTANCE, which is why Trane was SO FUCKING GREAT. You
can listen to anything, almost, from SOULTRANE to STELLAR REGIONS and
he's putting SO MUCH THOUGHT into not just the concepts (sound, space,
and time), but in the placement of ACTUAL notes within and around those
sounds.  In other words, he's gradually creating a new language while
realizing that we don't speak his new language yet, so he transalates to
us for years, acclimatizing us to the (his) new way of speaking,
of--yes--COMMUNICATING.  Nothing New Age (newage) about this.   Now that
I've written this, it looks stupid: but please try to understand what
I'm saying here...this is why I don't get paid to write about music.
It's hard to do well, baby!

Hope this is not too much of a digression.

P.S.(=piss)  Thanks to everyone for Heino/Fushitsusha info.  I'm broke
but excited!

P.P.S. I really am sorry about the length. You won't hear from me again
for a month, promise.

KSH


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From: "Patrice L. Roussel" <[e-mail]>
Subject: EXECUTION GROUND out?
Date: 02 Feb 1998 08:40:44 -0800


The Pain Killer reissue EXECUTION GROUND is listed as available on the Verge
distribution catalog (http://www.ptbo.igs.net/~verge/).

What is strange is that it is a 3xCD, and not a 4xCD. It does not seem that
the first two Pain Killer are on the set...

Did Tzakik change their mind or is Verge just using an old description of
the set?

    Patrice.

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From: "Scott Handley" <[e-mail]>
Subject: vandermark&the chicago scene
Date: 02 Feb 1998 08:43:56 PST

Okay, okay, I'm REALLY sorry to be liar, but I'd thought I'd ask once
real freakin kwik if anyone here has listened to some of the new "jazz"
etc. coming out of Chicago? I find much of it is easily as fertile as
the Downtown thing and very different!  The relevance to this list is
that the saxophonist Ken Vandermark, who is a beautiful raging monster
of a musician, will be on the new Joe Morris album on Knitfac. Also,
Chicago cellist Fred Lonberg-Holm, who played with God Is My Co-Pilot,
is on the first SElfhaters record.  And if you haven't heard Mars
Williams or the NRG Ensemble you need to bad. Sorry if this seems like a
dumb plug but these guys rock my mind and their music is a great way to
bridge the gap from punk/hardcore/etc to more "straight-up" hardcore
free-improv.

Thanks all for patience,

Love, KSH

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

-



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

From: Dan Hewins <[e-mail]>
Subject: Re: upcoming releases on KF label
Date: 02 Feb 1998 11:25:54 -0600

Hmmm... that's weird, Tim Berne's group Paraphrase just put out a disc
called Visitation Rites.

>  VISITATION RIGHTS: Briggan Krauss
>    with Briggan Krauss, Wayne Horovitz [sic], Kenny Wollensen



-



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

From: Dan Hewins <[e-mail]>
Subject: Re: zorn and berne play...
Date: 02 Feb 1998 11:23:55 -0600

I know Tim Berne playes vandoren reeds, it says so in all of his albums, I
suppose he's sponsored...

>also, same question for tim berne: what's his mouthpiece? also a mark vi
>alto, i don't know about his bari, and i'll guess at vandoren
>mouthpieces. anybody really know this info?



-



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

From: Brent Burton <[e-mail]>
Subject: ken vandermark
Date: 02 Feb 1998 12:37:07 -0500 (EST)

i posted this last week to another list i'm on...

<the new dkv trio (hamid drake - drums, kent kessler - bass, and ken
vandermark - reeds) okka disc called _baraka_ is 70 minutes of tenor-based
energy sound sprawl.  and i do mean sprawl.  the title track alone is over
30 minutes long and spans from art ensemble of chicago-like sparseness to
full-on tenor grunt and howl.  none of these songs have heads per se, but
there is a strong feel for dynamics and a certain economy and precision to
their playing that i find really attractive.>

i saw ken vandermark playing with the aaly trio led by swedish
multi-reedist mats gustafsson (sp?) in early january and i was really
blown away by both saxophonists.  evidently this group has a record in
the can for silkheart in addition to several discs by mats and ken on
john corbett's (_extended play_) chicago-run okka disc label.  everything
i've heard on okka has been great and they generally have cool artwork
and alternative packaging.  corbett's also released cds by evan parker,
peter brotzmann and anthony braxton

b

-



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

From: "Silent Watcher" <[e-mail]>
Subject: On-line imported instruments?
Date: 02 Feb 1998 09:40:59 PST

I'm hoping that some people on the list can help me out on this,
especially since there appear to be quite a few musicians on it. I'm
looking for somewhere, either on-line or in New York City, that sells
didgeridoos made from eucalyptus, and/or instruments from West Africa.
Any help would be much appreciated. Sorry for the stretch from Zorn
related postings!

SW
Want/For Sale list and Laswell Discography
http://www.geocities.com/SunsetStrip/Underground/7093

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

-



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

From: [e-mail]
Subject: Sonic Youth / O'Rourke
Date: 02 Feb 1998 09:45:53 -0700

Felix said:
>
> As anyone out there ever heard the album TV Shit with Yamantaka Eye and
> Sonic Youth? If so, how's it like?

This post reminded me of the new Sonic Youth I heard this weekend - I DJ
at a pirate L.A. station on Fridays and the DJ before me is Mike Watt.
Last Friday I'm driving in and he has a guest DJ on - Thurston Moore -
who is playing the latest instrumental SY EP (vol. 3).  I found the
first two a bit boring, but this one is co-credited to Jim O'Rourke; 3
songs, about 50 minutes of music, and really interesting stuff.  I don't
think it has been released yet, but all fans of either musician(s)
should check it out.
-Mauer

-



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

From: [e-mail] (Nathan M Earixson)
Subject: Re: vandermark&the chicago scene
Date: 02 Feb 1998 11:57:28 -0600


On Mon, 02 Feb 1998 08:43:56 PST "Scott Handley" <[e-mail]>
writes:
>Okay, okay, I'm REALLY sorry to be liar, but I'd thought I'd ask once
>real freakin kwik if anyone here has listened to some of the new
>"jazz"
>etc. coming out of Chicago?


Dennison/Kimball Trio!         Indie-Rock giants play some sort of  Jazz,
and do it well.  Duane Dennison rules.
They've put out a single with Vandermark and jim O'Rourke.
And..There's only two of 'em in the trio,  clever!

_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]


-



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

From: [e-mail]
Subject: Re:  EXECUTION GROUND out?
Date: 02 Feb 1998 14:57:41 EST

Patrice asked:

<<The Pain Killer reissue EXECUTION GROUND is listed as available on the Verge
distribution catalog (http://www.ptbo.igs.net/~verge/).

What is strange is that it is a 3xCD, and not a 4xCD. It does not seem that
the first two Pain Killer are on the set...

Did Tzakik change their mind or is Verge just using an old description of
the set?>>

Earache is reissuing (at least in England, I'm not sure about the US) Guts of
A Virgin and Buried Secrets on a single disc February 9. Maybe Tzadik decided
there was no need for an overlap. Or maybe they tried to buy the rights back
from Earache and Earche decided to release it themselves instead. Either way,
it should be out soon.

Jon

-



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

From: BJOERN <[e-mail]>
Subject: aaaaarrrrrgghh
Date: 02 Feb 1998 22:14:09 +0100 (MEZ)

tzadiks german distributor has money problems/...
so we probably wont see the release of Angelus Novus over here that soon

:(((((((((

BJOERN

-



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

From: "Doug McKay" <[e-mail]>
Subject: In Memory of Nikki Arane
Date: 02 Feb 1998 15:41:35

What sort of music is this? My experience with Zorn so far is Naked City's
first and the Black Box reissue, Spillane, Spy vs Spy (getting to be my
favorite), Film Works 1, and Pain Killer's Execution Ground.

On Eye: I found myself last night getting tired of his screaming on damn
near every song on Torture Garden. It's basically one idea repeated ad
nauseum. Even, in a sense, the spastic songs - like someone who can't stick
to a topic but goes off on tangent after tangent, never going beyond the
initial thought that made it seem relevant - was seeming played out. But I
was tired, and maybe not every time is the right time for Zorn. I put on
one of Mozart's Hayden Quartets and felt better. There the ideas are
developed and explored.

So, what is the Nikki Arane album like? (And who was she?) I see the songs
have some length to them. I don't know anything about Chadbourne.

Doug McKay
In Minnesota





-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: In Memory of Nikki Arane
Date: 02 Feb 1998 18:01:08 -0500 (EST)



On Mon, 2 Feb 1998, Doug McKay wrote:

> What sort of music is this? My experience with Zorn so far is Naked City's
> first and the Black Box reissue, Spillane, Spy vs Spy (getting to be my
> favorite), Film Works 1, and Pain Killer's Execution Ground.

It's free improv duos, and it's pretty good.  However, if you're not
familiar with the genre (which the above list suggests you might not be),
_Harras_ with Derek Bailey and William Parker or _Euclid's Nightmare_ with
Bobby Previte would probably be better entry points into Zorn's work in
the area.  (Even better, but harder to find, would be _Yankees_ with
Bailey and George Lewis.)

Chris Hamilton


-



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

From: Tom Pratt <[e-mail]>
Subject: Re: In Memory of Nikki Arane
Date: 02 Feb 1998 17:46:43 -0500

Christopher Hamilton wrote:
>
> (Even better, but harder to find, would be _Yankees_ with Bailey and
> George Lewis.)

...which is available in the limited edition section of the Wayside
catalog for a mere $5.00 (though it may be out of stock by now).

            -Tom Pratt

-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Braxton, Zorn's cliches
Date: 02 Feb 1998 18:40:47 -0500 (EST)




On Mon, 2 Feb 1998, Scott Handley wrote:

> Pardon if this is a question redundant to this list, but what does
> everybody think about A.B.'s work?

Hi, my name's Chris . . . "Hi, Chris!" . . . and I <choke> don't like
Anthony Braxton.  But I know so many people of excellent taste who do that
I assume this is my problem.  So here's the problem: Most Braxton that
I've heard (I'm thinking particularly of some of the Creative Orchestra
Music from the 70's) strikes me as overly cold and ironic.  Would anyone
be willing to point me towards some irony-free stuff that might get me
over my Braxton problem?

> Of course, both gentlemen do things on the small horn that simply
> wasn't done (and documented) before, but I still have problems with
> Zorn's consistent repetition of his own cliches when he plays "straight"
> (in TIME, that is; case in point: Masada).

I can see this, although I'm not sure I agree.  Do you hear the same
clches in his relatively straight non-Masada work?  I'm thinking here of
the News for Lulu group, the Sonny Clark Memorial Quartet, and his work as
a sideman for John Patton.  I have a hard time hearing whatever cliches
might be in the Masada work in these cases.

> What Zorn, to take one example prominent among others, has on the
> above guys is a really STRONG sense of concept, of framework. The ideas
> and sounds (with the exception of the horrible noise and stupid dada
> jokes that waste my money---and I do NOT mean Naked City so relax)

Careful, Scott.  You could end up getting hate mail for weeks.:^)

> are
> almost always NEW, dammit. It's NEVER just "more jazz" (to quote Eno).
> But this profusion of invention and re-invention should not be, IMHO,
> confused with SUBSTANCE, which is why Trane was SO FUCKING GREAT.

I think this distinction isn't so easy to make.  For the sake of argument,
let's say that a piece of music is pitched or non-pitched
sounds arranged in relation to each other.  Put the emphasis on the word
"sounds" in the preceding sentence and you're talking about musical
substance.  Put the emphasis on "relation" and you're talking about
musical framework.  But you don't get one without the other.  For
instance,

> You
> can listen to anything, almost, from SOULTRANE to STELLAR REGIONS and
> he's putting SO MUCH THOUGHT into not just the concepts (sound, space,
> and time), but in the placement of ACTUAL notes within and around those
> sounds.

Aren't the actual notes just the sounds and doesn't their placement
exhaust Trane's concepts of space and time?

>  In other words, he's gradually creating a new language while
> realizing that we don't speak his new language yet, so he transalates to
> us for years, acclimatizing us to the (his) new way of speaking,
> of--yes--COMMUNICATING.  Nothing New Age (newage) about this.

Certainly not.  But this works for Coltrane because he started off playing
in a consensus-approved style at a time when jazz had a stylistic center.
Like some of Coltrane's contemporaries (Taylor, Sun Ra, Coleman) Zorn
didn't make his move into the avant-garde gradually, and like any musician
who's come on the scene since 1970, he didn't have the luxury of a
mainstream to base his innovations around.

     Looking over my post, I think I've been a bit too abstract, so let me
sum up.  Works like _The Classic Guide to Strategy_, _Locus Solus_, the
Painkiller records, etc.,(in other words, Zorn's non-straight work) do
sound radically new in a way that the work of Lovano, Marsalis, and
Coltrane doesn't, and the radical novelty just is the result of
the selecting and arranging of sounds by Zorn and his collaborators.

Chris Hamilton


-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Dolphy
Date: 02 Feb 1998 18:48:45 -0500 (EST)



On Fri, 23 Jan 1998, Doug McKay wrote:

> I was thinking though that I
> came across his name aside from that book, and in connection with Zorn.

Hat Hut periodically ran advertisements for their Zorn catalog using a
quote from Zorn in which he compared his sax playing to Dolphy's.  I
believe the substance was that they both approached playing from a
composition/structure-oriented standpoint.

Chris Hamilton


-



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

From: Dan Hewins <[e-mail]>
Subject: Re: Dolphy
Date: 02 Feb 1998 17:59:03 -0600

This reminds me of something...
Does anyone else get annoyes by the way Zorn talks about himself and his
music in his liner notes?  I found the notes to _First Recordings 1979_ and
the Filmworks discs particularly pretentious.  I can remember something
about "...notice my technical expertise..." in the First Recordings notes.
In the Filmworks notes he likes to tell us how he can throw his weight
around to get what he wants, "...I never let the directors tell me what to
do..." etc.  I know I don't have to read them but come on...

Dan


>Hat Hut periodically ran advertisements for their Zorn catalog using a
>quote from Zorn in which he compared his sax playing to Dolphy's.  I
>believe the substance was that they both approached playing from a
>composition/structure-oriented standpoint.



-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Braxton, Zorn's cliches
Date: 02 Feb 1998 18:40:21 -0500

Christopher Hamilton wrote:
>
> On Mon, 2 Feb 1998, Scott Handley wrote:
>
> > Pardon if this is a question redundant to this list, but what does
> > everybody think about A.B.'s work?
>
> Hi, my name's Chris . . . "Hi, Chris!" . . . and I <choke> don't like
> Anthony Braxton.  But I know so many people of excellent taste who do that
> I assume this is my problem.  So here's the problem: Most Braxton that
> I've heard (I'm thinking particularly of some of the Creative Orchestra
> Music from the 70's) strikes me as overly cold and ironic.  Would anyone
> be willing to point me towards some irony-free stuff that might get me
> over my Braxton problem?

I know what you mean. 'Four (Ensemble) Compositions' on Black Saint
never excited me much, but I think the Wilisau Quartet 4-CD set on
HatArt (w/Crispell, Dresser & Hemmingway) is one of the best things
around!

> > Of course, both gentlemen do things on the small horn that simply
> > wasn't done (and documented) before, but I still have problems with
> > Zorn's consistent repetition of his own cliches when he plays "straight"
> > (in TIME, that is; case in point: Masada).
>
> I can see this, although I'm not sure I agree.  Do you hear the same
> clches in his relatively straight non-Masada work?  I'm thinking here of
> the News for Lulu group, the Sonny Clark Memorial Quartet, and his work as
> a sideman for John Patton.  I have a hard time hearing whatever cliches
> might be in the Masada work in these cases.

I'd disagree with them being "cliches" but Zorn DOES have quite a few
recycled licks (especially in the blues idiom). I've never thought of
Zorn as having his strength in his technical ability or his horn playing
in general and these recycled licks are definitely "tendencies" -
limitations of his informal training and not-so-great technical ability.
His strength is certainly as a composer and conceptualist - that's at
least what I listen to him for.

                -Tom Pratt

-



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

From: Steve Smith <[e-mail]>
Subject: Re: EXECUTION GROUND out?
Date: 02 Feb 1998 19:34:59 -0500

Patrice L. Roussel wrote:

> What is strange is that it is a 3xCD, and not a 4xCD. It does not seem that
> the first two Pain Killer are on the set...
>
> Did Tzakik change their mind or is Verge just using an old description of
> the set?

I'd guess the latter... it's listed as a four CD set in the February Koch book
and the lineups for the first two albums are listed on the page... I'm still
kinda wondering why they didn't also include the live set with Heino from Toy's
Factory.

Steve Smith
[e-mail]


-



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

From: Alan E Kayser <[e-mail]>
Subject: Re: ken vandermark
Date: 02 Feb 1998 20:43:16 -0500

Brent Burton wrote:

> i posted this last week to another list i'm on...
>
> <the new dkv trio (hamid drake - drums, kent kessler - bass, and ken
> vandermark - reeds) okka disc called _baraka_ is 70 minutes of
> tenor-based
> energy sound sprawl.  and i do mean sprawl.  the title track alone is
> over
> 30 minutes long and spans from art ensemble of chicago-like sparseness
> to
> full-on tenor grunt and howl.  none of these songs have heads per se,
> but
> there is a strong feel for dynamics and a certain economy and
> precision to
> their playing that i find really attractive.>

Just to follow up on this, Vandermark has a web site at
portaudio.com/cic/vandermark.html.  You can download some of his
excellent work.  THE DKV trio stuff is hot.  They have two on okka, one
of which is limited to 600 copies.  It's a live date, one 60+ minute
blast.  Vandermark was actually the replacement for Hal Russell in the
NRG Ensemble.  He has a rock background, but is now full out a jazz
burner.  He has quite a few projects going, sort of a Chicago based Tim
Berne.  He plays an excellent bass clarinet, as well as tenor.  Part of
a blossoming "Downtown" Chicago scene, it would seem.  Visit the web
site for everything you always wanted to know about Vandermark but...

Alan Kayser


-



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

From: Alan E Kayser <[e-mail]>
Subject: Re: Braxton at KF in March
Date: 02 Feb 1998 21:04:55 -0500

Scott Handley wrote:

> ON FEB 1 you wrote:
>
> >Anyone have details on AB's three shows at KF this March? (Line-ups,
> >solo? ghost trance? piano group? etc...)
> >
> >Thanks,
> >
> >Brian Olewnick
>
> have you checked the details on Braxton's own Tri-Centric Foundation
> home page?  lotsa great details, dozens of essays written by Mr
> Braxton,
> liner notes, etc. go to:
>
>             www.wesleyan.edu/music/braxton
>
> Pardon if this is a question redundant to this list, but what does
> everybody think about A.B.'s work?

The Willisau box from Hat Art is essential.  Close behind is the new San
Jose Quartet.  Lots of Braxton's Arista quartet albums were excellent
but remain un-cd-ed (?).  Check out Orchestra 1978, very good.  I think
the Crispell, Dresser (aha a zorn connection), Hemingway quartet ranks
right up there with the greatest of jazz units.  Listening to Wllisau
will make a fan of anyone with open ears.

>   For those who don't know, there will apparently be
> two huge Ghost Trance box sets (10 cds and 12 cds, Knit and Oakland,
> respectively) coming out soon (?).

> I am a huge fan of the
> "Drespellingway" quartet, but the ghost trance quartet CD on Brax's
> label kind of bored me.  Maybe I didn't listen hard enuff?  Any
> opinions
> on the other Ghost Trance stuff?

Please say it ain't so!!!  YES YES YES Ghost Trance is IMHO dead on
boring.  At least the piano quartet stuff had Marty Ehrlich.  But  GT
just leaves me cold.  And there's so much of it.  I dare even the most
devoted AB fan to differentiate one GT cd from another.  And this is
from an AB fan, though his last few projects have made me question his
sanity.   And why does he feel as though every project must have so many
documents of their existence?

Alan Kayser



>




-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Braxton at KF in March
Date: 02 Feb 1998 22:22:44 -0500

Alan E Kayser wrote:

> Please say it ain't so!!!  YES YES YES Ghost Trance is IMHO dead on
> boring.

What is the Ghost Trance stuff? How does it differ from his other work?

--
---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|

-



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

From: [e-mail]
Subject: Re: Braxton and recording
Date: 02 Feb 1998 23:40:58 EST

In a message dated 98-02-02 21:01:55 EST, you write:

<<   And this is
 from an AB fan, though his last few projects have made me question his
 sanity.   And why does he feel as though every project must have so many
 documents of their existence?>>

Here is some of what Braxton says about recording in an interview printed for
the notes of Anthony Braxton Quartet  Victoriaville (1992)  :
    "At a certain point it became clear there would be no real money in this,
which might not be so bad anymore, I mean once you get used to it.  My purpose
then became very clear:  I wanted to continue to evolve my music and document
what I could of it, but what that would mean was the realization that I'm not
interested in some of the measurements that have become current in terms of
how we view the music.  I see the model that I am building as an evolvinf
model, and I'm not interested in it ever arriving.  It's the process of
evolution and discovery that excites me, and what sound opens up to me in
terms of the whole experience of trying to live.  As such, I have tried to
approach recording based on: I want diversity."

      This may not resolve anything for us as we try to sort through his
seemingly overpopulated catalog, but it makes perfect sense when examining his
motives as an artist.  Each recording is like a journal entry.  A document of
the way things happened in relation to each other  at a certain point in time.
No one is the perfect version, just a part of the whole.  Of course, it has
also been mentioned that the man is insane.
      In terms of what Braxton is good to start with: I was lucky enough to
have my school music teacher introduce me to Braxton through Willisau, which I
liked immediately.  Just Dresser's bass work alone was enough to make my jaw
drop.  I've since heard other Braxton discs  which I'm sure would have failed
to spark my interest so.  I've enjoyed most of the quartet recordings I've
heard and I really like Braxton's duets with Derek Bailey.
     That music teacher has suggested  playing one of Braxton's pieces, as
well as Cobra, with my high school jazz band.  Those may be a bit too
ambitious for us, though we have played one of Zorn's Masada pieces, several
Steve Coleman pieces, and a wide range of other interesting things.  Needless
to say, he's not your average high school music teacher.
    Next year, I'll be attending Wesleyan, where Mr. Braxton teaches...  not
your average college music teacher.  Does anyone know to what extent he is
involved with student performers?
I'm sorry if I come off as an over-zealous high school student, but that is
what I am.
   -Nick



-



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

From: "PETSITTER" <[e-mail]>
Subject: Re: Mystic Fugu Orchestra
Date: 02 Feb 1998 22:08:41 -0600



----------

i think the cd is quite interesting. try listening to it casually. don't
concentrate on it and suddenly it'll open up. i found that this way of
listening to john zorn's cd's/lp's takes you deeper into his music. don't
expect anything from john zorn and you'll be rewarded with lots of
interesting music and stuff.

Thats an interesting comment.  I often wonder how other people go about
listening to a Zorn CD.  The Parachute Years collection is very difficult
and I would like to know how others on the list listen to this material.
Personally, I find that the music creates obvious images and emotions.  So,
I almost listen to it for a kind of surreal narrative adventure, rather
than structured music.-
----------


-



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

From: Todd Bramy <[e-mail]>
Subject: Re: Zorn List Digest V2 #221
Date: 02 Feb 1998 21:45:26 -0800

This from the press sheet that comes with the new Sonic Youth/Jim
O'Rourke set:


<fontfamily><param>Geneva</param>SYR 3 - SONIC YOUTH/JIM
O'ROURKE</fontfamily>


<fontfamily><param>Geneva</param> Three platters in and no signs of
slowing; more deep swells of clang from

 Echo Canyon. It's starting to get a little absurd calling these things
"EPs"

 (number three clocks in at over 50 minutes of music), but why complain
b/c

 it just means a mad bargain for you! Especially considering that
these

 sessions were graced by the prescence of yours and my favorite

 "omnimusician", Chi-town's own Jim O'Rourke,whose impossibly numerous

 associations include Gastr del Sol, Faust, Tony Conrad, John Fahey,
Smog

 and Henry Kaiser. While in town to join Takehisa Kosugi and the Merce

 Cunningham Dance Company (which Thurston also participated in), J.O.

 swung by for an afternoon of intense improvised ensemble alchemy.
This

 time around, the ill-fated "universal language" Esparanto adorns the
sleeve

 in keeping with the series' (ir)reverent faux Euro-art-music design
themes.


The opener "Invito Al Cielo" is all amp-moan and synth scratch, yet
placid (in

 the storm-eye sense), featuring some inspired trumpet-Brut and more

 whispered seats from Kim. The shimmering vibes and sine-pulse of

 "Hungara Vivo" actually recalls the digi-mosaics of ooh-so<italic>-au
curant

</italic> electronicsters like Microstoria<italic>, </italic>yet
nonetheless was performed by the band

 in good ole real time and space. "Radio-Amatoroj" is another
long-form

 spelunk into an audio architectonics of cathedralic proportion. More

 cymbal-spray and guitar-gong percussives, shifting textures ebb and
fade

 in some kind of psyche-sensory algebra you don't even need to know
how

 to solve. Just hear...


 Did I mention that the 12" is pristine CLEAR vinyl?? And of course
don't

 forget the formidable predecessors - SYR1 (French, red vinyl)
SYR2<color><param>0000,0000,7FFF</param>

</color>(Dutch, blue vinyl).



No release date is given, but judging by the discs that were in the
same box: Feb 3.


</fontfamily>

Todd Bramy

[e-mail]


-



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

From: Todd Bramy <[e-mail]>
Subject: Sonic Youth/Eye
Date: 02 Feb 1998 21:53:03 -0800

Someone asked about the Sonic Youth/Yamatsuke Eye album called "TV Shit".

 Well, this "album" is about 9 minutes long and consists of parts 1 thru 4
of a cover of Washington DC's Youth Brigade song "No II". Parts 1 & 4 are
live. It's 1,2,3,go...noise- 4 times in a row. Mostly feedback and pounding
drums with some indecipherable sampling thrown in. Very noisy and very
lo-fi. Unless you can find it quite cheap (good luck), I don't feel you're
missing much.

Todd Bramy
[e-mail]



-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Braxton
Date: 03 Feb 1998 09:43:27 GMT0BST

It strikes me that the BraxtonCrispellDresserHemingway quartet MUST
be great, but when I saw them in concert in London five or six years
ago, I thought it was pretty mediocre ...

Last week, rifling through the sale bin in a MAJOR record store, I
came upon Max Roach/Braxton: Birth/Rebirth, which I'm pretty
enamoured with on three listenings.  It's on Black Saint, from the
late 70s, and it's the best example I've heard of Braxton's "bebop
chops".

Also recommneded (thanks S~z) Eight Tristano Compositions (+3);
and although I have some reservations about the acclaimed Six Monk
Compositions, AB's version of Brillinat Corners SHOULD be heard.

Sean Wilkie

-



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

From: Joe Germuska <[e-mail]>
Subject: Re: On-line imported instruments?
Date: 03 Feb 1998 09:19:01 -0600

>didgeridoos made from eucalyptus, and/or instruments from West Africa.
>Any help would be much appreciated. Sorry for the stretch from Zorn
>related postings!

I'll help you out on the stretch -- have y'all heard Andy Haas' latest
Avant CD, "Arnhem Land"?  Andy plays didjeridu in duet with people like
Ikue Mori, Cyro Baptista, etc...  it's very cool.

Plus, Avant's most recent "world music" releases, two titles recorded in
the field in Ghana, are excellent.  "Drums of Death" is percussion ensemble
music recorded at a funeral ceremony in rural Ghana, and it smokes!  I
can't remember the title of the other one, but it features a single artist
on a balafon-type instrument, and what I heard was very nice as well.

Avant does good with world music!  "Smarnamisa" and "Disco Bhangra" are
also worth hearing...

See, it wasn't such a stretch...

joe

* Joe Germuska    {[e-mail]} |    Learning Technologies Group
<http://www.nwu.edu/people/j-germuska> |      Northwestern University
"Two monks were arguing about a flag. One said, 'The flag is moving.' The other
said, 'The wind is moving.' The sixth patriarch happened to be passing by. He
told them, 'Not the wind, not the flag; mind is moving.'" - The Gateless Gate



-



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

From: Joe Germuska <[e-mail]>
Subject: Re: vandermark&the chicago scene
Date: 03 Feb 1998 09:21:42 -0600

>Dennison/Kimball Trio!         Indie-Rock giants play some sort of  Jazz,
>and do it well.  Duane Dennison rules.
>They've put out a single with Vandermark and jim O'Rourke.
>And..There's only two of 'em in the trio,  clever!

Actually, there's a newer album by the group, rechristened "DK3", with
Vandermark as a full-fledged band-member.  It's called "Neutrons," and I'm
pretty sure it's on QuarterStick.  It still hasn't caught up to "Soul
Machine" (an earlier D/K Trio release) in my book, but I'll give it some
time...

Joe

* Joe Germuska    {[e-mail]} |    Learning Technologies Group
<http://www.nwu.edu/people/j-germuska> |      Northwestern University
"Two monks were arguing about a flag. One said, 'The flag is moving.' The other
said, 'The wind is moving.' The sixth patriarch happened to be passing by. He
told them, 'Not the wind, not the flag; mind is moving.'" - The Gateless Gate



-



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

From: Joe Germuska <[e-mail]>
Subject: Re: Braxton...
Date: 03 Feb 1998 09:44:00 -0600

>>Would anyone
>>be willing to point me towards some irony-free stuff that might get me
>>over my Braxton problem?

As I think has been suggested, you should read "Forces in Motion" to get a
sense of the human side of Anthony Braxton.  He's far out, but he's also
very much a regular guy.

Remember that Braxton is a philosopher -- he jokes that he had better luck
approaching philosophy departments in academia than music departments.
This man is very deep within a complex and internally consistent system,
albeit one that doesn't have a whole lot of direct connections over to more
familiar music.

I'm not a raging Braxton fan, but I would agree that the Willisau 4-CD set
is a superb example of what The Quartet could do.  If 4 CDs is too big of a
leap of faith, (it was for me!) you might try "Performance (Quartet) 1979,"
also recorded live in Willisau, but with a quartet featuring Thurman
Barker, Ray Anderson, and John Lindberg.  It took me a while to get inside
it, but now I think it's really something else.  I actually started with
"Jump or Die", a collection of Braxton compositions played by members of
the Splatter Trio and Debris.

More than almost any other music, I think one needs to think about
Braxton's meta-concepts when listening to his music.  That doesn't mean
that all of his music is intellectual -- the beginning of the second track
on "Performance (Quartet) 1979" is an all out sprint -- but context is
key...

><<   And this is
> from an AB fan, though his last few projects have made me question his
> sanity.   And why does he feel as though every project must have so many
> documents of their existence?>>
>
>Here is some of what Braxton says about recording in an interview printed for
>the notes of Anthony Braxton Quartet  Victoriaville (1992)  :

This quote is good (and, of course, the man's own words...)  but also:
Braxton is composing for the future.  It will take people a long time to
get at some of his ideas, and recordings are far better documentation than
scores, especially when Braxton has developed so many unique methods for
annotating his music.

I'm not trying to say that Braxton will be the Mozart of the 22nd Century,
but what if we had recordings of the European classical composers?

And finally...

>I'm sorry if I come off as an over-zealous high school student, but that is
>what I am.

Nick, the world needs more high school students who give a fig about this
whole realm of creative music.  No need to apologize!

Joe


* Joe Germuska    {[e-mail]} |    Learning Technologies Group
<http://www.nwu.edu/people/j-germuska> |      Northwestern University
"Two monks were arguing about a flag. One said, 'The flag is moving.' The other
said, 'The wind is moving.' The sixth patriarch happened to be passing by. He
told them, 'Not the wind, not the flag; mind is moving.'" - The Gateless Gate



-



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

From: Brent Burton <[e-mail]>
Subject: ground zero?
Date: 03 Feb 1998 11:03:44 -0500 (EST)

could anyone describe this band's output for me?  i'd appreciate it.

b


-



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

From: "p.rice" <[e-mail]>
Subject: re: aaarrggghh (angelus novus)
Date: 03 Feb 1998 17:18:11 +0000

hi bjoern!

i'd recommend you order "angelus novus" from either recrec or karbon in
switzerland. (both based in zurich.) i got my copy there. p+p to germany
shouldn't be too expensive.

do order it. i absolutely love it!

btw. why not a bit more "trainspotting". who knows the original
composers & pieces off which zorn lifted some of the parts on "angelus
novus". i definitely heard one bit from anton webern's "concert
opus 24".

patRice


BJOERN wrote:
>
> tzadiks german distributor has money problems/...
> so we probably wont see the release of Angelus Novus over here that soon
>
> :(((((((((
>
> BJOERN
>
> -

-



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

From: "p.rice" <[e-mail]>
Subject: cujo - adventures in foam
Date: 03 Feb 1998 17:18:19 +0000

after reading the recommendation of "cujo"'s "adventures in foam" i had
to go out and buy it. i have to say it is pretty good. anyone into
drum'n'bass might well like it. since i am into that genre it was great
hearing a drum'n'bass track sampling parts off "spillane". i was pleased
that there are at least some producers out there in the electronica
field who are inspired by the likes of zorn. although i feel it could
still be taken a few steps further. (as soon as i have my
sampler/sequencer "under control" i'll start working on it a bit more.)

patRice

-



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

From: "p.rice" <[e-mail]>
Subject: trainspotting...
Date: 03 Feb 1998 17:18:27 +0000

trainspotting.

hi everyone.

read about the following in "modern drummer" magazine today. thought you
might be interested.

a new band named "chocolate genius" is releasing their debut cd in the
us soon. (no title given.) the man behind them is former seal, mylene
farmer, jeff beck and hanson (!) drummer abe laboriel jr. (currently
with k.d. lang), and features one of my personal faves, mr. marc ribot
on guitar.

cyro baptista has cd named "vira loucos" on jasrac out; featuring
(quote): "several downtown heavies interpreting the music of villa
lobos".
(writing this i get the feeling this one has already been discussed
here...)

patRice

-



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

From: "Schwitterz" <[e-mail]>
Subject: Re: Braxton...
Date: 03 Feb 1998 08:12:57 -0800

If you're one of those folks that hears all this acclaim about Braxton, but
you just can't get into him, but you really would like to get into him, go
buy DORTMUND(QUARTET)1976. It will simply knock your socks off. I absolutely
guarantee it. With George Lewis on trombone, Dave Holland on bass, and Barry
Altschul on drums.

(hat ART CD 6075)

You can trust me on this one,

s~Z


-



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

From: "Marc A. Foster" <[e-mail]>
Subject: Re: Braxton...
Date: 03 Feb 1998 10:56:03 -0600

I have _Charlie Parker Project_ and think it's great, but I guess I've never
gotten anything else because I didn't have a clue where my next step should be
in his enormous catalogue. How does Parker stand up next to Dortmund, Willisau,
and the Tristano album (the ones I recall a being recommended recently)? Any
others that are good starting (or continuing) points?

maf



-



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

From: [e-mail] (Caleb Deupree)
Subject: Re: ground zero?
Date: 03 Feb 1998 11:59:32 -0500

>>>>> "Brent" == Brent Burton <[e-mail]> writes:

    Brent> could anyone describe this band's output for me?  i'd
    Brent> appreciate it.  b

Loud, noisy, fast, completely chaotic.  For those who think that too
much just isn't enough.  The number of members of the band varies,
from trios and quartets on their first album up to six on the easiest
album to find (Null & Void on Tzadik), and eight plus guests on
Standards and the Consume Red series.  The center of the band, Otomo
Yoshihide, plays turntables, electric guitar, and various homemade
electronic devices.  Other band members also play guitar, bass, drums,
sax, violin, keys, etc.  The instrumentation list cannot possibly give
an idea of how completely chaotic the music is.  I can't imagine what
they would be like live (they are doing one more concert in Japan next
month).

Of their specific albums, Null & Void is by far the easiest to find,
being a US release, and it's an excellent album overall (but then, I'm
a fan), a good place to start.  Their eponymous first album is more in
the Naked City vein, more recognizable instruments and shorter tracks,
and features Zorn on a number of cuts (the band doesn't seem to have
coalesced, perhaps more of a Otomo project).  I like this one the
least.  The first volume of Consume Red is *not* ambient, despite what
has been said in various places, but has one long track which samples
and loops a Korean classical performer, with the rest of the group
joining in before dissolving into chaos.  Volume 2 is remixes by known
sampler artists, and there are some bits which I defy anyone to locate
on volume 1.  Standards has a number of songs which were influences on
Otomo, and some of them are actually recognizable.

One of the tracks from Null & Void is on the Tzadik web site if you
want to get your feet wet without spending any money.  There's a
pretty good web site on Otomo at
http://www2.gol.com/users/miyuki/yotomo/yotomo.html, which includes a
history of GZ.

---
Caleb T. Deupree
;; Opinions are not necessarily shared by management

Computers are useless.  They can only give you answers.
(Pablo Picasso)


-



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

From: "Schwitterz" <[e-mail]>
Subject: Re: Braxton...
Date: 03 Feb 1998 09:10:54 -0800




>I have _Charlie Parker Project_ and think it's great, but I guess I've
never
>gotten anything else because I didn't have a clue where my next step should
be
>in his enormous catalogue. How does Parker stand up next to Dortmund,
Willisau,
>and the Tristano album (the ones I recall a being recommended recently)?
Any
>others that are good starting (or continuing) points?
>
>maf


Next stop: Dortmund.

s~Z


-



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

From: Dan Hewins <[e-mail]>
Subject: Re: Braxton...
Date: 03 Feb 1998 11:44:00 -0600


>Next stop: Dortmund.

Any ideas from where this can be ordered?  Online?

Dan



-



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

From: Scott Russell <[e-mail]>
Subject: Re: ground zero?
Date: 03 Feb 1998 18:44:13 +0000

--MimeMultipartBoundary
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Scott Russell wrote:


Caleb Deupree wrote:

> >>>>> "Brent" == Brent Burton <[e-mail]> writes:
>
>     Brent> could anyone describe this band's output for me?  i'd
>     Brent> appreciate it.  b
>
> Loud, noisy, fast, completely chaotic.  For those who think that too
> much just isn't enough.



> The instrumentation list cannot possibly give
> an idea of how completely chaotic the music is.  I can't imagine what
> they would be like live (they are doing one more concert in Japan next
> month).
>

I saw them last year on their UK tour and they were astounding. They
sound just like Caleb described except a hundred times louder . Sounded
like Zappa's Mothers reborn in 90's Tokyo! There were bits of
evrything;free jazz, grinding heavy rock, improv mayhem, sampler chaos,
covers of Fred Frith tunes, Burt Bacharach, Japanese TV themes, bits of
Consume Red and Revolutionary Pekinese opera etc.

They really looked like they were having a ball too. A great sight,
especially if, like me, you've never seen Naked City live.

Scott Russell
--MimeMultipartBoundary--

-



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

From: Jesse Simon <[e-mail]>
Subject: victo label
Date: 03 Feb 1998 13:10:52

I've been hearing a lot about the _Victo_ record label lately yet I've
never actually seen any albums on it. I'm told that there is a Fushitsusha
live album and a Gastr del Sol album available (presumably recorded at the
festival). Does anyone have any info about the label. I'd like to get my
hands on both of these titles.

Thanks
Jesse


-



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

From: john shiurba <[e-mail]>
Subject: Re: Braxton, Zorn's cliches
Date: 03 Feb 1998 11:48:32 -0700

>  Most Braxton that
> I've heard (I'm thinking particularly of some of the Creative Orchestra
> Music from the 70's) strikes me as overly cold and ironic.  Would anyone
> be willing to point me towards some irony-free stuff that might get me
> over my Braxton problem?

although i would say that all of Braxton's music is free from irony, and if
there's one thing that really pisses me off, it's people saying that Braxton's
music is cold, doesn't swing etc. on the other hand, i would recommend you
check out some of Braxton's work with the Crispel/Dresser/Hemingway
quartet, especially the two releases on HatArt--Willisau (Quartet) 1991
and Quartet (Santa Cruz) 1993. This is for my money, the most passionate
and profound jazz/improvised music ever recorded. it just may change
your mind.
--



[e-mail]

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

-



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

From: Ethan <[e-mail]>
Subject: re: victo jazz festival
Date: 03 Feb 1998 15:14:19 -0500 (EST)


does anyone have any more information on may's victoriaville jazz
festival?  I've scoured the web and haven't come up with anything other
than the dates.  looking for ticket info, directions, etc.

ethan
[e-mail]


-



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

From: [e-mail]
Subject: Re[2]: EXECUTION GROUND out?
Date: 03 Feb 1998 20:15:19 UT


> Patrice L. Roussel wrote:

>> What is strange is that it is a 3xCD, and not a 4xCD. It does not seem
>> that
>> the first two Pain Killer are on the set...
>>
>> Did Tzakik change their mind or is Verge just using an old description
>> of
>> the set?
>
> I'd guess the latter... it's listed as a four CD set in the February Koch
> book
> and the lineups for the first two albums are listed on the page... I'm
> still
> kinda wondering why they didn't also include the live set with Heino from
> Toy's
> Factory.

> Steve Smith

I disinctly remember reading on the Tzadik site that they had included it.
Unless it was a different live disc.
Anyway, the first disc was the first two albums, then the remaining three were
basically the three discs from the Toy's Factory release.
Am I wrong here?

Hasn't anyone bought it yet who could let us know for sure?

Peter

-



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

From: [e-mail]
Subject: Otomo Yoshihide
Date: 03 Feb 1998 20:12:26 UT

I just picked up OY's Memory Disorder Volume 3 on Gentle Giant records for three
bucks at a used CD shop on a whim.  There's no info on the other volumes or
anything really.
I was wondering if someone could tell me what the album is actually called
Solo Works?  Memory Disorder Vol 3?  Sound Factory 1997?
And maybe point me to a web page or something that might contain history or
interviews or discographies.

Mainly, I'm lookin' for information on this Otomo Yoshihide guy.
Can anyone help?
THanks,
peter

-



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

From: [e-mail] (Caleb Deupree)
Subject: Re: victo label
Date: 03 Feb 1998 15:21:06 -0500

>>>>> "Jesse" == Jesse Simon <[e-mail]> writes:

    Jesse> I've been hearing a lot about the _Victo_ record label
    Jesse> lately yet I've never actually seen any albums on it. I'm
    Jesse> told that there is a Fushitsusha live album and a Gastr del
    Jesse> Sol album available (presumably recorded at the
    Jesse> festival). Does anyone have any info about the label. I'd
    Jesse> like to get my hands on both of these titles.

A number of web-order places stock the Victo label, including but not
limited to Forced Exposure and Wayside.  However, I don't see anything
by either of these two artists on that label.

---
Caleb T. Deupree
;; Opinions are not necessarily shared by management

Computers are useless.  They can only give you answers.
(Pablo Picasso)


-



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

From: "allen j huotari" <[e-mail]>
Subject: Re[2]: victo label
Date: 03 Feb 1998 12:48:22 -0000


>    Jesse> told that there is a Fushitsusha live album and a Gastr del
>    Jesse> Sol album available (presumably recorded at the
>    Jesse> festival). Does anyone have any info about the label. I'd
>    Jesse> like to get my hands on both of these titles.
>
>A number of web-order places stock the Victo label, including but not
>limited to Forced Exposure and Wayside.  However, I don't see anything
>by either of these two artists on that label.

>

perhaps these are upcoming releases?
didn' t both bands play Victo last year?

ajh





-



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

From: Joe Germuska <[e-mail]>
Subject: Re: vandermark&the chicago scene
Date: 03 Feb 1998 14:38:42 -0600

>Date: Mon, 02 Feb 1998 08:43:56 PST
>From: "Scott Handley" <[e-mail]>
>Subject: vandermark&the chicago scene
>
>Okay, okay, I'm REALLY sorry to be liar, but I'd thought I'd ask once
>real freakin kwik if anyone here has listened to some of the new "jazz"
>etc. coming out of Chicago? I find much of it is easily as fertile as
>the Downtown thing and very different!  The relevance to this list is
>that the saxophonist Ken Vandermark, who is a beautiful raging monster
>of a musician, will be on the new Joe Morris album on Knitfac. Also,
>Chicago cellist Fred Lonberg-Holm, who played with God Is My Co-Pilot,
>is on the first SElfhaters record.  And if you haven't heard Mars
>Williams or the NRG Ensemble you need to bad.

Of course, Mars Williams locked up the NYC connection when he recorded on
the Waitresses' hit single back in the early 80's!

For those interested, I manage a mailing list somewhat like this one for
discussion of the verily fertile Chicago jazz scene.  Check out
<http://wnur.nwu.edu/lists/> for info about it and the other regional lists
we sponsor.  You can browse the archives online as well...

I saw Vandermark with the DKV trio on Friday night.  When this group
finally comes to visit y'all in NYC, your ears will spin.  You should start
asking your local venues what they are waiting for.  Or take a weekend
jaunt to Chicago next time they play (or Grand Rapids, Michigan this
Friday! :-)

Mars Williams has a newish group called Slam (also including Kent Kessler,
the "K" of DKV), which I think fits solidly into a genre with Naked City.
It's not as jumpy, but it has a comparable energy and rock sensibility.  It
might be almost too accessible for a lot of Zorn fans, but it's credible
music.  As far as I know, they've only recorded one sixty-second track for
a single of sixty-second tracks.

Back to DKV, "Baraka" is nice, but the limited edition (600 copies) live
album released by Okka Disk at the same time is closer to what I love about
the group.  You can probably get it at the Okka web site
<http://www.okkadisk.com/>

Oh, and speaking of Hamid Drake, he connects back through to this list via
an intermittent relationship with Bill Laswell.  Hamid has worked with
Pharoah Sanders, Foday Musa Suso, and Maleem Mahmoud Ghania...

whoops - meant to send this yesterday, so I'll wrap it up now!

Joe

* Joe Germuska    {[e-mail]} |    Learning Technologies Group
<http://www.nwu.edu/people/j-germuska> |      Northwestern University
"Two monks were arguing about a flag. One said, 'The flag is moving.' The other
said, 'The wind is moving.' The sixth patriarch happened to be passing by. He
told them, 'Not the wind, not the flag; mind is moving.'" - The Gateless Gate



-



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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: Re[2]: EXECUTION GROUND out?
Date: 03 Feb 1998 15:03:53 -0600 (CST)

On Tue, 3 Feb 1998 [e-mail] wrote:

> I disinctly remember reading on the Tzadik site that they had included
> it (Haino's set).  Unless it was a different live disc. Anyway, the
> first disc was the first two albums, then the remaining three were
> basically the three discs from the Toy's Factory release.
> Am I wrong here?

Here's what Tzadik's website has to say about it:

PAINKILLER - The Complete Studio Recordings: Guts of a Virgin, Buried
Secrets & Execution Ground

Featuring:  John Zorn, Bill Laswell, Mick Harris, Yamataka Eye, Justin
Broadrick, G.C. Green.

An historical reissue released in cooperation with Earache Records. Out
of print for years - with most of the material being released domestically
for the first time. PainKiller is Bill Laswell, Mick Harris & John Zorn,
and this special 4CD package is the ultimate PainKiller document:
The complete studio recordings, with all of the original booklets and
artwork intact - uncensored and uncompromising, from their classical (sic)
release of 1991 Guts Of A Virgin, to Buried Secrets (featuring members of
Godflesh) and their 1994 masterpiece Execution Ground. In addition to all
of their blistering studio pieces and extended ambient remixes is included
a ferocious live performance from Osaka, Japan that captures the band at
the height of its powers. Drawing equally from the tradition of jazz,
hardcore punk, dub, ambient and much more, PainKiller has created some of
the most intense music you're ever likely to hear, enclosed in some of the
most deliriously beautiful artwork you're ever likely to see.

OK, now for my interjection - the Haino set was released on _Rituals: Live
In Japan_.  They don't say anything about this disc in the _Execution
Ground_ reissue.  The live set is with Yamantaka (or Yamatsuka) Eye in
Osaka.  This is the third disc that came with the Japanese ltd. ed. of
_Execution Ground_.

> Hasn't anyone bought it yet who could let us know for sure?

CDNow says it isn't supposed to come out until Feb. 17, 1998, so nobody
probably has it yet. :-)

Hope this clears it up.....

cya
brian
"The most dementing of all modern sins: the inability to
distinguish excellence from success." - David Hare



-



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

From: "Scott Handley" <[e-mail]>
Subject: re: victo jazz festival
Date: 03 Feb 1998 13:01:04 PST

>
U rote:

>does anyone have any more information on may's victoriaville jazz
>festival?  I've scoured the web and haven't come up with anything other
>than the dates.  looking for ticket info, directions, etc.
>
>ethan
>[e-mail]
>

ay, wright:

The company who puts out info on victo fest 1998 is called Platforme.
The phone number is 819.752.7912.  They will answer in French, so if you
aren't bi, ask for English.  Accept no substitutes.  The brochures are
usually pretty nice and they've already started mailing them out.

Kudos to John Shiurba for his concise, thoughtful Braxcomments.  I have
been SCHOOLED. No more e'piss'les.

love: Scott


>-
>
>


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

-



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

From: "Felix" <[e-mail]>
Subject: Re: Mystic Fugu Orchestra
Date: 04 Feb 1998 21:08:05 +0100

>i think the cd is quite interesting. try listening to it casually. don't
>concentrate on it and suddenly it'll open up. i found that this way of
>listening to john zorn's cd's/lp's takes you deeper into his music. don't
>expect anything from john zorn and you'll be rewarded with lots of
>interesting music and stuff.


In fact, I bought the Mystic Fugu Orchestra CD friday. I bought it
blind-folded as I didn't know a thing about the CD except that it was a duo
project with Zorn and Eye. When I first listened to it I got quite
disappointed as I was expecting something completely different. But, as I
got listening to it (sort of casually as you said), I grew more and more
excited by the album. It's weird but in a traditional sense. That constant
static noise. Really weird. Another album I bought blind-folded in the same
day was Elegy and the only disappointment about this album was its time
length - 29 min. I have EP's that are more lengthier than that. However, the
album is truly a masterpiece (I've been groing quite atuned to the weird
stuff, like Naked City's Absinthe or even Mike Patton's Pranzo Oltranzista)

>Thats an interesting comment.  I often wonder how other people go about
>listening to a Zorn CD.  The Parachute Years collection is very difficult
>and I would like to know how others on the list listen to this material.
>Personally, I find that the music creates obvious images and emotions.  So,
>I almost listen to it for a kind of surreal narrative adventure, rather
>than structured music.-

You could do the same for Elegy. In fact I think if you try, you can make a
story out of the album. It would have to be a weird story, perhaps
surrealistic like you said, but it can be done. But I don't think the same
applies for his more straight stuff like Masada or even Naked City's other
albums (non-Absinthe). Don't get me wrong, they are GREAT albuns but just
don't evoke the story thing.

Felix
[e-mail]


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Re[2]: EXECUTION GROUND out?
Date: 03 Feb 1998 13:16:15 -0800


On Tue, 3 Feb 1998 15:03:53 -0600 (CST)  Brian & Sharon Beuchaw wrote:
>
> CDNow says it isn't supposed to come out until Feb. 17, 1998, so nobody
> probably has it yet. :-)

Anybody but the US gets the Tzadik releases one month before... Verge is
from Canada and I always thought that what was listed on their catalog
was records available, and not upcoming.

    Patrice.

-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Braxton
Date: 03 Feb 1998 16:33:20 -0500 (EST)



On Tue, 3 Feb 1998, john shiurba wrote:

> although i would say that all of Braxton's music is free from irony, and if
> there's one thing that really pisses me off, it's people saying that Braxton's
> music is cold, doesn't swing etc.

Don't be pissed off, John.  I admit I don't think I'm "getting" the music,
so it wouldn't surprise me if my superficial impressions were totally
off the mark.  Thanks to John and everyone else for the recommendations.
If I can get my hands on a copy without paying for it, I'll definitely
check out Willisau.  If not, I'll go for one of the single-disc recs.

Chris Hamilton


-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: Re: Mystic Fugu Orchestra
Date: 03 Feb 1998 16:51:49 -0500 (EST)

> i think the cd is quite interesting. try listening to it casually. don't
> concentrate on it and suddenly it'll open up. i found that this way of
<<snip, other message>>
> I almost listen to it for a kind of surreal narrative adventure, rather
> than structured music.-
> ----------

I was just at a concert of new music today, George Crumb and a couple of
local people's stuff, and i was really tired.  i found that towards the
end i was half-asleep, which was actually quite a cool listening
experience.  I find that sometimes sound becomes a lot more of a palpaple,
three dimensional experience if i'm in a state of mild sleep deprivation;
sound becomes much more of a 'felt' phenomenon than an intellectual one.

-jascha


-



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

From: [e-mail] (Geoff S Gersh)
Subject: Liner Notes
Date: 03 Feb 1998 17:23:31 EST


I don't see how one can be annoyed by Zorn's self written liner
notes.....its very rare for Zorn to do interviews and talk about his
music.  I think its great that he writes as much as he does for the
Filmworks series to give his listeners insight to how he works......I
think in a way I look forward to the liner notes a liiiiitttle bit more
than i do the music, well.....that might be going a bit to far, but i do
treasure the liner notes in the Film series very very much.

As Zorn has written, he makes little money on some of these film
projects, so its understandable that if he's not getting paid, he's
gonna do whatever he wants!!

Geoff

_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: victo label
Date: 03 Feb 1998 14:17:49 -0800 (PST)

On Tue, 3 Feb 1998, Jesse Simon wrote:

> I've been hearing a lot about the _Victo_ record label lately yet I've
> never actually seen any albums on it. I'm told that there is a Fushitsusha
> live album and a Gastr del Sol album available (presumably recorded at the
> festival). Does anyone have any info about the label. I'd like to get my
> hands on both of these titles.

there's a new Renaldo/Hooker/O'Rourke/Gebba
disc (live from the Victoria festival
last year). maybe that's what you mean?

Forced Exposure carries just about
everything in the Victo catalog.
don't see either Fushit or Gastr.

http://www.forcedexposure.com/labels/victocanada.html

speaking of Victo, how does
the Boris Kovacs disc
"Anamnesis -- Ecumenical Mysteries"
compare to his other release on
ReR?

hasta.

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


-



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

From: Tom Pratt <[e-mail]>
Subject: Re: aaarrggghh (angelus novus)
Date: 03 Feb 1998 17:04:03 -0500

> btw. why not a bit more "trainspotting". who knows the original
> composers & pieces off which zorn lifted some of the parts on "angelus
> novus". i definitely heard one bit from anton webern's "concert
> opus 24".

At around the 7'30" mark on Carny there is a repeated dissonant chord
that sounds very much like it was taken from one of Stockhausen's
Klavierstuckes (can't remember which one off-hand). It's the one which
begins with that same dissonant chord which repeats a bunch before
letting it hang and then repeating again which goes on for quite a
while... Anyway, that's the only quote on Angelus Novus that truly
jumped out at me. Isn't Stephen Drury a lurker on this list??? Maybe he
could give us some insight.

                -Tom Pratt

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: aaarrggghh (angelus novus)
Date: 03 Feb 1998 17:04:03 -0500

> btw. why not a bit more "trainspotting". who knows the original
> composers & pieces off which zorn lifted some of the parts on "angelus
> novus". i definitely heard one bit from anton webern's "concert
> opus 24".

At around the 7'30" mark on Carny there is a repeated dissonant chord
that sounds very much like it was taken from one of Stockhausen's
Klavierstuckes (can't remember which one off-hand). It's the one which
begins with that same dissonant chord which repeats a bunch before
letting it hang and then repeating again which goes on for quite a
while... Anyway, that's the only quote on Angelus Novus that truly
jumped out at me. Isn't Stephen Drury a lurker on this list??? Maybe he
could give us some insight.

                -Tom Pratt

-



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

From: Keldon Drudge <[e-mail]>
Subject: Re: Liner Notes
Date: 03 Feb 1998 18:23:15 -0500 (EST)

On Tue, 3 Feb 1998, Geoff S Gersh wrote:
>
> I don't see how one can be annoyed by Zorn's self written liner
> notes.....its very rare for Zorn to do interviews and talk about his

neither do i...they're hilarious.


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Liner Notes
Date: 03 Feb 1998 15:33:28 -0800


On Tue, 3 Feb 1998 18:23:15 -0500 (EST)  Keldon Drudge wrote:
>
> On Tue, 3 Feb 1998, Geoff S Gersh wrote:
> >
> > I don't see how one can be annoyed by Zorn's self written liner
> > notes.....its very rare for Zorn to do interviews and talk about his
>
> neither do i...they're hilarious.

If Zorn was a complete joker, I guess I would be annoyed at them. Being
the over-achiever he is, I am ready to be indulgent :-). In fact, I don't
even have to be indulgent because I agree with what he writes, and the
way he judges his music.

True, we are not used to artists judging their own music in such a
shameless way, and expect other (critics, journalists, etc) to do that.
In the case of Zorn it is pretty clear that he does not really care what
journalists think of his music.

    Patrice.

-



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

From: Keldon Drudge <[e-mail]>
Subject: Re: Liner Notes
Date: 03 Feb 1998 18:23:15 -0500 (EST)

On Tue, 3 Feb 1998, Geoff S Gersh wrote:
>
> I don't see how one can be annoyed by Zorn's self written liner
> notes.....its very rare for Zorn to do interviews and talk about his

neither do i...they're hilarious.


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Liner Notes
Date: 03 Feb 1998 15:33:28 -0800


On Tue, 3 Feb 1998 18:23:15 -0500 (EST)  Keldon Drudge wrote:
>
> On Tue, 3 Feb 1998, Geoff S Gersh wrote:
> >
> > I don't see how one can be annoyed by Zorn's self written liner
> > notes.....its very rare for Zorn to do interviews and talk about his
>
> neither do i...they're hilarious.

If Zorn was a complete joker, I guess I would be annoyed at them. Being
the over-achiever he is, I am ready to be indulgent :-). In fact, I don't
even have to be indulgent because I agree with what he writes, and the
way he judges his music.

True, we are not used to artists judging their own music in such a
shameless way, and expect other (critics, journalists, etc) to do that.
In the case of Zorn it is pretty clear that he does not really care what
journalists think of his music.

    Patrice.

-



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

From: Peter Cline <[e-mail]>
Subject: Re: TV Shit
Date: 03 Feb 1998 22:52:51 -0500 (EST)


On Sun, 1 Feb 1998, Felix wrote:

> As anyone out there ever heard the album TV Shit with Yamantaka Eye and
> Sonic Youth? If so, how's it like?
>
> BTW, I'm new to the list and I worship John Zorn's music (but then again,
> don't we all?)
>
> Felix, who is realising that most of the good musical artists come from New
> York.
> [e-mail]
>
This cd I found to be rather uninteresting and disappointing.  It is only
9 minutes long and I had expected much more from such a collaboration.
But hey they can't all be gems.

-Peter


-



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

From: "John Q Citizen" <[e-mail]>
Subject: Re: Osaka Bondage [film] and beyond
Date: 03 Feb 1998 22:53:30 PST

>
>On Sun, 1 Feb 1998, Doug McKay wrote:
>
>> Osaka Bondage - A film by Henry Hills with music by Naked City.
>
>I may be misremembering, but I believe this is one of the Naked City
songs
>Hills did a video for.  So this may just be a music video.  (Lots of
cutup
>footage from actual Japanese bondage films if it's the one I'm thinking
>of.)
>
Someone on the list was collecting information about film scores by
various downtowners. They still out there?

Anyway; Hills has produced 'filmclips' for at least three NC tunes:
"Igneous Ejaculation" and "Batman" be the others. There may be another
one - check the notes to Filmworks 6 (w. Zorn's score for Hills'
"Mechanics Of The Brain") for more info.

Last year, a couple people posted info about a screening by Hills at New
Yorks Anthology Film Archives. Did anyone go to that? Like; post some
more info if you did...

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

-



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

From: [e-mail] (John D Schonewolf)
Subject: hat ART
Date: 04 Feb 1998 01:55:18 -0500 (EST)

Dear Listservers,
I want to thank everyone for the recent Braxton discussion, as I have
gained a new insight into his work and some good recommendations. I have
noticed that Mr. Braxton has put out many CDs on the hat ART label, and
what I am wondering is how I can purchase albums from this label? Is
there a web site? Is there an address I can write to for a catalog?
Thanks for any information on this. Also, I was wondering if anyone can
give their thoughts on the Braxton album of Tristano compositions. Sounds
interesting. Well, that is enough rambling for now.


Go Flyers!!!!


Jack Schonewolf

-



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

From: "John Q Citizen" <[e-mail]>
Subject: Re: Alan Gordon
Date: 03 Feb 1998 23:40:00 PST

Oh, unnh; sorry to spam y'all, but I've lost Alan Gordon's e-mail tag,
and wanted to in touch with him.

You out there Alan?

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

-



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

From: [e-mail]
Subject: Bible Launcher
Date: 04 Feb 1998 02:57:21 EST

I was wondering if anyone here had heard the self titled CD by Bible Launcher
on the Radical House label.  John Zorn had this to say about the group/CD:

"A classic lease-breaker. Screeching guitars, free jazz saxophones, preaching
evangelists, and moaning porno stars. Blasphemy, sonic ejaculations, and other
horrible noise."

Sounds interesting, eh?  Any info would be appreciated.  BTW, the URL for the
label is:

<< http://www.radhs.com/label.html >>

np: Hafler Trio- A Thirsty Fish

=dgasque=

-



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

From: Yves Dewulf <[e-mail]>
Subject: Re: Bible Launcher
Date: 04 Feb 1998 10:15:46 +0100


I'm glad there's finally a reissue of the "Bible Launcher"-CD,
it took me a lot of luck to track down a copy of the original (deleted)
"bible launcher" on tzadik, an I must say it's one of my favorite discs.
It is THE cd to amaze your friends.

There are about 30 tracks on it between 14 seconds and 5 minutes.
Most of them are recordings of evangelists preaching or recordings of
"spiritual" radio-shows (I was told most samples were taken from a CD with
fake telephone-calls to an American hard-core religious radio-program:
you can e.g. hear a telephone-call asking the preacher/host
 for "a good Christian Abortionist"  ), where funk/metal/free-jazz/noise
 was added.
It reminds me of "The Jezebel Spirit" on the "My life in the Bush of Ghosts"-
disc of Byrne/Eno, it comes also  close to some Mr.Buggle or Naked City pieces.

So get this record, before it disappears again.

YVes

P.S. The website mentions a "Bible Launcher II" CD on Tzadik !
     It was due out in October '97.
     Does anybody know more about this ?











-



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

From: "David J. Keffer" <[e-mail]>
Subject: Victo May, 1997 Releases
Date: 04 Feb 1998 07:26:16 -0500



>I've been hearing a lot about the _Victo_ record label lately yet I've
>never actually seen any albums on it. I'm told that there is a Fushitsusha
>live album and a Gastr del Sol album available (presumably recorded at the
>festival). Does anyone have any info about the label. I'd like to get my
>hands on both of these titles.
>Jesse

Recently there have been some releases on Victo of Live performances
from Festival International de Musique Actuelle Victoriaville, Canada 1997.
There is one with Fushitsusha but I don't think it's out yet.  February
or March for that.  I also haven't heard of any Gastr del sol on Victo.
There are a couple of older Victo discs with O'Rourke
"Tomorrow Knows Where you live"  Henry Kaiser & Jim O'Rourke 1992
"Acoustics" Henry Kaiser, Jim O'Rourke, John Oswald, and Mari Kimura 1994
(These are both group improv discs) and a new one from the 1997 Festival
"Clouds" Lee Ranaldo, Gianni Gebbia, William Hooker, O'Rourke 1998.
Haven't heard it.

Anyway, Forced Exposure stocks the Victo catalog as does Verge distribution
in Canada.

David K.

-



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

From: "A.Bueno" <[e-mail]>
Subject: Ribot`s cubanos
Date: 04 Feb 1998 09:24:57 -0300

Can anybody of you tell me which musicians play in Marc Ribot`s
"Los Cubanos" group?.
                  Thank you A.Bueno

-



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

From: [e-mail] (Caleb Deupree)
Subject: Re: hat ART
Date: 04 Feb 1998 08:31:39 -0500

At 01:55 AM 2/4/98 -0500, John D Schonewolf wrote:

>what I am wondering is how I can purchase albums from this label? Is
>there a web site? Is there an address I can write to for a catalog?
>Thanks for any information on this.

Cadence stocks the Hat label, http://www.cadencebuilding.com.

--
Caleb Deupree
[e-mail]
[e-mail]

Computers are useless; they can only give you answers
-- Pablo Picasso


-



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

From: "PETSITTER" <[e-mail]>
Subject: Re: Bible Launcher
Date: 04 Feb 1998 09:04:19 -0600



----------
> From: [e-mail]
> To: [e-mail]
> Subject: Bible Launcher
> Date: Wednesday, February 04, 1998 1:57 AM
>
> I was wondering if anyone here had heard the self titled CD by Bible
Launcher
> on the Radical House label.  John Zorn had this to say about the
group/CD:
>
> "A classic lease-breaker. Screeching guitars, free jazz saxophones,
preaching
> evangelists, and moaning porno stars. Blasphemy, sonic ejaculations, and
other
> horrible noise."
>
> Sounds interesting, eh?  Any info would be appreciated.  BTW, the URL for
the
> label is:
>
> << http://www.radhs.com/label.html >>
>
>Yes, very interesting!  I would like to order this CD, but does anyone
know if this web site is reliable for ordering?
Thank you
Jeff

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Bible Launcher
Date: 04 Feb 1998 08:55:12 -0800


On Wed, 4 Feb 1998 10:15:46 +0100  Yves Dewulf wrote:
>
>
> I'm glad there's finally a reissue of the "Bible Launcher"-CD,
> it took me a lot of luck to track down a copy of the original (deleted)
> "bible launcher" on tzadik, an I must say it's one of my favorite discs.
> It is THE cd to amaze your friends.
>
> There are about 30 tracks on it between 14 seconds and 5 minutes.
> Most of them are recordings of evangelists preaching or recordings of
> "spiritual" radio-shows (I was told most samples were taken from a CD with
> fake telephone-calls to an American hard-core religious radio-program:
> you can e.g. hear a telephone-call asking the preacher/host
>  for "a good Christian Abortionist"  ), where funk/metal/free-jazz/noise
>  was added.
> It reminds me of "The Jezebel Spirit" on the "My life in the Bush of Ghosts"-
> disc of Byrne/Eno, it comes also  close to some Mr.Buggle or Naked City pieces.
>
> So get this record, before it disappears again.
>
> YVes
>
> P.S. The website mentions a "Bible Launcher II" CD on Tzadik !
>      It was due out in October '97.
>      Does anybody know more about this ?

There were rumors that the CD would be edited and reissued. But since the
catalog number of BIBLE LAUNCHER has been taken by Ken Butler's VOICES OF ANXIOUS
OBJECTS, I am wondering if the record will ever be reissued.

    Patrice.

-



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

From: "A.Bueno" <[e-mail]>
Subject: miles vs zorn ?
Date: 04 Feb 1998 14:24:20 -0300

Just founded this article.Anyone knows something about this story
(Miles vs.Zorn)?
A.Bueno
>
> http://www.theatlantic.com/atlantic/unbound/jazz/articles.htm
>
>                    Jazz in The Atlantic Monthly
>>
>             "'Zorn' for 'Anger,'" by Francis Davis (January 1991)
>"John Zorn is the only musician I've ever considered suing," writes Davis(Miles).
 Despite his bad boy image and the eardrum shattering volume of his live
performances, Zorn's contribution to  recent avant-garde music,
especially his interpretations of fllm music, cannot be dismissed.

-



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

From: JRZ <[e-mail]>
Subject: Re: Bible Launcher -> Bob Larson?
Date: 04 Feb 1998 11:57:43 -0600

At 10:15 AM 2/4/98 +0100, Yves Dewulf wrote:
>
>
>There are about 30 tracks on it between 14 seconds and 5 minutes.
>Most of them are recordings of evangelists preaching or recordings of
>"spiritual" radio-shows (I was told most samples were taken from a CD with
>fake telephone-calls to an American hard-core religious radio-program:
>you can e.g. hear a telephone-call asking the preacher/host
> for "a good Christian Abortionist"  ), where funk/metal/free-jazz/noise
> was added.

Is the preacher Bob Larson? He's hilarious.

If you believe the Star Wars trilogy is the work of the devil and want to
hear why or if you're interested in hearing an extensive account of Bob
performing an exorcism he's your man. If not, he's endlessly hilarious.

Some guys made a disc of prank calls to his (and other fundamentalist
wackos) talk shows. This is probably the disc that was sampled. I think
it's called "Radio Jihad".

Here's a link to a (tongue and cheek) fan site.

http://www.cris.com/~ranger57/larsondx.htm

It's got links to where you can still hear his show (he's under heavy fire
from non-christians and christians alike). Heartily entertaining and a
great waste of time.

zube





my tapelist http://www.winternet.com/~zube/tapelist.htm
Look at Jim Evans, Look at his head, He's got a compass, and a rollaway
bed! - HGB


-



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

From: "Wilson, King of Prussia" <[e-mail]>
Subject: Re: vandermark&the chicago scene
Date: 04 Feb 1998 13:14:56 -0600 (CST)

>On Mon, 02 Feb 1998 08:43:56 PST "Scott Handley" <[e-mail]>
>writes:
>>Okay, okay, I'm REALLY sorry to be liar, but I'd thought I'd ask once
>>real freakin kwik if anyone here has listened to some of the new
>>"jazz"
>>etc. coming out of Chicago?
>
>
>Dennison/Kimball Trio!         Indie-Rock giants play some sort of  Jazz,
>and do it well.  Duane Dennison rules.
>They've put out a single with Vandermark and jim O'Rourke.
>And..There's only two of 'em in the trio,  clever!



  Actually, Vandermark joined them a few months back, and now they are
called the DKV trio.......


















                                read icculus



-



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

From: Brent Burton <[e-mail]>
Subject: Re: vandermark&the chicago scene
Date: 04 Feb 1998 15:00:02 -0500 (EST)

On Wed, 4 Feb 1998, Wilson, King of Prussia wrote:

> >Dennison/Kimball Trio!         Indie-Rock giants play some sort of  Jazz,
> >and do it well.  Duane Dennison rules.
> >They've put out a single with Vandermark and jim O'Rourke.
> >And..There's only two of 'em in the trio,  clever!
>
>   Actually, Vandermark joined them a few months back, and now they are
> called the DKV trio.......

as confusing as it may seem, dkv trio is an entirely different group -
hamid drake, ken kessler and ken vandermark.

b

-



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

From: JRZ <[e-mail]>
Subject: Re: miles vs zorn ?
Date: 04 Feb 1998 14:42:43 -0600

At 02:24 PM 2/4/98 -0300, you wrote:
>Just founded this article.Anyone knows something about this story
>(Miles vs.Zorn)?

Miles won by TKO in the 7th round. Zorn's youth could not make up for Miles
boxing experience.




my tapelist http://www.winternet.com/~zube/tapelist.htm
Look at Jim Evans, Look at his head, He's got a compass, and a rollaway
bed! - HGB


-



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

From: Jeff Spirer <[e-mail]>
Subject: Re: miles vs zorn ?
Date: 04 Feb 1998 12:55:18 -0800

At 02:42 PM 2/4/98 -0600, JRZ wrote:
>At 02:24 PM 2/4/98 -0300, you wrote:
>>Just founded this article.Anyone knows something about this story
>>(Miles vs.Zorn)?
>
>Miles won by TKO in the 7th round. Zorn's youth could not make up for Miles
>boxing experience.

I think it is easier to swing a trumpet than a saxophone.  Properly aimed,
the blow can be much more effective.  This makes me wonder why it was a TKO.


Jeff Spirer
Axiom Records: http://www.hyperreal.org/axiom/
Photos: http://www.hyperreal.org/~jeffs/gallery.html

-



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

From: Scott Russell <[e-mail]>
Subject: Alan Gordon
Date: 04 Feb 1998 21:20:58 +0000

--MimeMultipartBoundary
Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353"
Content-Transfer-Encoding: 7bit

Earlier this evening John Q Citizen posted a message with Alan Gordon in
the subject field. Unfortunately I can't read anything from Mr Citizen
(nor a few other list contributors, many of whom seem to be resident at
our friends AOL anyone got any ideas on this?) however I do know an Alan
Gordon. Could someone who can read this message forward it to me.

Thanks in advance

Scott Russell

--MimeMultipartBoundary--

-



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

From: JRZ <[e-mail]>
Subject: Re: miles vs zorn ?
Date: 04 Feb 1998 15:19:43 -0600

At 12:55 PM 2/4/98 -0800, Jeff Spirer wrote:
>At 02:42 PM 2/4/98 -0600, JRZ wrote:
>>At 02:24 PM 2/4/98 -0300, you wrote:
>>>Just founded this article.Anyone knows something about this story
>>>(Miles vs.Zorn)?
>>
>>Miles won by TKO in the 7th round. Zorn's youth could not make up for Miles
>>boxing experience.
>
>I think it is easier to swing a trumpet than a saxophone.  Properly aimed,
>the blow can be much more effective.  This makes me wonder why it was a TKO.

The sax makes a great defensive weapon. Miles was never able fully connect
with his patented trumpet uppercut.

Just looked at the article. The law suit comment was by the author of the
article 'Francis Davis'. A Miles article was featured above the Zorn one. I
was duped also after a quick glance. Miles was NOT the one who considered
suing Zorn.

bye now

zube

my tapelist http://www.winternet.com/~zube/tapelist.htm
Look at Jim Evans, Look at his head, He's got a compass, and a rollaway
bed! - HGB


-



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

From: Alan E Kayser <[e-mail]>
Subject: Re: vandermark&the chicago scene
Date: 04 Feb 1998 20:31:44 -0500

Alan E Kayser wrote:

> Wilson, King of Prussia wrote:
>
> > >Dennison/Kimball Trio!         Indie-Rock giants play some sort of
> > Jazz,
> > >and do it well.  Duane Dennison rules.
> > >They've put out a single with Vandermark and jim O'Rourke.
> > >And..There's only two of 'em in the trio,  clever!
> >
> >   Actually, Vandermark joined them a few months back, and now they
> are
> >
> > called the DKV trio.......
> >
> >                                                                 read
>
> > icculus
> >
>
> Nope, DKV is Hamid Drake, Kent Kessler, and Vandermark.  They have two
>
> cds.  One is "Baraka" the other was recorded live on December 26,
> 1996.
> They are on the Okka lable, the live one being a limited edition of
> only
> 600.  Buy it if you can find it.
>
> Alan Kayser
>
> > -




-



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

From: "Julian" <[e-mail]>
Subject: Absinthe
Date: 05 Feb 1998 12:24:05 +1100

I know this has probably been done many times before, but can someone
describe Absinthe for me?


-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: Absinthe
Date: 04 Feb 1998 20:38:55 -0500

Julian wrote:
>
> I know this has probably been done many times before, but can someone
> describe Absinthe for me?

It was described to me as ambient, though it's closer to, say, the
Frith/Mori/Hideki Death Ambient. The music is pretty steady-state, with
lots of usually quiet noise and few of their signature jumpcuts. Zorn
even does quite a satisfactory wordless vocal on one track.

I got it about 3 weeks ago and have listened to it almost every day
since. Grab it!

--
---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|

-



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

From: [e-mail]
Subject: Buckethead
Date: 04 Feb 1998 20:59:30 EST

so as i was sayin.......
i saw Buckethead play this past weekend twice with his new band Giant Robot
2.... it was nothing short of amazing,.....the first night was at dis place
called the Mint it was some sort of guitar premotion show.. Buckethead didnt
seem to care he came out and busted with a phat death metal set... 2 nights
later.. i seen him at a small guitar shop.. he busted with a mostly
Acoustic/jazz set with a violin player....we in LA got a treat yo.....
-corn dog

-



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

From: stephen drury <[e-mail]>
Subject: Re:angelus novus
Date: 04 Feb 1998 21:48:02 -0500

>Date: Tue, 03 Feb 1998 22:48:51 -0500
>To: [e-mail]
>From: stephen drury <[e-mail]>
>Subject: Re:angelus novus
>
>At 04:34 PM 2/3/98 -0700, you wrote:
>> btw. why not a bit more "trainspotting".....
>At around the 7'30" mark on Carny there is a repeated dissonant chord
>that sounds very much like it was taken from one of Stockhausen's
>Klavierstuckes (can't remember which one off-hand).
>
>Tom -- you're right; the chord from Stockhausen's Klav. IX is overlaid with
the chord from Bartok's "Ostinato" from, I think, the last "Mikrokosmos"
volume. Robin Maconie actually draws a parallel between the 2 pieces in his
excellent study on Stockhausen.  You might also look for Berg's Chamber
Concerto, Varese, Elliott Carter, Boulez 2nd Sonata, Ives, Messiaen, Brahms,
and of course Fats Waller (along with many others) elsewhere on the CD (I
ain't sayin' where!).
>--  steve
>


-



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

From: "Tim Schelfhout" <[e-mail]>
Subject: vinyl issues ?
Date: 05 Feb 1998 03:36:57 PST

Hello there,

Does anyone out there know wheter Zorn is still putting things out on
vinyl (I still swear by vinyl !!!).  Maybe someone has a list of Zorn
records that appeared on vinyl and more precisely if the Zorn/Patton
collaboration 'Minor swing' was ever put out on vinyl.

Thanks

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

-



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

From: "A.Bueno" <[e-mail]>
Subject: Re: miles vs zorn ?
Date: 05 Feb 1998 09:45:39 -0300

A.Bueno wrote:
>
> Just founded this article.Anyone knows something about this story
> (Miles vs.Zorn)?
> A.Bueno
> >
> > http://www.theatlantic.com/atlantic/unbound/jazz/articles.htm
> >
> >                    Jazz in The Atlantic Monthly
> >>
> >             "'Zorn' for 'Anger,'" by Francis Davis (January 1991)
> >"John Zorn is the only musician I've ever considered suing," writes Davis(Miles).
>  Despite his bad boy image and the eardrum shattering volume of his live
> performances, Zorn's contribution to  recent avant-garde music,
> especially his interpretations of fllm music, cannot be dismissed.

Sorry all.
I couldn`t read the article yesterday nor did i pay attention to the
writer`s name.To add more confusion i received this message from
a MILES DAVIS mailing list.Uhh!!

 A.Bueno

-



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

From: [e-mail]
Subject: Raoul Bjorkenheim/Bill Laswell collaboration
Date: 05 Feb 1998 08:20:37 EST

The last time I spoke to Raoul [admittedly quite a few months ago] he was very
excited about going to NYC to do some recording/collaborative work with Bill
Laswell & Nicky Skopelitis [among others, I assume].

Other than their two collaborations on record with Paul Schutze/Phantom City,
has any stuff with Laswell or related artists been released yet? Is it
"forthcoming"?

Steve F.

-



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

From: "Felix" <[e-mail]>
Subject: Re: Absinthe
Date: 05 Feb 1998 11:20:35 +0100

>I know this has probably been done many times before, but can someone
>describe Absinthe for me?


Weeell... The album is absolutely weird. It is also absolutely a
masterpiece. However, I advise you not to go blind-shopping on this one. The
album has not much to do with the other Naked City works, except perhaps for
the first part of Grand Guignol (and I haven't heard Heretic so I can't
compare it with this one). If you like experimental music (really
experimental) the album is perfect, it's really good. If not, you'll say the
album is nothing but crap. There's a track that seems right out of "Alien"
with the constant noise the ship makes. There are few words to describe the
album other than "weird" and "exceptional".

Felix
[e-mail]


-



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

From: Yves Dewulf <[e-mail]>
Subject: Re: Absinthe
Date: 05 Feb 1998 14:52:01 +0100


>>I know this has probably been done many times before, but can someone
>>describe Absinthe for me?

  The first time I listened to this it was like sets of just ambient noises
  put together, it was not bad but I was not so impressed by it.

  Then I used it in my walkman for a long walk to my work on some
  misty morning.
  I was amazed. It sounded like the over-amplification of environmental noises
  (breathing, heart-beats, wind, water) in way a person gets mad/obsessed
  by just listening to these noises (see also the haunting soundtrack
  of "Eraserhead"). I know some drugs can stimulate the senses
  and maybe that's the connection to the title of the piece "Absinthe"
  and the drug-abuse by 19th century poets
  (Verlaine, mentionned in one of the titles,Baudelaire, Poe,...)

  Just a guess,

  YVes





   -


-



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

From: Jeff Spirer <[e-mail]>
Subject: Re: Raoul Bjorkenheim/Bill Laswell collaboration
Date: 05 Feb 1998 06:35:15 -0800

At 08:20 AM 2/5/98 EST, [e-mail] wrote:
>The last time I spoke to Raoul [admittedly quite a few months ago] he was
very
>excited about going to NYC to do some recording/collaborative work with=
 Bill
>Laswell & Nicky Skopelitis [among others, I assume].
>
>Other than their two collaborations on record with Paul Schutze/Phantom=
 City,
>has any stuff with Laswell or related artists been released yet? Is it
>"forthcoming"?=20

There is a Raoul Bj=F6rkenheim/Nicky Skopelitis recording, produced by Bill,
that has been made.  It is done through the mastering process and was
supposed to come out on Douglas, but it does not appear that Douglas will
release it.  There should be a label announcement someday.=20

It is a beautiful recording, by the way.


B&W Photos: http://www.pomegranates.com
Color and B&W Photos: http://www.hyperreal.org/~jeffs/gallery.html
Axiom/Material: http://www.hyperreal.org/axiom/

-



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

From: "Simon Thibaudeau" <[e-mail]>
Subject: A column about Zorn
Date: 05 Feb 1998 09:39:36 -0500

Hi,
    I'm sorry to use this list for my better interest but it is zorn related
so...

    I am the editor of a fanzine and i would like somebody to wirte for me
about the influence of John Zorn on today's music. Since my knowledge of
Zorn is limited for now, I feel that I am not ready to write such a column.
This column should be long ramblings about how great Zorn is, how he
influenced the different types of music and the people he worked with. Since
my 'zine is a metal one it sould not be expected that people know who is Sun
Ra or Miles Davis.

    Anybody interested please contact me personnally

P.S.:Please don't expect any money out of this

Simon Thibaudeau
Personal: [e-mail]
Mindspell: [e-mail]

http://mindspell.home.ml.org
http://mindspellzine.home.ml.org

Mindspell "paper" 'zine out now!
featuring: Devin Townsend, Sadus, Brutal Truth,
Raison D'Ωtre, Solar Spine and more....

Send 2$ US and Canada
         3$ World

to: Mindspell
c/o Simon Thibaudeau
112 Ste-Marie
Panet
G0R 2J0
Canada

"Mwahhaaaaaaaaaaaaaaaaa!" -Me at birth


-



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

From: [e-mail]
Subject: Re: Absinthe
Date: 05 Feb 1998 16:09:25 +0100

Yves wrote:

>   The first time I listened to this it was like sets of just ambient noises
>   put together, it was not bad but I was not so impressed by it.

I had the same feeling, except that I was duly impressed by the track that
sounds like an earthquake. Even a very low volume, the glasses in my cupboard
started to shake, and the sounds were very visceral. I've only bought the
album recently, though, years after all the other Naked City albums.

>   I was amazed. It sounded like the over-amplification of environmental noises
>   (breathing, heart-beats, wind, water) in way a person gets mad/obsessed
>   by just listening to these noises (see also the haunting soundtrack
>   of "Eraserhead"). I know some drugs can stimulate the senses
>   and maybe that's the connection to the title of the piece "Absinthe"
>   and the drug-abuse by 19th century poets
>   (Verlaine, mentionned in one of the titles,Baudelaire, Poe,...)

I've never tried Absinthe myself but it is said to seriously distort your
sensory perception of the things around you. I'm glad someone mentioned the
"Eraserhead" soundtrack on this list. That must be one of the most effective
soundtracks ever. It adds enormously to the atmosphere of total disorientedness
and isolation that the movie pervades. Does anyone know whether the soundtrack
is available on CD?

Frankco.

-



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

From: [e-mail]
Subject: Re:A column about Zorn
Date: 05 Feb 1998 15:31:22 UT

I'd love to do a column, except that I don't think Zorn has influenced modern
music yet, beyond the group of people he hangs with, or what he's done with
Avant and Tzadik as far as making more different musics available.  I think in
ten to twenty years, you'll see a whole group of folks who've really been
inspired by Zorn, but for now it's too early.

Unless I'm missing something, which could be the case.

That's my two cents.
Peter

-



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

From: "Scott Handley" <[e-mail]>
Subject: x-tzadik revue
Date: 05 Feb 1998 15:39:04 PST

To those with time:

I am still a relative newbie to the impossibly-funded, ever-growing
world of Tzadik Records (that is,I have less than a dozen, and most are
Zorn albums).  At this point, it occurs to me that Mr Zorn must be RICH,
or perhaps he still receives big-ass production royalties from the
Bungle record, or maybe the Elektra records really blew up.  I do know
that he must spend six times what I do on music and other media, and I'm
always broke.  So I conclude: the man is a rock star in his own right.
And dammit, better him than Baby Spice.

Does anyone know the "story" of Tzadik records?  I hear their staff
equals three people and some part-time occasional help.

Pardon: digression.  Now, the meat of the matter---for those of you who
can spare the time, could you pass along opinions to me of a handful of
albums? Feel free to E-mail me, of course, since several are old(er) and
have probably been discussed many times already, and I wouldn't want to
waste space (I know you guys can't tell based on these posts.

1. Two really fascinating Elliot Sharp records (any label)
2. Zubi Zuva  JEHOVAH   (Tzad)
3. Makigami Koichi  KUCHINOHA  (Tzad)
4. Arnold Dreyblatt   ANIMAL MAGNETISM  (Tzad)
5. Li Chin Sung  PAST   (Tzad)
6. Anthony Coleman  SELFHATERS   (Tzad)
7. Nana Vasconcelos  the film music album (?) (Tzad)
8. Fred Frith    Anything other than the duos w/H. Kaiser
9. Frank London
10.Ikue Mori  Anything, on any label (never heard her: I'm nervous
           about her but so many people I respect love her; I just
           need an opinion and a description, where possible)
11.Does anyone have TOPOGRAPHY OF THE LUNGS or PAKISTANI POMADE?
    Please e-mail me.
12. Saint Genet Himself   PARACHUTE YEARS box  (too much of the same
           thing, or tour de force? You decide.)
13. Anything interesting you'd like to share (Where I'm at, Tool is
           cutting edge; I'm happy when you cats proselytize.)

And if these long notes or personal-favors questions are pissing anyone
off, please let me know.  I don't intend to impose too bad.

It's my party, baby, and it freaks me out,

Scott H

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

-



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

From: philz <[e-mail]>
Subject: Re: Absinthe
Date: 05 Feb 1998 23:00:04 -0500

>Yves wrote:
>
>I've never tried Absinthe myself but it is said to seriously distort your
>sensory perception of the things around you. I'm glad someone mentioned the
>"Eraserhead" soundtrack on this list. That must be one of the most effective
>soundtracks ever. It adds enormously to the atmosphere of total
>disorientedness
>and isolation that the movie pervades. Does anyone know whether the soundtrack
>is available on CD?

Eraserhead: Original Soundtrack
IRS CD70027

I don't know if the cd is still in print (I'd guess not) or what year it
came out, but it's a wonderful thing...

philz




-



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

From: Valkwitch <[e-mail]>
Subject: Re: Some Victo Releases...
Date: 06 Feb 1998 01:20:31 -0500

David J. Keffer wrote:
>
> >I've been hearing a lot about the _Victo_ record label lately yet I've
> >never actually seen any albums on it. I'm told that there is a Fushitsusha
> >live album and a Gastr del Sol album available (presumably recorded at the
> >festival). Does anyone have any info about the label. I'd like to get my
> >hands on both of these titles.
> >Jesse
>
> Recently there have been some releases on Victo of Live performances
> from Festival International de Musique Actuelle Victoriaville, Canada 1997.
> There is one with Fushitsusha but I don't think it's out yet.  February
> or March for that.  I also haven't heard of any Gastr del sol on Victo.
> There are a couple of older Victo discs with O'Rourke
> "Tomorrow Knows Where you live"  Henry Kaiser & Jim O'Rourke 1992
> "Acoustics" Henry Kaiser, Jim O'Rourke, John Oswald, and Mari Kimura 1994
> (These are both group improv discs) and a new one from the 1997 Festival
> "Clouds" Lee Ranaldo, Gianni Gebbia, William Hooker, O'Rourke 1998.
> Haven't heard it.
>
> Anyway, Forced Exposure stocks the Victo catalog as does Verge distribution
> in Canada.
>
> David K.
>
> -
    yes, a good thing is to check forced exposure for some of the Victo
releases, probably not all of them are there though...
    the only Victo release i own is "piece for jetsun dolma" which is
thurston moore along w/ drummers/percussionists william winnant and tom
surgal (Victo #45).a catalog list of releases 1-45 is included inside,
so now its probably outdated, anyways here are some of the artists:

1- fred frith/rene lussier
2- anthony braxton/derek bailey
3- richard teitelbaum/carlos zingaro
6- marilyn crispell
7- anthony braxton
8- barre phillips
11- roscoe mitchell
12- marilyn crispell quintet
14- jim o'rourke/henry kaiser
18- zeena parkins
19- elliott sharp/carbon orchrestra
21- anthony braxton quartet
22- plimley/ellis/bendian
25- kaiser/kimura/o'rourke/oswald
26- elliott sharp/zeena parkins
31- keith tippett
32- charles gayle
36- rene lussier & the now orchrestra
41- phil minton quartet
44- elliot sharp/zeena parkins

-



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

From: Valkwitch <[e-mail]>
Subject: Re: Sonic Youth / O'Rourke
Date: 06 Feb 1998 01:30:36 -0500

[e-mail] wrote:
>
> Felix said:
> >
> > As anyone out there ever heard the album TV Shit with Yamantaka Eye and
> > Sonic Youth? If so, how's it like?
>
> This post reminded me of the new Sonic Youth I heard this weekend - I DJ
> at a pirate L.A. station on Fridays and the DJ before me is Mike Watt.
> Last Friday I'm driving in and he has a guest DJ on - Thurston Moore -
> who is playing the latest instrumental SY EP (vol. 3).  I found the
> first two a bit boring, but this one is co-credited to Jim O'Rourke; 3
> songs, about 50 minutes of music, and really interesting stuff.  I don't
> think it has been released yet, but all fans of either musician(s)
> should check it out.
> -Mauer
>
> -
    this is now available mail order only, through SYR(sonic youth
records), or more so steve shelley's smells like records, $8 not
including postage...retail release should be any time this month...
haven't listened to it yet but its supposedly pretty quiet as compared
to the first two syr eps, the 1st track is roughly 23 minutes, the 2nd
is about 6, and the last is about 30 minutes...

-



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

From: Valkwitch <[e-mail]>
Subject: Re: TV Shit
Date: 06 Feb 1998 01:34:34 -0500

Peter Cline wrote:
>
> On Sun, 1 Feb 1998, Felix wrote:
>
> > As anyone out there ever heard the album TV Shit with Yamantaka Eye and
> > Sonic Youth? If so, how's it like?
> >
> > BTW, I'm new to the list and I worship John Zorn's music (but then again,
> > don't we all?)
> >
> > Felix, who is realising that most of the good musical artists come from New
> > York.
> > [e-mail]
> >
> This cd I found to be rather uninteresting and disappointing.  It is only
> 9 minutes long and I had expected much more from such a collaboration.
> But hey they can't all be gems.
    yep, this is ep is like an extreme-boredoms-like
scream/noisefest...good to annoy the neighbors...

-



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

From: [e-mail]
Subject: FWD:Want List
Date: 06 Feb 1998 01:49:06 -0700 MST


 ---------- Start of forwarded message ----------

                                                            Message# 639249
                                        Sat, 24 Jan 1998 16:01:50 -0700 MST

Hi there. I'm really interested in checking out some musick by the following
bands listed below, I know not all of them would be considered the style of
this list, but if anybody out there has any of this and could maybe swap me
a tape of some, or just give me a description of what the group is like, I'd
be most appreciative. Thanx. You can email me at [e-mail]

Asha Vida
Azusa Plane
Bevis Frond
Electric Frankenstein
Faust
Flying Saucer Attack
Fretless AZM
Fuxa
Ghost
Glide
Keiji Haino-Fushitsusha
High Rise
The Joykiller
Legendary Pink Dots ( I've only got 2 of their cd's)
Manic Street Preachers
Ruins
Saints
7% Solution
Transient Waves
Wesley Willis
YBO2-Alienation
Yellow Magic Orchestra
Zodiac

-



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

From: Todd Bramy <[e-mail]>
Subject: Sonic Youth/Jim O'Rourke
Date: 06 Feb 1998 02:49:32 -0800

Release date for SYR 3 is March 2.

Todd Bramy
[e-mail]



-



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

From: "Julian" <[e-mail]>
Subject: CD Questions
Date: 06 Feb 1998 23:05:18 +1100

1. Has anyone seen Z-Rock Hawaii by Ween/Eye or Sacrifist by Praxis
anywhere on CD lately? (or alternatively, does anyone have a copy of either
that they would like to sell?)

2. Has anyone heard the new "greatest film music" set of Georges Delerue?
Just wondering what films it's got on it, and whether it'd be worth picking
up... Speaking of Delerue, does anyone know where I could get his
soundtrack to "Contempt"?



-



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

From: Bob Kowalski <[e-mail]>
Subject:  vinyl
Date: 06 Feb 1998 08:35:02 -0500

Tim wrote : "Does anyone out there know wheter Zorn is still putting
things out on vinyl (I still swear by vinyl !!!)..."

I purchased a few years back Torture Garden on lp (still sealed for a
bargain $6.)  Always see Spy vs. Spy and other titles from the
Nonesuch days on lp...but haven't seen not a one Tzadik in anything but
CD.

-=Bob=-

-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: Re: Absinthe
Date: 06 Feb 1998 13:40:49 -0500 (EST)

> I've never tried Absinthe myself but it is said to seriously distort your
> sensory perception of the things around you. I'm glad someone mentioned the
> "Eraserhead" soundtrack on this list. That must be one of the most effective
> soundtracks ever. It adds enormously to the atmosphere of total disorientedness
> and isolation that the movie pervades. Does anyone know whether the soundtrack
> is available on CD?
 Yes.  I have a copy. It's on I.R.S. records.  CD 70027.

It isn't the whole movie on CD, but two 20 minute sections, including
the lady in the radiator song, some of the Fats Waller stuff, and a
whole lotta noise.

-jascha


-



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

From: [e-mail] (Caleb Deupree)
Subject: Re: x-tzadik revue
Date: 06 Feb 1998 14:45:53 -0500

>>>>> "Scott" == Scott Handley <[e-mail]> writes:

    Scott> 5. Li Chin Sung PAST (Tzad)

This opens with grandpa sawing wood, literally.  I still find myself
taken aback by this, it's such an unmusical, untreated noise that
doesn't belong coming out of my speakers.  But it does get musical, at
least in the sense of a bunch of interesting and not readily
identifiable sounds.  Mostly shorter electroacoustic pieces.

    Scott> 8. Fred Frith Anything other than the duos w/H. Kaiser

Frith has a large discography, check out www.fredfrith.com for more
complete info.  His work ranges from slightly off kilter pop (the
original Ralph releases, Gravity, Sleepless, and Cheap at Half the
Price); works for dance (Top of his head, Technology of Tears), free
improv (typically with other people, including Chris Cutler, Derek
Bailey, Zorn).  Early and essential work for me includes the Henry
Cow/Art Bears albums (all of them) as well as Massacre with Bill
Laswell and Fred Maher, a defining power trio for the early downtown
scene.

    Scott> 10.Ikue Mori Anything, on any label (never heard her: I'm
    Scott> nervous about her but so many people I respect love her; I
    Scott> just need an opinion and a description, where possible)

Frith, Mori, and Kato Hideki have an interesting disk Death Ambient,
one of those where you wonder who's playing what.  I'm stunned that
the same instruments created this as most garage rock trios (guitar,
bass, drums).  She also has an album with two guitarists, Quine and
Ribot, Painted Desert, which I found slightly disappointing as a
whole, although it certainly has its moments.  Often the combination
of just guitar & drum machine seemed a little dry, and I think I
remember reading (perhaps on this list?) that she wasn't entirely
pleased with the results.


---
Caleb T. Deupree
;; Opinions are not necessarily shared by management

Computers are useless.  They can only give you answers.
(Pablo Picasso)


-



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

From: david thiel <[e-mail]>
Subject: masada song titles
Date: 06 Feb 1998 17:02:30 +0000

I am wondering if anyone can tell me English translations for Masada
song titles?


-



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

From: Steve Smith <[e-mail]>
Subject: Re: Absinthe
Date: 07 Feb 1998 01:39:11 -0500

Julian wrote:

> I know this has probably been done many times before, but can someone
> describe Absinthe for me?

It tastes kinda like licorice, which I don't like, and it's supposed to
be deadly as well, so I tend to avoid it.  It's got a nice little burn to
it, but so do other things that take a lot longer to kill you.  Honestly,
I don't understand what all the fuss is about.

Oh, you meant the Zorn record?

Steve Smith
[e-mail]
(in a jocular mood after reading the Zorn vs. Miles thread -- raise your
hand if you suspect Miles never even heard of Zorn...)

>
>
> -




-



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

From: "Marc A. Foster" <[e-mail]>
Subject: Re: Absinthe
Date: 07 Feb 1998 17:45:05 -0600

Dark ambient music and sounds. It's very peripheral, sort of puts you in
a disconnected, distorted haze. Lots of weird, droning chords, occasional
huge bass, and Baron doing very non-Baron but still excellent percussion.
There's very little, if any, of the typical ensemble feeling you usually
get from Naked City. I can't find the words to describe it, but I
recommend it without reservation (well, unless you're depression-prone).
Here's a list of stuff that seems to come from the same general place, to
me. If you're familiar with these, it might help you decide or it might
give you some direction in finding similar stuff if you like Absinthe:

Laswell/ Harris- Somnific Flux
Peter Scherer- Cronologia
Mori/ Kato/ Frith- Death Ambient
Painkiller- ambient stuff on Burial Ground
Bill Frisell- "The Lone Ranger" on Before We Were Born
sort of, but really different, too: John Zorn- Elegy

If anyone knows of anything that fits in with what I've listed, I'd love
to hear about it. This is my favorite stuff and the list above is pretty
much all I have. Am I looking for Scorn and just don't know it yet? I
haven't heard them.

maf

Julian wrote:

> I know this has probably been done many times before, but can someone
> describe Absinthe for me?
>
> -




-



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

From: frenesi <[e-mail]>
Subject: Re: Absinthe
Date: 07 Feb 1998 21:07:17 -0800

Marc A. Foster wrote:
>
> Dark ambient music and sounds. It's very peripheral, sort of puts you in
> a disconnected, distorted haze. Lots of weird, droning chords, occasional
> huge bass, and Baron doing very non-Baron but still excellent percussion.
> There's very little, if any, of the typical ensemble feeling you usually
> get from Naked City. I can't find the words to describe it, but I
> recommend it without reservation (well, unless you're depression-prone).
> Here's a list of stuff that seems to come from the same general place, to
> me. If you're familiar with these, it might help you decide or it might
> give you some direction in finding similar stuff if you like Absinthe:
>
> Laswell/ Harris- Somnific Flux
> Peter Scherer- Cronologia
> Mori/ Kato/ Frith- Death Ambient
> Painkiller- ambient stuff on Burial Ground
> Bill Frisell- "The Lone Ranger" on Before We Were Born
> sort of, but really different, too: John Zorn- Elegy
>
> If anyone knows of anything that fits in with what I've listed, I'd love
> to hear about it. This is my favorite stuff and the list above is pretty
> much all I have. Am I looking for Scorn and just don't know it yet? I
> haven't heard them.
>
> maf
>
If you like Somnific Flux you'll love Scorn especially later Scorn such
as Ellipsis and Gyral...Laswell and Harris have put out a large
catalogue of such music under various incarnations...

-



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

From: "Silent Watcher" <[e-mail]>
Subject: Scorn (Was Re: Absinthe)
Date: 07 Feb 1998 22:16:39 PST

 Am I looking for Scorn and just don't know it yet? I
>> haven't heard them.
>>
>> maf
>>
>If you like Somnific Flux you'll love Scorn especially later Scorn such
>as Ellipsis and Gyral...Laswell and Harris have put out a large
>catalogue of such music under various incarnations...
>
I don't necessarily agree with that, although I do love Somnific Flux,
and the later Scorn releases. Somnific Flux is a dark ambient album,
whereas Scorn has been very beat oriented, though still dark in some
respects, since Gyral.

SW

______________________________________________________
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-------------------------------------------------------------------------------

From: Jason Edward Kocol <[e-mail]>
Subject: Eraserhead soundtrack
Date: 07 Feb 1998 22:59:31 -0800

> Does anyone know whether the soundtrack
> is available on CD?
>
> Frankco.

     Yes it is.

-Jason
http://users.lanminds.com/~suburban  -  The  s u b u r b a n  Homepage
http://members.tripod.com/~misterlazy  -  The Music of Mister Lazy

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From:    [e-mail] (Patrick Carey)
Subject: Dark Ambient was (Re: Absinthe)
Date: 08 Feb 1998 10:16:53 -0500

Marc A. Foster wrote:

[Re: Absinthe]
>Here's a list of stuff that seems to come from the same general place, to
>me. If you're familiar with these, it might help you decide or it might
>give you some direction in finding similar stuff if you like Absinthe:

>Laswell/ Harris- Somnific Flux
>Peter Scherer- Cronologia
>Mori/ Kato/ Frith- Death Ambient
>Painkiller- ambient stuff on Burial Ground
>Bill Frisell- "The Lone Ranger" on Before We Were Born
>sort of, but really different, too: John Zorn- Elegy

>If anyone knows of anything that fits in with what I've listed, I'd love
>to hear about it. This is my favorite stuff and the list above is pretty
>much all I have.

For some excellent dark, droning, often speaker-abusing ambient along
the lines of the Laswell/Harris disc, the Painkiller material etc.
check out any of the following:

Lull (Mick Harris' solo incarnation):

 Dreamt About Dreaming (Sentrax/Rawkus)
 Journey Through Underworlds (Sentrax/Rawkus)
 Cold Summer (Sentrax/Subharmonic/Rawkus)
 Continue (Release)
 Way Through Staring LP (Manifold)
 Moments (Release - April '98)

Harris/Bates - "Murder Ballads (Drift)" (MMM)
Harris/Bates - "Murder Ballads (Passages)" (MMM)
Harris/Plotkin - "Collapse" (Asphodel/Sombient)
Null/Plotkin - "Aurora" (Sentrax/Rawkus)
Thomas Koner - all 4 CDs on Barooni, "Nuuk" in the Driftworks box (Big Cat)
Roland Kayn - "Tektra" 4CD (Barooni) plus his other LP sets and CDs.
Alan Lamb - "Primal Image" (Drorobo)
V/A - "Night Passage Demixed" (Ikeda/Koner/Lustmord/Gunter remix Mr. Lamb)
Controlled Bleeding - "The Poisoner" (Soleilmoon)

Lustmord:

 Heresy (Soleilmoon)
 The Place Where The Black Stars Hang (Side Effects)
 Paradise Disowned (Side Effects)
 The Monstrous Soul (Side Effects)
 Stalker (w/ Robert Rich) (Fathom)

Final (Justin Broadrick):

One (Sentrax/Subharmonic/Rawkus)
Two (Sentrax/Rawkus)
Solaris (Alleysweeper)
The First Millionth Of A Second (Manifold)

Francisco Lopez:

Untitled Music for Geography (label ??)
Belle Confusion 966 (Trente Oiseaux)
Azoic Zone (Asellus/Geometrik)
Untitled 74 (Table Of The Elements)
etc. ...

Some others ...

Laswell/Inoue, Laswell/Sharp (2nd track), Death Cube K, Tactile,
Bernhard Gunter, Yen Pox, Caul, Maeror Tri, Inade, Robert Rich,
Zoviet France, Seed Mouth, Mandible Chatter, Jliat etc.



My apologies for the lack of JZ related info ...


-Patrick







-



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

From: Tom Pratt <[e-mail]>
Subject: vinyl zorn
Date: 08 Feb 1998 10:34:13 -0500

I actually just picked up a very mint condition vinyl copy of 'The Big
Gundown' which I may be interested in selling...

                -Tom Pratt

-



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

From: Tom Pratt <[e-mail]>
Subject: Zorn in Downbeat
Date: 08 Feb 1998 13:11:56 -0500

There is quite a bit of Zorny stuff in the latest Downbeat (March '98).
There is a review of Zorn/Previte's 'Euclid's Nightmare', there are two
gripes over the recent Bacharach tribute shows (one submitted by Erik
Friedlander), and there are articles on Cuong Vu and Mat Maneri and some
other stuff. Pretty good issue...

                -Tom Pratt

-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Absinthe
Date: 08 Feb 1998 19:57:36 -0500 (EST)



On Sat, 7 Feb 1998, Marc A. Foster wrote:

> Laswell/ Harris- Somnific Flux
> Peter Scherer- Cronologia
> Mori/ Kato/ Frith- Death Ambient
> Painkiller- ambient stuff on Burial Ground
> Bill Frisell- "The Lone Ranger" on Before We Were Born
> sort of, but really different, too: John Zorn- Elegy

The second Divination album _Dead Slow_ is pretty close in feel to
_Somnific Flux_ and the ambient Painkiller mixes, although it's a bit more
beat-driven (less so than what I've heard of Scorn).  Not so
coincidentally, it also features Laswell and Harris.

Chris Hamilton


-



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

From: david thiel <[e-mail]>
Subject: BANG A RECORDING INSPIRED BY ZORN AND LAWSWELL.
Date: 08 Feb 1998 21:16:18 +0000

I recorded a CD of Dark Ambient collage music. If anyone is interested I
would send a copy of CD to you if you help me out with postage and
handling. I Would like people to listen to it (I have a lot of copies
left). Here is a review about the CD from a local paper - It's hard to
know where to begin. This a CD that I was expecting to be a little too
much for me to handle.Sometimes the term " experimental noise" tends to
intimidate me (as does the term "dried fruit"). BANG is brillant. Not
unlike SUN RA,  Thiel is the conductor of his own universe. BANG takes
noise beyond the ear asnd turns it into a dripping three-dmensional
crayola hallucination. That is only the beginning. It leaves you with a
distinct aftertaste of every emotion, every feeling is completely
discernible to the bone.leaving the listener to slide and wade though
innocence, fear, guilt, extension, rejection, affection, enlightenment,
joy and sorrow as it mixes itself with ecstasy.-----
The review continues but I think you get the idea.


-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: BANG A RECORDING INSPIRED BY ZORN AND LAWSWELL.
Date: 08 Feb 1998 20:35:20 -0500

david thiel wrote:
>
> I recorded a CD of Dark Ambient collage music. If anyone is interested I
> would send a copy of CD to you if you help me out with postage and
> handling. I Would like people to listen to it (I have a lot of copies
> left).

A snailmail address would help!
--
---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|

-



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

From: Steve Smith <[e-mail]>
Subject: Dave in Jazz Times and Jazziz [Re: Zorn in Downbeat]
Date: 09 Feb 1998 00:22:09 -0500

Tom Pratt wrote:

> There is quite a bit of Zorny stuff in the latest Downbeat (March '98).

The March Jazz Times has a fine Dave Douglas article that's worth perusing.
And some time in the coming week you'll be seeing the March Jazziz with Dave
on the cover and a review of, among other things, Tim Berne's Paraphrase
disc.

Speaking of Berne press (unsolicited plug alert!), you can see quite a lot
of it on the "Press" page of the Screwgun website, including the first
interview I've seen with Jim Black (and it's a nice one):
http://home.sprynet.com/sprynet/ssmith36/mainpage.htm

Steve Smith
[e-mail]


-



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

From: "John Q Citizen" <[e-mail]>
Subject: Re: Delerue S/Ts (was: CD Questions)
Date: 08 Feb 1998 23:05:25 PST

>From: "Julian" <[e-mail]>
>Fri, 6 Feb 1998 23:05:18 +1100
>
>2. Has anyone heard the new "greatest film music" set of Georges
Delerue?
>Just wondering what films it's got on it, and whether it'd be worth
picking
>up... Speaking of Delerue, does anyone know where I could get his
>soundtrack to "Contempt"?
>
I've seen a disc (on Varese Sarabande?) of Delerue's music for films by
Francois Truffaut, but didn't know about "greatest film music".

As for "Contempt"; I'd likewise be real happy to get any details of a
disc re-issue...


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

From: "John Q Citizen" <[e-mail]>
Subject: Re: Jack Smith
Date: 08 Feb 1998 23:35:51 PST

(Jack Smith gets a dedication on one of the NC Discs; either Heretic or
Grand Guignol, I fergit (and no relation to fellow dedicatee Harry))

I read on the W/E that a film of Jack Smith's, "I was a male Yvonne
Decarlo", will be screening at this year's Berlin Film Festival (right
about now, if any Deutsch listers are interested).

And I was thinking; after my posting about Les Baxter and Sun Ra, that
there's a sentimental reason why Zorn might've honoured the Baxter
complication in his year's best list. Jack Smith, a friend to the
youthful Zorn, apparently played Baxter recs as his music-of-choice in
the Arabian Nights -themed surrounds of his apartment.

I caught Jack Smith's "Flaming Creatures" a few years back; a wonderful
and corrosive thing; great proto found-sound/cut-up score using some
really snappy Tango 78s. And Smith shared the soundtrack credit with !
Tony Conrad!!

Now a friend tells me Conrad will be releasing two discs of Jack Smith's
work before very long - soundtracks, readings, etc. I'm looking forward!

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

From: Yves Dewulf <[e-mail]>
Subject: Funny Games
Date: 09 Feb 1998 10:23:24 +0100


A review of the 1997 movie "Funny Games" by Austrian Director Michael Haneke
mentions the usage of "some very scary music by John Zorn".
More information? Is this unreleased music ?

YVes

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

From: ¡█ªP╛╟ <[e-mail]>
Subject: Re: Funny Games
Date: 09 Feb 1998 02:51:13 -0700

At 10:23 AM 2/9/98 +0100, Yves Dewulf wrote:
>
>A review of the 1997 movie "Funny Games" by Austrian Director Michael Haneke
>mentions the usage of "some very scary music by John Zorn".
>More information? Is this unreleased music ?

  That song is  "Bonehead" from Naked City's 'Torture Garden'.



-



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

From: ¡█ªP╛╟ <[e-mail]>
Subject: Re: Funny Games
Date: 09 Feb 1998 02:52:47 -0700

At 10:23 AM 2/9/98 +0100, Yves Dewulf wrote:

>A review of the 1997 movie "Funny Games" by Austrian Director Michael Haneke
>mentions the usage of "some very scary music by John Zorn".
>More information? Is this unreleased music ?

 That song is  "Bonehead" from Naked City's 'Torture Garden'.

  shihlun


-



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

From: BJOERN <[e-mail]>
Subject: Re: Funny Games
Date: 09 Feb 1998 11:03:36 +0100 (MEZ)



On Mon, 9 Feb 1998, Yves Dewulf wrote:

>
> A review of the 1997 movie "Funny Games" by Austrian Director Michael Haneke
> mentions the usage of "some very scary music by John Zorn".
> More information? Is this unreleased music ?

nope...this was two tracks from Torture Garden...guess one of them was
Hammerhead (not too sure)

BJOERN

-



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

From: "Doug McKay" <[e-mail]>
Subject: Eric Dolphy
Date: 09 Feb 1998 04:27:39

Just a note so say I finally picked up OUT TO LUNCH, along with Mingus LIVE
IN PARIS with Dolphy, on the Revenge label. I've been listening to them
both repeatedly since I got them Saturday evening. Finally had to put on
some Ravel and Debussy quartets just to take a break from it all.

But Dolphy is definitely great! Next stop: Ornette's SHAPE OF JAZZ TO COME.
My plan for Coltrane is to go with those that have Dolphy on them first.
Then there's Mingus, too, now. I love having all this new (old) music to
buy.

Doug McKay
In Minnesota





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

From: "p.rice" <[e-mail]>
Subject: Re: vinyl issues ?
Date: 09 Feb 1998 14:35:49 +0000

hola tim!

i don't know if zorn is still putting out stuff on vinyl.
however, i have the following zorn related titles on good ol' vinyl:

john zorn - archery
zorn / bailey / lewis - yankees
various - tribute to thelonious monk
john zorn + michihiro sato - ganryu island
john zorn - big gundown
john zorn - spillane
naked city - naked city (at least two titles that are on the cd release
are not included here)
naked city - torture garden
mr. bungle - mr. bungle
painkiller - guts of a virgin

(plus some others i can't remember right now...; i'll check my
collection some time.)

maybe this helps a little bit...

patRice


Tim Schelfhout wrote:
>
> Hello there,
>
> Does anyone out there know wheter Zorn is still putting things out on
> vinyl (I still swear by vinyl !!!).  Maybe someone has a list of Zorn
> records that appeared on vinyl and more precisely if the Zorn/Patton
> collaboration 'Minor swing' was ever put out on vinyl.
>
> Thanks
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com
>
> -

-



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

From: Brent Burton <[e-mail]>
Subject: Re: Funny Games
Date: 09 Feb 1998 10:21:34 -0500 (EST)

On Mon, 9 Feb 1998, Yves Dewulf wrote:

> A review of the 1997 movie "Funny Games" by Austrian Director Michael Haneke
> mentions the usage of "some very scary music by John Zorn".
> More information? Is this unreleased music ?

i saw haneke's film @ the hirshorn gallery here in d.c. a few months ago
and while i'm not sure exactly which recording the songs were culled
from, the music was most definitely by naked city (fast hardcore style,
with eye screaming lead).  i guess it could have been from the middle of
_naked city_ or anything off _torture garden_.

b

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

From: Matt Moffett <[e-mail]>
Subject: Zorn and Avant Pop
Date: 09 Feb 1998 11:15:40 -0500

I just picked up a new collection of fiction entitled _After Yesterday's
Crash...The Avant Pop Anthology_.  It's a good collection from both
popular (Sterling, Gibson) and "literary" writers (Delillo, Auster) all
focusing on the utilization of pop motifs in short fiction.  The opening
essay by the editor Larry McCaffery goes into a connection between this
style and musical works by people like Zorn, Chadborne, and Lester Bowie
(particularly looking at Spillane).  If people are interested I can type
up the appropriate sections.  I didn't want to clutter the list if no
one had any interest.

Matt


-



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

From: "Scott Handley" <[e-mail]>
Subject: Re: Jack Smith
Date: 09 Feb 1998 08:11:01 PST


>there's a sentimental reason why Zorn might've honoured the Baxter
>complication in his year's best list. Jack Smith, a friend to the
>youthful Zorn, apparently played Baxter recs as his music-of-choice in
>the Arabian Nights -themed surrounds of his apartment.

This is a tidbit I had no idea of!  Where did you learn this?  The
extent of my knowledge about JZ's youth and early development comes from
a few liner notes and maybe a few comments ina n interview or two
(Santoro, Francis Davis, William Duckworth, a snippet from Esquire [!],
the usual).  I did not realize the Smith/Zorn relationship was a
personal one.  Biographical sources, anyone?

KSH

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

From: "Scott Handley" <[e-mail]>
Subject: Re: Zorn and Avant Pop
Date: 09 Feb 1998 08:23:51 PST

  If people are interested I can type
>up the appropriate sections.  I didn't want to clutter the list if no
>one had any interest.
>
>Matt

Sounds great, Matt!  Even if nobody else says anything, I'm very
interested.  By the way, for the public:

I may be stretching, but I have this creepy feeling there's a Zorn/Paul
Auster connection.  I was checking out a book of essays called THE ART
OF HUNGER recently and P.A. mentions his friend 'S' the composer, who
lives in "just about the smallest space I've ever seen" (this is a
radically paraphrased quote, as I do not have the book with me).  This
was in an interview included in the book. Just thought I would throw
that out; if you think it's ridiculous, you can throw it out, too.

I love you all

KSH


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-



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

From: louie <[e-mail]>
Subject: new frisell
Date: 09 Feb 1998 09:36:41 -0700

just got the new frisell cd "gone...just like a train" just guitar,
drums and bass. so straightforward. has some overtones of "nashville".
i would highly recommend it.
i'm still having trouble convincing my friends this is the same guitar
player from the naked city projects!
-louie

-



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

From: Richard E Ladew <[e-mail]>
Subject: WUNH DURHAM 91.3fm Modern Jazz/Avant-Garde Top 10 Feb.9 1998
Date: 09 Feb 1998 11:41:01 -0500 (EST)

PCP House Of Coffee
WUNH Durham 91.3fm
Top 10 for Monday Feb 9, 1998

(Artist)
(title)
(Label) (weeks on chart)

1.Bobby Previte's Latin for Travellers
 "My Man in Sydney"
  Enja records (1)
2. Mike Patton
"Ford Mustang" (from Various Artists:Great Jewish Music: Serge Gainsbourg)
Tzadik records (1)
3.  Bill Frisell
"Gone Just Like A Train"
Nonesuch records (1)
4.John Zorn
"the Parachute Years" (7Xcd)
Tzadik records (1)
5.Brad Shepik and the Commuters
"The Loan"
Songlines records (1)
6.  Ruins
"Refusal Fossil"
Skin Graft (1)
7.  Prajna
"Postmodernism"
Eclectic records (1)
8.  John Linberg Ensemble
"Bounce"
Black Saint records (1)
9.  Fred Hersch
"'Round Midnight"
Nonesuch records (1)
10.  Phillip Glass
"Kundun SNDTK"
Nonesuch records (1)

This is the first week so bear with me.  Ireport the air play of things
played on My PCP houseof coffee show (2 hours every Tuesday night from
10-midnight EST.; The 2hour modern Jazz show on Monday night, and general
play throughout the week by our dj's.  If you know anyone who would like
to be sent charting info, please have them send me an e-mail.

Much Respect,

Rich Ladew
[e-mail]


-



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

From: Perfect Sound Forever <[e-mail]>
Subject: Re: x-tzadik revue
Date: 09 Feb 1998 11:49:02 -0500

> Date: Fri, 6 Feb 1998 14:45:53 -0500
> From: [e-mail] (Caleb Deupree)

> >>>>> "Scott" == Scott Handley <[e-mail]> writes:
>     Scott> 10.Ikue Mori Anything, on any label (never heard her: I'm
>     Scott> nervous about her but so many people I respect love her; I
>     Scott> just need an opinion and a description, where possible)
>
> Frith, Mori, and Kato Hideki have an interesting disk Death Ambient,
> one of those where you wonder who's playing what.

I'd also recommend her solo CD GARDEN- amazing what she's able to do with drum
machines and samples.

> She also has an album with two guitarists, Quine and
> Ribot, Painted Desert, which I found slightly disappointing as a
>

Her playing is a little subdued compared to what she's done elsewhere- still, it's a
good place to hear Ribot and Quine let loose.

Jason
--

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



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Zorn and Avant Pop
Date: 09 Feb 1998 09:18:41 -0800


On Mon, 09 Feb 1998 08:23:51 PST  "Scott Handley" wrote:
>
>   If people are interested I can type
> >up the appropriate sections.  I didn't want to clutter the list if no
> >one had any interest.
> >
> >Matt
>
> Sounds great, Matt!  Even if nobody else says anything, I'm very
> interested.  By the way, for the public:
>
> I may be stretching, but I have this creepy feeling there's a Zorn/Paul
> Auster connection.  I was checking out a book of essays called THE ART
  ^^^^^^


Wow!!! At last!!! I saw Zorn at the Cooler two years ago. He was talking
to somebody at the bar that sounded familiar. Stupidly, I went to the
person thinking he was Marc Ribot... He told me he was not Marc, and I
vanished immediately, my face totally red.

The problem is that I really knew that face. Few days after, the click
came: this man looked exactly like Paul Auster. I asked few people
about that but never got an answer.

> OF HUNGER recently and P.A. mentions his friend 'S' the composer, who
> lives in "just about the smallest space I've ever seen" (this is a
> radically paraphrased quote, as I do not have the book with me).  This
> was in an interview included in the book. Just thought I would throw
> that out; if you think it's ridiculous, you can throw it out, too.

Now I am pretty sure that it was him!

    Patrice.

-



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

From: Geert Buelens <[e-mail]>
Subject: Re: Zorn and Avant Pop
Date: 09 Feb 1998 18:50:15 +0100 (MET)


> I may be stretching, but I have this creepy feeling there's a Zorn/Paul
> Auster connection.  I was checking out a book of essays called THE ART
> OF HUNGER recently and P.A. mentions his friend 'S' the composer

This collection, if I remember correctly, also contains an insightfull
essay on the Jewish poet Paul Celan; last year at a Radical Jewish Culture
Festival in Leuven, Anthony Coleman said that he and Zorn were very into
reading Celan... (Or is this just another case of paranoia?)

geert


-



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

From: [e-mail] (Geoff S Gersh)
Subject: dark ambient
Date: 09 Feb 1998 14:07:50 EST

hello everyone......

with all this talk of dark ambient music I thought I might as well
promote my band's upcoming show at the Knit. :)

Straylight- electro-acoustic improv. trio
Geoff Gersh - guitar
Charles Cohen - Analog Buchla synth
Jason Finkelman - berimbau, riti, percussion

in the Alterknit  Wed. Feb 11th....7pm

the music moves from  dark, droney, textural music to  grooves inspired
by traditional brazilian/african rhythms.....and much more

If your in the NY area, you can get a little sample on the Village Voice
Club Land.
Call 212-598-0627,when you connect press 2....then LITE(5483)

Geoff

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

From: [e-mail]
Subject: Fwd: Jack Smith
Date: 09 Feb 1998 13:51:40 EST

This is a multi-part message in MIME format.

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If you live in the NYC area, I urge you to take a visit to PS 1 in Long Island
City. They have the first ever retrospective of Jack's work. Photos, costumes,
writing, films and audio with Jack and Tony Conrad in conversation. Very wild
and funny. Go!

--part0_887050304_boundary--

-



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

From: Jason Tors <[e-mail]>
Subject: PS1
Date: 09 Feb 1998 13:15:25 -0700

I second knutboy on this one. If you have even a minimal interest in art,
this museum will blow you away. I like to think of it as primarily a
playground with art. Jack Smith exhibit is great, a tribute to avate garde
preformance art, andy warhol gone zorn in a sweet abrasive poke at fashion.
The John Coplands retrospective is ominous in both size, style, and impact.
He is an old man that takes pictures of his wrinkled body reproduced three
times larger than life. Walls that sweat, videos in the floorboards, green
hall lights that yell and chant, image projectors in the hallways,
instalations exploding out of walls, a slice of a house, the boiler room,
video art, heated ladders, and much much more. If the MET or the MOMA  bore
you, this museum is for you!
Take the E train over the east river and it is your first stop. Ely Ave and
23rd street, ask for it by name.



-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: Re: Absinthe
Date: 09 Feb 1998 18:51:57 -0500 (EST)

> Laswell/ Harris- Somnific Flux
> Peter Scherer- Cronologia
> Mori/ Kato/ Frith- Death Ambient
> Painkiller- ambient stuff on Burial Ground
> Bill Frisell- "The Lone Ranger" on Before We Were Born
> sort of, but really different, too: John Zorn- Elegy
>
> If anyone knows of anything that fits in with what I've listed, I'd love
> to hear about it. This is my favorite stuff and the list above is pretty
> much all I have. Am I looking for Scorn and just don't know it yet? I
> haven't heard them.

scorn don't excite me that much...they're a little too static for a
dubby-type project.  The remix album is pretty cool, though, with mixes by
Autechre among others.

Other dark, atmospheric projects i've heard:

THE HAFLER TRIO: absolutely amazing electro-acoustic/electronic studio
manipulation stuff.  My favorites are 'masturbatorium', 'fuck', 'mastery
of money'...i've heard that 'kill the king' is good, but i've never heard
it.  Early stuff is being reissued on golden hammer, but it's not as
sophisticated.

THOMAS KONER: this is one guy who makes all his music with drones created
from gongs, cymbals and delay/reverb boxes.  Very chilly, arctic
atmosphere, with very cool action happening in the harmonics and
window-rattling bass.

NURSE WITH WOUND are sometimes very silly, but also have their more spooky
moments.  'Soliloquies for lilith' is very sprawling.  Other stuff is more
jump-cutty, strange tape collage stuff.

and on and on...

-jascha


-



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

From: Mike Shepherd <[e-mail]>
Subject: CD Sale!
Date: 09 Feb 1998 22:36:09 -0600 (CST)

Okay, this is my last CD sale.  Just a few more items that might be of
interest to the list.  All prices as listed, postage paid, first come,
first served, etc.

Arto Lindsay Trio - "Aggregates 1-26" w/Melvin Gibbs and Dougie Bowne $10

Joey Baron - "Down Home" w/Bill Frissell, Ron Carter, etc. $10

Ornette Coleman Double Quartet - "Free Jazz" $7

Ellery Eskellin - "One Great Day . . ." w/Andrea Parkins and Jim Black $7

There you go.  Please respond privately.  I apologize for the unwelcome
capitalistic interjection, but we starving college students gots to pay
tha bills.  - Mike



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

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



-



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

From: "John Q Citizen" <[e-mail]>
Subject: Re: Jack Smith
Date: 09 Feb 1998 23:32:11 PST

>>there's a sentimental reason why Zorn might've honoured the Baxter
>>complication in his year's best list. Jack Smith, a friend to the
>>youthful Zorn, apparently played Baxter recs as his music-of-choice in
>>the Arabian Nights -themed surrounds of his apartment.
>
>This is a tidbit I had no idea of!  Where did you learn this?  The
>extent of my knowledge about JZ's youth and early development comes
from
>a few liner notes and maybe a few comments ina n interview or two
>(Santoro, Francis Davis, William Duckworth, a snippet from Esquire [!],
>the usual).  I did not realize the Smith/Zorn relationship was a
>personal one.  Biographical sources, anyone?
>
I think I read about this in the Zorn interview in Col Gagne Soundpieces
2 (is that its called? Anyway,) Dunno how close they were, but Zorn has
said Smith was inspirational to him, by constructing the whole milieu
that he lived in: wearing pantaloons and a turban, drinking turkish
coffee, etc. Y'know; just generally ignoring prevailing social mores,
and taking a more creative approach to life.

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

-



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

From: Matt Moffett <[e-mail]>
Subject: Zorn and Avant Pop (the essay)
Date: 10 Feb 1998 10:12:47 -0500

It seems people are interested, so here are the pertinent parts of the
essay.  As far as a JZ/Auster connection, I know Auster has a new
autobiography out....when I get around to it maybe I'll find some
references in there.

________________________________________________________________________
Tune Town:The Birthplace of the Term Avant-Pop
  I've borrowed the term _Avant-Pop_ from the title of a 1986 album by
Lester Bowie, the great jazz trumpet player and composer best known for
his work with the wildly inventive Art Ensemble of Chicago.  Listening
to the way Bowie used the basic structures and "content" of such
familiar pop tunes as "Crazy" and "Blueberry Hill" as a springboard for
producing a collaborative, improvisatory new work was instrumental (no
pun intended) in my beginning to think about what I was later to term
the Avant-pop phenomenon.  It immediately occured to me that such
methods were analogous to those being used in postmodern fiction, for
example, in Kathy Acker's "rewrites" of classic novels (eg., _Great
Expectations_ and _Don Quixote) or in various "cover versions" of myths,
Biblical stories, and fairy tales by Donald Barthelme, Robert Coover,
John Barth, and Steve Katz.  In the case of Bowie's _Avant-pop_, the
results of this collaborative approach to earlier material were at once
zingingly ironic and funny, yet also genuinely expansive.
   In this regard, Bowie's approach to composition is exemplary of
Avant-pop aesthetics generally: here was an artist who assumed in
advance his audience's familiarity with what Robert Coover has called
the "mythic residues" of society: those shards of cultural memory and
artifice that simultaneously help organize our responses to the world
and tyrannically limit the options of those responses.  Bowie, like
Coover and other Avant-pop artists, doesn't ask his audience to attempt
to deny or ignore these elements (inevitably a fruitless task since
society requires such materials); nor does he introduce them either as
something merely to be mocked, parodied, or re-represented in the
neutral, celebratory manner of Andy Warhol or with the ironic distance
of more recent appropriation artists like Sherri Levine.  What people
need to do instead, as Bowie implies, is recognize that these glitzy,
kitschy, easily consumable pop materials are a rich source of raw
material whose elements can be explored, played with, and otherwise
creatively transformed.  Like John Zorn, Eugene Chadbourne, and several
other important Avant-pop musicians who were working at the boundaries
of jazz and pop music at about this time, Bowie showed how artists could
use "public" materials for sustained improvisational purposes.  Such
materials, while normally seen as being fixed or confined in terms of
their "meaning" and arrangement, actually contain an inexhaustible
source of hidden resonances and recombinatory arrangements.  In short,
Bowie had suggested how to put Avant into Pop Art.
________________________________________________________________________

   McCaffery goes on to make a couple of references toward Mtv,
cartoons, and the music of NWA.  In my opinion, he mistakenly overlooked
connections to industrial, techno and audio collage artists, but other
than that it's a great essay. I apologize for the length for all those
not interested, and hopefully this will spark some sort of discussion.

Matt



-



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

From: Mike Shepherd <[e-mail]>
Subject: re: CD Sale.
Date: 10 Feb 1998 16:08:38 -0600 (CST)

All the cds I offered up for sale are already spoken for.  Just thought
that I would let you all know. - Mike

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

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



-



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

From: [e-mail]
Subject: Re: STRAYLIGHT recorded works
Date: 10 Feb 1998 18:49:27 EST

is there any recorded work by STRAYLIGHT???
if anyone records this Full Moon show at the Knit
PLEASE get in touch
w/ me off list..
Thanks
Frank
WOMBAT
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
    "You're not musicians.You're Tone Scientists"
                        SUN  RA
******************************************************************************
********************

-



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

From: david thiel <[e-mail]>
Subject: MASADA SHOW 10/10/94
Date: 10 Feb 1998 22:00:09 +0000

I went to see MASADA play at Buffalo State College 10/10/94 in a very
small auditorium. I have heard that the college had a PA system for the
group but Zorn had told them to take down the PA because for a room that
small he would rather play without amplification. The group played the
show acoustically ( which everyone seemed to enjoy except Greg Cohen on
bass). Some pieces I remember them playing are from ALEF. Here are the
ones I remember JAIR, BITH ANETH, TZOFEH, ASHNAH, DELIN, and JANOHAH. It
was a great concert with only about 30 people there to witness how great
they played. I remember ASHNAH being very haunting as the 2nd set
opener.
If anyone has a tape of this show or any other MASADA shows  I would
love to one get some.


-



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

From: Yves Dewulf <[e-mail]>
Subject: Painkiller/Keiji
Date: 11 Feb 1998 09:47:07 +0100


For those wondering what Haino Keiji is doing on the Painkiller-box:
On the first CD there's a bonus-track : Marianne, featuring Makigami Koichi
(vocals) and Haino Keiji (guitar).

YV




-



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

From: DR S WILKIE <[e-mail]>
Subject:       akchote
Date: 11 Feb 1998 11:31:48 GMT0BST

anyone heard of a guitarist called Noel Akchote? he's got a
forthcoming cd on Winter & Winter called "lust corner" - duets with
Ribot and Chadbourne...

-



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

From: Scott Russell <[e-mail]>
Subject: Re: akchote
Date: 11 Feb 1998 12:47:25 +0000

--MimeMultipartBoundary
Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353"
Content-Transfer-Encoding: 7bit



DR S WILKIE wrote:

> anyone heard of a guitarist called Noel Akchote? he's got a
> forthcoming cd on Winter & Winter called "lust corner" - duets with
> Ribot and Chadbourne...
>
> Sean

This disc is actually out. I bought it last week. It's a collection of
guitar duets, half with Ribot, half with Chadbourne. I've only listened
to it a couple of times but I reckon it's pretty good. There are about 4
Ornette tunes on it, the usual mix of improv tweezing and plinking, some
rock type riff stuff and a Chadbourne C&W song. Chadbourne is mostly on
'serious' form and Ribot is pretty much his usual self-which is no bad
thing. I know next to nothing about Akchote except that he's done some
stuff with Derek Bailey (I think) and Fred Frith amongst others. The
notes list his previous associations but only John Abercrombie springs
to mind at present.

The disc is another beautifully packaged Winter & Winter item,
accompanied by lush photographs (landscapes and nudes) by a Japanese
photographer who's name escapes me just now. The only reservation I have
about W&W stuff is the cd carrying envelope, which looks to me like it
will shred through use.

Scott Russell


--MimeMultipartBoundary--

-



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

From: "A.Bueno" <[e-mail]>
Subject: Re: Ribot`s cubanos
Date: 11 Feb 1998 10:16:47 -0300

A.Bueno wrote:
>
> Can anybody of you tell me which musicians play in Marc Ribot`s
> "Los Cubanos" group?.
>                   Thank you A.Bueno

I apologize for the insistence .If any of you can help me,thank you
again.

Does anyone have a catalog of releases on the Winter & Winter label?.

   A.Bueno

-



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

From: "PAM J SCHUTH" <[e-mail]>
Subject: Re: Painkiller/Keiji
Date: 11 Feb 1998 07:47:11 -0600


-----Original Message-----


>
>For those wondering what Haino Keiji is doing on the Painkiller-box:
>On the first CD there's a bonus-track : Marianne, featuring Makigami Koichi
>(vocals) and Haino Keiji (guitar).

So do you have the Painkiller box set?.  Unless Tzadik ships it to you right
now, other stores won't have it untill Feb. 17.  Any ways, im still a bit
confused about what is in the set.  I know buried secrets and Guts are in
their.  Which execution ground is included?  I know there is a 3 cd version
and that would already total 5 discs.  To make a COMPLETE studio set, they
would have to include live in Japan, making the set have 6 discs.  so what
exactly is in this 4 -disc box set?  The web site didn't exactly clear this
up for me.
Thank you,
Jeff



-



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

From: Yves Dewulf <[e-mail]>
Subject: Re: Painkiller/Keiji
Date: 11 Feb 1998 15:06:28 +0100


> So do you have the Painkiller box set?.  Unless Tzadik ships it to you right
> now, other stores won't have it untill Feb. 17.  Any ways, im still a bit
> confused about what is in the set.  I know buried secrets and Guts are in
> their.  Which execution ground is included?  I know there is a 3 cd version
> and that would already total 5 discs.  To make a COMPLETE studio set, they
> would have to include live in Japan, making the set have 6 discs.  so what
> exactly is in this 4 -disc box set?  The web site didn't exactly clear this
> up for me.

  I found the set already yesterday at a local record-store (together with
  Filmworks 1997).

In the Box are:

  Disc Zero : Guts of a Virgin/Burried Secrets/Marianne
    (so both E.P.'s are on 1 CD)
    Marianne is a bonus track from a record by Makigami Koichi
  Disc One: Execution Ground
  Disc Two: Execution Ground Ambient
  Disc Three: Live in Osaka (The third disc of the 3 CD version of E.G.)

YVes



-



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

From: [e-mail]
Subject: Re[2]: Painkiller
Date: 11 Feb 1998 14:14:51 UT


<<
So do you have the Painkiller box set?.  Unless Tzadik ships it to you right
now, other stores won't have it untill Feb. 17.  Any ways, im still a bit
confused about what is in the set.  I know buried secrets and Guts are in
their.  Which execution ground is included?  I know there is a 3 cd version
and that would already total 5 discs.  To make a COMPLETE studio set, they
would have to include live in Japan, making the set have 6 discs.  so what
exactly is in this 4 -disc box set?  The web site didn't exactly clear this
up for me.
Thank you,
Jeff
>>

This is how it was explained to me, and I do not have the set, so I am no
expert:

Disc 1: The first two Painkiller albums on one disc (plus, apparently, bonus
tracks?)

Disc 2/3: Execution Ground
Disc 4: The live set included in the Toy Factory 3disc release of Execution
Ground.

I dunno about the timing of the first two discs, but it seemed to make sense to
me.  Of course, I've been jonesing for the Toy Factory release for ages, so it
may just be wishful thinking on my part.

Peter

-



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

From: "Joe the Shmoo" <[e-mail]>
Subject: Re: Winter&Winter
Date: 11 Feb 1998 06:55:58 PST


>
>The disc is another beautifully packaged Winter & Winter item,
>accompanied by lush photographs (landscapes and nudes) by a Japanese
>photographer who's name escapes me just now. The only reservation I
have
>about W&W stuff is the cd carrying envelope, which looks to me like it
>will shred through use.
>
>Scott Russell

Where did you get your W&W CD?  I've been wanting to get the Big Satan
and (I think) the new D. Douglas String album, among others.  Downtown
Music Gallery said they wouldn't be in till May (?).

KSH


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

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: akchote
Date: 11 Feb 1998 08:17:53 -0800


On Wed, 11 Feb 1998 11:31:48 GMT0BST  DR S WILKIE wrote:
>
> anyone heard of a guitarist called Noel Akchote? he's got a
> forthcoming cd on Winter & Winter called "lust corner" - duets with
> Ribot and Chadbourne...

He is young French guitarist dedicated to free improv. He has been
recording recently some duos with Fred Frith and Derek Bailey (on the
Rectangle label -- 10" vinyl only).

    Patrice.

-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Painkiller/Keiji
Date: 11 Feb 1998 09:17:46 -0800 (PST)

On Wed, 11 Feb 1998, Yves Dewulf wrote:

> In the Box are:
>
>   Disc Zero : Guts of a Virgin/Burried Secrets/Marianne
>     (so both E.P.'s are on 1 CD)
>     Marianne is a bonus track from a record by Makigami Koichi
>   Disc One: Execution Ground
>   Disc Two: Execution Ground Ambient
>   Disc Three: Live in Osaka (The third disc of the 3 CD version of E.G.)

ah, so "Rituals (live in Japan)"
is not included at all. too bad.

hasta.

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


-



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

From: "David J. Strauss" <[e-mail]>
Subject: Buy CDs?
Date: 11 Feb 1998 13:12:30 -0500 (EST)


I apologize if I've sent a message along these lines already; I don't
believe I have before. Anyway, I have a huge list of CDs/LPs for
sale/trade, including the following:

Brian Ales -- Creature of Habit (Feldman/Rojas)
Marilyn Crispell/Irene Schweizer--Overlapping Hands: Eight Segments
Otomo Yoshihide -- Sound Factory (1997)

The list can be found at http://pages.nyu.edu/~djs2852/ +

DS
[e-mail]


-



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

From: "Petsitter" <[e-mail]>
Subject: Re: Painkiller/Keiji
Date: 11 Feb 1998 16:17:02 -0600


-----Original Message-----
Cc: a record swap meet full of stamp collectors <[e-mail]>


>On Wed, 11 Feb 1998, Yves Dewulf wrote:
>
>> In the Box are:
>>

>ah, so "Rituals (live in Japan)"
>is not included at all. too bad.
>
Yeah whats the deal, when will we see a re-release of this impossible to
find disc?
>
>-
>


-



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

From: chad edwards <[e-mail]>
Subject: New Mr. Bungle?
Date: 11 Feb 1998 14:36:25 -0800 (PST)






  Say, does anyone out there in computer land know
any word about Mr.Bungle's future release and when
exactly it will be available?

 I need to know. Its important.

    Thanks...really,
               Chad D. Edwards
               (on the internet)
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: C E DANGELO <[e-mail]>
Subject: Painkiller
Date: 11 Feb 1998 15:40:59 -0800 (PST)

What's the easiest (cheapest) way to get a copy of the painkiller
box-set to Victoria, BC (Western Canada)? I don't think my local record
store is going to bring in Tzadik releases anymore. I am anxious to hear
the set as I've never been able to find anything by Painkiller for sale
around here. Please help!

cappyd (in the Great White North)

P.S. any good shows coming to Vancouver/Victoria/Seattle?


-



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

From: Joshua A Miller <[e-mail]>
Subject: bmg-they know their stuff.
Date: 11 Feb 1998 16:59:50 -0800 (PST)

i just got my wonderful new bmg music service membership package. they put
all this "jazz club" crap in it, which is good and fine. included was
their list of "landmark" jazz albums, each with a short description.
included in this vaunted category were 'the shape of jazz to come' and (to
my surprise) 'naked city.'
here's something from the notes on 'the shape of jazz to come'-
"...this record was used as a blueprint for the work of such 'avant
traditionalists' as Wynton and Branford Marsalis"
what they said about 'naked city'-
"John Zorn is a downtow new york freak who likes to round up other
downtown new york freaks, go into a studio and record freaky music...
(Naked City is) a collection of dark, evil and propulsive compositions
that he (Zorn) dubbed, 'jazz noir.'"

comments?


josh


-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: Re: Painkiller/Keiji
Date: 11 Feb 1998 20:25:23 -0500 (EST)

>
> For those wondering what Haino Keiji is doing on the Painkiller-box:
> On the first CD there's a bonus-track : Marianne, featuring Makigami Koichi
> (vocals) and Haino Keiji (guitar).

is it a cover of the classic Leonard Cohen song? :)

-jascha



-



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

From: Gauthier Michelle A <[e-mail]>
Subject: Re: New Mr. Bungle?
Date: 11 Feb 1998 20:27:57 -0500 (EST)



On Wed, 11 Feb 1998, chad edwards wrote:

>
>
>
>
>
>   Say, does anyone out there in computer land know
> any word about Mr.Bungle's future release and when
> exactly it will be available?
>
>  I need to know. Its important.


Well then...
There really isn't much to say.  They are trading tapes right now...
listening to each other's ideas... nothing concrete has really been
established from my knowledge.  There is always a lot of speculation, but
I wouldn't expect something for awhile.  I think they are all really busy
with their respective side projects.


m.


-



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

From: "Petsitter" <[e-mail]>
Subject: Re: New Mr. Bungle?
Date: 11 Feb 1998 21:35:45 -0600


-----Original Message-----
Cc: [e-mail] <[e-mail]>



>Well then...
>There really isn't much to say.  They are trading tapes right now...
>listening to each other's ideas... nothing concrete has really been
>established from my knowledge.  There is always a lot of speculation, but
>I wouldn't expect something for awhile.  I think they are all really busy
>with their respective side projects.
>

Exactly what side projects right now?  I know the new secret chiefs is
coming out soon.  Is it true that Patton left Faith No More?  Id say its
about time he left that dead end project any ways.


-



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

From: Gauthier Michelle A <[e-mail]>
Subject: Re: New Mr. Bungle?
Date: 11 Feb 1998 23:38:01 -0500 (EST)


> Exactly what side projects right now?  I know the new secret chiefs is
> coming out soon.  Is it true that Patton left Faith No More?  Id say its
> about time he left that dead end project any ways.

Yeah, the new SC3 is due out in March on Amarillo.  It is true that Patton
said goodbye to Faith No More.
Ummmmm.... well Patton is working with several musicians and doing his own
solo work, (I'm sure most people are familiar with his 2 Tzadik
releases) and he'll be playing at Victoriaville in May with his own
unit, and also with Zorn and Ikue Mori.
Danny (percussion) plays with another band called Dieselhed...
Trey (guitars, electronics) has several other obscure projects besides SC3
such as Faxed Head and he is
also on an upcoming Avant release called _Weird Little Boy_ with Patton,
William Winant and others...
Trevor (basses) has several jazz-related projects such as Junk Genius, the
Graham Connah Group, Snorkel, and he plays on a bunch of CD's by other
west coast musicians such as Ben Goldberg, John Schott, and Philip
Greenlief, just to name a few.  He is also part of a really cool project
called Tipsy that everyone should own...


So that's the basics.


m.


-



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

From: Steve Smith <[e-mail]>
Subject: Re: akchote
Date: 11 Feb 1998 23:47:59 -0500

Patrice L. Roussel wrote:

> > anyone heard of a guitarist called Noel Akchote? he's got a
> > forthcoming cd on Winter & Winter called "lust corner" - duets with
> > Ribot and Chadbourne...
>
> He is young French guitarist dedicated to free improv. He has been
> recording recently some duos with Fred Frith and Derek Bailey (on the
> Rectangle label -- 10" vinyl only).

The duet with Frith is a 10" but the Bailey duet is 12" across, and heavy
like a frisbee... what a slab of vinyl.  Feels neat and sounds pretty
okay too.  The label also offers a 10" Bailey / Chadbourne duet I've just
gotta find, as well as something new (listed in the ad in the February
'98 Wire, pg. 24, in the middle of the Frith article) called
"Plunderphonics / X. Garcia," a 7-incher described as "remixes from
Rectangle Records."

Steve Smith
[e-mail]


-



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

From: Steve Smith <[e-mail]>
Subject: Re: Ribot`s cubanos
Date: 12 Feb 1998 00:35:49 -0500

> A.Bueno wrote:
> >
> > Can anybody of you tell me which musicians play in Marc Ribot`s
> > "Los Cubanos" group?.

From the Tzadik website:Marc Ribot's been mainly focusing on his most
recent/current band, 'Y Los Cubanos Postisos' (means "The Prosthetic
Cubans"), featuring Ribot/guitar, Brad Jones (Jazz Passengers,
Primetime), bass, E.J.Rodriguez (Lounge Lizards,Jazz Passengers), Perc.
and Roberto Rodriguez (Ex-Miami Sound Machine), drums.  The band pays
tribute to Arsenio Rodriguez, and will [play] at a number of venues

> Does anyone have a catalog of releases on the Winter & Winter label?

Yes.910 001-2    J.S. Bach: Cello Suites 1, 2 & 3 [played on period cello
by Paolo Beschi]
910 002-2    Gary Thomas: Found on Sordid Streets [M-Base with rap]
910 003-2    Marc Ducret: (detail) [solo acoustic guitar]
910 004-2    Uri Caine: Urlicht [Caine plays Mahler with Joey Baron, Dave
Douglas, etc]
910 005-2    Big Satan: I Think They Liked It, Honey [Berne, Ducret,
Rainey]
910 006-2    Schubert: Piano Trio in E-flat [played on period instruments
by La Gaia Scienza]
910 007-2    Venezia - La Feste [location recording of various cafe
orchestras in Venice]
910 008-2    Paul Motian Trio: Sounds of Love - At the Village Vanguard
[more from their last live set on JMT]
910 009-2    Paul Motian Electric Bebop Band: Flight of the Blue Jay
910 010-2    "Monk to Bach" - specially priced sampler of all of the
above
910 011-2    Tango Vivo! - Noches de Buenos Aires [location recordings]
910 012-2    Ernst Reijseger: Colla Parte [solo cello]
910 013-2    Uri Caine: Wagner e Venezia [Uri Caine plays Wagner with
string quartet and accordion]
910 016-2    Tethered Moon: First Meeting ["Pooh" Kikuchi, Gary Peacock
and Paul Motian]
910 019-2    Noel Ackchote: Lust Corner [duets with Marc Ribot and Eugene
Chadbourne]
910 020-2    Ra Da Bang - Fifes and Drums of the Basel Festival [location
recording]

And an aside to Antonio - the distributor in Argentina, according to the
catalog, is MN & asoc. in Moron, Argentina, at [54]-1-627-0307.  Those of
us in the U.S. are still waiting for the launch from Allegro.

Steve Smith
[e-mail]


-



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

From: Brian Whitman <[e-mail]>
Subject: SF: pointers for good sounds
Date: 12 Feb 1998 00:58:08 -0500 (EST)


I'm going to be in San Francisco for two months starting in the middle of
March. Now I know there's tons of stuff there to listen to, but I have
never paid attention to the names of the clubs until now. I want to not
miss a day of great music and plan to be prepared.

What are the usual places for the more experimentally-tinged kinds of
things? Where does Patton, zorn, et. al... usually stop off?

If anyone would like to give me poitners, or a web page link, or smething
I can check out as far the 'scene' in SF goes, that would be much
appreciated. I never been there before (I'm from NYC/NJ/Worcester) but am
looking forward to it extensively.

Thanks!


Brian Whitman
[e-mail] - http://www.netspace.org/users/bwhitman
MMW: http://www.netspace.org/mmw   JMP: http://www.netspace.org/jmp
"Slothrop (peering): You, Never? (A pause.) Did the Kenosha Kid?"


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: SF: pointers for good sounds
Date: 11 Feb 1998 22:02:41 -0800 (PST)

On Thu, 12 Feb 1998, Brian Whitman wrote:

> If anyone would like to give me poitners, or a web page link, or smething
> I can check out as far the 'scene' in SF goes, that would be much

Beanbenders is the place you wanna be:

http://astro.berkeley.edu/plonsey/beanbenders.html


and when you get in town, pick
up a copy of the SF Bay Guardian,
a weekly free newspaper. or
go to their website:

http://www.sfbg.com

hasta.

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


-



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

From: [e-mail]
Subject: Re: bmg-they know their stuff.
Date: 12 Feb 1998 04:09:11 EST

In a message dated 98-02-11 20:02:25 EST, you ([e-mail]) write:

<< "John Zorn is a downtow new york freak who likes to round up other
 downtown new york freaks, go into a studio and record freaky music...
 (Naked City is) a collection of dark, evil and propulsive compositions
 that he (Zorn) dubbed, 'jazz noir.'"

 comments?
  >>

Sounds about right to me...;-)

spinning: Sun Ra- Other Planes of There

=dgasque=

-



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

From: "Doug McKay" <[e-mail]>
Subject: Albert Ayler
Date: 12 Feb 1998 04:13:30

[This was written for rec.music.bluenote but fits here too.]

These days I'm hitting jazz from John Zorn's direction. A few years ago I
tried a bit of Parker, Monk, and Dexter Gordon, and brought along a
previous interest in Swing (e.g. Benny Goodman) but didn't know where to go
from there and didn't look much further.

I found Eric Dolphy about a week ago and absolutely love his stuff. I am
without question a Dolphy fan. Dolphy brought me to Mingus and I like him
too. Zorn leads me to Ornette Coleman and I picked up THE SHAPE OF JAZZ TO
COME today for my first taste. I guess this is indeed what jazz became
because it just sounds like "jazz" to me. FREE JAZZ is next on my list,
though, for Coleman, and I'm certain that one is going to be a hell of a
ride. Besides, Dolphy is on it!

Now, on to my discovery of Albert Ayler.

A couple days ago I borrowed a copy of the Penguin Jazz Guide and page by
page noted sax players I might like and what might be a good first sample
of their work. Albert Ayler sounded interesting. I'd never come across his
name before but the Guide recommended SPIRITUAL UNITY. So today I bought
it.

1964 was a good year for jazz wasn't it? This came out and so did OUT TO
LUNCH. Ayler is very interesting and enjoyable. I'm drawn to this album. As
I write, the second variation of "Ghosts" is playing on headphones.

So many good sax players died young. [Parker, Dolphy, Ayler, Coltrane] What
would jazz have become if they had lived?

I *will* be buying more Ayler. Peter Brotzman's MACHINE GUN ('68) is also
on my list, as is David Murray's MING ('80) and THE HILL ('86).

I had a "bad experience" with Coltrane back when I was looking at jazz
before (I listened to MY FAVORITE THINGS - and coming from a heavy metal
background this is *not* a pleasurable experience) and am now making him
wait while I search around for others. Lucky for him (and me, no doubt) the
Great Dolphy recorded with him.

Anyway, I like Ayler and am happy I found him.

Doug McKay
In Minnesota





-



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

From: "Felix" <[e-mail]>
Subject: Re: New Mr. Bungle?
Date: 11 Feb 1998 22:56:30 +0100

Why? Do YOU know anything that I don't know about? My knowledge is that Mr.
Bungle's last was Disco Volante and I never ever heard of them before. Oh,
please please please please please please please please, make it so. I'd
realy like to see those guys doing new stuff.

Felix
[e-mail]

-----Original Message-----


>
>
>
>
>
>  Say, does anyone out there in computer land know
>any word about Mr.Bungle's future release and when
>exactly it will be available?
>
> I need to know. Its important.
>
>    Thanks...really,
>               Chad D. Edwards
>               (on the internet)
>_________________________________________________________
>DO YOU YAHOO!?
>Get your free @yahoo.com address at http://mail.yahoo.com
>
>
>-
>


-



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

From: "Petsitter" <[e-mail]>
Subject: Re: New Mr. Bungle?
Date: 12 Feb 1998 07:48:13 -0600


-----Original Message-----
Cc: chad edwards <[e-mail]>; [e-mail]
<[e-mail]>


>
>> Exactly what side projects right now?  I know the new secret chiefs is
>> coming out soon.  Is it true that Patton left Faith No More?  Id say its
>> about time he left that dead end project any ways.
>
>Yeah, the new SC3 is due out in March on Amarillo.  It is true that Patton
>said goodbye to Faith No More.
>Ummmmm.... well Patton is working with several musicians and doing his own
>solo work, (I'm sure most people are familiar with his 2 Tzadik
>releases) and he'll be playing at Victoriaville in May with his own
>unit, and also with Zorn and Ikue Mori.
>Danny (percussion) plays with another band called Dieselhed...
>Trey (guitars, electronics) has several other obscure projects besides SC3
>such as Faxed Head and he is
>also on an upcoming Avant release called _Weird Little Boy_ with Patton,
>William Winant and others...
>Trevor (basses) has several jazz-related projects such as Junk Genius, the
>Graham Connah Group, Snorkel, and he plays on a bunch of CD's by other
>west coast musicians such as Ben Goldberg, John Schott, and Philip
>Greenlief, just to name a few.  He is also part of a really cool project
>called Tipsy that everyone should own...


Thats some really exciting information to me.  I have so many questions for
you.
    When is that avant release coming out and where will it be easily
available?
    Will Patton and Zorn be coming to chicago?
    I was thinking of getting Junk Genious, could you describe it a little.
the knitting factory said it was like bungle, but is it like disco or their
first album?  I would hope it is similar to disco volante.
Thank you!>


-



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

From: [e-mail]
Subject: RE: Painkiller
Date: 12 Feb 1998 14:00:48 UT

There are tons of internet music stores, most of which deliver to Canada.
www.pentagonmusic.com
www.cdnow.com
www.massmusic.com
www.cduniverse.com

etc. etc.

Peter

-



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

From: [e-mail]
Subject: RE: Painkiller 2
Date: 12 Feb 1998 14:01:30 UT

Or, duh, sorry,

go to the Tzadik website itself, where I believe you can order.

www.tzadik.com


Peter

-



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

From: "Keith McMullen" <[e-mail]>
Subject: Re: pointers for good sounds
Date: 12 Feb 1998 07:00:25 -0800



>If anyone would like to give me poitners, or a web page link, or smething
>I can check out as far the 'scene' in SF goes, that would be much
>appreciated

>Brian Whitman

Here's the best Web resource: http://www.slip.net/~wedge/gigs.html

Also check the SF section in Cadence magazine by Stuart Kremsky

Keith


-



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

From: Todd Bramy <[e-mail]>
Subject: new Buckethead
Date: 12 Feb 1998 02:29:07 -0800

I listened to a copy of the new Buckethead CD "Colma" tonight and thought
I'd let you all know a little bit about it.

Quiet.

Surprisingly calm set, a lot of solo guitar stuff. The promo pack looks
like they're really pushing this whole "guitar genius" thing. I expect to
see some Guitar Player magazine stuff out of this. Hmmm. A wonderful set
though. Quite sparse without drifting too much into ambient. (not to say
that would be bad)

label: CyberOctave
street date: 3/24/98

Buckethead: guitar, basses
Brain: drums, loops

DJ Disc: (DJing I guess) on 3 tracks
Bill Laswell: bass on 1 track (which he produces)
Terry Untalon: cello, viola on 2 tracks.
13 tracks in all.
Produced by Buckethead & Xtrack (Except the Laswell track)

I see in the promo material something I've not heard of: he released
material under an anagram name: Death Cube K. Can anyone tell me what this
is like or what label it's on?

Thanks

<< todd >>

=83=83=83=83=83=83=83
"I don't want to spend my life explaining myself.
You either get it or you don't."
=46rank Zappa



-



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

From: David Keffer <[e-mail]>
Subject: Pain Killer "Marianne" cover
Date: 12 Feb 1998 11:06:08 -0500


> > On the first CD there's a bonus-track : Marianne, featuring Makigami
Koichi
> > (vocals) and Haino Keiji (guitar).
>
> is it a cover of the classic Leonard Cohen song? :)

What I have heard is that the song "Marianne" is originally
by the 60s Japanese garage band, The Jacks.

David K.


-



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

From: Gauthier Michelle A <[e-mail]>
Subject: Re: Bungle side projects cont'd....
Date: 12 Feb 1998 11:10:05 -0500 (EST)



>     When is that avant release coming out and where will it be easily
> available?

I HEARD  that the release date is sometime in late February for _Weird
Little Boy_, but this is possibly a Japanese release date. Someone out
there in computerland might know more about the exact date this record
will make it's way to North America.

 > Will Patton and Zorn be coming to
chicago?

Ummmmm... I don't think so, not in the near future anywayzzzzz.... let me
check my crystal ball.... ;-)

>     I was thinking of getting Junk Genius, could you describe it a little.
> the knitting factory said it was like bungle, but is it like disco or their
> first album?  I would hope it is similar to disco volante.

The Knitting Factory described JG as Bungle-like?  Really?  Shame on them!
In actuality I HATE trying to decribe music, but I'll give it a shot...
Junk Genius..... it's quartet comprised of Dunn (upright bass), Ben
Goldberg (clarinets),
John Schott (guitar) and Kenny Wollesen (percussion).  It definitely has
some Be-bop, lots of improvisation and free structure,  and a bit of
Klezmer influence.  The pieces are reinterpretations of tunes by Charlie
Parker, Dizzy Gillepspie and Bud Powell.
It's a nice album, but in no way connected to Mr. Bungle IMHO!


m.


-



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

From: Dan Hewins <[e-mail]>
Subject: Re: SF: pointers for good sounds
Date: 12 Feb 1998 10:27:15 -0600

For what it's worth...

The Elbo room is where Charlie Hunter seems to have made his home base.  I
was going to see him there one night while visiting but instead I had to go
get someone at the airport.  Bummer.

Dan



-



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

From: Dan Hewins <[e-mail]>
Subject: European Music resources?
Date: 12 Feb 1998 10:29:19 -0600

Hey everyone,

I'm going to Europe in May and I was wondering if anyone knows about
festivals/tours that will be happeing around that time.  Are there any
difinitive web resources I should check out?

Thanks,
Dan



-



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

From: "Joe the Shmoo" <[e-mail]>
Subject: Re: European Music resources?
Date: 12 Feb 1998 08:56:19 PST


>
>Hey everyone,
>
>I'm going to Europe in May and I was wondering if anyone knows about
>festivals/tours that will be happeing around that time.  Are there any
>difinitive web resources I should check out?
>
>Thanks,
>Dan

DAN:

By the time I get this post up, there will be eighty responses, but here
goes:

www.shef.ac.uk/misc/rec/ps/efi/index.html

Simply the best!

Also: if you want to catch any American acts over there, check the
obvious sources: Knitfac Tour page, Screwgun records, etc etc etc
>


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

-



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

From: [e-mail]
Subject: Curlew East Coast tour
Date: 12 Feb 1998 12:28:19 EST

CURLEW

George Cartwright - saxes
Chris Cochrane & Davey Williams - guitars
Ann Rupel - bass
Kenny Wollesen - drums

will be performing the following east coast shows:

Saturday March 7th - Phantasmagoria - 11319 Elkin St., Wheaton, MD (301)
949-8886 [with BOOM from Richmond, VA]

Sunday March 8th - Buttonwood Tree - 605 Main St. Middletown, CT (860)
347-4957 [e-mail]

Tuesday March 10th - Knitting Factory - 74 Leonard St. NYC, NY [phone]
[10:00 PM]

Wednesday March 11th - Green Street Grill -Boston, MA [11:00 PM]
Friday March 13th - Carnegie Mellon University - Pittsburgh, PA [with
WATERSHED QUINTET]

I'm sorry that I don't have street addresses and/or phone numbers for the last
two shows at this time - you can check our tour website for updates at:

http://members.aol.com/Cuneiform2/tour.html

"George Cartwright's Curlew is the best and most obstinately commited band to
emerge from New York's Knitting Factory -based alternative music scene in
recent years."-Option

"The unironic, idiosyncratic mix of Latin, soul, funk, free music and jazz
rock gives fusion a good name. George Cartwright has been nurturing Curlew
since 1979 - he has one hell of a group on his hands."-The Wire

Curlew will be performing material from their brand new Cuneiform release
"Fabulous Drop" as well as other material.

Hope some of you can make it there!

Steve Feigenbaum

-



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

From: [e-mail] (Dave Trenkel)
Subject: Re: Albert Ayler
Date: 12 Feb 1998 10:04:39 -0800

At 4:13 AM 2/12/98, Doug McKay wrote:
>[This was written for rec.music.bluenote but fits here too.]
>
>These days I'm hitting jazz from John Zorn's direction. A few years ago I
>tried a bit of Parker, Monk, and Dexter Gordon, and brought along a
>previous interest in Swing (e.g. Benny Goodman) but didn't know where to go
>from there and didn't look much further.
>
>I found Eric Dolphy about a week ago and absolutely love his stuff. I am
>without question a Dolphy fan. Dolphy brought me to Mingus and I like him
>too. Zorn leads me to Ornette Coleman and I picked up THE SHAPE OF JAZZ TO
>COME today for my first taste. I guess this is indeed what jazz became
>because it just sounds like "jazz" to me. FREE JAZZ is next on my list,
>though, for Coleman, and I'm certain that one is going to be a hell of a
>ride. Besides, Dolphy is on it!
>
>Now, on to my discovery of Albert Ayler.
>
Hi Doug,

You're in for a wild ride here, congratulations on your "discoveries". For
me, hearing Ornette live about 15 years ago was my ticket into jazz, I know
the feeling when it suddenly all makes sense.

I think you'd really enjoy the recent Coltrane Live at the Village Vanguard
box set, not only is it some of Coltrane's finest stuff (pre-Ascension, but
parts are surprisingly out for the time), but it has a lot of very fine
playing from Dolphy.

________________________________________________________
Dave Trenkel : [e-mail]  : www.peak.org/~improv/

"...there will come a day when you won't have to use
gasoline. You'd simply take a cassette and put it in
your car, let it run. You'd have to have the proper
type of music. Like you take two sticks, put 'em
together, make fire. You take some notes and rub 'em
together - dum, dum, dum, dum - fire, cosmic fire."
                                            -Sun Ra
________________________________________________________



-



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

From: Sean Terwilliger <[e-mail]>
Subject: Re: new Buckethead
Date: 12 Feb 1998 13:08:35 -0500

Todd Bramy wrote:

> I listened to a copy of the new Buckethead CD "Colma" tonight and t=
hought
> I'd let you all know a little bit about it.
>

http://www.bucketheadland.com  has sound samples of this...

> I see in the promo material something I've not heard of: he release=
d
> material under an anagram name: Death Cube K. Can anyone tell me wh=
at this
> is like or what label it's on?
>
>

2 releases. Dreamatorium - on Strata/Subharmonic and Disembodied - on=
 Ion.Erie
dark ambient noise with Bhead and Laswell on stringed instruments and=
 stuff...

-Sean


> Thanks
>
> << todd >>
>
> =83=83=83=83=83=83=83
> "I don't want to spend my life explaining myself.
> You either get it or you don't."
> Frank Zappa
>
> -





-



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

From: Martin Schmitz-Ohrndorf <[e-mail]>
Subject: Re: Ribot`s cubanos
Date: 12 Feb 1998 19:16:23 +0100

For everyone in Europe who is interested listing to this band. There is
a tour announced for August/September 1998 by Saudades.
http://www.ejn.it/tours/saudades.htm

Martin Schmitz-Ohrndorf


-



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

From: "Joe the Shmoo" <[e-mail]>
Subject: zines/web resources
Date: 12 Feb 1998 10:17:34 PST

Looking for really cool internet/web  music/art/lit oriented sites.
Please assume i already know about the most common resources: the ones I
could find myself in five minutes flat (Yahoo, etc) I've probably
followed; but who knows?  I get lost in links, it's terrible.  I prefer
intelligent writing, not just a "fanzine".  Also, 2 things:
1. I am not a fan(atic).  I like to enthuse but I'm trying to
   temper that with an intelligent research-mentality.  have fun,
   culture-mulch, but follow leads...which leads me to #2...
2.I am a fanatic for all things Corbett.  John Corbett's writing has
   been topically interesting and damned well-written and I want more.
   So, till the second book comes out....where the hell are the
   non DOWNBEAT papers/articles?  I cannot find the OCTOBER, NEW
   ART EXAMINER, etc stuff.  Did find a book on Chicago Arts with
   an chapter by JC on the history of the Chicago avant-garde music
scene.  I would appreciate help with this, as well as pointers
   to other writers who function on such a highly multidisciplinary
level.

Thanks a heep! (You guys are the best.)

KSH

P.s. You can e-mail me directly, unless the resulting thread would be
     helpful to community.

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

-



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

From: "Joe the Shmoo" <[e-mail]>
Subject: zines/web resources
Date: 12 Feb 1998 10:18:32 PST

Looking for really cool internet/web  music/art/lit oriented sites.
Please assume i already know about the most common resources: the ones I
could find myself in five minutes flat (Yahoo, etc) I've probably
followed; but who knows?  I get lost in links, it's terrible.  I prefer
intelligent writing, not just a "fanzine".  Also, 2 things:
1. I am not a fan(atic).  I like to enthuse but I'm trying to
   temper that with an intelligent research-mentality.  have fun,
   culture-mulch, but follow leads...which leads me to #2...
2.I am a fanatic for all things Corbett.  John Corbett's writing has
   been topically interesting and damned well-written and I want more.
   So, till the second book comes out....where the hell are the
   non DOWNBEAT papers/articles?  I cannot find the OCTOBER, NEW
   ART EXAMINER, etc stuff.  Did find a book on Chicago Arts with
   an chapter by JC on the history of the Chicago avant-garde music
scene.  I would appreciate help with this, as well as pointers
   to other writers who function on such a highly multidisciplinary
level.

Thanks a heep! (You guys are the best.)

KSH

P.s. You can e-mail me directly, unless the resulting thread would be
     helpful to community.

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

-



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

From: "Doug McKay" <[e-mail]>
Subject: Albert Ayler
Date: 12 Feb 1998 13:56:38

Wow! Looks like I hit a diamond mine! Thanks for all the suggestions. Don't
hesitate to tell me more if you get the urge.

No-one mentioned Prima Materia yet. I came across their name on the web
last night while doing a web search (through Excite) on Alber Ayler. I'd
never heard of them, but seeing that they're a Knitting Factory band I
suppose everyone else here has - plus they have an album out now with Zorn
as "special guest" and it's a tribute to Ayler. Makes sense about Zorn.
Ayler reminds me of him.

Also from that same search I found a large biography someone's written on
Ayler. He referred to the book AS SERIOUS AS YOUR LIFE a lot in what I
had time to read of it. I ordered that book about the same time I joined
this list, having seen it refered to in the archives when I first found you
guys. Anyway, the book isn't here yet. I hope it's still in print.

By the way, another comment on THE SHAPE OF JAZZ TO COME. Last night after
sending off my post on Ayler I listened to Ornette's album again, just
sitting there in the dark, kinda tired, just waiting to head to bed but
wanting to listen some more. I listened to Zorn's version of "Chronology",
then went to the original, then started the CD over. And it struck me
somewhere in "Eventually" : "There is something sublime about this music."
The thought just hung there as I listened to it. (Maybe it was just the
Bourbon talking.) I like how Cherry, when he comes into his solo starts by
quoting Ornette's last phrase. It links them in a nice way. Like a
conversation.

One more thing about Ayler. It's too bad he wasn't recorded better on
SPIRITUAL UNITY. Think of how much more powerful this album would be if it
was recorded as well as OUT TO LUNCH with everything in front, like you're
sitting in with the band. You can hardly hear Sunny Murray's drumming. It
sounds like a wash of cymbal work and not much else.

Oh. Yes, there *is* that funny sounding skip/break about 2 minutes into
"The Wizard" on my disk too. (Someone asked.) So it must be in the transfer
or the recording somehow.

Listening to "Peace" at the moment.

Doug McKay
In Minnesota





-



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

From: Brent Burton <[e-mail]>
Subject: Feldman
Date: 12 Feb 1998 15:18:49 -0500 (EST)

sorry that this is so off-topic, but could anyone give me
recommendations for the morton feldman discs on hat art?

b

-



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

From: Alan E Kayser <[e-mail]>
Subject: Re: Albert Ayler
Date: 12 Feb 1998 15:40:33 -0500

Doug McKay wrote:

> Wow! Looks like I hit a diamond mine! Thanks for all the suggestions.
> Don't
> hesitate to tell me more if you get the urge.
>
> No-one mentioned Prima Materia yet. I came across their name on the
> web
> last night while doing a web search (through Excite) on Alber Ayler.
> I'd
> never heard of them, but seeing that they're a Knitting Factory band I
>
> suppose everyone else here has - plus they have an album out now with
> Zorn
> as "special guest" and it's a tribute to Ayler.

Actually Zorn is a guest on two tracks on the Prima Materia tribute to
Coltrane, "Peace on Earth."  The Ayler tribute is "Bells" but Zorn is
not on that one.  They also have another Coltrane tribute
"Meditations."  All, of course, feature leader Rashied Ali, along with
Allen Chase, Joe Gallant, William Parker, etc.  High energy music.

Alan Kayser


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Feldman
Date: 12 Feb 1998 12:25:48 -0800


On Thu, 12 Feb 1998 15:18:49 -0500 (EST)  Brent Burton wrote:
>
> sorry that this is so off-topic, but could anyone give me
> recommendations for the morton feldman discs on hat art?

I don't know many of them, but if they are as good as CRIPPLED SYMMETRIES,
you should jump on!

FOR SAMUEL BECKETT is a fantastic and haunting composition, but I don't know
the version on Hat ART).

BTW, anybody checked both FOR PHILIP GUSTON (on Hat ART and Bridge)? Really
strange that both came out at about the same time.

Also, any opinion on the new piece about Beckett just released on Hat ART?

    Patrice.

-



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

From: [e-mail]
Subject: Rectangle Label (Was Re: akchote)
Date: 12 Feb 1998 12:04:54 -0800

Since Patrice mentioned the Rectangle label, I thought this might be a good
chance to ask what else they have put out.  One of my favorite records of
late has been an LP on that label by the Recyclers (entitled Morceaux
Chosis).  It's all covers of classic French pop/variet=E9 music (Brel,
Gainsbourg, etc... and who the heck is Polyphonic Size?), and features
guest vocals by a couple of my favorite French singers (Ignatus & Katerine)
as well as Sasha Andr=E8s (never heard of) and the actress Ir=E8ne Jacob (no=
t
bad, in fact).

Oh, yes, and the recyclers happen to be Beno=EEt Delbecq (keys, inc. prepare=
d
piano), No=EBl Akchot=E9 (guitars and other stringed things), and Steve
Arg=FCelles (percussions, etc).  A very fine record in my book, which does a
nice job of straddling the line between pop and experiment.  Of course, a
few of the tracks are messed up enough to annoy off my more pop-orriented
friends.

merci,

Alexander

=2ERadio Khartoum.           http://www.algonet.se/~elegans/radiok/



-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Feldman
Date: 12 Feb 1998 15:19:26 -0600 (CST)

On Thu, 12 Feb 1998, Patrice L. Roussel wrote:

> I don't know many of them, but if they are as good as CRIPPLED
> SYMMETRIES, you should jump on!

Yes, "Why Patterns/Crippled Symmetry" is a must-get.

> BTW, anybody checked both FOR PHILIP GUSTON (on Hat ART and Bridge)? Really
> strange that both came out at about the same time.

Chris Villar's excellent Feldman discography (at
http://www.cnvill.demon.co.uk/mfcds.htm ) lists the Hat ART as 1992 and
the Bridge as 1997. I have the Bridge, but have only gotten halfway
through it -- hard to find 4+ uninterrupted hours to listen to anything.

> Also, any opinion on the new piece about Beckett just released on Hat ART?

"Neither" is quite good, though not what I had expected. The vocal writing
is consistently up at the top of the soprano's range, so the words can't
be understood. It's very much in line with this "[instrument] and
Orchestra" pieces written at about the same time; sorta like a denser
version of "For Samuel Beckett" with a soprano soloist above it. I don't
think I'll be listening to it as much as I listen to, say, "The Viola in
my Life", but it's worth getting if you can find it. (Actually some of the
descriptions of Braxton's Ghost Trance music that I've seen here could
equally serve as descriptions of later Feldman pieces, which makes me
quite eager to hear the Braxton works -- any of the many of you who hated
them want to sell your copies?)
 -
---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: john shiurba <[e-mail]>
Subject: Re: Feldman
Date: 12 Feb 1998 13:44:00 -0700

> BTW, anybody checked both FOR PHILIP GUSTON (on Hat ART and Bridge)? Really
> strange that both came out at about the same time.

the HatArt set came out many years ago, actually. 92 I think. It's fantastic, although
you'll have to quit your job to listen to the whole thing in one sitting with any
frequency.

>
> Also, any opinion on the new piece about Beckett just released on Hat ART?

not sure what you mean by this-- there's a piece called "For Samuel Beckett" of which
there are several available recordings (I have and love the SF Contemporary Music
Players version on newport Classics). There's a piece called "Words and Music" with
spoken text written by Beckett and music by Feldman, which is available on
Montaigne, and there's a new "opera" called "Neither" with text (sung this time) by
Beckett and music by Feldman. This just came out on hat(now)Art, and (after only one
listen, today) it is incredible.
--



[e-mail]

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

-



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

From: Brent Burton <[e-mail]>
Subject: Re: Feldman
Date: 12 Feb 1998 16:49:57 -0500 (EST)

On Thu, 12 Feb 1998, Joseph S. Zitt wrote:

> On Thu, 12 Feb 1998, Patrice L. Roussel wrote:
>
> > I don't know many of them, but if they are as good as CRIPPLED
> > SYMMETRIES, you should jump on!
>
> Yes, "Why Patterns/Crippled Symmetry" is a must-get.

what's the instrumentation like for this piece?  does it have vocals?

b

-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Feldman
Date: 12 Feb 1998 15:51:26 -0600 (CST)

On Thu, 12 Feb 1998, Brent Burton wrote:

> > Yes, "Why Patterns/Crippled Symmetry" is a must-get.
>
> what's the instrumentation like for this piece?  does it have vocals?

"Why Patterns" (which is also on a New Albion CD with Rothko Chapel
(although I greatly prefer the Rothko Chapel on the old Columbia/Odyssey
label)) is for flute, piano, and percussion, as is "Crippled Symmetry".

- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Feldman
Date: 12 Feb 1998 14:10:23 -0800


On Thu, 12 Feb 1998 15:51:26 -0600 (CST)  "Joseph S. Zitt" wrote:
>
> On Thu, 12 Feb 1998, Brent Burton wrote:
>
> > > Yes, "Why Patterns/Crippled Symmetry" is a must-get.
> >
> > what's the instrumentation like for this piece?  does it have vocals?
>
> "Why Patterns" (which is also on a New Albion CD with Rothko Chapel
> (although I greatly prefer the Rothko Chapel on the old Columbia/Odyssey
> label)) is for flute, piano, and percussion, as is "Crippled Symmetry".

Which is also the instrumentation for FOR PHILIP GUSTON!

    Patrice.

-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Feldman
Date: 12 Feb 1998 16:27:25 -0600 (CST)

On Thu, 12 Feb 1998, Patrice L. Roussel wrote:

> > "Why Patterns" (which is also on a New Albion CD with Rothko Chapel
> > (although I greatly prefer the Rothko Chapel on the old Columbia/Odyssey
> > label)) is for flute, piano, and percussion, as is "Crippled Symmetry".
>
> Which is also the instrumentation for FOR PHILIP GUSTON!

Yup, and if memory serves, the same trio (Stone, Jarvinen, and ??) are in
the New Albion "Why Patterns" and the Bridge "For Philip Guston". The Hat
Art recordings are with the group for whom Feldman
wrote them, including Eberhard Blum. (I'm at work and the CDs are at
home, so I'm unclear on the details.)
 - ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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From: [e-mail]
Subject: Re: Zorn List Digest V2 #229
Date: 12 Feb 1998 17:50:02 EST

In a message dated 98-02-12 13:28:27 EST, you write:

<< Quiet.

 Surprisingly calm set, a lot of solo guitar stuff. The promo pack looks
 like they're really pushing this whole "guitar genius" thing. I expect to
 see some Guitar Player magazine stuff out of this. Hmmm. A wonderful set
 though. Quite sparse without drifting too much into ambient. (not to say
 that would be bad)

 label: CyberOctave
 street date: 3/24/98

 Buckethead: guitar, basses
 Brain: drums, loops

 DJ Disc: (DJing I guess) on 3 tracks
 Bill Laswell: bass on 1 track (which he produces)
 Terry Untalon: cello, viola on 2 tracks.
 13 tracks in all.
 Produced by Buckethead & Xtrack (Except the Laswell track)

 I see in the promo material something I've not heard of: he released
 material under an anagram name: Death Cube K. Can anyone tell me what this
 is like or what label it's on?

 Thanks >>

...yeah... when GIANT ROBOT 2 came to LA for 2 nights... the second night was
an acoustic show at a really small guitar shop.... he played most of the songs
from COLMA... then his "hits" the Praxis song, Giant Robot and WELCOME TO
BUCKETHEADLAND... the the band left and he played some weird shit with an
asian violin player.... it was inspireing....
.....DEATH CUBE K is the bomb ass dark horror ambient.. he's the anti-matter
Buckethead <death cube K is an anagram for buckethead> i beleive its on AXIOM
and i suggest any trippers to get it... also the BRAIN/BUCKETHEAD duo Pieces
is DA SHIT!

-Cory Sklar

-



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

From: Rich Williams <[e-mail]>
Subject: Re:Albert Ayler
Date: 12 Feb 1998 19:25:34 -0500

Doug McKay wrote:
>

>
> Also from that same search I found a large biography someone's written on
> Ayler. He referred to the book AS SERIOUS AS YOUR LIFE a lot in what I
> had time to read of it. I ordered that book about the same time I joined
> this list, having seen it refered to in the archives when I first found you
> guys. Anyway, the book isn't here yet. I hope it's still in print.


The book is "As serious As Your Life" by Valerie Wilmer. It's not about
Ayler per se, it covers the whole NY free Jazz Black Music Thing of the
1960's. Ayler, Coltrane, Cherry, Pharoah, even Sonny Sharrock! some
great photo's too.

Rich

-



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

From: "Julian" <[e-mail]>
Subject: Re: Zorn List Digest V2 #229
Date: 13 Feb 1998 11:48:07 +1100

> .....DEATH CUBE K is the bomb ass dark horror ambient.. he's the
anti-matter
> Buckethead <death cube K is an anagram for buckethead> i beleive its on
AXIOM
> and i suggest any trippers to get it... also the BRAIN/BUCKETHEAD duo
Pieces
> is DA SHIT!

Can someone describe "Pieces" in comparison to other Buckethead/Praxis
releases?


-



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From: "Joe the Shmoo" <[e-mail]>
Subject: Re:Albert Ayler (and books, too!)
Date: 12 Feb 1998 17:02:57 PST


>The book is "As serious As Your Life" by Valerie Wilmer. It's not about
>Ayler per se, it covers the whole NY free Jazz Black Music Thing of the
>1960's. Ayler, Coltrane, Cherry, Pharoah, even Sonny Sharrock! some
>great photo's too.
>
>Rich

Some more books that are excellent (and deal with creative music in one
way or another):
EXTENDED PLAY  (John Corbett)  Duke Press  simply great
FORCES IN MOTION  (Graham Lock)  Da Capo   you don't need to be a
             Braxton fan to enjoy the celebration of creativity
All Coltrane Bios are tepid: avoid the Cole bio at all costs, but
CHASIN THE TRANE is pretty good, look out for the (long time)
forthcoming Francis Davis Coltrane bio
THE MUSIC OF KARLHEINZ STOCKHAUSEN  (Robin maconie)
Geez, I'll think of more in time

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

-



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

From: Matt Walsh <[e-mail]>
Subject: Next CD Reccomendation thread? - Sun Ra
Date: 12 Feb 1998 20:42:00 PST


Well, now that the John Coltrane thread has just about completed
(actually, I'm behind in my reading, so it may have been over a while
ago), I have a feeling I'm about to start a new one...

Please respond privately unless you think it is relevant to reply to the
list and start another long thread of album reccomendations...

Music Boulevard is having a 3 for $30, free delivery sale, and while
browsing through the list for some "harder to find CDs" for the last few
days (it's pretty damn long), I noticed they had 4 Sun Ra CD's in this
sale. They are:

"Sound Of Joy"
"Outer Spaceways Inc."
"Sun Song"
"Futuristic Sounds Of Sun Ra"

My first experience with Sun Ra was on a special about Saturday Night
Live maybe 4 or so years ago, they played bits of some of the musical
guests that have played there. I was in shock when they showed Sun Ra,
some of the most insane, intense music I've ever heard, and very Zorn-ish
to me in the few seconds they played him. I bought "Atlantis" (which
seems to be considered one of his best) and wasn't too impressed with it
 - that was years ago, so maybe I need to listen to it again. I've been
hesitant on buying any more Sun Ra because of this, and haven't been able
to find anything of his used (probably a REALLY good sign), but with this
sale I thought I'd try once again to search for the Sun Ra that blew me
away years ago.

Anyway, my question is, what CD out of the above 4 does anyone reccommend
most? Keep in mind that I was knocked off my feet by the chaotic few
seconds I had heard, so if he has different periods (as most good
musicians do), then I would be looking to lean more towards this.
Reminded me a lot of Naked City at the time. If anyone is interested,
also in the sale is a bunch of Coltrane CD's (including the most
reccomended "A Love Supreme"), a bunch of Coleman and Davis, and
unfortunately no Zorn...

If you can give me a "best of the above 4", it would be appreciated. If
you have any other Sun Ra reccomendations, let me know, so I'll know
where to go next after I get hooked. My apologies if this is considered
off-topic and for the possible huge thread that I might have just
started.

Thanks,
   Matt Walsh
   - unofficial Zorn-list member according to Patrice - since my Peter
Brotzmann "Machine Gun" CD that I ordered STILL has not come in :(
   [e-mail]

Currently listening to: Pro-Pain - "Foul Taste Of Freedom"

-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Alboth tour HELP!
Date: 12 Feb 1998 19:01:12 -0800 (PST)


first Kaffe Matthews and now this.

is there any reason why these folks
aren't booking their "US tour"
to include dates in the WEST COAST?

hello? Bueller? Beuller?

grrrr.

hasta.

On Thu, 12 Feb 1998, Manny wrote:

> ------------------------------------------------------------------------
> Swiss industrial-jazz-prog-core quartet Alboth! is embarking on their
> first ever US tour. They have four CDs out and a fifth "Amor Fati" will be
> available at shows. Alboth!'s Peter Kraut has been written up in The Wire
> for his work with God's Kevin Martin and his organization of the Taktlos
> experimental festival in Bern and Zurich. If you are interested in a cross
> between Naked City, Einsturzende Neubauten, Ruins, and Shellac, then you
> will probably like Alboth!
> Check them out on the following dates:
>
> Feb 14   Philadelphia   Astrocade
>    with Stinking Lizaveta
> Feb 16  Columbus   Sugar Shack
> Feb 17  Detroit  Gold Dollar
>    with Hearing Trumpet
> Feb 18  Chicago   Empty Bottle
> Feb 19  Cleveland  Speak in Tongues
> Feb 20  PIttsburgh  Groovy
> Feb 21  Charlottesville VA   Tokyo Rose
> Feb 22  Washington DC  Black Cat
> Feb 23  Richmond  Moondance
> Feb 25  Cambridge MA   Middle East
>     with Arab on Radar
> Feb 26  Providence   Living Room
> Feb 28  New York City  Context Studios
>    with Elliott Sharp/Loren Mazzcane and David Nuss/Sabir Mateen & friends
> all tour inquiries to [e-mail]


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



-



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

From: [e-mail] (Matthew Colonnese)
Subject: Re: Next CD Reccomendation thread? - Sun Ra
Date: 12 Feb 1998 22:04:26 -0500 (EST)

Matt,

"Sound Of Joy"
"Outer Spaceways Inc."
"Sun Song"
"Futuristic Sounds Of Sun Ra"


Don't do it.  I don't think any of these are what you are looking for.  I
have _Futuristic Sounds_ and it about the worst Sun Ra thing I own (i'm a
huge fan, and I hate it).  The Black Lion one (_outer spaceways_, I think)
is one of many late live shows from when he got quiet and conservative
again.  Usually very good big band stuff, but not what it sounds like
you're looking for.

I know you limited us to these disks, but I gotta recomend you just bite
the bullet and spend the $5 more to get something decent.  I really doubt
you're saving yourself any money by buying any of these second rate
releases.  Personally, I've never heard any Sun Ra I thought reminded me of
Naked City.  If you are using that description as a synonym for "chaotic"
though, let me recomend _Magic City_ which is massive, sprawling group
improvisation not unlike JC's _Asention_.  Also very fucked is _Concert for
Komet Kahoutek_ on ESP.  Which feature whopping doses of Sun Ra's space
chords on organ.  I've heard _My Brother the Wind_ is in a similar vein,
but I have yet to get this.

Maybe _Sound of Joy_ and _Sun Song_ are not what I suspect, but I'm very
suspicious of these Delmarks.  You don't do yourself any good spending a
little less for stuff you are much less likely to like.



------
"Finally, a thing-a-ma-giggy that would bring people together...even if it
kept them apart, spatially."



-



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From: "chris mcFall" <[e-mail]>
Subject:
Date: 12 Feb 1998 19:10:42 PST

Could someone please relay some information to me regarding the Masada
releases.  I saw this tour in november 1996 at Boulder Colorado.
Unfortunately, I live in a rather remote area of Kansas, where any
chance of listening to these recordings is a virtual impossibility.  I
would really like to know more about these releases aside from the
information on the Tzadik homepage.  Someone give me an ovjective
opinion.

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

-



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

From: "Keith McMullen" <[e-mail]>
Subject: SUN RA
Date: 12 Feb 1998 19:38:45 -0800

SUNRISE IN DIFFERENT DIMENSIONS on Hat Art

You can trust me on this one,

It'll knock your socks off.

s~Z


-



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

From: "Keith McMullen" <[e-mail]>
Subject: Re: Albert Ayler
Date: 12 Feb 1998 19:42:30 -0800

>Actually Zorn is a guest on two tracks on the Prima Materia tribute to
>Coltrane, "Peace on Earth."  The Ayler tribute is "Bells" but Zorn is
>not on that one.  They also have another Coltrane tribute
>"Meditations."  All, of course, feature leader Rashied Ali, along with
>Allen Chase, Joe Gallant, William Parker, etc.  High energy music.
>
>Alan Kayser


I can see the value of hearing these tributes live, but if I have a couple
of hours to listen to music, I'd never spend it listening to recordings of
Prima Materia when I could spend it listening to the philosophical gold
himself.

s~Z




-



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

From: Valkwitch <[e-mail]>
Subject: Re: Next CD Reccomendation thread? - Sun Ra
Date: 12 Feb 1998 22:51:37 -0500

> Music Boulevard is having a 3 for $30, free delivery sale, and while
> browsing through the list for some "harder to find CDs" for the last few
> days (it's pretty damn long), I noticed they had 4 Sun Ra CD's in this
> sale. They are:
>
> "Sound Of Joy"
> "Outer Spaceways Inc."
> "Sun Song"
> "Futuristic Sounds Of Sun Ra"
>
    i have "Sound of Joy" and "Singles" which are to me pretty
conservative/contemporary sounding(well actually about half of the
"Singles" was quite interesting sounding in a somewhat free/avant/improv
style...i also recently got "We Travel the Spaceways/Bad and Beautiful"
(Evidence) which was ok. But i also got "Cosmic Tones For Mental
Therapy/Art Forms Of Dimensions Tomorrow" which i like alot(and which i
suggest) "Cosmic Tones..." is described as more than "just trippy
weirdness", and it has alot of a echo/delay effect going on, a pretty
"outside/exploratory" sounding album as compared to much of his other
stuff. "Art Forms" is a mixed bag of both his "inside and outside"
material.
    scott

-



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

From: Perfect Sound Forever <[e-mail]>
Subject: Re:Albert Ayler
Date: 12 Feb 1998 23:48:50 -0500

<html>
<font size=3>I also recommend AS SERIOUS AS YOUR LIFE, one of the best
books about music I've ever read.  Another good source for
information about Ayler is THE FREEDOM PRINCIPLE: JAZZ AFTER 1958 by John
Litweiler (who also did the recent bio on Ornette): there's a whole
chapter there about Ayler with some good background information about him
and an interesting analysis of his career.<br>
<br>
Jason</font>
<BR>
<br>
<div>Perfect Sound Forever</div>
<div>Warped perspectives on all types of music</div>
<div>[e-mail]</div>
<a href="http://www.furious.com/perfect" EUDORA=AUTOURL>http://www.furious.com/perfect</a>
</html>

-



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

From: [e-mail]
Subject: BucketHead/Brain Duo
Date: 12 Feb 1998 23:49:59 EST

In a message dated 98-02-12 20:50:07 EST, you write:

<< Can someone describe "Pieces" in comparison to other Buckethead/Praxis
 releases? >>

Pieces is a drum and bass <jungle is what we call it in LA> venture from the
half chicken man and Brain... as in comparison to other Buckethead projects...
thats not really fair..... when i taked to him after the show he said it best:
"Every project is different, man"

-cory sklar

-



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

From: "Silent Watcher" <[e-mail]>
Subject: Re: BucketHead/Brain Duo
Date: 12 Feb 1998 22:30:13 PST


>Pieces is a drum and bass <jungle is what we call it in LA>

I've been told there's a difference between drum 'n' bass and jungle,
but have failed to figure out how people define each. Any help out
there?

sw
want/for sale list and Laswell discography at
http://www.geocities.com/SunsetStrip/Underground/7093


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

-



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

From: Stephane Vuilleumier <[e-mail]>
Subject: Re: Rectangle Label (Was Re: akchote)
Date: 13 Feb 1998 07:32:58 +0100

The two last Rectangle I know of are a Workshop of Lyon LP
and, probably of more interest to this list, a Chadbourne/Bailey
10". I also saw an ad for a Straub/Huillet LP, but no clue what this would
be since the two are a "famous" french experimental film-maker couple...

There is also a recent Plunderphonics-type 7" sampler of all=20
records so far (discounting the 2 first above, and I think also the
Frith/Akchote 10"). Also a slightly pornographic 7" french songs which is=20
just plain stupid and amateur in my opinion.

The Frith/Akchote is the Rectangle release I listen to most together
with the Morceaux choisis Alexander mentioned. The "Morceaux choisis" covers
are about ten times better than the Gainsbourg tribute on Tzadik which
in my opinion most oftenwere mere carbon copies and, with the exception of=
=20
the cover by Young God singer Franz Treichler,lacked the subversive spirit,
inventiveness, and humour of the original songs entirely.=20

Rectangle releases are numbered with capital letters, one or two
were skipped, and they must be at L or P (I can check).

There's also a solo Akchote LP, Pictures, which is partly a rerelease
of his first album. I think.


Stephane

At 12:04 12.02.98 -0800, Radio Khartoum wrote:
>Since Patrice mentioned the Rectangle label, I thought this might be a good
>chance to ask what else they have put out.  One of my favorite records of
>late has been an LP on that label by the Recyclers (entitled Morceaux
>Chosis).  It's all covers of classic French pop/variet=E9 music (Brel,
>Gainsbourg, etc... and who the heck is Polyphonic Size?), and features
>guest vocals by a couple of my favorite French singers (Ignatus & Katerine)
>as well as Sasha Andr=E8s (never heard of) and the actress Ir=E8ne Jacob=
 (not
>bad, in fact).
>
>Oh, yes, and the recyclers happen to be Beno=EEt Delbecq (keys, inc.=
 prepared
>piano), No=EBl Akchot=E9 (guitars and other stringed things), and Steve
>Arg=FCelles (percussions, etc).  A very fine record in my book, which does=
 a
>nice job of straddling the line between pop and experiment.  Of course, a
>few of the tracks are messed up enough to annoy off my more pop-orriented
>friends.
>
>merci,
>
>Alexander
>
>.Radio Khartoum.           http://www.algonet.se/~elegans/radiok/


-



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

From: [e-mail]
Subject: Wanted
Date: 12 Feb 1998 23:33:21 -0700 MST

Hello there. Does anybody have the following that you could possibly
tape for me, I can make a tape for you in exchange. Here's what I'm
interested in hearing :
Fushitsusha-Purple Trap, Allegorical Misunderstanding or The Caution
            Appears
Iannis Xenakis- La Legende D'er or any other starting point for his
                works.
Masayuki Takayanagi/New Direction Unit- Live Independance
Dr. Nerve- anything
Univers Zero- Heresies
Magma - anything

If you'd like to email me in private, here's my address
         [e-mail]
Hope to hear from someone.
Oh yeah, I'd also love to hear that new Buckethead disc as well as the
Deathcube K platter. Til the future dissolves in silence.....Steve

-



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

From: "Julian" <[e-mail]>
Subject: drum n bass n jungle
Date: 13 Feb 1998 17:43:55 +1100

> I've been told there's a difference between drum 'n' bass and jungle,
> but have failed to figure out how people define each. Any help out
> there?

I find it really quite amusing when those people who make this style on a
little machine are interviewed, and they say things like "well, my style is
really diverse, it ranges from drum 'n' bass to jungle to trip hop", I feel
like killing them. In my book, diverse at the very least requires two
_different_ styles. Of course, on this list, diverse means something more
along the lines of 50 different styles.


-



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

From: [e-mail]
Subject: Re: Albert Ayler
Date: 13 Feb 1998 02:10:00 EST

In a message dated 98-02-12 04:58:01 EST, you write:

<< I *will* be buying more Ayler. Peter Brotzman's MACHINE GUN ('68) is also
 on my list, as is David Murray's MING ('80) and THE HILL ('86). >>

Let me warn you- _Machine Gun_ is about as extreme as an ensemble gets.  If
you can swallow this, everything else will be nectar in comparison...

=dgasque=

-



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

From: "Julian" <[e-mail]>
Subject: Shoe String Symphonettes
Date: 13 Feb 1998 18:19:27 +1100

I've just noticed something kind of strange in the booklet of Marc Ribot's
"Shoe String Symphonettes". The ones I've been listening to the most
recently have been from the unfinished project (tracks 7, 8, 10 and 11).
Reading the credits it seems that these are the only tracks not featuring
Ribot himself. Yet track 10 starts with a stunning acoustic guitar
solo...or so I thought, if I'm wrong that's one strange sounding cello.
Anyone else notice this?


-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: Re: Pain Killer cover album
Date: 13 Feb 1998 02:50:35 -0500 (EST)

> > > On the first CD there's a bonus-track : Marianne, featuring Makigami
> Koichi
> > > (vocals) and Haino Keiji (guitar).
> >
> > is it a cover of the classic Leonard Cohen song? :)
>
> What I have heard is that the song "Marianne" is originally
> by the 60s Japanese garage band, The Jacks.

I think we should all petition Painkiller to put out a cover album...any
suggestions for what would go on it?

        -jascha


-



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

From: "Doug McKay" <[e-mail]>
Subject: Adventures with Coltrane
Date: 13 Feb 1998 04:10:19

I found someone to lend me GIANT STEPS and A LOVE SUPREME.


GIANT STEPS: Ding-dinga-ding-dinga-ding on the ride. No drum fills, just
snare accents, like sometimes tripping over stones. Do this fast. High-hat
on two and four. You're in a swing band but with only four guys and no
trumpet. Repeat for the next song but go a little slower. When the bass
does its solo, switch to the high-hat and go ding-dinga-ding-dinga-ding and
lighten up on the snare. Now it's "Countdown" so here's your chance. Go!
Then play ding-dinga-ding-dinga-ding really really fast so the sax can hit
all the notes. Whew. How about another song? Ding-dinga-ding-dinga-ding.
Good. Now here's another. Ready with the high-hat? Alright. Let's swing.
Ding-dinga-ding-dinga-ding. Time for a change. Bring out the brushes, this
one's romantic. You know the routine. Follow the bass during the intro of
the theme, then just swish around on the snare for the rest. Accent on one
and three. To give it a bit of a slow romantic dance feel you can move the
accent to two and four for a short time if you like. Okay. One more. Back
to the quick step. Fast now! Ding-dinga-ding-dinga-ding. It's the last song
so you might want to put in a couple fills here. In fact, I'll give you
some space. Might as well use your toms since you brought 'em along. It's
your final chance.

[Somebody shoot that fucking drummer.]

A LOVE SUPREME: You're in Cuba but we're not. The piano player can't quite
see the keys and doesn't really believe he's hitting them, so he'll try
over and over. I like that phrase "A love supreme." It's meaingful, you
know? This is about God so be quiet and listen. Let's meditate a while on
the bass. Come back from Cuba now. Listen a little more to the sax on this
one. Break up the rhythm but pay attention. You're doing good. It sounds
like you're actually hearing the other players now. Hey! I can scream with
this sax! Feels good, man. Sure beats endless arpeggios. Here's the final
movement. You get it started. Sounds like you can play. Glad to have you
with us. Yeah! Go! Okay, here we all come. Keep it driving. Don't you dare
go ding-dinga-ding. Thank you Elvin. You're a good man. You got some
variety in you. I can even here some bass drum work there. And the snare
work. Great stuff. I am going to WAIL here so let's get some movement. Yes.
Yes. Yes! Drive me, drive me. Let's hit the damn wall here and bust
through. Go you fucker! Go! Yeah, yeah! Shit! Man ... that was fine. Whew!
Let's let the bass play alone for a while. It's sort of a fast come down,
but orgasms can be like that, you know. Got a tympani? Let's use it. Gives
it a little symphonic feel. Noble-like if you know what I mean. I'm not
going to play long lyrical notes here. Not like I was doing back in '59. So
it might sound like I don't have good phrasing here like back then, but so
what. I'm all choked up, you know? It's a little long? Hey. It's about God.
So shut up. This is how I feel. Keep rolling around on those tymps. This is
going to be some powerful shit. It's about God, so it's gotta be. Right?


Doug McKay - Drummer
In Minnesota





-



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

From: "Julian" <[e-mail]>
Subject: Leng Tch'e
Date: 13 Feb 1998 21:22:20 +1100

How does Leng Tch'e (the piece of music) work again? ie is it notated or
what? and if so, how?


-



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

From: "Doug McKay" <[e-mail]>
Subject: Sax Wars
Date: 13 Feb 1998 05:01:12

THE SHAPE OF JAZZ TO COME (May 22, 1959) vs. GIANT STEPS (May 4,1959).

Coleman STOMPS Coltrane FLAT.

It's hard to believe these were recorded 18 days apart.

Doug McKay
In Minnesota





-



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

From: Jan-Wen Lu <[e-mail]>
Subject: Re: Pain Killer "Marianne" cover
Date: 13 Feb 1998 20:15:52 +0800



> > > On the first CD there's a bonus-track : Marianne, featuring
> Makigami
> Koichi
> > > (vocals) and Haino Keiji (guitar).
> >
> > is it a cover of the classic Leonard Cohen song? :)
>
> What I have heard is that the song "Marianne" is originally
> by the 60s Japanese garage band, The Jacks.


The Painkiller song "Marianne" was taken from the brilliant "Koroshi no
Blues" CD by Makigami Koichi(might be out-of-print now!!). Makigami
covers Japanese old pop songs with new arrangements by a lot of
Japanese/American avant-garde/experimental musicians. Produced by John
Zorn.


For those who already have "Koroshi no Blues", "Buried Secrets", "Guts
of a Virgin" & Japanese edition of "Execution Ground", I think you don't
have to buy the Painkiller 4 CD box set.



Jan-Wen Lu





-



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

From: Alan E Kayser <[e-mail]>
Subject: Re: Sax Wars
Date: 13 Feb 1998 08:30:09 -0500

Doug McKay wrote:

> THE SHAPE OF JAZZ TO COME (May 22, 1959) vs. GIANT STEPS (May 4,1959).
>
> Coleman STOMPS Coltrane FLAT.
>
> It's hard to believe these were recorded 18 days apart.
>
> Doug McKay
> In Minnesota

What's really hard to believe is that between May 22, 1959, and March
27, 1961, Ornette and company recorded all the music heard on "Beauty is
a Rare Thing."  Coltrane recorded with Don Cherry in June of 1960, but
Cherry is the more adventurous of the two.  The larger works with Dolphy
on board were still a year off.  The breakthrough Village Vanguard dates
were done in November of 1961.  The point being that Coleman had
completed his essay while Coltrane was still writing the first
sentence.  That in no way lessens the greatness of Coltrane, just that
Coleman had an obvious influence on Trane's music if not his style.

Alan Kayser

>
>
> -




-



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

From: Alan E Kayser <[e-mail]>
Subject: Re: Albert Ayler
Date: 13 Feb 1998 08:38:48 -0500

Keith McMullen wrote:

> >Actually Zorn is a guest on two tracks on the Prima Materia tribute
> to
> >Coltrane, "Peace on Earth."  The Ayler tribute is "Bells" but Zorn is
>
> >not on that one.  They also have another Coltrane tribute
> >"Meditations."  All, of course, feature leader Rashied Ali, along
> with
> >Allen Chase, Joe Gallant, William Parker, etc.  High energy music.
> >
> >Alan Kayser
>
> I can see the value of hearing these tributes live, but if I have a
> couple
> of hours to listen to music, I'd never spend it listening to
> recordings of
> Prima Materia when I could spend it listening to the philosophical
> gold
> himself.
>
> s~Z
>
> -

Duke Ellington recorded an LP in the 60s "Recollections of the Big Band
Era."  On it he played golden nuggets from that era.  Were he Prima
Materia you would have missed a great album.  I'm not saying that P.M.
is in any way shape or form even in Duke's league, but they do give the
Coltrane material an interesting twist and deserve to be heard.  Ali is
a graduate of the University of Coltrane, so I suppose he has a good
take on what this music is all about.  Have you ever listened to Zorn's
"Spy vs. Spy" or 'Voodoo" or does the philosophy also apply here?

Alan Kayser





-



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

From: John Howard <[e-mail]>
Subject: Re:Albert Ayler (and books, too!)
Date: 13 Feb 1998 08:19:31 -0600

>The book is "As serious As Your Life" by Valerie Wilmer. It's not about
>Ayler per se, it covers the whole NY free Jazz Black Music Thing of the
>1960's. Ayler, Coltrane, Cherry, Pharoah, even Sonny Sharrock! some
>great photo's too.
>
>Rich

>Some more books that are excellent (and deal with creative music in one

>way or another):
>EXTENDED PLAY  (John Corbett)  Duke Press  simply great
>FORCES IN MOTION  (Graham Lock)  Da Capo   you don't need to be a
>             Braxton fan to enjoy the celebration of creativity
>All Coltrane Bios are tepid: avoid the Cole bio at all costs, but
>CHASIN THE TRANE is pretty good, look out for the (long time)
>forthcoming Francis Davis Coltrane bio
>THE MUSIC OF KARLHEINZ STOCKHAUSEN  (Robin maconie)
>Geez, I'll think of more in time

The Eric Neison (sic) bio ASCENSION is real good actually, you get to
find out the Coltrane was a closet acid head.
There is also a comprehensive book sized Ayler bio at:
http://ernie.bgsu.edu/~jeffs/ayler.html

Other great Ayler recordings to check out are the live ones on HatArt
and LIve in Greenwhich Village on Impulse. Not to mention New York Eye
and Ear Control on ESP (with Don Cherry, sort of a companion to
Coleman's Free Jazz and Coltrane's Ascension)

For Ayler-esque hoot and holler the Frank Lowe ESP album called Black
Beings contains some of the best "free" blowing this side of Bells.  It
also features Joseph Jarman and The Wizard(!) on violin.  A great
overlooked album.      john


-



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

From: "Robert A. Pleshar" <[e-mail]>
Subject: Re: Next CD Reccomendation thread? - Sun Ra
Date: 13 Feb 1998 08:23:20 -0600 (CST)

At 10:04 PM 2/12/98 -0500, Matthew Colonnese wrote:
>Matt,
>
>Don't do it.  I don't think any of these are what you are looking for.  I
>have _Futuristic Sounds_ and it about the worst Sun Ra thing I own (i'm a
>huge fan, and I hate it).  The Black Lion one (_outer spaceways_, I think)
>is one of many late live shows from when he got quiet and conservative
>again.  Usually very good big band stuff, but not what it sounds like
>you're looking for.

Late? "Outer Spaceways" was recorded in 1968. The same era as Atlantis,
Magic City, Nothing Is,  and before the Kohoutek disc you mention below.
There's wide variety to Ra. You might not like it, but I'd hardly say that
by 1968 Ra was quiet or conservative.

>I know you limited us to these disks, but I gotta recomend you just bite
>the bullet and spend the $5 more to get something decent.  I really doubt
>you're saving yourself any money by buying any of these second rate
>releases.

I don't think the Delmarks are second rate. They are fine early Ra albums
when he was just beginning to stretch away from bop style tunes.

>Personally, I've never heard any Sun Ra I thought reminded me of
>Naked City.  If you are using that description as a synonym for "chaotic"
>though, let me recomend _Magic City_ which is massive, sprawling group
>improvisation not unlike JC's _Asention_.  Also very fucked is _Concert for
>Komet Kahoutek_ on ESP.  Which feature whopping doses of Sun Ra's space
>chords on organ.  I've heard _My Brother the Wind_ is in a similar vein,
>but I have yet to get this.
>Maybe Sound of Joy_ and _Sun Song_ are not what I suspect, but I'm very
>suspicious of these Delmarks.  You don't do yourself any good spending a
>little less for stuff you are much less likely to like.

Your mileage will vary, but I'd pay $8.50 for any of the discs you
mentioned. Futuristic Sounds is not the best, but it does have some good
tunes on it.

Ralph


-



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

From: "Robert A. Pleshar" <[e-mail]>
Subject: Re: Next CD Reccomendation thread? - Sun Ra
Date: 13 Feb 1998 08:23:20 -0600 (CST)

At 10:04 PM 2/12/98 -0500, Matthew Colonnese wrote:
>Matt,
>
>Don't do it.  I don't think any of these are what you are looking for.  I
>have _Futuristic Sounds_ and it about the worst Sun Ra thing I own (i'm a
>huge fan, and I hate it).  The Black Lion one (_outer spaceways_, I think)
>is one of many late live shows from when he got quiet and conservative
>again.  Usually very good big band stuff, but not what it sounds like
>you're looking for.

Late? "Outer Spaceways" was recorded in 1968. The same era as Atlantis,
Magic City, Nothing Is,  and before the Kohoutek disc you mention below.
There's wide variety to Ra. You might not like it, but I'd hardly say that
by 1968 Ra was quiet or conservative.

>I know you limited us to these disks, but I gotta recomend you just bite
>the bullet and spend the $5 more to get something decent.  I really doubt
>you're saving yourself any money by buying any of these second rate
>releases.

I don't think the Delmarks are second rate. They are fine early Ra albums
when he was just beginning to stretch away from bop style tunes.

>Personally, I've never heard any Sun Ra I thought reminded me of
>Naked City.  If you are using that description as a synonym for "chaotic"
>though, let me recomend _Magic City_ which is massive, sprawling group
>improvisation not unlike JC's _Asention_.  Also very fucked is _Concert for
>Komet Kahoutek_ on ESP.  Which feature whopping doses of Sun Ra's space
>chords on organ.  I've heard _My Brother the Wind_ is in a similar vein,
>but I have yet to get this.
>Maybe Sound of Joy_ and _Sun Song_ are not what I suspect, but I'm very
>suspicious of these Delmarks.  You don't do yourself any good spending a
>little less for stuff you are much less likely to like.

Your mileage will vary, but I'd pay $8.50 for any of the discs you
mentioned. Futuristic Sounds is not the best, but it does have some good
tunes on it.

Ralph


-



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

From: "Julian" <[e-mail]>
Subject: Circle Maker
Date: 14 Feb 1998 01:50:56 +1100

I've just been doing some quite random searching, and came across a
soon-to-be released double cd by Zorn called "Circle Maker", apparently on
Tzadik. I had never heard of this before... anyone?


-



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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: drum n bass n jungle
Date: 13 Feb 1998 09:08:46 -0600 (CST)

On Fri, 13 Feb 1998, Julian wrote:

> I find it really quite amusing when those people who make this style on a
> little machine are interviewed, and they say things like "well, my style is
> really diverse, it ranges from drum 'n' bass to jungle to trip hop", I feel
> like killing them. In my book, diverse at the very least requires two
> _different_ styles. Of course, on this list, diverse means something more
> along the lines of 50 different styles.

Actually, drum'n'bass/jungle is a *very* different style than trip hop
(and as far as the horrible labels attached to these genres/styles go, I
just use 'em, I didn't invent 'em).  But that's neither here nor there
.....

cya
brian (sorry, no obZorn)
"The most dementing of all modern sins: the inability to
distinguish excellence from success." - David Hare



-



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

From: 655321 <[e-mail]>
Subject: Re: Circle Maker
Date: 13 Feb 1998 11:19:11 -0500 (EST)


> I've just been doing some quite random searching, and came across a
> soon-to-be released double cd by Zorn called "Circle Maker", apparently on
> Tzadik. I had never heard of this before... anyone?

as "circle maker comes out on march 17, and the tzadik web site lists a
two-cd "bar kokhba" set coming out in march, i think it's a safe
assumption that they are one and the same.

-a.


-



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

From: "Keith McMullen" <[e-mail]>
Subject: Re: Albert Ayler
Date: 13 Feb 1998 08:11:30 -0800


>Have you ever listened to Zorn's "Spy vs. Spy" or 'Voodoo" or does the
philosophy also apply here?
>
>Alan Kayser


It's a specific issue, not a philosophical one. I thoroughly enjoy SPY and
VOODOO. Prima Materia evoked snoozing. But, hell, I was disappointed with
Douglas' SANCTUARY, and after several tries put it in the discard pile.
Yesterday, I put it on and was absolutely delighted with it. Before long,
I'll probably be hosting Frisell/Keltner and Frank Zappa CD parties.

Keith


-



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

From: Corey Marc Fogel <[e-mail]>
Subject: Re: Circle Maker
Date: 13 Feb 1998 09:27:23 -0700 (MST)



On Fri, 13 Feb 1998, 655321 wrote:

>
> > I've just been doing some quite random searching, and came across a
> > soon-to-be released double cd by Zorn called "Circle Maker", apparently on
> > Tzadik. I had never heard of this before... anyone?
>
> as "circle maker comes out on march 17, and the tzadik web site lists a
> two-cd "bar kokhba" set coming out in march, i think it's a safe
> assumption that they are one and the same.

but he said "double cd by zorn" , and tzadik lists a forthcoming "gary
lucas bar kokhba".


-



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

From: 655321 <[e-mail]>
Subject: Re: Circle Maker
Date: 13 Feb 1998 11:51:24 -0500 (EST)


> > > I've just been doing some quite random searching, and came across a
> > > soon-to-be released double cd by Zorn called "Circle Maker", apparently on
> > > Tzadik. I had never heard of this before... anyone?
> >
> > as "circle maker comes out on march 17, and the tzadik web site lists a
> > two-cd "bar kokhba" set coming out in march, i think it's a safe
> > assumption that they are one and the same.
>
> but he said "double cd by zorn" , and tzadik lists a forthcoming "gary
> lucas bar kokhba".


the upcoming gary lucas disc is called "busy being born."  the bar kokhba
set is not related except that they are both under the "radical jewish
culture" imprint and are both being released on the same day.  the colon
between the two discs that made them seem to be the same thing was an
error on the tzadik page; if you check back there now you'll see that it
has been removed.


-a.


-



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

From: Joe Germuska <[e-mail]>
Subject: Re: drum n bass n jungle
Date: 13 Feb 1998 10:28:16 -0600


>I find it really quite amusing when those people who make this style on a
>little machine are interviewed, and they say things like "well, my style is
>really diverse, it ranges from drum 'n' bass to jungle to trip hop", I feel
>like killing them. In my book, diverse at the very least requires two
>_different_ styles. Of course, on this list, diverse means something more
>along the lines of 50 different styles.

I'm no expert in electronic music, but "drum 'n' bass" and "trip hop" are
two distinct styles.  I think "jungle" is considered a deprecated term
roughly equivalent to "drum 'n' bass," but I may misunderstand.

The main reason I think the point is worth making is that to some ears, all
"free jazz" sounds the same, but I would argue as vigorously as an
electronic music fan for more careful distinctions in my area(s) of
listening concentration.

I almost said "to some ears, all John Zorn sounds the same," but really,
his music covers SO MUCH ground that I doubt many ears could honestly say
that.

Just some thoughts...
    Joe

* Joe Germuska    {[e-mail]} |    Learning Technologies Group
<http://www.nwu.edu/people/j-germuska> |      Northwestern University
"Two monks were arguing about a flag. One said, 'The flag is moving.' The other
said, 'The wind is moving.' The sixth patriarch happened to be passing by. He
told them, 'Not the wind, not the flag; mind is moving.'" - The Gateless Gate



-



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

From: [e-mail] (Matthew Colonnese)
Subject: Re: Next CD Reccomendation thread? - Sun Ra
Date: 13 Feb 1998 13:00:51 -0500 (EST)


>Late? "Outer Spaceways" was recorded in 1968. The same era as Atlantis,
>Magic City, Nothing Is,  and before the Kohoutek disc you mention below.
>There's wide variety to Ra. You might not like it, but I'd hardly say that
>by 1968 Ra was quiet or conservative.
>
Damn, I was hoping I could get back here before anyone called me out on
this foolishness.  I was thinking of _mayan temples_ or any of the other
80/90's concerts.  All of which, mind you, I think are good stuff, just not
crazed out jazz the poster was looking for.  Anyway, I completely got the
title mixed up.



>I don't think the Delmarks are second rate. They are fine early Ra albums
>when he was just beginning to stretch away from bop style tunes.
>
Maybe I just reached saturation point by the time I bought _futuristic
sounds..._ but I never listent to it and I constantly listen to the
Evidence Reissues from the same time period (and before).  In any case,
they qualify as "second rate" to me 'cause for a few bucks more you can get
TWO full Saturn reissues 'stead of one Delmark.




>Your mileage will vary, but I'd pay $8.50 for any of the discs you
>mentioned. Futuristic Sounds is not the best, but it does have some good
>tunes on it.

Granted, although I think if the original poster bought these he would be
severly disapointed, given the stated criterion. Personally, my fave Sun
Ra's are _Cosmic tones for mental therapy_, _jazz in silhouette_, _purple
night_ and the ESP disks, all much quieter.

Two other candidates for noiser/free blowinger Sun Ra are _Space is the
Place_ which contains vocal numbers, echoey ambience, and some noisy
blowing; makes a nice sampler.  _Foundation Maeght Nights_ vol 1 and 2
which is lots of chaotic free jazz in the kahoutek vein.

Sorry for the screwups, folks.
matt


------
"Finally, a thing-a-ma-giggy that would bring people together...even if it
kept them apart, spatially."



-



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

From: [e-mail] (Nathan M Earixson)
Subject: Re: Sax Wars
Date: 13 Feb 1998 11:57:09 -0600


On Fri, 13 Feb 1998 08:30:09 -0500 Alan E Kayser <[e-mail]> writes:
>Doug McKay wrote:
>
>> THE SHAPE OF JAZZ TO COME (May 22, 1959) vs. GIANT STEPS (May
>4,1959).
>>
>> Coleman STOMPS Coltrane FLAT.
>>

Maybe 'STOMPS' is too strong a word.  How about : "In my opinion Giant
Steps Is less aesthetically pleasing and-or conceptually interesting than
'The Shape of Jazz to Come' but is a completely valid artistic statment
anyways"
(You can never be to PC!)
or maybe not.  What exactly does STOMPING entail?  Individual Technical
expertise?  Group Dynamics?  Concept?
Speaking as someone who really likes both of these (although the Ornette
did more to change my life) , I'm curious.


>> It's hard to believe these were recorded 18 days apart.
>>
>> Doug McKay
>> In Minnesota
>
>What's really hard to believe is that between May 22, 1959, and March
>27, 1961, Ornette and company recorded all the music heard on
> "Beauty is a Rare Thing."
^^^^^^^^^^^^^^^^^^
That's the box set, right?

 A really good (meaning: the only one I'm familiar with) example of this
is 'Shape of JAzz to Come' and 'Tomorrow is the question', seeing as they
are only about 6 months apart.  I think there was a third one that I
meant to use as an example, but I don't remember which one it was.


***********************************************************************************************
"Ah.  Nabbed from sadists by terrorists.  Sort of a dream come true, ya
know."
-P. Opus
************************************************************************************************

_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]


-



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

From: "MBS" <[e-mail]>
Subject: Inevitable
Date: 13 Feb 1998 14:05:13 EST

I am wondering if anyone out there would be interested in some sort
of poll conducted through this list.
Possible categories could include: Fave Zorn Work, Fave Work by Zorn
Associate, etc.
Please email me privately if interested and suggest any categories
you like.
Enjoy lots
Matt

-



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

From: david thiel <[e-mail]>
Subject: BANG-A RECORDING INSPIRED BY LAWSWELL AND ZORN
Date: 13 Feb 1998 17:18:04 +0000

Thank you to everyone who wrote back to me. I've already sent out some
CDs in the mail. If anyone else is interested If you send 3or 4 dollars
to me I'll send you BANG and my 1st CD  OF THE SUN.  My address is
David Thiel
                                                                    175
Margaret Rd

Amherst, NY 14226     Thanks.


-



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

From: [e-mail]
Subject: Re: DRUM N BASS N JUNGLE
Date: 13 Feb 1998 16:25:43 EST

In a message dated 98-02-13 08:32:03 EST, you write:

<< > I've been told there's a difference between drum 'n' bass and jungle,
 > but have failed to figure out how people define each. Any help out
 > there?

 I find it really quite amusing when those people who make this style on a
 little machine are interviewed, and they say things like "well, my style is
 really diverse, it ranges from drum 'n' bass to jungle to trip hop",  >>

damn.... i go to raves alot here in LA... and the JUNGLE room is always the
same as the DRUM N BASS room.... they never have different rooms.. and it
sounds the goddamn same.... except the kids call it Jungle and the radio
prgrammers call it DrumNBass .... i dunno.. its just sped up hip hop and break
beats to me... with fat ass bass of course.... but if ya wanna get CRAZY with
the new electronic scene.. i suggest y'all start listening to DEATH CORE and
GABBER CORE.... that shit is crazed!!!!! 230 beats per minute..with cool
thrash metal samples and horror movie samples.. some DJ's to look for in the
hardcore/death-core scene are OMAR SANTANA, DJ TRON, DELTA 9 and countless
others.....sorry for ranting
-cory sklar

-



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

From: a rancid amoeba <[e-mail]>
Subject: Re: DRUM N BASS N JUNGLE
Date: 13 Feb 1998 14:06:40 -0800 (PST)

> << > I've been told there's a difference between drum 'n' bass and jungle,
>  > but have failed to figure out how people define each. Any help out
>  > there?
> damn.... i go to raves alot here in LA... and the JUNGLE room is always the
> same as the DRUM N BASS room.... they never have different rooms.. and it
> sounds the goddamn same.... except the kids call it Jungle and the radio
> prgrammers call it DrumNBass .... i dunno.. its just sped up hip hop and break

The difference between the two seems to depend alot on who you ask and
the time period you're refering to. In the beginning, if it was from
England it was drum-n-bass, if it was from the US it was jungle. Some
people call the minimal stuff drum-n-bass, the more raggamuffin sounding
stuff jungle (and earlier on the minimal stuff usually came from England
and the busier stuff from the US). Then there's those who say that if it's
good it's drum-n-bass, if it's bad it's jungle. Now it's turned into
such a hodge podge....who knows.

> beats to me... with fat ass bass of course.... but if ya wanna get CRAZY with
> the new electronic scene.. i suggest y'all start listening to DEATH CORE and
> GABBER CORE.... that shit is crazed!!!!! 230 beats per minute..with cool
> thrash metal samples and horror movie samples.. some DJ's to look for in the
> hardcore/death-core scene are OMAR SANTANA, DJ TRON, DELTA 9 and countless
> others.....sorry for ranting

And The Bezerker!!

chanel

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
http://www.arancidamoeba.com/                          [e-mail]
              r e c o r d  l a b e l s  o n  t h e  w e b
                 future home of a rancid amoeba records


-



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

From: "Keith McMullen" <[e-mail]>
Subject: Ventura Music
Date: 13 Feb 1998 13:59:54 -0800

For interested Southern Californians:

NIGHT OF THE TRIOS
Vinny Golia Trio
Brad Dutz Trio
Golia/Dutz Sextet
Saturday, Feb. 28 @ 8pm
$6
City Hall
Ventura CA

INSECT AND WESTERN MUSIC
Eugene Chadbourne Septet
(with Jeff Kaiser, Vinny Golia, Jonathan Segel,
Gene Doi, Jim Connolly, & Rich West)
Saturday, Mar. 7 @ 8pm
$6
Art City II
Ventura CA

E-mail me privately for directions,

keith


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: DRUM N BASS N JUNGLE
Date: 13 Feb 1998 14:16:41 -0800 (PST)

On Fri, 13 Feb 1998, a rancid amoeba wrote:

> The difference between the two seems to depend alot on who you ask and
> the time period you're refering to. In the beginning, if it was from
> England it was drum-n-bass, if it was from the US it was jungle. Some

i've heard tell that "jungle"
got switched to being called
"drum'n bass" because the former
wasn't PC. is this true?

hasta.

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


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: DRUM N BASS N JUNGLE
Date: 13 Feb 1998 14:31:00 -0800


On Fri, 13 Feb 1998 14:16:41 -0800 (PST)  SUGAR in their vitamins? wrote:
>
> On Fri, 13 Feb 1998, a rancid amoeba wrote:
>
> > The difference between the two seems to depend alot on who you ask and
> > the time period you're refering to. In the beginning, if it was from
> > England it was drum-n-bass, if it was from the US it was jungle. Some
>
> i've heard tell that "jungle"
> got switched to being called
> "drum'n bass" because the former
> wasn't PC. is this true?

That's exactly what I was told also.

The Bailey duo was annouced as a jungle record...

    Patrice.

-



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

From: [e-mail] (Matthew Colonnese)
Subject: Re: DRUM N BASS N JUNGLE
Date: 13 Feb 1998 17:55:55 -0500 (EST)


>i've heard tell that "jungle"
>got switched to being called
>"drum'n bass" because the former
>wasn't PC. is this true?
>
That's mostly the story I've heard too.  "Jungle," I believe was a reggae
club invention, or at least it grew up there and on pirate radio reggae
shows in the UK.  As more techno (read white) producers got into the sound
and began producing "jungle"-like records the name switched to "drum and
bass," ostensibly because using any referent to the jungle to refer to a
primarily black music form was racist.  Sounds good, except that what got
the "drum n' bass" tag was the stuff the white kids made that stripped out
the heavy heavy bass and raga rydmns.  So most commonly now Jungle refers
to the more bass-heavy, vicarious thrill side of things, "drum n' bass" to
bass striped, more cerebral side.  Doesn't sound a like a whole lotta
progress was made toward removing the inherent racism in the terms.


------
"Finally, a thing-a-ma-giggy that would bring people together...even if it
kept them apart, spatially."



-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: DRUM N BASS N JUNGLE
Date: 13 Feb 1998 15:05:39 -0800 (PST)

On Fri, 13 Feb 1998, Patrice L. Roussel wrote:

> That's exactly what I was told also.

oh goody! i wasn't imaginging it afterall...

hasta.

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


-



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

From: [e-mail] (Matthew Colonnese)
Subject: Re: Sax Wars
Date: 13 Feb 1998 18:12:41 -0500 (EST)


>Doug McKay wrote:
>
>THE SHAPE OF JAZZ TO COME (May 22, 1959) vs. GIANT STEPS (May
>4,1959).
>
> Coleman STOMPS Coltrane FLAT.
>
>

Yeah dude, I totally f**kin' agree!  And it serves that fat god-obsessed
bastard right; that's what he gets for playing all those ballads.  I mean,
isn't that what chicks listen to?  I'm really glad I finally found someone
who belives in the linear order of artistic merit just like me.  Maybe you
could send along a rank order list of all your albums to the list.  I've
always been curious about who is the BEST at any given time point. I'm sure
given the rigid, well defined criteria it would be of great interest to us
all.  What do you think of the Braxton/Brotzman fight?
        Better hide that Coleman though, I think Cage, Stravinsky, and Ives
are comming to whop him one upside the head.

Keepin' it real in '59.
matt


------
"Finally, a thing-a-ma-giggy that would bring people together...even if it
kept them apart, spatially."



-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: DRUM N BASS N JUNGLE
Date: 13 Feb 1998 15:11:44 -0800 (PST)

On Fri, 13 Feb 1998, Matthew Colonnese wrote:

> Sounds good, except that what got the "drum n' bass" tag was the
> stuff the white kids made that stripped out the heavy heavy bass and
> raga rydmns.

ok, so now begs the question...
who can recommend some good
"old style" true blue jungle
that is supposedly the good stuff?

hasta.

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


-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: _Machine Gun_
Date: 13 Feb 1998 22:32:39 -0500 (EST)



On Fri, 13 Feb 1998 [e-mail] wrote:

> Let me warn you- _Machine Gun_ is about as extreme as an ensemble gets.  If
> you can swallow this, everything else will be nectar in comparison...

While this certainly seems to be the most common reaction, I've actually
always found _Machine Gun_ much less difficult than some other large-scale
collective energy improvisations, particularly _Ascension_.  _Machine Gun_
is timbrally much more abrasive, but a lot of it falls into kind of
grooving rhythms.

Whatever that's worth,

Chris Hamilton



-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: DRUM N BASS N JUNGLE
Date: 13 Feb 1998 22:50:10 -0500 (EST)



On Fri, 13 Feb 1998, Matthew Colonnese wrote:

> So most commonly now Jungle refers
> to the more bass-heavy, vicarious thrill side of things, "drum n' bass" to
> bass striped, more cerebral side.  Doesn't sound a like a whole lotta
> progress was made toward removing the inherent racism in the terms.

I've heard two different stories about the origin of the term 'jungle'.  I
can't vouch for either of these myself, and they could both be true.  The
first was in a Goldie "Invisible Jukebox" in _The Wire_, and was pretty
similar to Matthew's version: 'Jungle' was a term used by white dance fans
to describe black-oriented dance music.  The second was in another
"Invisible Jukebox" with Adrian Sherwood, who claimed that one popular
early d'n'b record sampled a reggae record featuring a shoutout to
"Jungle", a colloquial name for some neighborhood in Kingston.

Chris Hamilton


-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Pain Killer cover album
Date: 13 Feb 1998 22:55:20 -0500 (EST)



On Fri, 13 Feb 1998, ia zha nah er vesen wrote:

> I think we should all petition Painkiller to put out a cover album...any
> suggestions for what would go on it?

The humor potential in this is probably limited by the fact that nothing
would seem very unlikely, but I'd enjoy hearing them do "The Girl from
Ipanema" and a medley of Morton Feldman's greatest hits.

Chris Hamilton



-



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

From: "Silent Watcher" <[e-mail]>
Subject: Re : Drum N Bass N Jungle
Date: 13 Feb 1998 22:22:39 PST

I read an interview with Style Scott, in which he stated that jungle
originated in Jamaica, but was a different sound from Jungle that we're
familiar with. Of course, he didn't say how it was different.

SW
For Sale/Want List and Laswell Discography at
http://www.geocities.com/SunsetStrip/Underground/7093

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

-



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

From: [e-mail]
Subject: circle maker/braxton
Date: 15 Feb 1998 01:05:28 EST

according to the Koch catalog, The Circle Maker (release date March 17) is a
two disc set. the first disc is performed by the Masada String Trio (Feldman,
Friedlander and Cohen) and the second disc is done by the Bar Kokhba Sextet
(the same three, joined by Baptista, Ribot and Baron). and like Bar Kokhba,
it's all Masada tunes.

anyone else feel like me that Zorn is slipping a little bit into what I like
to refer to as David Murray/Anthony Braxton syndrome? that is, he's spreading
himself just a bit too thin, and that if he nixed 10 percent of the projects
he works on, the other 90 percent would benefit. just a thought.

speaking of Braxton, according to the Braxton House web site, two of the
releases that AB is planning are a 10 CD box of his Ghost Trance Festival in
New York and a 12 CD box of the Ghost Trance Festival in Oakland. now I bet
that my Braxton collection can hang with anyone short of Graham Lock, but does
he really think he's going to sell more than about three of these?

anyone know if the Painkiller reissue on Earache is out yet in Europe?

Jon

-



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

From: "A. Bueno" <[e-mail]>
Subject: painkiller in europe
Date: 15 Feb 1998 03:17:58 -0300

> anyone know if the Painkiller reissue on Earache is out yet in Europe?
>
> Jon
>
> -
Yes at least it was due to be released in England on 9th february .
One cd (guts of a virgin & buried secrets),with exclusive liner notes by
Zorn
A.Bueno

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: circle maker/braxton
Date: 15 Feb 1998 05:05:45 -0500

[e-mail] wrote:

> according to the Koch catalog, The Circle Maker (release date March 17) is a
> two disc set. the first disc is performed by the Masada String Trio (Feldman,
> Friedlander and Cohen) and the second disc is done by the Bar Kokhba Sextet
> (the same three, joined by Baptista, Ribot and Baron). and like Bar Kokhba,
> it's all Masada tunes.

FWIW, the story at http://www.wzo.org.il/encountr/choni.htm is
probably the source of the album's otherwise mysterious title.

OTOH, I'm not clearly on why the character in the story is called the
Circle Maker, so it may be turtles all the way down :-)
--
---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|

-



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

From: Andy Pitchford <[e-mail]>
Subject: Looking for recommendations
Date: 15 Feb 1998 13:30:02 -0000

Hi I'm new to this group. I've got probably everything by Zorn up to Masada
4, then basically lost interest (in buying new stuff) at prices in the UK of
15+.

Just wondering anyone got any recommendations for the more recent releases
(Hey I'm sure its all great but there must be something that is
indispensable).

Thanks
Andy


-



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

From: [e-mail] (Mark Perlson)
Subject: Thomas Chapin
Date: 15 Feb 1998 10:30:26 +0100

Hello

I just wanted to let you all know that Thomas Chapin passed away in
Providence last Friday after a long battle with Leukemia.

We have lost an amazing musician and a wonderful person.

His music will live on.

Best wishes

Mark Perlson



-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: circle maker/braxton
Date: 15 Feb 1998 14:50:31 -0800

[e-mail] wrote:
> anyone else feel like me that Zorn is slipping a little bit into what I like
> to refer to as David Murray/Anthony Braxton syndrome? that is, he's spreading
> himself just a bit too thin, and that if he nixed 10 percent of the projects
> he works on, the other 90 percent would benefit. just a thought.
>
> speaking of Braxton, according to the Braxton House web site, two of the
> releases that AB is planning are a 10 CD box of his Ghost Trance Festival in
> New York and a 12 CD box of the Ghost Trance Festival in Oakland. now I bet
> that my Braxton collection can hang with anyone short of Graham Lock, but does
> he really think he's going to sell more than about three of these?

Don't know about you, but as a Braxton afficionado since around 1973,
and having lived through the years where the sight of a SINGLE Braxton
LP was enough to get the salivary glands going, I have trouble worrying
about too many of his releases being available. I have about 60 of his
LPs/CDs and probably pick up 5-8 a year nowadays (only possible because
they ARE so available) including filling in with older things I either
never got around to or couldn't find. Will I buy the Ghost Trance
multi-sets? Probably not (unless I have a lucky football-pool week!) but
I'm glad to have them out there. Will they turn out to be major,
indispensible works? Who knows? But imagine your argument used against a
painter: Concentrate more on masterworks and not so many of these little
sketches; I think one would lose a lot of great art. Personally, I have
no problem with hearing what may turn out to be 'sketches'.

I feel similarly about Zorn, even worse as he produces so many
fascinating musicians. With Murray, I think you have a point as he is
not nearly as multi-faceted or investigatory as the other two. Since
those wonderful 1988 DIW sessions, my general perception has been that
he's been largeky treadin water. Though he has released much excellent
music, with clunkers few and far between, I found I lost intense
interest a few years back, after I'd amassed 20 or so albums. At this
point, I'd have to be convinced that he's moving into unexplored
territory to invest further ear-time.

The "problem" is that so much previously inaccessible musical material
has become almost absurdly easy to find in the last 5-10 years. For
several years I would drool over print mentions of obscure Japanese and
European improvised music and out-rock, only rarely coming across the
actual CD. Then Other Music goes and opens (downtown NYC) and I'm
suddenly faced with dozens (if not hundreds) of items I'd love to hear,
but probably never will.

But I'm not complaining...just acting like Homer confronted with an
inaccesible doughnut.

Brian Olewnick

PS. To illustrate: Yesterday's pick-ups, all first rate:

Ground-Zero        Plays Standards
Ellery Eskelin        One Great Day...
Morton Feldman        Neither
Evan Parker        Toward the Margins
Fushitsusha        Live 1990 (I think--it's the double CD, PSF-2-3;
            does anyone have exact place/time of the
            recording? Translations of the song titles
            would be welcome, too.)

-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: circle maker/braxton
Date: 15 Feb 1998 17:12:15 -0500

Brian Olewnick wrote:

> I have about 60 of his
> LPs/CDs and probably pick up 5-8 a year nowadays (only possible because
> they ARE so available) including filling in with older things I either
> never got around to or couldn't find. Will I buy the Ghost Trance
> multi-sets? Probably not (unless I have a lucky football-pool week!) but
> I'm glad to have them out there.

This gets me to thinking (probably because <plug> the new CD by my
ensemble, Comma, should be out in about a week </plug>): what's the
break-even point on CDs like this? Assuming that most of us get our
Tzadik and Braxton House CDs through stores or mail-order, generally
through a middleman, who often gets them from a distributor: how many
CDs do they have to sell before they make back their costs?

My guess is that there's just enough people who will buy close to
*everything* Zorn or Braxton put out (though the number plummets for
big things like the Ghost Trance sets or the Parachute Box, that may
be offset by the relative economy of the boxes being a single
high-priced object to ship and sell, rather than a bunch of little
ones) that it may make sense to keep putting out lotsa product.
(Anyone know how the Butch Morris Conduction box sold a/o/t the
single discs from it that were also released?)

Capitalism sux... but there isn't yet a better way that I know of to
afford to get things out to people...

Anyone? Bueller? Steve? :-)
--
---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|

-



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

From: Tom Pratt <[e-mail]>
Subject: selling vinyl Big Gundown
Date: 11 Feb 1998 20:47:46 -0500

I am selling an absolutely perfect condition vinyl copy of John Zorn's
'The Big Gundown' for $50 even (shipping and handling included). This is
a very rare Zorn collectors item that I will sell to the first person
who responds.

                -Tom Pratt




-



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

From: JRZ <[e-mail]>
Subject: Avant-Con/Free "Jazz":  Let Us  Stamp  It Out!
Date: 05 Feb 1998 16:41:32 -0600

Picked this up on rec.music.bluenote. This is one of the funniest things
I've ever read, I think he's serious too. The line it is drawn, the curse
it is cast. I can't wait for his manifesto.


Dear Friends,

By way of asking for your immediate support in the heavy task that lies
ahead of us, I am
reposting our "call to arms" for those who may have missed it.  Again, I
remind you to
strengthen your heart and spirit and to be vigilant at all times; as you
will have noticed, the
enemies of jazz are not about to take this quietly.  But have no fear: I
stand between you
and them and will protect you from their unwarranted wrath.  Friends,
the time has
come when  every true jazz fan must stand up and be counted: I am
counting on  you
to do the right thing and help save this music that we love so much.  I
want you to walk
into a.g./free performances  and right up to the musician, walk right up
to the a.g./free fan,
to those in th eemploy of FMP,  ETC; look them straight in the  eye and
say "i'm as mad
as hell and I'm not gonna take it any more!".  Let them know that the
pollution of jazz
will no longet  go unopposed!  Let them know that the con must stop
today!  Let   them
know that we will fight, fight, fight!!


(Before I write anything else, let me remind you of Friend Rardin's
advice  to RESIST THE URGE.  If you are not concerned with what
avante-garde is
doing to jazz, please just move on; don't read any more or feel you must

respond.)

The matter at hand: It is clear that all of who are concerned about the
future of jazz will also undobtedly be concerned about the effects that
that so-called avante-garde "jazz" has had on real jazz.  The part of
the public that might be interested in real jazz is often turned off
when they are misled into listening to performances or recordings of
the so-called avante-garde jazz, and it is high time we started to
do something about it.  Things have simply gotten out of hand in
what is being put out their, and musicians and lovers of real jazz are
paying for it, whether directly or not.  We must stand up against the
sad, sad noise that is ruining this music!

You will have noticed that avante-garde musicians and their fans get
very upset when it is stated that their music is not  jazz.  Why is
this so?  The answer is that this is the only way they can get any
interest in this mindless random noise.  Basically, the idea is that
they will quietly sneak into the jazz tent and illegally harvest
there.  You may well ask: are there members of the public who are
taken in by the mere name of jazz?  Sadly, the answer is yes, whence,
for example, the increasing use of jazz in advertising, the production
of a Jazz perfume, etc.  Now, these people when they try the music
might well be turned on to real jazz, but instead they are being
lost to us whenever their first encounter is the so-called avante-garde
jazz.  This is why it is time for us to act!

There are several things we could do for a start: direct people to
real jazz, convince those who believe that avante-garde is cool or
hip or whatever that they are getting conned, vote with your wallet:
don't spend the hard-earned in any way that might have a positive
effect on any perpetrator of this con, direct your friends and relatives

to real jazz.  and remember, you don't have to get up here and announce
your actions: just do it quietly, and let its effects be felt. Labels
like FMP, venues like the Knittng Factory, etc.; all these should
ring a loud warning bell.  Don't be impressed by mere fashion; go
for the real gold, instead of the fake stuff that is being urged upon
you.

Friends, we are at a cross-roads.  The time to determine the future
of jazz is now.  "Musicians" who never learned to play their
instruments properly, rockers seeking to reap where they have
not sown (i.e. jazz), creators of mindless random noise that gives
jazz a bad name ... All these are things we should leave behind when
we move into the 21st century.  It is time to say we have had enough.
Time to let these so-called avante-garde-jazz musicians know we
are onto their game and that it is time they learned to play properly.
Some of those fakes are even right here on RMB, and they will fight
hard and long to continue the con; don't buy it, no matter how much
they malign you.  The time to stand up and loudly say: CAN THE CON!
is NOW!

Friend, you may say that you are just one person and what can you do?
Well, a lot of one persons piled up is a lot of persons that can do a
lot.  For example, I personally have steered the listening directions
of many people in the right direction.  All it takes is getting people
to real jazz events, letting those you come into contact with know
where the real goods are and where the con is, tearing down posters
advertising avante-con jazz.  Another way is to shop a lot in one
place and through conversations to steer the proprietors direction
of buying away from what is bad and to the real thing; this tactic
is very effective with small shops or with a city that has a relatively
small number of CD shops.  If you are on an arts advisory board or
something lie that, let you voice be known.  ETC.  ETC.  ETC. My
forthcoming Jazz Agenda For The 21st Century will lay out all of this.

Friends, we have a hard battle in front of us.  Stregthen your spirit,
and be prepared!

Thank You.



my tapelist http://www.winternet.com/~zube/tapelist.htm
Look at Jim Evans, Look at his head, He's got a compass, and a rollaway
bed! - HGB





-



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

From: david thiel <[e-mail]>
Subject: masada song titles
Date: 04 Feb 1998 21:22:07 +0000

I'm am wondering if anyone has English translations of MASADA song
titles?





-



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

From: "Petsitter" <[e-mail]>
Subject: Annoying Bungle fans
Date: 15 Feb 1998 20:36:30 -0600

This is a multi-part message in MIME format.

------=_NextPart_000_0041_01BD3A51.65C4CC00
Content-Type: text/plain;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

I found this message off of alt.music.mr-bungle, but Ive seen plenty of =
these types on this group and so many other places.  I desperatly want =
to know, is any one else getting annoyed with talk such as this:


I have the first album which is probably the most played CD I own!

I once saw another album by them, but (after listening to it in the
shop) it seemed to be entirely of instrumental stuff, I'm afraid I
prefer lyrics with my music.

So what other albums are available with songs on? I would really
appreciate any advice you could give as I'm sure I can get stuff ordered
through a couple of contacts.
--=20

------=_NextPart_000_0041_01BD3A51.65C4CC00
Content-Type: text/html;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

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

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http-equiv=3DContent-Type>
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</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>I found this message off of =
alt.music.mr-bungle,=20
but Ive seen plenty of these types on this group and so many other =
places. =20
I desperatly want to know, is any one else getting annoyed with talk =
such as=20
this:</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT> </DIV>
<DIV><FONT color=3D#000000 size=3D2><BR>I have the first album which is =
probably the=20
most played CD I own!<BR><BR>I once saw another album by them, but =
(after=20
listening to it in the<BR>shop) it seemed to be entirely of instrumental =
stuff,=20
I'm afraid I<BR>prefer lyrics with my music.<BR><BR>So what other albums =
are=20
available with songs on? I would really<BR>appreciate any advice you =
could give=20
as I'm sure I can get stuff ordered<BR>through a couple of =
contacts.<BR>--=20
</FONT> </DIV></BODY></HTML>

------=_NextPart_000_0041_01BD3A51.65C4CC00--


-



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

From: "Scott Handley" <[e-mail]>
Subject: Re: Braxton...
Date: 03 Feb 1998 10:59:23 PST

YOU WROTE:
>
>I have _Charlie Parker Project_ and think it's great, but I guess I've
never
>gotten anything else because I didn't have a clue where my next step
should be... Any
>others that are good starting (or continuing) points?
>>maf
>
EYE RITE:

At the risk of sounding (more) pedantic (than usual), I might split
Braxton's work into five general categories, four of which deal with his
own work, the fifth with others' (these are the jazz standards albums:
Braxton has yet to my knowledge to tackle any of the "Western" "concert"
"tradition"---a la GRAND GUIGNOL Naked City).  This list will be of
absolutely no interest or use to those who are familiar with Mr
Braxton's work, but for newbies with big ears (esp. that young high
school student: e-mail me, man, and I will send you some inspiring-ass
liner notes from one of Brax's most accomplished students, Ted
Reichman)maybe I can save you a little time and money, since I didn't
know anybody (including Jack Shit) who was into this when I started.
Actually, fuck all that---if I'm not going to start a web page, let's
just have

          A LIST OF MY BRAXFAVES (GREAT FOR NEWBIES TO BRAXTON)

I think the Charlie Prker Project is all right, charming in its own way,
but I myself am not that partial to Braxton's standards releases. If you
like C.P.P. though, you will probably love:

a. DORTMUND 1976 (hatart) The buzz is right: this is not THE greatest
   Brax, but it is the best intro. I think it's out of print, tho.  If
   you can't find it, a suitable (and badass) alternative is PERFORM-
   ANCE (QUARTET) 1979 with Ray Anderson. I like that one too.

b. QUARTET (WILLISAU) 1991 (Hatart) 4CDs, but worth it.  Go find John
   Corbett's review in an old Down Beat.  That's how I feel.  The 2
   live discs are strongest; some of the best live recording quality
I've ever heard.  Beats the hell out of the poorly    recorded Leo
live sets. Not too much irony.  very little "coldness"
   (I can see how people feel that way: Brax's gifts, or perhaps
rather inclinations, are not melodic). A great introduction to his
music, too. Quite simply some of my absolute favorite music period.

b. QUARTET (WILLISAU) 1992 (VICTO) All eyez on Victo!  The world's
   best festival (kidding: but maybe it's close!) inspiring the
   Dresspellingway quartet (same as above) to darker depths.  By the
'  closing solo cadenza of the main set and encore    (Coltrane's
"Impressions"), I was breathless.  Recorded well too.

   Please note: I think both of these are easily better than the
   recent SANTA CRUZ (1993) (which is still badass and a must for
completists) or the poorly recorded 12 COMPOSITIONS OAKLAND
(1993), both of which are by the same group.

c. TRIO (LONDON) 1993 or DUO (LONDON) 1993 (both Leo) Both with Evan
   Parker (need I say more?), the former with Paul Rutherford too.
   Take your pick: either one is absolutely great.

d. ONE IN TWO, TWO IN ONE (hatart) This may be out of print too.
   It's with Max Roach, and it's really really good.  Very accessible
   as well.

e. 3 choices for a representative large ensemble work
   I find some of Braxton's large ensemble work simply the result of
   Wagnerian glutton-eyes: he overcomposes. Braxton's Oevre should be
   called "over-" because, like Zorn, his rabid documentation--I
suspect--is neither the result nor the cause but the symptom of a
   mildly careless overproductive work ethic.  I'm not standing
   by this opinion tightly, but just listen to the work for 4
orchestras, or Comp 96, or Comp 173 (I think: the one that forms
   part of the Trillium series operas).  I consider those abstract to
   the point of concrete blandness.  You can only be so insistently,
   THAT angular so long before it seems like nothing but the same
tired experiment: over and over and over.
   However {pardon me folks} there are some discs that seem not
   only potentially seminal but beautiful as well.
       --4 Comps. (Ensemble) 1992 (Black Saint)
       --2 Comps (Ensemble) 1989/91  (hatart)
       --Comp 165 (New Albion)

 f. SOLO BRAX -- what to say?  it's his most challenging work, for me.
    New bies might want to hold off unless CLASSIC GT STRATEGY is one
    your favorite records.  Repeated listenings will be rewarded by
    the following records (I think)
      --12 ALTOSOLOS (WESLEYAN) 1992    (Hatart)
      --18 SOLOS 1988     (New Albion)   the one to start with
      --ALTO SOLOS 1979  (Arista) double lp, out of print, can
            still be found cheap, though; really damn good
      --FOR ALTO  (Delmark) The first and most historically
significant; a big jumble of dark corners and sharp angles.
>       For me, musically less satisfying than the above, but
        recommended for seasoned vets nonetheless on historical
weight alone.

All right, pardon all this wanking but I love this man's work.  If you
think you might, too, you should check out Graham Lock's FORCES IN
MOTION, which--apart from Lock's occasionally obnoxious Smug Liberal
distress , resulting in delightfully humorous confrontations of Marilyn
Crispell about feminism and Anthony Braxton about McDonald's--
is some of the best "jazz" journalism I've ever read.  Love, Scott

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




-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Gainsbourg
Date: 15 Feb 1998 23:42:22 -0500 (EST)



On Wed, 10 Dec 1997, Nuno BARREIRO wrote:

> 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!

Does it?  The anecdote suggests that it was ambiguous, important to his
art (at least in 1958), and requiring careful interrogation.  Herb was (I
think) suggesting that the point of labelling Gainsbourg's work "Great
Jewish Music" is to prompt such interrogation.  This anecdote seems to
reinforce that point, not undermine it as you suggest.

Chris Hamilton



-



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

From: Steve Smith <[e-mail]>
Subject: Re: Albert Ayler (and books, too!)
Date: 16 Feb 1998 00:02:28 -0500

John Howard wrote:

> >The book is "As serious As Your Life" by Valerie Wilmer.
> >
> >Rich
>
> There is also a comprehensive book sized Ayler bio at:
> http://ernie.bgsu.edu/~jeffs/ayler.html

True, and I linked to that from my Ronald Shannon Jackson discog on the
Jazzweb.  However, it's important to note that Val Wilmer in a recent issue
of Coda claimed that the essay was largely lifted without attribution from
"As Serious..."

Steve Smith
[e-mail]


-



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

From: Steve Smith <[e-mail]>
Subject: Re: Circle Maker
Date: 16 Feb 1998 00:09:07 -0500

Julian wrote:

> I've just been doing some quite random searching, and came across a
> soon-to-be released double cd by Zorn called "Circle Maker", apparently on
> Tzadik. I had never heard of this before... anyone?

To be released the third Tuesday in March.  First disc is Masada String Trio
(Feldman, Friedlander, Cohen).  Second disc is the Bar Kokhba Sextet (the
string trio plus Ribot, Baron and Baptista).  Tracks are as follows:Tahah /
Sippur / Karet / Hadashah / Taharah / Mispar / Ratzah / Zebdi / Yatzar /
Malkhut / Hodaah / Elilah / Meholadot / Kochot / Lachish / Shidim / Aravot /
Moshav / Lilin / Hazor / Kisofim / Khebar / Laylah / Teli / Tevel / Eitan /
Ner Tamid / Idalah-Abal / Gevurah

Steve Smith
[e-mail]

>
>
> -




-



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

From: Jeff Schwartz <[e-mail]>
Subject: Me and Val Wilmer
Date: 16 Feb 1998 00:40:16 -0500

Ms. Wilmer was fully footnoted in my book. I am now
switching it to parenthetical citations instead of
endnotes which will make my use of previously published
material even clearer.
This situation has been resolved (as near as I can tell)
to everyone's satisfaction in letters between Wilmer, Bill
Smith of Coda, and me. It's a drag that Coda let her dog
me out before we all had a chance to talk, but it's all ok
now.
Meanwhile, a cat in Cleveland is spending a lot of time
with the Ayler family (mostly Albert's dad and brother)
and will likely be putting out the definitive book on the
topic.
Peter Niklas Wilson's Ayler bio will appear in English
translation later this year, and Myles Boisen (Splatter
Trio guitarist/bassist) had a book in the works for a
while.
Anyway, if you dug my book, I thank you, and you should
definitely buy As Serious As Your Life if you are
interested in free jazz (and if not, what are you doing
here?).
--
Jeff Schwartz
[e-mail]
http://www.bgsu.edu/~jeffs/main.html

-



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

From: "Keith McMullen" <[e-mail]>
Subject: Spy Vs. Spy
Date: 15 Feb 1998 21:57:17 -0800

>Anyway, if you dug my book, I thank you, and you should
>definitely buy As Serious As Your Life if you are
>interested in free jazz (and if not, what are you doing
>here?).


Getting to know the enemy.


-



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

From: Anders Fransson <[e-mail]>
Subject: Altschul
Date: 16 Feb 1998 08:47:56 +0100

--Talking about Braxton, the exellent drummer Barry Altschul that played
with Braxton in the seventies. What ever happend to him, is he still
in business?
____________________________________________________________________________
Anders Fransson, Biblioteket, Hogskolan i Orebro,
701 82  Orebro, Sweden.
e-mail: [e-mail]
Phone [phone]
Fax [phone]
____________________________________________________________________________

-



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

From: Geert Buelens <[e-mail]>
Subject: Re: Rectangle Label (Was Re: akchote)
Date: 16 Feb 1998 14:11:58 +0100 (MET)



On Thu, 12 Feb 1998 [e-mail] wrote:

> an LP on that label by the Recyclers (entitled Morceaux
> Chosis).  It's all covers of classic French pop/variet=E9 music (Brel,
> Gainsbourg, etc... and who the heck is Polyphonic Size?)

Polyphonic Size was a Belgian, early '80s, Kraftwerk meets OMD
synthpopband; I was 12 at the time, and only seem to remember the single
'Winston and Julia'...  Never heard of them since

geert


-



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

From: "Glenn Astarita" <[e-mail]>
Subject: Re: Altschul
Date: 16 Feb 1998 07:02:13 -0600



----------
> From: Anders Fransson <[e-mail]>
> To: [e-mail]
> Subject: Altschul
> Date: Monday, February 16, 1998 1:47 AM
>
> --Talking about Braxton, the exellent drummer Barry Altschul that played
> with Braxton in the seventies. What ever happend to him, is he still
> in business?
>
____________________________________________________________________________

>

He has a new cd called "Irina" ??? .........which reminds me, i need to get
it..!

glenn

-



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

From: [e-mail] (Rusty Crump)
Subject: Re: DRUM N BASS N JUNGLE
Date: 16 Feb 1998 08:45:32 -0600


>ok, so now begs the question...
>who can recommend some good
>"old style" true blue jungle
>that is supposedly the good stuff?
>
>hasta.
>

There's a 1994 compilation on SSR/Crammed Discs called "Jungle Vibes" which
I think is what you're looking for. It's the first-generation real deal,
the Chuck Berry to the current crop's "Voodoo Lounge," and includes my pick
for alltime greatest jungle single, "Renegade Snares" by Omni Trio. It's
instructive to check this early compilation out and notice how, in the last
three years, the track lengths have started to creep up. The Jungle Vibes
tracks are all 3:30 of pure phat ass, no filler, no cereal.

Rusty Crump
Oxford, Mississippi



-



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

From: Herb Levy <[e-mail]>
Subject: Leng Tch'e
Date: 16 Feb 1998 06:39:49 -0800

Leng Tch'e is notated at least as far as pitches, I don't know about
arrangemnet/orchestration/timbral stuff.

It's less than a page long, the note are simply held for a very long time.


Herb Levy
[e-mail]



-



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

From: John Howard <[e-mail]>
Subject: FW: Re:Albert Ayler (and books, too!)
Date: 16 Feb 1998 09:59:19 -0600




> >The book is "As serious As Your Life" by Valerie Wilmer. It's not
> about
> >Ayler per se, it covers the whole NY free Jazz Black Music Thing of
> the
> >1960's. Ayler, Coltrane, Cherry, Pharoah, even Sonny Sharrock! some
> >great photo's too.
> >
> >Rich
>
> >Some more books that are excellent (and deal with creative music in
> one
> >way or another):
> >EXTENDED PLAY  (John Corbett)  Duke Press  simply great
> >FORCES IN MOTION  (Graham Lock)  Da Capo   you don't need to be a
> >             Braxton fan to enjoy the celebration of creativity
> >All Coltrane Bios are tepid: avoid the Cole bio at all costs, but
>
> >CHASIN THE TRANE is pretty good, look out for the (long time)
> >forthcoming Francis Davis Coltrane bio
> >THE MUSIC OF KARLHEINZ STOCKHAUSEN  (Robin maconie)
> >Geez, I'll think of more in time
>
> The Eric Neison (sic) bio ASCENSION is real good actually, you get to
> find out the Coltrane was a closet acid head.
> There is also a comprehensive book sized Ayler bio at:
> http://ernie.bgsu.edu/~jeffs/ayler.html
>
> Other great Ayler recordings to check out are the live ones on HatArt
> and LIve in Greenwhich Village on Impulse. Not to mention New York Eye
> and Ear Control on ESP (with Don Cherry, sort of a companion to
> Coleman's Free Jazz and Coltrane's Ascension)
>
> For Ayler-esque hoot and holler the Frank Lowe ESP album called Black
> Beings contains some of the best "free" blowing this side of Bells.
> It also features Joseph Jarman and The Wizard(!) on violin.  A great
> overlooked album.      john
>

-



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

From: David Slusser <[e-mail]>
Subject: Frith, Masaoka & Ochs
Date: 16 Feb 1998 10:24:14 -0800

Posting for a friend:

Greetings from Berkeley:  Frith, Masaoka & Ochs (that's Miya Masaoka on koto
and electronics, Larry Ochs on saxophones and Mr. Frith to you)  will be doing
two little tours in the USA this summer.  I'm looking for help in booking some
concerts (either people out there who do independent promotion or leads to
clubs or producers in your area that would be interested in this).   I want to
work with people who are enthusiastic about booking Fred and know that when
Fred shows up, so does the audience if good pre-concert publicity and word-of-
mouth occur. So my own usual contacts (in the jazz world) are pretty much the
wrong people to be dealing with..............

From June 25 to July 6 is the first period. That one is pretty full up but
there are definitely open dates. I'm especially interested in the Northwest
and California or the Midwest for this period. Current dates are: June 25-
Vancouver// June 26 or 27-Seattle/      June 30 - Oakland, CA //   July 2 and
3 - Chicago.

The second period is the first 2 weeks of August. That period is basically
open at the moment. Any concerts would have to include travel from San
Francisco in the expenses.

Any ideas contact Larry Ochs at  >[e-mail]<.    Thank you.

ps. For those of you in the Southeast, I might add the following info about a
little Rova tour occurring this week:    2/18 - Atlanta;  2/19 - Columbia;
2/20 - Chattanooga;   2/21 - Orlando.



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: selling vinyl Big Gundown
Date: 16 Feb 1998 10:25:34 -0800


On Wed, 11 Feb 1998 20:47:46 -0500  Tom Pratt wrote:
>
> I am selling an absolutely perfect condition vinyl copy of John Zorn's
> 'The Big Gundown' for $50 even (shipping and handling included). This is
> a very rare Zorn collectors item that I will sell to the first person
> who responds.

$50? For a record that still pops up once in a while in the bins...
Even RADIO HOUR does not reach that price.

    Patrice.

-



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

From: [e-mail]
Subject: Angelus Novus
Date: 16 Feb 1998 18:30:07 UT

Does anyone know of any of the history of the pieces on Angelus Novus, like, are
they game pieces or fully-composed, adn can anyone tell me what they sound like?

I understand Carny sounds similar to other solo cartoonish quick-cut items like
Roadrunner (accordian) and Cat O' Nine Tails (string quartet).  But what about
the rest of it?  Can anyone shed any light for this cautious listener?

Thanks,
Peter

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: selling vinyl Big Gundown
Date: 16 Feb 1998 13:28:05 -0500

Patrice L. Roussel wrote:
>
> On Wed, 11 Feb 1998 20:47:46 -0500  Tom Pratt wrote:
> >
> > I am selling an absolutely perfect condition vinyl copy of John Zorn's
> > 'The Big Gundown' for $50 even (shipping and handling included). This is
> > a very rare Zorn collectors item that I will sell to the first person
> > who responds.
>
> $50? For a record that still pops up once in a while in the bins...
> Even RADIO HOUR does not reach that price.
>
>         Patrice.

When trying to figure out how much I wanted to sell this record, if at
all, I asked a music-freak friend in Boston and he told me that he once
saw a sealed copy of 'The Big Gundown' selling for $65 - I'm not sure
where. Because my copy is in perfect condition and I'm not really
itching to get rid of it, I decided on $50. If this truly is outrageous,
let me know - but I don't think it is.

                -Tom Pratt

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: selling vinyl Big Gundown
Date: 16 Feb 1998 13:30:08 -0800


On Mon, 16 Feb 1998 13:28:05 -0500  Tom Pratt wrote:
>
> Patrice L. Roussel wrote:
> >
> > On Wed, 11 Feb 1998 20:47:46 -0500  Tom Pratt wrote:
> > >
> > > I am selling an absolutely perfect condition vinyl copy of John Zorn's
> > > 'The Big Gundown' for $50 even (shipping and handling included). This is
> > > a very rare Zorn collectors item that I will sell to the first person
> > > who responds.
> >
> > $50? For a record that still pops up once in a while in the bins...
> > Even RADIO HOUR does not reach that price.
> >
> >         Patrice.
>
> When trying to figure out how much I wanted to sell this record, if at
> all, I asked a music-freak friend in Boston and he told me that he once
> saw a sealed copy of 'The Big Gundown' selling for $65 - I'm not sure
> where. Because my copy is in perfect condition and I'm not really
> itching to get rid of it, I decided on $50. If this truly is outrageous,
> let me know - but I don't think it is.

You might be right. I was surprised because I did not realized that this
record had reached any collector status (mainstream label, still popping
up in the bins once in a while, etc). I remember that few years ago, you
could see Parachute records (the 2xLP sets) for more than $100. Sounded not
bad based on the very limited pressing and rarity of the sets.

I guess I am loosing touch with what has value and what has not :-).

    Patrice.

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: new David Shea
Date: 16 Feb 1998 13:35:09 -0800


Just bought an amazing David Shea on Staalplaat. It is called MORT AUX VACHES
and seems to be made of mixing of some music from his other records (SATYRICON
and HSI-YU CHI.

    Patrice.

PS: and hasta did not stop any activity to let us know about this fantastic
record :-).

-



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

From: [e-mail] (Jamie F Graves)
Subject: Sky Piece
Date: 16 Feb 1998 18:38:11 -0500

I was really broken up to hear that Thomas Chapin died. I only saw the
guy play twice, but his set at last years Texaco Jazz Fest was
phenomenal, straight ahead at its best. I'm interested in any
recomendations people have of this guy. I have just a few discs,
Menagerie Dreams, Third Force, You Don't Know Me and his KF release w/
strings. I'm particularly interested in his new one on the Knitfact
label. Everything I've heard about it makes it sound phenomenal. Anyone?
Jamie

_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]


-



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

From: Matthew Ross Davis <[e-mail]>
Subject: Re: selling vinyl Big Gundown
Date: 16 Feb 1998 18:39:41 -0500 (EST)

>Because my copy is in perfect condition and I'm not really
>itching to get rid of it, I decided on $50. If this truly is outrageous,
>let me know - but I don't think it is.

I have to admit, I think it's a bit artificial to price it that high. I
found it for $8 in a used bin, and my copy is in near-perfect condition as
well.

Why do you want to sell it? I think it is some of Zorn's very best work
from that period, and it will probably rise in value as time wears on and
it truly does begin disappearing from used bins.


| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| | 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: SUGAR in their vitamins? <[e-mail]>
Subject: Re: new David Shea
Date: 16 Feb 1998 16:10:32 -0800 (PST)


On Mon, 16 Feb 1998, Patrice L. Roussel wrote:

> PS: and hasta did not stop any activity to let us know about this fantastic
> record :-).

oh, no! shame on me.

actually, i didn't realize it was
ok to make such announcements here
else i would have.

hasta.

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


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: new David Shea
Date: 16 Feb 1998 16:57:01 -0800


On Mon, 16 Feb 1998 16:10:32 -0800 (PST)  SUGAR in their vitamins? wrote:
>
>
> On Mon, 16 Feb 1998, Patrice L. Roussel wrote:
>
> > PS: and hasta did not stop any activity to let us know about this fantastic
> > record :-).
>
> oh, no! shame on me.
>
> actually, i didn't realize it was
> ok to make such announcements here
> else i would have.

I don't know for others, but I have no problem with annoucement of upcoming
records when they fit so well the target of this list.

BTW, there is no catalog number written on the record. Is it really the case,
or they forgot to put it. Also, when was it exactly released?

    Patrice.


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: new David Shea
Date: 16 Feb 1998 17:25:40 -0800 (PST)


On Mon, 16 Feb 1998, Patrice L. Roussel wrote:

> I don't know for others, but I have no problem with annoucement of upcoming
> records when they fit so well the target of this list.

ok, i'll keep that in mind. thanks.

> BTW, there is no catalog number written on the record. Is it really the case,
> or they forgot to put it.

none of the Mort Aux Vaches series
has catalog numbers. i'm not really
sure why except maybe because it's
a limited edition release with
no plans to repress.

> Also, when was it exactly released?

about two weeks ago.

hasta.

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


-



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

From: [e-mail]
Subject: Re: Frith, Masaoka & Ochs
Date: 17 Feb 1998 00:22:38 EST

In a message dated 98-02-16 13:29:39 EST, you ([e-mail]) write:

<< ps. For those of you in the Southeast, I might add the following info about
a
 little Rova tour occurring this week:    2/18 - Atlanta;  2/19 - Columbia;
 2/20 - Chattanooga;   2/21 - Orlando. >>

I'll be at the Columbia (SC) concert- can't wait!!

=dgasque=

-



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

From: Steve Smith <[e-mail]>
Subject: Re: Me and Val Wilmer
Date: 17 Feb 1998 01:02:10 -0500

Jeff Schwartz wrote:

> Ms. Wilmer was fully footnoted in my book. [snip]
> This situation has been resolved (as near as I can tell)
> to everyone's satisfaction in letters between Wilmer, Bill
> Smith of Coda, and me. It's a drag that Coda let her dog
> me out before we all had a chance to talk, but it's all ok
> now.

Awfully glad to hear about it, and as I feel suitably jerky to have
reported Ms. Wilmer's grievances without having heard that they had been
resolved, let me also add that Jeff's online book on Ayler contains lots
of stuff that isn't in Wilmer's book, and that furthermore I think it's
one of the best references on Ayler I've ever seen.  It was extremely
helpful in my research on Ronald Shannon Jackson in particular.  And
looking at the latest version, it's so well annotated that Val would
have absolutely no cause to complain.

So go read it:  http://ernie.bgsu.edu/~jeffs/ayler.html

I always wanted to see a movie about Ayler's life, directed by Spike Lee
in the pseudo-documentarian style used in "X."  But I get now that it's
generally known that his death was a depressive suicide with no scandal
attached to it, I guess it wouldn't be particularly compelling
boxoffice.

Steve Smith
[e-mail]


-



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

From: Steve Smith <[e-mail]>
Subject: Re: Altschul
Date: 17 Feb 1998 01:05:06 -0500

Anders Fransson wrote:

> --Talking about Braxton, the exellent drummer Barry Altschul that played
> with Braxton in the seventies. What ever happend to him, is he still
> in business?

He's been playing in New York pretty regularly, mostly low key gigs at the
Internet Cafe with the likes of Mark Helias, Uri Caine and Dave Douglas.  And,
as Glenn Astarita pointed out, he's got a new disc as well.

Steve Smith
[e-mail]



-



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

From: Steve Smith <[e-mail]>
Subject: [Fwd: Concert Announcement]
Date: 17 Feb 1998 01:05:41 -0500

This is a multi-part message in MIME format.
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tenor saxophonist & composer
ELLERY ESKELIN
with
Andrea Parkins (accordion & sampler)
Jim Black (drums)

Friday & Saturday, February 20th & 21st
Internet Cafe, NYC
82 east 3rd street,
between 1st and 2nd Aves., NYC.
tel: [phone]
two sets each evening, 10pm & 11:30pm. $5 cover

"One Great Day..." (hatOLOGY) is now available.

http://home.earthlink.net/~eskelin/

--------------959E1A0AD708682CF3D31080--


-



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

From: Jan-Wen Lu <[e-mail]>
Subject: Re: new David Shea
Date: 17 Feb 1998 17:28:34 +0800

>  > PS: and hasta did not stop any activity to let us know about this
> fantastic
> > > record :-).
> >
> > oh, no! shame on me.
> >
> > actually, i didn't realize it was
> > ok to make such announcements here
> > else i would have.
>
> I don't know for others, but I have no problem with annoucement of
> upcoming
> records when they fit so well the target of this list.
>
> BTW, there is no catalog number written on the record. Is it really
> the case,
> or they forgot to put it. Also, when was it exactly released?

I received their online new updates on 12/22 last year. I think it was
when this CD released. And I got it more than one month ago. Since it's
a limited edtion of 1000 copies, fans of Shea's works should try to find
it as soon as possible!!



Jan-Wen Lu



-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Big Gundown for $50
Date: 17 Feb 1998 11:23:06 GMT0BST

The market will bear what the market will bear (capitalism as
tautology).  I'm willing to sell mine for $150!!  Any takers?  Never
mind, it's pretty fine where it is.

Sean

-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Ayler
Date: 17 Feb 1998 11:25:37 GMT0BST

Get ANYTHING made in 1964!!
Prophecy (a month before Spiritual Unity)
Vibrations and Hilversuum (with Cherry);
and there's some other live quartet stuff from Berlin November 64
(which I have with some '66 tracks)

Sean

-



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

From: "Joe the Shmoo" <[e-mail]>
Subject: Re: new David Shea
Date: 17 Feb 1998 07:10:29 PST


>I received their online new updates on 12/22 last year. I think it was
>when this CD released. And I got it more than one month ago. Since it's
>a limited edtion of 1000 copies, fans of Shea's works should try to
find
>it as soon as possible!!

Everyone:

I erased the messages pertaining to the newest D. Shea release.  Sorry.
Once and for all: where (how) can I (try to) get it?

Sorry for the mistake,

KSH

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

-



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

From: [e-mail]
Subject: Masada Tet is out!!!
Date: 17 Feb 1998 10:25:58 EST

Masada Nine is out, and well, me thinks amazing. It includes "Acharei Mot"
which was my personal highlight during Masada's last shows at the Knit. Here's
the rundown (Patrice, does this look right?) :)

MASADA   TET  DIW-933

Chayah
Karet
Moshav
Leshem
Kochot
Meholatot
Kedushah
Ner Tamid
Acharei Mot
Jachin

Recorded 4/21/97 NYC

My opinion of Zorn's mass output is only excitment. I loved Angles Norvus
(sp?) and Dura, and think that he's on the cusp of further amazing music. BTW-
Selling Big Gundown for $50 seems silly when you can regulaly find them in NYC
for $5-$10. On the road in Nashville I found "Torture Garden for $4!


-



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

From: [e-mail] (Matthew Colonnese)
Subject: English or Japanese Tribe?
Date: 17 Feb 1998 10:56:58 -0500 (EST)

Confusion, confusion.

I just cruised Dustygroove (.com) with the intention of purchasing the
"soul-jazz/Universal Sounds") compilation of Tribe records.  Only they have
a two disk set of Japanse (P-Vine) comps of the same label.  For way more.
Any advice?  If I'm gonna buy one of these three, which one?  Is the
additional coverage granted by one these P-Vine records worth the price?

matt


------
"Finally, a thing-a-ma-giggy that would bring people together...even if it
kept them apart, spatially."



-



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

From: "Ben Abarbanel-Wolff" <[e-mail]>
Subject: Re:Altschul
Date: 17 Feb 1998 08:45:43 PST



    Barry Altschul still lives in New York. He teaches some and gigs
when he can, mostly at the Internet Cafe.
    A friend of mine studied with him for a few years and told me lots
of Barry stories. He's certainly bitter about being left out of the
scene. He truly is one of the great drum innovators!
        -Ben

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

-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Masada Tet is out!!!
Date: 17 Feb 1998 10:52:12 -0600 (CST)

FWIW: the titles whose translations I can spot off the top of my head (can
anyone fill in the rest?) are:

> MASADA   TET  DIW-933
>
> Chayah
    Living Thing or Wild Animal
> Karet
    Cut off, ostracized
> Moshav
    Cooperative settlement
> Leshem
    For the Name
> Kochot
> Meholatot
> Kedushah
    Holiness (the name of a section of synagogue services)
> Ner Tamid
    Eternal Light
> Acharei Mot
    After the Death
> Jachin

---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: Greg Mills <[e-mail]>
Subject: Big John Patton recommendations?
Date: 17 Feb 1998 10:40:20 -0800

Big John Patton recommendations?
What's a good CD to start with?


-



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

From: [e-mail] (Caleb Deupree)
Subject: Re: new David Shea
Date: 17 Feb 1998 13:45:22 -0500

>>>>> "Joe" == Joe the Shmoo <[e-mail]> writes:

    Joe> I erased the messages pertaining to the newest D. Shea
    Joe> release.  Sorry.  Once and for all: where (how) can I (try
    Joe> to) get it?

soleilmoon has it listed, www.soleilmoon.com.  It's in the staalplaat
section.
---
Caleb T. Deupree
;; Opinions are not necessarily shared by management

Computers are useless.  They can only give you answers.
(Pablo Picasso)


-



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

From: JRZ <[e-mail]>
Subject: Re: Big John Patton recommendations?
Date: 17 Feb 1998 13:06:08 -0600

At 10:40 AM 2/17/98 -0800, Greg Mills wrote:
>Big John Patton recommendations?
>What's a good CD to start with?


"Electric Boogaloo" is a damn fine album. It's the only one I have but,
from what I hear, it's the one to own. If you like the old time hammond
funk (ala Jimmy Smith and Larry Young) you'll dig it.

How is the Patton album with Zorn? Is it a similiar vibe to his older
albums or a change of pace?

zube


my tapelist http://www.winternet.com/~zube/tapelist.htm
Look at Jim Evans, Look at his head, He's got a compass, and a rollaway
bed! - HGB


-



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

From: [e-mail]
Subject: Re:  Big John Patton recommendations?
Date: 17 Feb 1998 14:22:31 EST


In a message dated 2/17/98 1:51:29 PM, [e-mail] wrote:

<<Big John Patton recommendations?
What's a good CD to start with? >>

The best of his '60's records that I've heard is Blue John (Blue Note). The
best of his '90's records is Minor Swing on DIW. Both of these are pretty
great.

Jon

-



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

From: Dan Hewins <[e-mail]>
Subject: Re: Big John Patton recommendations?
Date: 17 Feb 1998 13:49:18 -0600

I don't know too much about his older (and other) albums but Minor Swing is
great.  I got it before I knew too much about Zorn, but enough to know that
I should pick it up.  I think it's a great album.  Not often do you get to
hear Zorn playing over a very straight ahead and solid rhythm section (like
the tribute to Sonny Clark) like this one.  Ed Cherry takes good guitar
solos as doe Patton on the organ but they are all fairly standard.  Zorn
does the same for a whie but then he cuts loose and does his trademark
stuff.  I like the contrast.

I recommend it.

Dan

>How is the Patton album with Zorn? Is it a similiar vibe to his older
>albums or a change of pace?



-



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

From: [e-mail]
Subject: orchestral release?
Date: 17 Feb 1998 16:21:31 -0600 (CST)

Anyone know if/when the Orchestral Variations will be released?  Will it
be the NYPO performance?


-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Big John Patton recommendations?
Date: 17 Feb 1998 17:42:09 -0500 (EST)



On Tue, 17 Feb 1998, JRZ wrote:

> "Electric Boogaloo" is a damn fine album. It's the only one I have but,
> from what I hear, it's the one to own.

Is this the same as _Boogaloo_ (which is indeed damn fine)?  My personal
favorite is _Accent on the Blues_ which features a young James Blood Ulmer
on guitar and on which the organ playing itself is a bit more out (closer
to Larry Young's post-_Unity_, pre-_Emergency!_ sound than to Jimmy
Smith, although Patton is less daring than Young).  But I'd say the
difference between these two is down to taste.  Both are
excellent sessions.

Chris Hamilton


-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Masada Tet is out!!!
Date: 17 Feb 1998 17:45:35 -0500 (EST)



On Tue, 17 Feb 1998 [e-mail] wrote:

> Masada Nine is out, and well, me thinks amazing. It includes "Acharei Mot"
> which was my personal highlight during Masada's last shows at the Knit. Here's
> the rundown (Patrice, does this look right?) :)

I've seen this, but haven't picked it up yet because I'm not sure what's
up with the box set of Masada studio recordings planned for Tzadik.
Anyone know whether they've decided to release the additional material
separately?  (I looked, but couldn't find anything on the Tzadik website.)

Chris Hamilton



-



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

From: stephen drury <[e-mail]>
Subject: Re: Angelus Novus
Date: 17 Feb 1998 22:18:44 -0500

At 10:23 PM 2/16/98 -0700, you wrote:
>Date: Mon, 16 Feb 1998 18:30:07 UT
>From: [e-mail]
>Subject: Angelus Novus
>
>Does anyone know of any of the history of the pieces on Angelus Novus,
like, are
>they game pieces or fully-composed, adn can anyone tell me what they sound
like?

You bet they're fully composed.  Every motherfuckin' note.  (With the
exception of the occasional directive "go wild" which usually lasts about
three seconds, and the alto flute cadenza at the end of Part One in
Christabel.)  Zorn once pointed out that Morton Feldman liked to describe
his (Feldman's) fully notated music as being, basically, very much like one
ideal instance or realization of one of his indeterminate works.  "For Your
Eyes Only", etc., bear much the same relation to a work like "Cobra".
---steve


-



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

From: David Slusser <[e-mail]>
Subject: sax wars final bar
Date: 17 Feb 1998 21:13:21 -0800

Fascinating comparison of Col/Cole Trane/Man recording within a few days of
each other.  Kind of reminds me of M.L. King Jr. and Malcolm X; a very
complicated comparison.

Fitting postscript:

At John Coltrane's funeral service, Albert Ayler played at the beginning
(taking his horn out of his mouth twice and screaming) and Ornette Coleman
played at the end ("Holdiay for a Graveyard"). The piece came to an end as
the casket was closed.

The minister at the service, John Gensel, passed on last week.



-



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

From: David Slusser <[e-mail]>
Subject: sax wars final bar
Date: 17 Feb 1998 23:04:48 -0800

Fascinating comparison of Col/Cole Trane/Man recording within a few days
of each other.  Kind of reminds me of M.L. King Jr. and Malcolm X; a very
complicated comparison.

Fitting postscript:

At John Coltrane's funeral service, Albert Ayler played at the beginning
(taking his horn out of his mouth twice and screaming) and Ornette
Coleman played at the end ("Holdiay for a Graveyard"). The piece came to
an end as the casket was closed.

The minister at the service, John Gensel, passed on last week.




-



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

From: Scott Russell <[e-mail]>
Subject: Re: Masada Tet is out!!!
Date: 18 Feb 1998 08:20:06 +0000

--MimeMultipartBoundary
Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353"
Content-Transfer-Encoding: 7bit



[e-mail] wrote:

>  On the road in Nashville I found "Torture Garden for $4!
>
> -

  Torture Garden...Nashville it must hae really gone down a storm there!

Scott Russell

--MimeMultipartBoundary--

-



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

From: Yves Dewulf <[e-mail]>
Subject: Joy of Disease
Date: 18 Feb 1998 10:42:52 +0100


I just found "Joy of Disease" (1996,Avant)
It features James Plotkin,Franz Treichler, Mick Harris and Ruth Collins,
but seems to be mainly a Plotkin-project.
How does this one compare to his other projects ?

YVes

-



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

From: "Joe the Shmoo" <[e-mail]>
Subject: feldman / fushitsusha
Date: 18 Feb 1998 08:22:28 PST

A Helio-Hello to all:

For those of us on the list who are not near the Northeast, or any
Feldman-active metro area, I would like to mention an item of possible
interest.  There will be a Morton Feldman event at the Menil Collection
gallery in Houston, TX, on April 14, 1998.  "Structures for String
Quartet" and about three other pieces will be played, including
highlights from "Philip Guston" (kidding).  In addition, there will be
writers/critics speaking about personal experiences with "sexy M.F." as
well as the connection between his music and the visual arts.  The
enormous Rob Rauschenberg retrospec is in town, to boot.  You can call
the menil Collection or da Camera Houston for info.  AND the actual
Rothko Chapel is right next door (for those who haven't been)!

As for Fushitsusha (especially), Nijiumu, Haino, etc. :  I am interested
in buying/trading for someone's unwanted copy.  Fat chance, huh?  E.mail
me!

G'day, and thanks to the long-thread participants (alas I am an
observer) for the interesting thoughts.

KSH

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

-



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

From: "Joe the Shmoo" <[e-mail]>
Subject: feldman / fushitsusha
Date: 18 Feb 1998 09:10:59 PST

A Helio-Hello to all:

For those of us on the list who are not near the Northeast, or any
Feldman-active metro area, I would like to mention an item of possible
interest.  There will be a Morton Feldman event at the Menil Collection
gallery in Houston, TX, on April 14, 1998.  "Structures for String
Quartet" and about three other pieces will be played, including
highlights from "Philip Guston" (kidding).  In addition, there will be
writers/critics speaking about personal experiences with "sexy M.F." as
well as the connection between his music and the visual arts.  The
enormous Rob Rauschenberg retrospec is in town, to boot.  You can call
the menil Collection or da Camera Houston for info.  AND the actual
Rothko Chapel is right next door (for those who haven't been)!

As for Fushitsusha (especially), Nijiumu, Haino, etc. :  I am interested
in buying/trading for someone's unwanted copy.  Fat chance, huh?  E.mail
me!
G'day, and thanks to the long-thread participants (alas I am an
observer) for the interesting thoughts.
KSH

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

-



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

From: [e-mail] (Douglas Tapia)
Subject: Re: Angelus Novus
Date: 18 Feb 1998 12:08:11 -0700

[e-mail] asked:

>>are they game pieces or fully-composed,

To which stephen drury replied:

>You bet they're fully composed.  Every motherfuckin' note.  (With the
>exception of the occasional directive "go wild" which usually lasts about
>three seconds, and the alto flute cadenza at the end of Part One in
>Christabel.)

Ah, yes, Angelus Novus.  Fully composed indeed, and in every sense of the
word.  Zorn never fails to blow my mind.

Speaking of blowing my mind, Steven:  YOU ARE A BITCH!  Great playing,
great conducting, great friggin' ensemble!  (I guess there is something to
be said for the conservatories of America after all, eh?) .-} What a work
of art!  I am stuned by the scope of Zorn's vision, and the ensemble's
ability to breath life into these difficult pieces.

Any more projects in the works?  (Zorn fest '98?!?)


Mopping up the drool,




Doug Tapia
General Manager, MTP

UNC Music Tech Press
University of Northern Colorado
Fraiser 108
Greeley, CO 80639

Voice: 970-351-2614
Fax: [phone]
Email: [e-mail]

www.arts.unco.edu/mtp



-



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

From: Jason Tors <[e-mail]>
Subject: quick masada suggestion
Date: 18 Feb 1998 13:35:33 -0700

I have #2, 3, and 6. I have to get more, which one is a must have, besides
all of them.
The other ones I picked up at random, they are amazing, I assume one cannot
go wrong at the random grab. If anyone has an over riding high opinion of a
specific one please contact me personally.
Thanks in advance!
JT



-



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

From: Dan Hewins <[e-mail]>
Subject: Re: quick masada suggestion
Date: 18 Feb 1998 14:46:53 -0600

I like 5 a lot.  I particularly like track 2 which happens to be in 5/4
time.  I also think 7 is good.  7 has the funny little tune, "Bacharach" on
it.  But you're right, basically any of them will do you just fine.

Dan

At 2:35 PM -0600 2/18/98, Jason Tors wrote:
>I have #2, 3, and 6. I have to get more, which one is a must have, besides
>all of them.
>The other ones I picked up at random, they are amazing, I assume one cannot
>go wrong at the random grab. If anyone has an over riding high opinion of a
>specific one please contact me personally.
>Thanks in advance!
>JT



-



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

From: [e-mail] (Rusty Crump)
Subject: Re: quick masada suggestion
Date: 18 Feb 1998 17:07:52 -0600

For me, the apex is Five, and specifically the song called "Hobah." It just
peels the paint right off the walls. I played a lot of Masada (a lot of
Zorn, period) during my recent radio years, and turning "Hobah" up to
eleven on the studio's enormous loudspeakers was an extra-special treat for
me. Not to mention the fact that it freaked the hell out of the newspaper
staff across the hall.

Rusty Crump
Oxford, Mississippi



>I like 5 a lot.  I particularly like track 2 which happens to be in 5/4
>time.  I also think 7 is good.  7 has the funny little tune, "Bacharach" on
>it.  But you're right, basically any of them will do you just fine.
>
>Dan
>
>At 2:35 PM -0600 2/18/98, Jason Tors wrote:
>>I have #2, 3, and 6. I have to get more, which one is a must have, besides
>>all of them.
>>The other ones I picked up at random, they are amazing, I assume one cannot
>>go wrong at the random grab. If anyone has an over riding high opinion of a
>>specific one please contact me personally.
>>Thanks in advance!
>>JT
>
>
>
>-



-



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

From: Anders Fransson <[e-mail]>
Subject: Re: Altschul
Date: 19 Feb 1998 09:01:09 +0100



Ben Abarbanel-Wolff wrote:

>     Barry Altschul still lives in New York. He teaches some and gigs
> when he can, mostly at the Internet Cafe.
>     A friend of mine studied with him for a few years and told me lots
> of Barry stories. He's certainly bitter about being left out of the
> scene. He truly is one of the great drum innovators!
>         -Ben
>

Left out? Has he played out of tune or what??? Could you say more about
this?
I am realy interested because i think he is one of the best drummers ever.

Those records with Braxton and Sam Rivers in the seventies are among
my all time favorites. His elasticity, his dry sound, his small rolls!
Are there any one who have a Altschul discography?


Stay untuned
Anders

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



--
____________________________________________________________________________

Anders Fransson, Biblioteket, Hogskolan i Orebro,
701 82  Orebro, Sweden.
e-mail: [e-mail]
Phone [phone]
Fax [phone]
____________________________________________________________________________




-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: John Patton
Date: 19 Feb 1998 09:47:17 GMT0BST

Greg Mills was asking about John Patton (when did he stop being Big?):
my favourite album has always been Oh Baby!, not yet available on CD,
but soon surely?!?  However, Let Em Roll is both available and a good
place to start: with Bobby Hutcherson, Grant Green and a drummer, it
moves in a curious space between boogaloo and second-wave avant-
garde and, at certain moments it will make you think "Oh, that's
where the Doors got their riff from"!

By the way, Minor Swing seems well known (I used to have a copy but
it was stolen) but I've never heard any comment about Blue Planet
Man, which preceded it.  Saw it 2nd hand last month in London, but
let it slide.  Is it any good?  (C'mon, JOHN ZORN plays on it!!)

Sean

PS Yeah, I guess he stopped being big after the sixties!

PPS Albert Ayler Live In Europe 1964/1966 on Landscape was the album
whose title I didn't know.  (For those for whom the Hilversuum
Session isn't enough)

-



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

From: [e-mail]
Subject: Re: John Patton
Date: 19 Feb 1998 09:57:17 EST

"Oh Baby" is available as a Japanese import on Blue Note. "Blue Planet Man" is
my least favorite JP album, despite the JZ connections. You can't go wrong
with "Oh Baby", "Minor Swing", or my personal fave, "Accent On The Blues".

-



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

From: "Joe the Shmoo" <[e-mail]>
Subject: upcoming haino
Date: 19 Feb 1998 09:41:42 PST

I remember this being a short-lived question at one point over the last
three weeks, and most of you who are concerned about it at all probably
have the answer, but for public record (in case I missed it), here are
forthcoming, "alleged" releases by keiji haino/F'susha:

Fushitsuha: GOLD BLOOD  (live at Great American Music Hall, San
Francisco, Nov 1996)   Charnel House, March 1998

Fushitsusha: Live at the Festival Int'nat'l de Musique Actuel
Victoriaville, Canada, May 1997 (VICTO, scheduled for           release
Dec 1997; but as we know this is not the case)

Fushitsusha: new studio recording   (Alien 8 ?? sometime 1998 ??)

Haino w/ Greg Cohen and Joey baron  (good lord! what is the meaning of
THIS?  Does anyone know what this is all about?  Apocalypse?
There were question marks all over the place on the Haino site,
but they suspected an Avant or Tzadik release with no release
date to be found. Just thought this would be interesting.  If
       the report is NOT true, I will start my OWN damn label to MAKE
       it so.)

Haino: solo guitar comp (???) on Sub Rosa (???)  release (???)

Just wanted to toss this out.  For those interested who don't know, the
unofficial American site for mr Haino's admirers (very nicely done, I
might add, very nicely) is:

http://www.planet.com/users/keffer/haino

See ya'll!

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

-



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

From: "Joe the Shmoo" <[e-mail]>
Subject: haino notice: correction
Date: 19 Feb 1998 09:53:55 PST

An addenda to the previous, haino-related message:

the Haino site URL was slightly wrong.  It is as follows.

www.planetc.com/users/keffer/haino

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

-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: Bobby Previte
Date: 19 Feb 1998 13:17:21 -0500 (EST)


I just got the Zorn/Previte duo disc Euclid's Nightmare.  Although i've
been a zorn fan forever, i got this because of previte, who i've only seen
once at the KF on a tuesday night miles-davis-cover-band gig.  Bobby
Previte was amazing to watch...i lo0ve to see people really enjoying
themselves.

The disc is cool.  I want more.

Any recommendations for which Previte albums to hear first?

-jascha





-



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

From: Brent Burton <[e-mail]>
Subject: Harry Partch collection must relocate (fwd)
Date: 19 Feb 1998 13:37:32 -0500 (EST)


|||||||||||||||x||||||||||||||x|||||||||||||||||x||||||||||||||||x||||||||||||||x|||||||||||||||||x||||||||||||||||x||||||||||||||x|||||||||||||||||

PARTCH COLLECTION SEEKS NEW HOME

The legendary Harry Partch instrument collection, currently housed at
the Purchase (New York) College Conservatory of Music, is desperately
seeking a new home.

Dean Drummond, Artist-in-Residence at the College Conservatory and
custodian of the Partch instrumentarium, says he has been given notice
that the school will no longer provide space for the huge collection as
of Fall 1998.

These magnificent instruments were hand-crafted by Partch (1901-1974),
and his compositions can only be performed on these unique 43-note
instruments.

"We'd be willing to move to most major cities in the United States or
Europe," said Drummond. "However, if I leave the New York metropolitan
area, a paid position must be part of the deal. We're looking for an
institution that thinks that preserving Partch's legacy is essential,
and for whom providing such a space isn't an inconvenience."

The minimum space needed is 1900 sq. ft., of which at least 1300 sq. ft.
must be one room in which all the instruments could be arranged for
rehearsals. Reasonably large doors and access to load-in/load-out are
also essential.

"Ideally," Drummond explained, "I am interested in moving to an
institution dedicated to participating in the production of major
multi-media works by Harry Partch; commissioning and performing new
works for the instruments; recording; and training a new generation of
composers and performers in the growing language of microtones."

Please contact Dean Drummond directly at:
email: <[e-mail]>
Office: 914-358-2759
Studio: 914-251-6887

info on Partch: http://www.purchase.edu/newband

|||||||||||||||x||||||||||||||x|||||||||||||||||x||||||||||||||||x||||||||||||||x|||||||||||||||||x||||||||||||||||x||||||||||||||x|||||||||||||||||


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Bobby Previte
Date: 19 Feb 1998 10:39:24 -0800


On Thu, 19 Feb 1998 13:17:21 -0500 (EST)  ia zha nah er vesen wrote:
>
>
> I just got the Zorn/Previte duo disc Euclid's Nightmare.  Although i've
> been a zorn fan forever, i got this because of previte, who i've only seen
> once at the KF on a tuesday night miles-davis-cover-band gig.  Bobby
> Previte was amazing to watch...i lo0ve to see people really enjoying
> themselves.
>
> The disc is cool.  I want more.
>
> Any recommendations for which Previte albums to hear first?

The answer is easy:

032 - CLAUDE'S LATE MORNING: Bobby Previte
    1995 - Gramavision (USA), R2 79448 (CD)
040 - EMPTY SUITS: Bobby Previte
    1995 - Gramavision (USA), GCD 79447 (CD)
054 - WEATHER CLEAR, TRACK FAST: Bobby Previte
    1991 - Enja Records, ENJ 6082 (CD)
090 - TOO CLOSE TO THE POLE: Weather Clear, Fast Track
    1996 - Enja (Germany), ENJ-9306 2 (CD)

Any of these is fabulous. Great and original compositions, amazing punch,
great playing. Get TOO CLOSE TO THE POLE first (should be the easiest to
find), and if you like it, you can safely buy the others.

Bobby has a new one:

094 - MY MAN IN SYDNEY: Bobby Previte's Latin for Travelers
    1997 - Enja (Germany), ENJ-9348 2 (CD)

but I have not listened to it enough to advise it (although I am pretty
sure that it should be number five on the above list).

    Patrice.

PS: of course, all the above are 99.9% composed music (as opposed to
EUCLID'S NIGHTMARE).

-



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

From: BJOERN <[e-mail]>
Subject: leon theremin
Date: 19 Feb 1998 19:44:23 +0100 (MEZ)

well,
this list once more is my last chance to get any information and i`m sure
there`s alot of info to get..

is there any original recording of leon theremin aka lew thermen playing
the theremin he invented...maybe from the 1920`s or 1930`s???
any books about him?? any homepages??

i jut have an article from a big german newspaper about his life..

thanks in advance

BJOERN

-



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

From: Scott Chamberlin <[e-mail]>
Subject: Re: leon theremin
Date: 19 Feb 1998 19:14:45 +0000

Here is a link to the theremin home page which is a very good resource
for learning all about this instrument.  I found out about it because
the band Man or Astroman sometimes uses a theremin in their shows.

http://www.nashville.net/~theremin/

-Scott
[e-mail]

BJOERN wrote:
>
> well,
> this list once more is my last chance to get any information and i`m sure
> there`s alot of info to get..
>
> is there any original recording of leon theremin aka lew thermen playing
> the theremin he invented...maybe from the 1920`s or 1930`s???
> any books about him?? any homepages??
>
> i jut have an article from a big german newspaper about his life..
>
> thanks in advance
>
> BJOERN
>
> -

-



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

From: "Chris{Barrett" <[e-mail]>
Subject: Re: leon theremin
Date: 19 Feb 1998 14:33:28 -0500

Have you seen the Documentary film "Theremin" that came out about 2 years
ago?  It has both him playing it and his sweetheart from whom he was
separated when the Soviet Union held him in the country.  Apparently, she
was the first (and possibly only) virtuoso Theremin player.  there are many
scenes of her playing classical pieces on the Theremin.  If you haven't
seen it, it's a pretty interesting film.

-Chris

At 7:44 PM 2/19/98, BJOERN wrote:
>well,
>this list once more is my last chance to get any information and i`m sure
>there`s alot of info to get..
>
>is there any original recording of leon theremin aka lew thermen playing
>the theremin he invented...maybe from the 1920`s or 1930`s???
>any books about him?? any homepages??
>
>i jut have an article from a big german newspaper about his life..
>
>thanks in advance
>
>BJOERN
>
>-



-



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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: leon theremin
Date: 19 Feb 1998 14:35:47 -0600 (CST)

On Thu, 19 Feb 1998, Chris{Barrett wrote:

> Have you seen the Documentary film "Theremin" that came out about 2 years
> ago?  It has both him playing it and his sweetheart from whom he was
> separated when the Soviet Union held him in the country.  Apparently, she
> was the first (and possibly only) virtuoso Theremin player.  there are many
> scenes of her playing classical pieces on the Theremin.  If you haven't
> seen it, it's a pretty interesting film.
>
> -Chris

Actually, the person playing the theremin is Clara Rockmore and she was a
student of his, not his sweetheart.  He was married a few times if I
remember right, and none of them to her (of course, that doesn't mean they
weren't involved, but.....).

cya
brian
"The most dementing of all modern sins: the inability to
distinguish excellence from success." - David Hare



-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: John Patton
Date: 19 Feb 1998 16:04:02 -0500 (EST)



On Thu, 19 Feb 1998, DR S WILKIE wrote:

> By the way, Minor Swing seems well known (I used to have a copy but
> it was stolen) but I've never heard any comment about Blue Planet
> Man, which preceded it.  Saw it 2nd hand last month in London, but
> let it slide.  Is it any good?  (C'mon, JOHN ZORN plays on it!!)

It's fine, but not nearly as strong as _Minor Swing_.  It's not at the
bottom of my Patton list.  That spot's reserved for _Memphis to New York
Spirit_.

Chris Hamilton



-



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

From: C E DANGELO <[e-mail]>
Subject: Bobby Previte
Date: 19 Feb 1998 14:06:49 -0800 (PST)

Though quite "conservative" (Horvitz's word, not mine), I enjoy Previte's
performance with the New York Composers Orchestra, especially the second
album - "First Program in Standard Time" (New World Records, 1992). Track
7 was composed by Previte, and is probably my favorite on the album
(amazing time stuff going on). This album also features compositions by
Braxton, Elliot Sharp, Lenny Pickett, Robin Holcomb and Wayne Horvitz(who
put the whole project together). Players include, inter alia, Lindsey
Horner on bass, Marty Ehrlich , Sam Furnace, and Doug Wieselman on saxes,
Art Baron on 'bone, Vincent Chancey on horn, Robin Holcomb on piano, and
of course Horvitz on keys. Check it out.

Also, if I'm not mistaken, Previte plays on some of Marty Ehrlich's albums
- "A Traveller's Tale" is my favorite (with Lindsey Horner on bass).(Again
quite conservative by Zorn-list standards).

Cappyd in Canada


-



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

From: [e-mail]
Subject: Silent Movie music
Date: 19 Feb 1998 17:46:07 EST


      Can anyone recommend any CDs of music composed for silent movies.  I
have Frisell's Buster Keaton discs, which I love.  Is any of Zorn's film music
for silent film?
-Nick

-



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

From: [e-mail]
Subject: Re: leon theremin
Date: 19 Feb 1998 17:46:06 EST

In a message dated 98-02-19 14:43:39 EST, you write:

<<   Apparently, she
 was the first (and possibly only) virtuoso Theremin player.  there are many
 scenes of her playing classical pieces on the Theremin.  If you haven't
 seen it, it's a pretty interesting film. >>

  Her name was Clara Rockmore.  She released an album in 1987 on Delos called
"The Art of the Theremin".  It isn't of performances with full orchestra as in
the documentary, just theremin and piano.  Still, it's quite impressive what
she can do with the instrument.
      The current cream of the theremin crop is a woman named Lyda
Kadvina(sp?).  I believe that she is Theremin's cousin.  I'm not sure if she
has any albums out but she has made an instructional video called "Mastering
the Theremin".  She performs a couple of very interesting original
compositions for theremin.  It came with my build your own theremin kit...
a fascinating and difficult instrument

    -Nick

-



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

From: Brian Olewnick <[e-mail]>
Subject: Andy Statman
Date: 19 Feb 1998 17:25:33 -0800

Caught Mr. Statman at the Knit last night, the first time I've heard him
leading his own band (I'm late, I know). I was very impressed and
pleasantly surprised at how free his playing and group conception were.
It often sounded like a rabbinical take on late-period Coltrane, other
times very reminiscent of the Jarrett/Redman/Haden/Motian band of the
early 70's (that is, um, if Redman had been playing
cantillation-inspired clarinet...). The band sometimes seemed to lose
its place during some of the quieter free improv (I can't be the only
one who cringes when, during such sections, the pianist, as if under
moral obligation, reaches for the piano strings, the bassist begins to
play below the bridge and the drummer starts casting around for small
percussion to jingle. Cliches turn up in the darnedest places), but
Statman was strong throughout, davening (sp.?) with wonderful intensity,
sticking to clarinet almost entirely, only picking up the mandolin for a
short segment towards the end (also playing that instrument quite
beautifully).

So, my question: Which Statman recordings do you folks recommend? Any
favorites would be appreciated, but I'm particularly interested in
releases which might sound similar to the quartet's approach last
evening.

Side question: How come he's never teamed up with JZ? Or has he? Seems
like a natural affinity.

Thanks.

Brian Olewnick

-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Silent Movie music
Date: 19 Feb 1998 15:00:53 -0800


On Thu, 19 Feb 1998 17:46:07 EST  [e-mail] wrote:
>
>
>       Can anyone recommend any CDs of music composed for silent movies.  I
> have Frisell's Buster Keaton discs, which I love.  Is any of Zorn's film music
> for silent film?

He used ELEGY as music for a silent movie.

Talking about music for silent movie, does anybody know (Steve, how do you know
that I am thinking of you :-) about the following records:

*** - THE GOLEM: Gary Lucas
    1996 - Knitting Factory Works (USA), KFW-1001+ (HDCD)
*** - SUNRISE: Anthony Coleman
    1996 - Knitting Factory Works (USA), KFW-1002+ (HDCD)
*** - UN CHIEN ANDALOU: Mark Dresser
    1997 - Knitting Factory Works (USA), ??? (CD)
*** - KOKO THE CLOWN (?): Samm Bennett
    1996 - Knitting Factory Works (USA), KFW-??? (??)

Announced a long time ago and still not released.

    Patrice.

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Silent Movie music
Date: 19 Feb 1998 17:54:54 -0500

this seems like a good time to ask...

I saw the movie "Chronopolis" the other night which is fascinating
animated/claymated silent movie (aside from a five minute narration in
French without subtitles) with music by musique concrete great Luc
Ferrari. Is there a soundtrack available for this??

I recommend everyone see "Chronopolis" as well as the pretty disturbing
"L'Ange" which I saw the same night.

                -Tom Pratt

-



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

From: Bob Kowalski <[e-mail]>
Subject: Mellow Masada
Date: 19 Feb 1998 18:32:54 -0500

Along the lines of recent posting asking for recommendations, I'd like to
say that I love one through four as well as six.  What I particularly like are
the slower cuts (Zorn is awesome in high gear - I am Not looking for Masada
Lite...) Any recommendations for Masada 5 or 7+ (how many are there
now?) in low gear?

Bob

-



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

From: "David J. Keffer" <[e-mail]>
Subject: 2 recent releases with O'Rourke
Date: 19 Feb 1998 18:51:32 -0500


Hello Folks on the Zorn list,

Recently there has been some talk about the new releases
on the label, Les Disques Victo.  Well, I have been=20
listening to "Clouds" by Lee Ranaldo (guitar, spoken word),
William Hooker (percussion and voice), Jim O'Rourke (organ),
and Gianni Gebbia (sax) on Victo (VICTOcd054, recorded
live at the festival international de musique actuelle
de Victoriaville, May 19, 1997) and I thought I would submit
a review.  The performance, to my ear, is a mixture of
improvisation and composed music.  It's got a free music
feel but it's neither wandering nor is it abrasive or difficult.
It's got an energetic sound due both to the fact that
it's live and also due to the percussion.  In short,
it's pretty great.  If I compare it to a Zorn release,
it's in the same vein as the sax/guitar/bass trio on Harras
with Zorn/Bailey/Parker but with spacier guitar, more rhythm,
and less agitation.=20
The victo website is at http://www.login.net/cdcbf/DisquesVicto/=20

I've also been listening to last year's "table chair and hatstand"
featuring Gunter M=FCller, Jim O'Rourke, and Voice Crack on the Swiss
label, For 4 Ears, cd820, 1997.  This is a totally different=20
creature than the above record.  It's a recording of small sounds
(mostly), buzzes, typewriter rappings, and electronic clickings,
with O'Rourke on guitar.  As I hear it, it's a kind of recording=20
for the attentive ear and it, too, is pretty great.  As the title
suggests, it's an arrangement of ambient, aural furniture; while you=20
move around the room with the disc playing, the furniture changes
positions behind your back.

David K.
=09


-



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

From: Alan E Kayser <[e-mail]>
Subject: Re: Bobby Previte
Date: 19 Feb 1998 19:51:22 -0500

Patrice L. Roussel wrote:

> On Thu, 19 Feb 1998 13:17:21 -0500 (EST)  ia zha nah er vesen wrote:
> >
> >
> > I just got the Zorn/Previte duo disc Euclid's Nightmare.
> >
> > The disc is cool.  I want more.
> >
> > Any recommendations for which Previte albums to hear first?
>
> The answer is easy:
>
> 032 - CLAUDE'S LATE MORNING: Bobby Previte
>     1995 - Gramavision (USA), R2 79448 (CD)
> 040 - EMPTY SUITS: Bobby Previte
>     1995 - Gramavision (USA), GCD 79447 (CD)
> 054 - WEATHER CLEAR, TRACK FAST: Bobby Previte
>     1991 - Enja Records, ENJ 6082 (CD)
> 090 - TOO CLOSE TO THE POLE: Weather Clear, Fast Track
>     1996 - Enja (Germany), ENJ-9306 2 (CD)
>
> Any of these is fabulous. Great and original compositions, amazing
> punch,
> great playing. Get TOO CLOSE TO THE POLE first (should be the easiest
> to
> find), and if you like it, you can safely buy the others.
>
> Bobby has a new one:
>
> 094 - MY MAN IN SYDNEY: Bobby Previte's Latin for Travelers
>     1997 - Enja (Germany), ENJ-9348 2 (CD)
>
> but I have not listened to it enough to advise it (although I am
> pretty
> sure that it should be number five on the above list).
>
>         Patrice.
>

I agree that Too Close to the Pole is a great place to start.  I've been
a Previte fan for quite a while, and think that it's his best so far.
My Man From Sydney is a different bag altogether.  I've seen Latin for
Travelers a couple of times live, and can attest to Bobby's statement
that it's his garage band.  His fine composing for horns is absent from
this new band, and truth be told I do miss it.  That's not to say that
Latin isn't terrific, just different.  Any of the Weather Clear Track
Fast on Enja will please jazz fans.  The Gramavisison are a bit more in
a fusion-world beat-rock style, though again quite good.  Claude is the
best of the Gramavisions, though Music for the Moscow Circus is a
favorite of mine.  Also look for some fine work from Bobby on Tim
Berne's two Caos Totale cds on JMT, if you can find them.  And of course
for Zorn folks there's Voodoo, some Filmworks, and the HatArt Cobra.
BTW, anyone out there have some Previte live stuff to trade?

Alan

> -





-



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

From: [e-mail] (Geoff S Gersh)
Subject: Shamisen
Date: 19 Feb 1998 21:30:19 EST

hello....

can anyone here give me any info. on where to purchase a shamisen in the
NY area?? or anyplace in the country  that imports them??
I was told by someone that they can cost as much as $10,000.....which i
can't believe, is this true??

any help is greatly appreciated...email me privately

Geoff Gersh

_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]


-



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

From: "allen j huotari" <[e-mail]>
Subject: Re: Silent Movie music
Date: 19 Feb 1998 19:24:20 -0000


>      Can anyone recommend any CDs of music composed for silent movies.  I
>have Frisell's Buster Keaton discs, which I love.  Is any of Zorn's film
music
>for silent film?
>-Nick


Art Zoyd (a band not a person) has released a couple of extraordinary discs
of music to accompany the FW Murnau films FAUST (cat. no. Atonal ACD 3021,
rec. in 94-95) and NOSFERATU (Ear-Rational ECD 1008, rec. in 88-89)

Art Zoyd on these recordings are a quartet and are perhaps best described as
an electric/electronic chamber ensemble

the instrumentation on FAUST is primarily keyboards, samplers, and
percussion with some bass and cello,
the instrumentation for NOSFERATU is similar to that for FAUST but includes
significantly more acoustically created sounds (from piano, violin, viola,
and alto sax)

the sound on these discs is dark, stark, and chilling but is nevertheless
quite rhythmically compelling (perhaps in the same way that Stravinsky is
rhythmically compelling...rebuttals anyone?)

oh yeah, their latest disc, HAXAN is also accompaniment to a silent film
(but I haven't heard this one so I won't comment)


ajh







-



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

From: Gabriel Lichtmann <[e-mail]>
Date: 09 Feb 1998 15:22:12 -0300

    Hi! I'm new to the John Zorn Mailing List (although not new to the
man's music, of which I've been an admirer since 1992). A friend of mine
who has just been to New York (I live in Buenos Aires, Argentina) saw a
performance by the New York Philarmonic Orchestra of a Zorn percussion work
comissioned for the orchestra's twentieth anniversary, =BFdo you know
anything about this work? Also I would appreciate if somoene gave me
information on Kletka Red, who put out a record, "Hijacking", on Tzadik
last year; I really love that c.d, =BFdo they have any other records
available?=BFare they still playing together?.
                That's all for now, gracias y hasta pronto.
            =20


-



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

From: "Glenn Astarita" <[e-mail]>
Subject: Re: Silent Movie music
Date: 19 Feb 1998 22:19:19 -0600



----------
> From: allen j huotari  re: Art Zoyd>
> oh yeah, their latest disc, HAXAN is also accompaniment to a silent film
> (but I haven't heard this one so I won't comment)
>
>
> ajh
>
> You are correct about Haxan ! Especially since you are one who introduced
me to Art Zoyd a few years back........


glenn>
>
>
>
> -
>

-



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

From: Jeff Gretz <[e-mail]>
Subject: sorry
Date: 20 Feb 1998 00:03:59 -0500 (EST)

i'm stupid. ignore that.


-



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

From: Steve Smith <[e-mail]>
Subject: Re: Bobby Previte
Date: 20 Feb 1998 00:08:06 -0500

Now that Patrice and Alan have limned the best places to start for Bobby's
music, I would also add that if you can find them, there are three very
special discs on Sound Aspects: "Nine Below Zero," "Todos Santos" and
"Larks, They Crazy."  All three include Butch Morris and Wayne Horvitz; the
first is just the trio and is a marvel of electro-acoustic delicacy and
beauty, while the latter two add additional musicians such as Doug
Wieselman, Bill Frisell and Robin Holcomb and are comprised completely of
Holcomb's knotty instrumental compositions.

There's also a trio on Soul Note featuring Wayne and Bobby with William
Parker, which I've not heard.  Any thoughts?

Steve Smith
[e-mail]


-



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

From: Steve Smith <[e-mail]>
Subject: Re: Andy Statman
Date: 20 Feb 1998 00:15:58 -0500

Brian Olewnick wrote:

> So, my question: Which Statman recordings do you folks recommend? Any
> favorites would be appreciated, but I'm particularly interested in
> releases which might sound similar to the quartet's approach last
> evening.

While I don't remember it being as free at any point as what you describe,
there was a release on Shanachie last year that drew praise from many.
Think it was called "Between Heaven and Earth."

More info and sound clips at
http://www.shanachie.com/Artists/AndyStatmanQuart/AndyStatmanQuart.htm

Steve Smith
[e-mail]


-



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

From: BJOERN <[e-mail]>
Subject: theremin
Date: 20 Feb 1998 08:17:01 +0100 (MEZ)

tanks for this link to www.nashville.net/~theremin
just had to realize thatLydia Kavina played in my small city in germany
last november...

dammit

BJOERN

-



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

From: Jan-Wen Lu <[e-mail]>
Subject: Re: 2 recent releases with O'Rourke
Date: 20 Feb 1998 17:25:01 +0800



> Hello Folks on the Zorn list,
>
> Recently there has been some talk about the new releases
> on the label, Les Disques Victo.  Well, I have been
> listening to "Clouds" by Lee Ranaldo (guitar, spoken word),
> William Hooker (percussion and voice), Jim O'Rourke (organ),
> and Gianni Gebbia (sax) on Victo (VICTOcd054, recorded
> live at the festival international de musique actuelle
> de Victoriaville, May 19, 1997) and I thought I would submit
> a review.  The performance, to my ear, is a mixture of
> improvisation and composed music.  It's got a free music
> feel but it's neither wandering nor is it abrasive or difficult.
> It's got an energetic sound due both to the fact that
> it's live and also due to the percussion.  In short,
> it's pretty great.  If I compare it to a Zorn release,
> it's in the same vein as the sax/guitar/bass trio on Harras
> with Zorn/Bailey/Parker but with spacier guitar, more rhythm,
> and less agitation.
> The victo website is at http://www.login.net/cdcbf/DisquesVicto/
>
> I've also been listening to last year's "table chair and hatstand"
> featuring Gunter M=FCller, Jim O'Rourke, and Voice Crack on the Swiss
> label, For 4 Ears, cd820, 1997.  This is a totally different
> creature than the above record.  It's a recording of small sounds
> (mostly), buzzes, typewriter rappings, and electronic clickings,
> with O'Rourke on guitar.  As I hear it, it's a kind of recording
> for the attentive ear and it, too, is pretty great.  As the title
> suggests, it's an arrangement of ambient, aural furniture; while you
> move around the room with the disc playing, the furniture changes
> positions behind your back.
>
> David K.
>
>
> -

There's a great new disc with Jim O'Rourke and Gunter Muller on For 4
Ears. Titled "Weighting".


Jan-Wen Lu



-



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

From: "Glenn Astarita" <[e-mail]>
Subject: Re: Bobby Previte
Date: 20 Feb 1998 05:32:03 -0600



----------
> >
> There's also a trio on Soul Note featuring Wayne and Bobby with William
> Parker, which I've not heard.  Any thoughts?
>
> Steve Smith
> [e-mail]
>
>
> -Haven't heard the above cause i can't find it anywhere..............I'll
add to the Previte thread: He recorded a trio cd with Tom VArner and Mike
Richmond which is outstanding...A late 80's release but i don't have the cd
title handy, i can get it...........Also, wasn't Previte the drummer on
"The President" cd ? with Horvitz, Sharp, Tronzo and Wieselman ?
...........(i don't have these in front of me at the moment

glenn

-



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

From: Alan E Kayser <[e-mail]>
Subject: Re: Bobby Previte
Date: 20 Feb 1998 08:32:02 -0500

Glenn Astarita wrote:

> ----------
> > >
> > There's also a trio on Soul Note featuring Wayne and Bobby with
> William
> > Parker, which I've not heard.  Any thoughts?
> >
> > Steve Smith
> >>
> > -Haven't heard the above cause i can't find it
> anywhere..............I'll
> add to the Previte thread: He recorded a trio cd with Tom VArner and
> Mike
> Richmond which is outstanding...A late 80's release but i don't have
> the cd
> title handy, i can get it...........Also, wasn't Previte the drummer
> on
> "The President" cd ? with Horvitz, Sharp, Tronzo and Wieselman ?
> ...........(i don't have these in front of me at the moment
>
> glenn

Yes, Bobby did play on "Bring Yr Camera" and had one composition
credit.  He is also on Corporate Art with Christy Doran and Jerome
Harris' fine cd "Hidden in Plain View."  Then there's Hal Willner's
"Lost in the Stars" and the Mingus tribute "Weird Nightmare."  I mention
these as good places to find Bobby as a sideman.

Alan

>
>
> -




-



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

From: "Robert A. Pleshar" <[e-mail]>
Subject: Re: leon theremin
Date: 20 Feb 1998 08:17:17 -0600 (CST)

At 05:46 PM 2/19/98 EST, [e-mail] wrote:
>In a message dated 98-02-19 14:43:39 EST, you write:
>
><<   Apparently, she
> was the first (and possibly only) virtuoso Theremin player.  there are many
> scenes of her playing classical pieces on the Theremin.  If you haven't
> seen it, it's a pretty interesting film. >>
>
>  Her name was Clara Rockmore.  She released an album in 1987 on Delos called
>"The Art of the Theremin".  It isn't of performances with full orchestra as in
>the documentary, just theremin and piano.  Still, it's quite impressive what
>she can do with the instrument.

I'm pretty sure this abum was from the 1960s or maybe early 70s. Anyway, It
is great and an impressive document to the difficulty of theremin playing.


>      The current cream of the theremin crop is a woman named Lyda
>Kadvina(sp?).  I believe that she is Theremin's cousin.  I'm not sure if she
>has any albums out but she has made an instructional video called "Mastering
>the Theremin".  She performs a couple of very interesting original
>compositions for theremin.  It came with my build your own theremin kit...
>a fascinating and difficult instrument


I believe she is Mr. Theremin's niece.


Just adding to the confusion,
Ralph


-



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

From: louie <[e-mail]>
Subject: masada sounds like?
Date: 20 Feb 1998 08:03:22 -0700

i've been a fan of zorn since i noticed his name as producer for mr.
bungle #1 (how many times have you heard that?) and i've been
addicted/intrigued/disappointed/repulsed/dazzled/freaked out by this guy
ever since. i own at least 25 cd's of his stuff or at least that he has
produced or has his hand in.
but i've never bought any masada! what would best describe their sound?
i've got filmworks 3, and the first few tracks are what as described as
what was to become masada. would those tracks be an accurate description
of their sound in general? (any comparisons at all to naked city or
painkiller? could they be described as heavy, mellow, experimental, free
jazz...?)
thanks in advance! i enjoy the list...

-louie :^I

-



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

From: "Keith McMullen" <[e-mail]>
Subject: Re: masada sounds like?
Date: 20 Feb 1998 07:26:46 -0800

Masada = Klezmer/Ornette Coleman



-



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

From: [e-mail] (Caleb Deupree)
Subject: Re: masada sounds like?
Date: 20 Feb 1998 11:07:37 -0500

>>>>> "louie" == louie  <[e-mail]> writes:

    louie> but i've never bought any masada! what would best describe
    louie> their sound?  i've got filmworks 3, and the first few
    louie> tracks are what as described as what was to become
    louie> masada. would those tracks be an accurate description of
    louie> their sound in general? (any comparisons at all to naked
    louie> city or painkiller? could they be described as heavy,
    louie> mellow, experimental, free jazz...?)  thanks in advance! i
    louie> enjoy the list...

I've only got one masada album, and I don't have fw3, but the masada
album I have is fairly straight (for jz) acoustic hard bop, trumpet +
sax + bass + drums, much less experimental than almost everything else
in his output.  However, I would highly recommend the 2cd set Bar
Kokhba, which is masada tunes played by a variety of smallish
ensembles.


---
Caleb T. Deupree
;; Opinions are not necessarily shared by management

Computers are useless.  They can only give you answers.
(Pablo Picasso)


-



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

From: "Andy Marks" <[e-mail]>
Subject: Re: masada sounds like?
Date: 20 Feb 1998 11:21:48 -0500


> I've only got one masada album, and I don't have fw3, but the masada
> album I have is fairly straight (for jz) acoustic hard bop, trumpet +
> sax + bass + drums, much less experimental than almost everything else
> in his output.  However, I would highly recommend the 2cd set Bar
> Kokhba, which is masada tunes played by a variety of smallish
> ensembles.

I'll second this. I own1,2,3 and Bar Kokhba and i listen to
Bar Kokhba more often than the others. I think the variety
appeals to me more as opposed to the regular Masada
discs.

-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: masada sounds like?
Date: 20 Feb 1998 10:25:55 -0600 (CST)

On Fri, 20 Feb 1998, Caleb Deupree wrote:

> I've only got one masada album, and I don't have fw3, but the masada
> album I have is fairly straight (for jz) acoustic hard bop, trumpet +
> sax + bass + drums, much less experimental than almost everything else
> in his output.  However, I would highly recommend the 2cd set Bar
> Kokhba, which is masada tunes played by a variety of smallish
> ensembles.

I'd also strongly recommend the new Filmworks VIII. It's mostly Masada
material played by the string trio plus (on different pieces) Mark Ribot,
Anthony Coleman, and Min Xiao-Fen. It's, if anything, even more
"accessible" than Bar Kokhba.
 -
---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: "Chris Barre{t" <[e-mail]>
Subject: Re: masada sounds like?
Date: 20 Feb 1998 11:36:28 -0500

At 11:21 AM 2/20/98, Andy Marks wrote:
>> I've only got one masada album, and I don't have fw3, but the masada
>> album I have is fairly straight (for jz) acoustic hard bop, trumpet +
>> sax + bass + drums, much less experimental than almost everything else
>> in his output.  However, I would highly recommend the 2cd set Bar
>> Kokhba, which is masada tunes played by a variety of smallish
>> ensembles.
>
>I'll second this. I own1,2,3 and Bar Kokhba and i listen to
>Bar Kokhba more often than the others. I think the variety
>appeals to me more as opposed to the regular Masada
>discs.
>
>-

I have Masada(s) 1,2,3,5 & 8 and Bar Kokhba and while I like both, I have
to say I prefer the Masadas.  Both 1 and 2 are a good place to start.  The
Klezmer/Bebop description someone mentioned I think is pretty on.  I think
the Masada compositions tend to cook more than Bar Kokhba.  Plus, the
textures that Joey Baron gets from his drumming are alone worth the Masada
price of admission alone.


-Chris



-



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

From: Joseph Koehl <[e-mail]>
Subject: Theremin documentary
Date: 20 Feb 1998 15:35:52 -0600

Where can I rent (if possible) the Theremin documentary?  Is it available
at independent film stores or do you have to order it?

Thanks alot,

Joseph Koehl


-



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

From: [e-mail] (David Polak)
Subject: Re: Theremin documentary
Date: 20 Feb 1998 17:22:53 -0500 (EST)

Reply to message from [e-mail] of Fri, 20 Feb
>
>Where can I rent (if possible) the Theremin documentary?  Is it available
>at independent film stores or do you have to order it?

I bought a copy at Best Buy of all places. It has a list price of only
$19.99 and can be ordered by mose decent video / music stores.


--
"Reality is too harsh.  Imagination makes everything nice.  Use your
 imagination to get out of the most drab places by simply holding on
 to the imagination and making it real." - Sun Ra

-



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

From: Alan E Kayser <[e-mail]>
Subject: Re: masada sounds like?
Date: 20 Feb 1998 21:15:34 -0500

Caleb Deupree wrote:

> >>>>> "louie" == louie  <[e-mail]> writes:
>
>  but i've never bought any masada! what would best describe
>    their sound?

I own all of the Masadas except 4 and all but one of Filmworks.  In
addition I work in the jazz department of a local (Philadelphia) CD
store.  When people inquire into Zorn/Masada, I reply with "If Ornette
Coleman was Jewish, the result would be Masada."  To me that describes
it pretty well.  Or maybe Zorn is the Jewish Ornette.  I'm sure Dave
would be flattered to be compared to Cherry, Cohen likewise to Haden,
and Baron to Higgins/Blackwell.  Interestingly, Ornette also has a few
filmscores, writes "classical" pieces, has acoustic and electric groups,
and has his Harmolodic label which issues new music and older material.
I'm sure if I thought about this more that there would be more
parallels.  Anybody else got some?

Alan




-



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

From: Steve Smith <[e-mail]>
Subject: Re: Bobby Previte, and a Thomas Chapin memorial
Date: 21 Feb 1998 00:46:14 -0500

Alan E Kayser wrote:

> I mention
> these as good places to find Bobby as a sideman.

One other record I'd like to mention for the masses is "The Fuchsia" by the
Peggy Stern-Thomas Chapin Quartet.  Just an outstanding straightahead
"inside" jazz date with Bobby showing nothing but taste.  The tunes are fine
(one by Bobby, one by Thomas and the rest by Stern), the playing immenently
tasteful, Stern is a nice discovery (she's played a lot with Lee Konitz
lately), Drew Gress is the bassist, and Thomas is, well, Thomas, God bless
him.

Speaking of Chapin, what would have been the third in a series of
fundraisers for him has now sadly become a memorial.  Chapin's trio mates,
Mario Pavone and Mike Sarin, will still be at the Knitting Factory on
Sunday, March 1 to play through the pieces from Thomas's last album, "Sky
Piece," but now the saxophone parts are to be supplied by Marty Ehrlich, Ned
Rothenberg and our very own titular patron saint.  (Hmmm, maybe saint's not
exactly the right word, but you follow my meaning...)  It should be a fine
way for us to work through the grief that I know has certainly been
widespread around these parts, especially for those who can't make it to his
memorial in Connecticut later today (Saturday the 21st).

Steve Smith
[e-mail]


-



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

From: Tom Pratt <[e-mail]>
Subject: Re: 2 recent releases with O'Rourke
Date: 21 Feb 1998 01:47:38 -0500

Jan-Wen Lu wrote:
>
> There's a great new disc with Jim O'Rourke and Gunter Muller on For 4
> Ears. Titled "Weighting".

How does this compare to 'Slow Motion'???

                -Tom Pratt

-



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

From: "Joe the Shmoo" <[e-mail]>
Subject: evan parker + electronics
Date: 21 Feb 1998 13:23:36 PST

A Helio-hello:

Haven't heard this mentioned yet, for those who don't know...

Evan parker Electoacoustic Project album TOWARD THE MARGINS is finally
available in the States!  And it's not expensive!  All bow down before
the majesty of labrynthine creativity (whatever its form).

Evan Parker, soprano saxophone, gong; Barry Guy, double bass...damn!;
Paul Lytton, percussion, live electronics; Philipp Wachsmann, violin,
viola, live electronics, sound processing; Walter Prati, live
electronics, sound processing; Marco Vecchi, live electronics, sound
processing.

   1.Toward the margins (04.31)
   2.Turbulent mirror (05.51)
   3.Field and figure (07.06)
   4.The regenerative landscape [for AMM] (03.34)
   5.Chain of chance (04.19)
   6.Trahⁿtten (06.17)
   7.Shadow without an object: (i) Engagement (ii) Reversal (iii)
     Displacement (06.00)
   8.Epanados (04.27)
   9.Born cross-eyed [remembering Fuller] (02.49)
  10.Philipp's pavilion (07.32)
  11.The hundred books [for Idries Shah] (04.09)
  12.Contra-dance (03.38)

Recorded May 1996 at Gateway Studios, London.

Damn this stuff is cool! Many of you probably OWN the damn thing by now,
but if for some reason any of you have not heard Parker's music (or any
of these musicians' music) yet, I'm sorry but I can't help my
prosyletizing!  Essential Parker that I've HEARD (my collection's still
not very large)--and by ESSENTIAL I actually mean, "good places into his
soundworld"--might be:
1. 50th Birthday Concert (leo)
2. Schlippenbach Trio: ELF BAGATELLEN (FMP)--for everchanging unstable
sound environments; or PHYSICS (FMP)--for hardcore
high-interaction free improvisation w/moments of bizarre
intensity.
3.Parker/Guy/Lytton: BREATHS AND HEARTBEATS
4.Parker: CHICAGO SOLO (okka)--a gentler but equally-interesting
Parker, IMHO

Check out the Parker page on European Improv!  Props to Patrice for the
great discog.  This man is basically as prolific as Zorn or Braxton, but
much less self-promotional.  YOU CAN'T AFFORD EVERYTHING from the last
10 years.

Happy mardi Gras everybody

KSH

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

-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: Re: Silent Movie music
Date: 21 Feb 1998 21:51:19 -0500 (EST)

Mark Dresser did 'the cabinet of dr. caligary' for KF's 'loud music,
silent film' fest and released the music on CD.  I've only heard one of
the tracks from it, but it sounds pretty cool and i'd like to hear the
whole thing.  Does anyone have this?

-jascha

On Thu, 19 Feb 1998 [e-mail] wrote:

>
>       Can anyone recommend any CDs of music composed for silent movies.  I
> have Frisell's Buster Keaton discs, which I love.  Is any of Zorn's film music
> for silent film?
> -Nick
>
> -
>


-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: Re: Mellow Masada
Date: 21 Feb 1998 21:53:06 -0500 (EST)

i'm a little cooler about 5 than 7, which i think is amazing.

haven't heard 8 or 9 yet...

-jascha

> Along the lines of recent posting asking for recommendations, I'd like to
> say that I love one through four as well as six.  What I particularly like are
> the slower cuts (Zorn is awesome in high gear - I am Not looking for Masada
> Lite...) Any recommendations for Masada 5 or 7+ (how many are there
> now?) in low gear?
>
> Bob
>
> -
>


-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: Re: masada sounds like?
Date: 21 Feb 1998 22:03:13 -0500 (EST)

> I'd also strongly recommend the new Filmworks VIII. It's mostly Masada
> material played by the string trio plus (on different pieces) Mark Ribot,
> Anthony Coleman, and Min Xiao-Fen. It's, if anything, even more
> "accessible" than Bar Kokhba.

This is out already??

-jascha


-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: 3-CD improv quatet thingy
Date: 21 Feb 1998 22:11:23 -0500 (EST)


I saw a 3CD set by Bailey/Metheny/Wetrtico(?)/Someotherguy the other
day... I remember some buzzing about this when it came out a while ago,
but i forget if it was positive or not.  Any thoughts on these discs?

-jascha







-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: 3-CD improv quatet thingy
Date: 22 Feb 1998 00:26:10 -0500 (EST)



On Sat, 21 Feb 1998, ia zha nah er vesen wrote:

>
> I saw a 3CD set by Bailey/Metheny/Wetrtico(?)/Someotherguy the other
> day... I remember some buzzing about this when it came out a while ago,
> but i forget if it was positive or not.  Any thoughts on these discs?

Interesting but uneven.  In my opinion, Metheny sometimes tends to go for
big, obvious gestures (often very effects-laden) that just bowl over the
details that typically make Bailey's work so interesting.  But this brings
out some interesting responses from Bailey, and it's certainly different
from other contexts I've heard him in.  Disc 1 verges on energy music at
times.  I'd hesitate to recommend this at a 3CD prices, but it's going for
so cheap, I'd say it's worth it if you're a Bailey fan.  (The preceding is
my view, but it's pretty consistent with my sense of the consensus when
this came up earlier.  I'm sure anyone who disagrees will chime in.)

Chris Hamilton




-



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

From: Joseph Zitt <[e-mail]>
Subject: Re: masada sounds like?
Date: 22 Feb 1998 01:34:38 -0500

ia zha nah er vesen wrote:
>
> > I'd also strongly recommend the new Filmworks VIII. It's mostly Masada
> > material played by the string trio plus (on different pieces) Mark Ribot,
> > Anthony Coleman, and Min Xiao-Fen. It's, if anything, even more
> > "accessible" than Bar Kokhba.
>
> This is out already??

Yup, it was released in the States last Tuesday. It took another two
days for it to show up in the local Tower. (I know: I was there
repeatedly looking for it...)
--
---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|

-



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

From: "Julian" <[e-mail]>
Subject: Boredoms song
Date: 23 Feb 1998 01:14:29 +1100

I heard one song by the Boredoms on the radio, I believe it was called
"Shock City". Can anyone tell me what album this comes from? Any
suggestions/recommendations on their work are also very welcome.


-



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

From: Steve Dolphyn <[e-mail]>
Subject: Re: Boredoms song
Date: 22 Feb 1998 09:30:41 -0500

Julian wrote:
>
> I heard one song by the Boredoms on the radio, I believe it was called
> "Shock City". Can anyone tell me what album this comes from? Any
> suggestions/recommendations on their work are also very welcome.
>

That would be off "Chocolate Synthesizer" from 1994.

Steve Dolphyn
[e-mail]

-



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

From: "Joe the Shmoo" <[e-mail]>
Subject: AMM
Date: 22 Feb 1998 12:53:48 PST

Hello:

I'm sure we could find a vague connection between AMM and this list, but
till then I'll take a chance and ask: can anyone give this record freak
some recommendations for a few great AMM records to start with?  "Taste"
is not my preoccupation, really; just want some new experiences.
Descriptions, insofar as they are possible, would be helpful.  Thanks
muchas.

P.S. What does AMM stand for?

KSH

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

-



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

From: Jesse Simon <[e-mail]>
Subject: Pierre Boulez
Date: 21 Feb 1998 17:48:15

The Zorn list is undoubtedly the most literate list i've ever been a part
of. So I hope you don't mind me prevailing on you all for info about
something which may not exist and has a very tenuous relation to Zorn.

I was wondering if anyone knows anything about books about music theory
written by Pierre Boulez. Ive been devouring books about music lately and
was thinking it would be interesting to read something about this
increasingly interesting figure of 20th century music.

Thanks in advance,
Jesse

np: Four Last Songs by Richard Strauss (sung by E. Schwartzkopf)


-



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

From: [e-mail]
Subject: Re:  AMM
Date: 22 Feb 1998 16:15:09 EST

<<Hello:

I'm sure we could find a vague connection between AMM and this list, but
till then I'll take a chance and ask: can anyone give this record freak
some recommendations for a few great AMM records to start with?  "Taste"
is not my preoccupation, really; just want some new experiences.
Descriptions, insofar as they are possible, would be helpful.  Thanks
muchas.

P.S. What does AMM stand for?>>

For background on the band, check out their page on Peter Stubley's superb
European Free Improvisation site at

http://www.shef.ac.uk/misc/rec/ps/efi/mamm.html

and for some capsule descriptions of the individual records, do a search on
the Forced Exposure site at www.fe.org.

What would I recommend for starters?

To me, they're all essential to different degrees. I tend to lend different
people different ones to start, depending on their listening backgound. For
people more into avant classical (especially Dumitrescu), The Inexhaustible
Document, from 1987, includes cellist Rohan de Saram of the Arditti Quartet in
addition to the regular trio. For fans of "out" jazz, The Nameless Uncarved
Block (1990) features Lou Gare on tenor sax along with the core group. Merzbow
fans might want to start with The Crypt (1968), which at times transforms into
a stunning wall of noise. Newfoundland and Live In Allentown tend more towards
the quietly hypnotic, and are also among my favorites.

My experience with AMM has been that their records have a cumulative effect:
each one is another small window into a body of work that's been going on for
more than thirty years. The more of them you've heard, the better you
understand the underlying concept and the more pleasure you derive from the
experience. Sometimes, it takes 10 or 15 listens for one to connect with you
intensely; with others, the first listen blows you away.

I try not to casually toss around too many superlatives but, to my ears, AMM
represent the pinnacle of free improvisation in its purest strain.

Yeah, I like 'em.

Jon

P.S. I'm pretty sure that AMM doesn't stand for anything but feel free to
correct me if I'm wrong about that.

-



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

From: "Joe the Shmoo" <[e-mail]>
Subject: Re: Pierre Boulez
Date: 22 Feb 1998 13:26:18 PST

JESSE WROTE:
>I was wondering if anyone knows anything about books about music theory
written by Pierre Boulez.

KSH WRITES:
I've checked out a couple collections of Boulez's writings, ORIENTATIONS
and STOCK_TAKINGS FROM AN APPRENTICESHIP(?).  I think those titles are
correct.  Neither dealt as much with theory as with his opinions on
aesthetics (not even really aesthetic-studies, per se), composition,
opera, peanut butter, etc.  It's been pointed out that for all his talk
as a younger man about blowing away tradition, in the end he succumbed
to a typically French love of color evident in the recordings he's
conducted, esp. Debussy (please note: for the 1/2 cent that it's worth,
MHO is that this is good/healthy and has nothing to do with "selling
out" or losing innovative energy).  Anyway..damn!

Does anyone know if there is a domestic CD version of LE MARTEAU...
still in print?

Gday

KSH

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

-



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

From: "A. Bueno" <[e-mail]>
Subject: Panthalassa/Laswell/EQmag
Date: 22 Feb 1998 20:13:42 -0300

Laswell was interviewed by EQ mag on Panthalassa

Interviewer: Did you have the original track sheets?

Laswell:  I actually worked from copies of the originals.  I recently
remixeda Miles Davis record and that was kind of the same situation.
The oldest tape was from '69 and it was an 8-track, which means there
ware eight tracks and there were eight musicians - so everyone had a
track, including the drums.
 The original piece, "In a Silent Way," was over 30 minutes long.
What you hear on the record is obviously much shorter and it has a
repetition in it twice - the same piece of tape.  What they did with
that was record a piece and put it together.  They recorded some more
stuff, took the original piece and tagged it on after that to create a
full piece of music - it was all manual in those days - scissor edits.
We did that the same way.  We made the Miles record by manual razor
editing.

Interviewer: What kind of shape were the Miles tapes in?

Laswell: Not too bad.  You have to remember that these were major stars
in their field and I think the big major label people were taking extra
special care of those tapes.


Laswell says about the Miles tapes:

Laswell: ..."Still the way it was mixed is the problem for me.  It was
recorded fine and clean but when it comes to mixing a record like "On
the Corner,"  musically it's more like the beginning of hip-hop.  It's
got nothing to do with jazz or classsical.  It should be raw, it should
be big,and the bass should be huge. That wasn't evident on that original
mix.
And on "In a Silent Way," aside from the weird ending, there's one part
where a glass or something falls from a table or a piano and hit a mic
and that's the loudest thing on th the record. When we got the
multitrack I said, "Wow, that's amazing, it's really loud." So I went
back and studied the CD release and that's still the loudest thing on
the record.  All they had to do was duck it for two seconds.  The piano
parts were fragments and you could have just moved the faders in the mix
- which we did.  Then there's talking, I think it was Miles talking,
whispering to Wayne Shorter, which is also easy to duck, but those
things were left in there. They let a lot slide by.I think that was the
system of "let's hurry up and get out another record,"because at that
time there were so many records coming out. Miles himself recorded 20
albums from '69 to '70, and that's not including live recordings.
That was the period where every day something would get recorded.
I have six reels of outtakes of "On the Corner" alone, with a lot of
Indian instruments.It's kind of a mess, but it would be an incredible
record on its own.

A.Bueno (Thanks to M.de la Huerga who sent these excerps)

-



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

From: stephen drury <[e-mail]>
Subject: Re: Pierre Boulez
Date: 23 Feb 1998 00:35:27 -0500

At 02:16 PM 2/22/98 -0700, you wrote:
>I was wondering if anyone knows anything about books about music theory
>written by Pierre Boulez.

Try looking for "Boulez on Music Today"; also, the published letters between
Boulez and Cage are amazingly rewarding reading.


-



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

From: "Doug McKay" <[e-mail]>
Subject: Free Jazz - new transfer?
Date: 23 Feb 1998 00:17:00

I was going to get the 6CD set BEAUTY IS A RARE THING, but saw that FREE
JAZZ is now out in a 1998 reissue, apparently a new digital transfer. Are
the other Atlantic recordings going to also be re-tranferred?

I got Ayler's NEW YORK EYE AND EAR CONTROL. Yep. Ayler stays on my purchase
list! I love his tone, among other things.

I've yet to hear FREE JAZZ and am anxious to pick it up. Through BMG I've
just ordered AT THE GOLDEN CIRCLE STOCKHOLM, both volumes, and Zorn's THE
BIG GUNDOWN. Plus, without knowing a thing about it, I ordered SURRENDER TO
THE AIR by Marc Ribot, Trey Anastasio and Jon Fishman. The blurb said it
was a free jazz sort of thing.

Got a book. THE JAZZ SCENE by W. Royal Stokes. There's some quotation of
Charlie Haden:

"So one night I went to this place - I think it was called The Haig, a jazz
club - and this guy came in to ask if he could play and he got up on stage
and that's the way he was playing, on the feeling of the piece or the
inspiration of the composition rather than on the chord structure. And the
guys that were playing at the time asked him to stop immediately.

"I ran backstage to meet the guy and he was gone. And the next night at the
Hillcrest I told Lenny McBrowne that I heard this alto saxophone player
with this brilliant sound and ideas playing. And he said, 'Was he playing a
plastic alto?' I said, 'Yeah.' He said, 'That was Ornette Coleman.' I said,
'I sure would like to meet him,' and so Lenny said, 'I'll invite him to
come and meet you.'

"So Ornette came by at a Sunday morning jazz session and Lenny introduced
us. ... I told him, 'You played beautiful man,' and he said, 'Well, I don't
hear that very often. Thank you. Would you want to come over to my place
and play some music after you finish here?' I said,'Yeah.'

"So I went over to his house and I was finally able to fulfill the
different feelings that I had about improvisation other than the chord
structure, 'cause he was doing that, Ornette, that's the way he played, and
it was like all of a sudden starting on a new venture or something. We
started rehearsing over at Don Cherry's. I already knew Don and Billy
Higgens. We had played gigs together...." [page 110]


Doug McKay
In Minnesota





-



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

From: Steve Smith <[e-mail]>
Subject: Re: Free Jazz - new transfer?
Date: 23 Feb 1998 02:31:30 -0500

Doug McKay wrote:

> I was going to get the 6CD set BEAUTY IS A RARE THING, but saw that FREE
> JAZZ is now out in a 1998 reissue, apparently a new digital transfer. Are
> the other Atlantic recordings going to also be re-tranferred?

I doubt it.  I would be more inclined to suspect that the new single disc "Free
Jazz" reissue is the same remaster as was used for the box set, which really is
essential for any Ornette fan.  The new reissue of "Free Jazz" replaces the
previous single disc version of that disc, but not the box set version, I'd
imagine.  Or at least hope...

Steve Smith
[e-mail]



-



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

From: [e-mail]
Subject: Re: Silent Movie music
Date: 23 Feb 1998 09:53:24 -0700

I just picked up the new Faust record this week.  It is a live
interpretation of F. W. Murnau's "Nosferatu."  Faust was a German prog
band along the lines somewhat of Can.   Like Can, their style is back in
vogue and they are recording again.  This one is very Goth sounding with
lots of deep vocals in German.  I know the film quite well, and can't
see much connection between the film and music, but it does have some
interesting moments, and it is quite scary in a good way.
-Mark Mauer

> Subject: Re: Silent Movie music
> Mark Dresser did 'the cabinet of dr. caligary' for KF's 'loud music,
> silent film' fest and released the music on CD.

> - -jascha

-



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

From: Richard E Ladew <[e-mail]>
Subject: WUNH Durham 91.3fm Mailing address:  PCP House of Coffee/Modern Jazz c/o Rich Ladew, WUNH 91.3fm, Memorial Union building UNH, Durham New Hampshire 03824
Date: 23 Feb 1998 09:21:00 -0500 (EST)



-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: Zorn agent?
Date: 23 Feb 1998 10:02:55 -0500 (EST)


I'm looking for a way to talk to someone who organises gigs for John Zorn.
THis used to be easy when Masada were touring, and there was the Masada
page on the KF web-site, with booking links.  Not any more, alas...
Help?

-jascha







-



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

From: Richard E Ladew <[e-mail]>
Subject: WUNH DURHAM 91.3fm Modern Jazz report Feb 23 1998
Date: 23 Feb 1998 09:16:55 -0500 (EST)

WUNH DURHAM 91.3fm
Modern Jazz/PCP House of Coffee Reports for Feb 23
Chart is based on approximately 4-6 hours of weekly jazz play

Artist
Album Title
Label
(# of weeks)

1.John Linberg ensemble

Black Saint
(3)
2.  Brad Shepik and the Commuters
The Loan
Songlines
(3)
3.  Buckethead

Colma
(2)
4.  Bill Frisell
Gone, Just Like a Train
Nonesuch
(3)
5. Marc Johnson (featuring J. Baron, B. Frisell, and Brad Jones)

Verve
(1)
6. John Zorn
The PArachute Years box set
Tzadik
(3)
7. Prajna
Postmodernism
Eclectic
(3)
8. Fred Hersch
F.Hersch plays Thelonious
Nonesuch
(3)
9.  Bill Ware/Brad Jones, EJ Rodriguez
Vibes
Knitting Factory
(1)
10. Ben Goldberg, Schott, and Sarin
What Comes Before
Tzadik
(2)


-



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

From: [e-mail]
Subject: Cynical HH seen
Date: 23 Feb 1998 08:22:42 -0500

Took my kids to the Boston Children's Museum last week during school
vacation.  BIG MISTAKE.  Anyway, the one saving grace was that we got to
see a 3-minute Cynical Hysterie Hour excerpt "Ch ch change", including
its skronky Zorn soundtrack.  It's part of the modern Japan exhibit
which has a continuously-running 30-minute sequence of anime. I wouldn't
make a special trip for it, but if you're there anyway, don't miss it.

Glenn Lea

-



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

From: Bob Kowalski <[e-mail]>
Subject: Metheny/Baileys' "Sign of 4" / Dresser's "Dr. Caligari"
Date: 23 Feb 1998 09:01:38 -0500

As much as I appreciate the talent on both these discs, they haven't
been in my CD changer much since I bought them.  Anyone interested in
buying either ($10 a pop) please give a shout (off the list...)

Bob
[e-mail]

-



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

From: "p.rice" <[e-mail]>
Subject: Re: vinyl issues ?
Date: 23 Feb 1998 14:09:26 +0000

hi patrice!

sorry, took me a while to check my collection...

zorn/bailey/lewis
i have: celluloid cell5006

tribute to monk
i have: a&m records (uk), amlm 66600 (bought it iu france, too)

zorn/sato - ganryu island
i have the same issue as you!

patRice

Patrice L. Roussel wrote:
>
>         Pat,
>
>         Could you check the label and catalog number of few of your vinyls?
>
> On Mon, 09 Feb 1998 14:35:49 +0000  "p.rice" wrote:
> >
> > i don't know if zorn is still putting out stuff on vinyl.
> > however, i have the following zorn related titles on good ol' vinyl:
> >
> > john zorn - archery
> > zorn / bailey / lewis - yankees
>   ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>
> I have the following:
>
>     1983 - Celluloid/OAO, CEL 6706 (LP)
>
> I bought this one in France and I would not be surprised that you have a
> different pressing.
>
> > various - tribute to thelonious monk
>   ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>
> I have the following:
>
>     1984 - A&M Records (USA), SP-6600 (2xLP)
>     1984 - A&M Records (UK), AMLM 66600 (2xLP)
>
> Same story.
>
> > john zorn + michihiro sato - ganryu island
>
> I guess this one is:
>
>     1985 - Yukon Records, Yukon Records 2101 (LP)
>
> (I would be surprised that there are more than one pressing of it :-).
>
>         Thanks!
>
>         Patrice.

-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Metheny/Baileys' "Sign of 4" / Dresser's "Dr. Caligari"
Date: 23 Feb 1998 14:51:44 -0600 (CST)

On Mon, 23 Feb 1998, Bob Kowalski wrote:

> As much as I appreciate the talent on both these discs, they haven't
> been in my CD changer much since I bought them.  Anyone interested in
> buying either ($10 a pop) please give a shout (off the list...)

I'll grab both, if still available. What's yer snailmail address? I'm at

18347 Lost Knife Circle
Gaithersburg, MD 20879
- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Metheny/Baileys' "Sign of 4" / Dresser's "Dr. Caligari"
Date: 23 Feb 1998 14:51:44 -0600 (CST)

On Mon, 23 Feb 1998, Bob Kowalski wrote:

> As much as I appreciate the talent on both these discs, they haven't
> been in my CD changer much since I bought them.  Anyone interested in
> buying either ($10 a pop) please give a shout (off the list...)

I'll grab both, if still available. What's yer snailmail address? I'm at

18347 Lost Knife Circle
Gaithersburg, MD 20879
- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: Jeff Spirer <[e-mail]>
Subject: Laswell Info
Date: 23 Feb 1998 13:20:23 -0800

(If anyone finds this to be spam, speak up and I will can the posts.)

NEW RELEASE INFO

Material: The Road to the Western Lands (Remixes).  Will probably be
released on March 10 on Triloka.  Remixes by Bill Laswell, Talvin Singh, DJ
Soul Slinger, Spring Heel Jack, DJ Olive, and Material.  I have a cassette
but have not listened to it.  I will post after I do.  This is not the
Seven Souls re-release, although I think there is a one-track overlap.

Miles Davis: Release date is March 10.  Apparently, Sony UK has already
released this in Europe, although they didn't bother telling Bill.

OTHER STUFF

Well the Meta spoken word label has been resurrected.  However, there is no
distribution.  The first CD on it is:

Chakra: The Seven Centers.  Voice by Sarita Choudry, Willem Dafoe, Sharon
Gannon, Umar Bin Hssan, David Life, and Dechen Thurman.  Music by Pharoah
Sanders, Trilok Gurtu, Nicky Skopelitis, Bill Laswell, Jah Wobble, Graham
Haynes, Jeff Bova, DJ Cheb i Sabbah, and Talvin Singh.  I have a CD, but
have not had time to listen yet.  I may be able to sell these over the
Internet; price will be $17 shipped in the US (more outside.)  This is a
non-profit deal for me.  If people are interested, please send mail to me
and put Chakra in the subject header.

Divination Sacrifice.  This will be Bill and someone named Laraaji who
always wears orange.  I don't have any other details yet, but should in the
next few days.

Intanamouri is on hold right now.

Bootsy Collins recorded his next CD at Bill's Orange Studios.

There is another Pharoah Sanders coming out, possibly soon, and also a new
Third Rail album, which is recorded, mixed and mastered.


Jeff Spirer
B&W Photos: http://www.pomegranates.com
Color and B&W Photos: http://www.hyperreal.org/~jeffs/gallery.html
Axiom/Material: http://www.hyperreal.org/axiom/

-



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

From: "p.rice" <[e-mail]>
Subject: masada 4?
Date: 23 Feb 1998 14:06:10 +0000

Alan E Kayser wrote:

> I own all of the Masadas except 4 and all but one of Filmworks.  In
> addition I work in the jazz department of a local (Philadelphia) CD


does anyone know if masada 4 ever came out at all? i remember that my
local shop never had it. they said there'd been some sort of problem...

any info appreciated!

patRice

-



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

From: "p.rice" <[e-mail]>
Subject: Re: Masada Tet is out!!!
Date: 23 Feb 1998 14:04:22 +0000

could you please let us know who's playing on this one? still the same
line up? (cohen, baron, douglas, zorn)
thanks a lot!!!

patRice


[e-mail] wrote:
>
> Masada Nine is out, and well, me thinks amazing. It includes "Acharei Mot"
> which was my personal highlight during Masada's last shows at the Knit. Here's
> the rundown (Patrice, does this look right?) :)
>
> MASADA   TET  DIW-933
>
> Chayah
> Karet
> Moshav
> Leshem
> Kochot
> Meholatot
> Kedushah
> Ner Tamid
> Acharei Mot
> Jachin
>
> Recorded 4/21/97 NYC
>
> My opinion of Zorn's mass output is only excitment. I loved Angles Norvus
> (sp?) and Dura, and think that he's on the cusp of further amazing music. BTW-
> Selling Big Gundown for $50 seems silly when you can regulaly find them in NYC
> for $5-$10. On the road in Nashville I found "Torture Garden for $4!
>
> -

-



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

From: "Jan Langlo" <[e-mail]>
Subject: Films
Date: 23 Feb 1998 13:14:32 GMT+0100

Hello.

I'm new to this list, so I'm sorry if this has been discussed through
& through...

Has anyone seen any of the following films John Zorn has scored:
Tears of Ecstasy, Zigrail, H=F6lderlin Comics, The Thieves Quartet,
Maohgai, The Golden Boat? I'd appreciate it if anyone would care to
share any information on these films. Also I've heard there is a
documentary called "Put More Blood into the Music" featuring Zorn,
Sonic Youth and others. Any info?

I'm working on a film programme in connection with a contemporary
music festival, and would like to include some Zorn-related stuff.
Any suggestions are welcome.

Thank you,

Jan Langlo
Cinematheque of Oslo




-



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

From: "p.rice" <[e-mail]>
Subject: Re: vinyl issues ?
Date: 23 Feb 1998 14:09:26 +0000

hi patrice!

sorry, took me a while to check my collection...

zorn/bailey/lewis
i have: celluloid cell5006

tribute to monk
i have: a&m records (uk), amlm 66600 (bought it iu france, too)

zorn/sato - ganryu island
i have the same issue as you!

patRice

Patrice L. Roussel wrote:
>
>         Pat,
>
>         Could you check the label and catalog number of few of your vinyls?
>
> On Mon, 09 Feb 1998 14:35:49 +0000  "p.rice" wrote:
> >
> > i don't know if zorn is still putting out stuff on vinyl.
> > however, i have the following zorn related titles on good ol' vinyl:
> >
> > john zorn - archery
> > zorn / bailey / lewis - yankees
>   ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>
> I have the following:
>
>     1983 - Celluloid/OAO, CEL 6706 (LP)
>
> I bought this one in France and I would not be surprised that you have a
> different pressing.
>
> > various - tribute to thelonious monk
>   ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
>
> I have the following:
>
>     1984 - A&M Records (USA), SP-6600 (2xLP)
>     1984 - A&M Records (UK), AMLM 66600 (2xLP)
>
> Same story.
>
> > john zorn + michihiro sato - ganryu island
>
> I guess this one is:
>
>     1985 - Yukon Records, Yukon Records 2101 (LP)
>
> (I would be surprised that there are more than one pressing of it :-).
>
>         Thanks!
>
>         Patrice.

-



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

From: Rusty Crump <[e-mail]>
Subject: Re: masada 4?
Date: 23 Feb 1998 16:45:44 -0600

>> I own all of the Masadas except 4 and all but one of Filmworks.  In
>> addition I work in the jazz department of a local (Philadelphia) CD
>
>
>does anyone know if masada 4 ever came out at all? i remember that my
>local shop never had it. they said there'd been some sort of problem...
>
>any info appreciated!
>
>patRice
>
>-

Masada 4 is available through the usual online outlets -- cduniverse.com,
musicblvd.com, etc..  I got mine from cduniverse. But beware, they charge
just as much for 4 as for any of the others, even though it's an EP that
clocks in at under 20 minutes. And for DIW imports, that ain't cheap...

Rusty Crump
Oxford, Mississippi



-



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

From: Tom Pratt <[e-mail]>
Subject: Re: masada 4?
Date: 23 Feb 1998 18:31:57 -0500

Rusty Crump wrote:
>
> >> I own all of the Masadas except 4 and all but one of Filmworks.  In
> >> addition I work in the jazz department of a local (Philadelphia) CD
> >
> >
> >does anyone know if masada 4 ever came out at all? i remember that my
> >local shop never had it. they said there'd been some sort of problem...
> >
> >any info appreciated!
> >
> >patRice
> >
> >-
>
> Masada 4 is available through the usual online outlets -- cduniverse.com,
> musicblvd.com, etc..  I got mine from cduniverse. But beware, they charge
> just as much for 4 as for any of the others, even though it's an EP that
> clocks in at under 20 minutes. And for DIW imports, that ain't cheap...

Really! A local store in my neck of the woods has many Masada discs in
stock and they charge less for Masada 4 than any of the others. About 14
bucks for Masada 4 and 20 for the others. What's the scoop elsewhere?

            -Tom Pratt

-



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

From: Dan Hewins <[e-mail]>
Subject: Masada 4
Date: 23 Feb 1998 18:10:30 -0600

What's on Masada 4?
Is it alt. takes?  Why did the offer to get it by turning in proof of
purchase of 1, 2, & 3 go away?

Bottom line: is it worth having?

Dan



-



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

From: Jason Tors <[e-mail]>
Subject: masada4
Date: 23 Feb 1998 17:16:48 -0700

I went to NYC tower last night and looked at 4 for a while. It was 21$$.
That would have to be an intense 20mins for 21$.
I got my first Praxis album, Sacrifist. Pretty interesting, I am not always
in the mood for thrash jazz, although I get a huge rush listening to it on
headphones, some wild balance tweaks.  Are all the albums like this one?

Thanks to all for the Masada advice, I ended up getting #9 (Tet). I
actually wanted to get #7 or #5, all they had at tower on a sunday night
was #4 and #9. I think it is a fine album, I need to give it a few more
spins to pick up on all of the inherent delights.
JT



-



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

From: Jeff Spirer <[e-mail]>
Subject: Laswell Info
Date: 23 Feb 1998 13:20:23 -0800

(If anyone finds this to be spam, speak up and I will can the posts.)

NEW RELEASE INFO

Material: The Road to the Western Lands (Remixes).  Will probably be
released on March 10 on Triloka.  Remixes by Bill Laswell, Talvin Singh, DJ
Soul Slinger, Spring Heel Jack, DJ Olive, and Material.  I have a cassette
but have not listened to it.  I will post after I do.  This is not the
Seven Souls re-release, although I think there is a one-track overlap.

Miles Davis: Release date is March 10.  Apparently, Sony UK has already
released this in Europe, although they didn't bother telling Bill.

OTHER STUFF

Well the Meta spoken word label has been resurrected.  However, there is no
distribution.  The first CD on it is:

Chakra: The Seven Centers.  Voice by Sarita Choudry, Willem Dafoe, Sharon
Gannon, Umar Bin Hssan, David Life, and Dechen Thurman.  Music by Pharoah
Sanders, Trilok Gurtu, Nicky Skopelitis, Bill Laswell, Jah Wobble, Graham
Haynes, Jeff Bova, DJ Cheb i Sabbah, and Talvin Singh.  I have a CD, but
have not had time to listen yet.  I may be able to sell these over the
Internet; price will be $17 shipped in the US (more outside.)  This is a
non-profit deal for me.  If people are interested, please send mail to me
and put Chakra in the subject header.

Divination Sacrifice.  This will be Bill and someone named Laraaji who
always wears orange.  I don't have any other details yet, but should in the
next few days.

Intanamouri is on hold right now.

Bootsy Collins recorded his next CD at Bill's Orange Studios.

There is another Pharoah Sanders coming out, possibly soon, and also a new
Third Rail album, which is recorded, mixed and mastered.


Jeff Spirer
B&W Photos: http://www.pomegranates.com
Color and B&W Photos: http://www.hyperreal.org/~jeffs/gallery.html
Axiom/Material: http://www.hyperreal.org/axiom/

-



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

From: Todd Bramy <[e-mail]>
Subject: Johnson/Frisell/Baron/?
Date: 23 Feb 1998 20:16:08 -0800

>WUNH DURHAM 91.3fm
>Modern Jazz/PCP House of Coffee Reports for Feb 23
>Chart is based on approximately 4-6 hours of weekly jazz play
>
>5. Marc Johnson (featuring J. Baron, B. Frisell, and Brad Jones)
>
>Verve
>(1)

Is this different than the new Marc Johnson "The Sound Of Summer Running"
which features Frisell, Baron & Pat Metheny? If not, what is the title of
this recording with Brad Jones?

"The Sound Of Summer Running" is truly an incredible album, I can't stop
listening to it. I'd love to hear some opinions on it.

A friend and I, in anticipation of this release, were wracking our brains
trying to figure out if this was the first collaboration between Frisell &
Metheny. We figured that it is. Anybody?



````````````````````````````````````````````````````````````````````````````
Todd Bramy
[e-mail]
http://www.oz.net/~tbramy
````````````````````````````````````````````````````````````````````````````
"Drawing on my fine command of the language, I said nothing."
Robert Benchley
````````````````````````````````````````````````````````````````````````````



-



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

From: Jeff Spirer <[e-mail]>
Subject: Laswell Info
Date: 23 Feb 1998 13:20:23 -0800

(If anyone finds this to be spam, speak up and I will can the posts.)

NEW RELEASE INFO

Material: The Road to the Western Lands (Remixes).  Will probably be
released on March 10 on Triloka.  Remixes by Bill Laswell, Talvin Singh, DJ
Soul Slinger, Spring Heel Jack, DJ Olive, and Material.  I have a cassette
but have not listened to it.  I will post after I do.  This is not the
Seven Souls re-release, although I think there is a one-track overlap.

Miles Davis: Release date is March 10.  Apparently, Sony UK has already
released this in Europe, although they didn't bother telling Bill.

OTHER STUFF

Well the Meta spoken word label has been resurrected.  However, there is no
distribution.  The first CD on it is:

Chakra: The Seven Centers.  Voice by Sarita Choudry, Willem Dafoe, Sharon
Gannon, Umar Bin Hssan, David Life, and Dechen Thurman.  Music by Pharoah
Sanders, Trilok Gurtu, Nicky Skopelitis, Bill Laswell, Jah Wobble, Graham
Haynes, Jeff Bova, DJ Cheb i Sabbah, and Talvin Singh.  I have a CD, but
have not had time to listen yet.  I may be able to sell these over the
Internet; price will be $17 shipped in the US (more outside.)  This is a
non-profit deal for me.  If people are interested, please send mail to me
and put Chakra in the subject header.

Divination Sacrifice.  This will be Bill and someone named Laraaji who
always wears orange.  I don't have any other details yet, but should in the
next few days.

Intanamouri is on hold right now.

Bootsy Collins recorded his next CD at Bill's Orange Studios.

There is another Pharoah Sanders coming out, possibly soon, and also a new
Third Rail album, which is recorded, mixed and mastered.


Jeff Spirer
B&W Photos: http://www.pomegranates.com
Color and B&W Photos: http://www.hyperreal.org/~jeffs/gallery.html
Axiom/Material: http://www.hyperreal.org/axiom/

-



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

From: "Silent Watcher" <[e-mail]>
Subject: Pharoah Sanders
Date: 23 Feb 1998 21:00:41 PST

Does anyone know the title of the upcoming Pharoah Sanders release? Our
computer at work has two of his albums being released March 10 (not that
they will be). One is a re-issue of _Thembi_, and the other is entitled
_Jewels of Thought_ (I think). I'm unfamiliar with the second on, but
was curious if it's also a re-release as it's on GRP. Thanks for any
info.

SW
For Sale/Want list and Laswell Discography at
http://www.geocities.com/SunsetStrip/Underground/7093

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

-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Metheny/Baileys' "Sign of 4" / Dresser's "Dr. Caligari"
Date: 23 Feb 1998 14:51:44 -0600 (CST)

On Mon, 23 Feb 1998, Bob Kowalski wrote:

> As much as I appreciate the talent on both these discs, they haven't
> been in my CD changer much since I bought them.  Anyone interested in
> buying either ($10 a pop) please give a shout (off the list...)

I'll grab both, if still available. What's yer snailmail address? I'm at

18347 Lost Knife Circle
Gaithersburg, MD 20879
- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: [e-mail] (Rusty Crump)
Subject: Re: Free Jazz - new transfer?
Date: 23 Feb 1998 09:02:32 -0600


>Plus, without knowing a thing about it, I ordered SURRENDER TO
>THE AIR by Marc Ribot, Trey Anastasio and Jon Fishman. The blurb said it
>was a free jazz sort of thing.
>

I don't think you'll be disappointed with this. Aside from the above
musicians, the beneficent spirit of Sun Ra shows up via Marshall Allen and
John Gilmore. John Medeski is on hand as well. It's a keeper.

As for Free Jazz vs. the Ornette box, I'd go for the box. It's possible
that the new master of Free Jazz is improved, but there's so much more of
value in the box -- the Japan-only album, Twins (which I believe is O.P.,
and contains the "First Take" of "Free Jazz"), etc. etc. And it's not like
the albums, as presented on the box set, sound BAD by any stretch of the
imagination.

Rusty Crump
Oxford, Mississippi


P.S. -- Saw Eugene Chadbourne this past Saturday night in Memphis. What a
treat. The long, long modal banjo piece (introduced as "a tribute to one of
America's greatest bluegrass musicians, John Coltrane") got a bit wearing,
but everything else was pure genius -- the electric toaster solo, the
heavy-heavy monster sound of the bass banjo, the rice inside the hollowbody
electric, Eugene saying goodnight to the fleeing yuppies as he played (the
stage is right by the front door), and the Albert Ayler finale -- whew!



-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: Zorn agent?
Date: 23 Feb 1998 10:02:55 -0500 (EST)


I'm looking for a way to talk to someone who organises gigs for John Zorn.
THis used to be easy when Masada were touring, and there was the Masada
page on the KF web-site, with booking links.  Not any more, alas...
Help?

-jascha







-



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

From: Yves Dewulf <[e-mail]>
Subject: Re: Laswell Info
Date: 24 Feb 1998 10:01:40 +0100


>Divination Sacrifice.  This will be Bill and someone named Laraaji who
>always wears orange.  I don't have any other details yet, but should in the
>next few days.

 Laraaji is a percussionist who also plays electric zithers.
 His music is mainly trance-music influenced by Indonesian Gamelan.
 He was discovered by Brian Eno in Washington Square Park and has some
 LP's on Eno's Labels:
    Ambient 3: Day of Radiance (EG 1980)
    Music for Films III (2 tracks with Michael Brook) (Opal/Land 04 1988)

 He has also a dub/electro project with the Japanese group Audio-Active

  YVes


  -


-



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

From: [e-mail]
Subject: Banyan
Date: 24 Feb 1998 04:09:20 EST

Possibly off topic, but has anyone here heard the first self-titled CD by
Banyan?  Members include Nels Cline, Mike Watt, Stephen Perkins, and The
Freeway Keyboardist.  This stuff sounds like Zony Mash in Dieter Dierks' 1972
studio!  Crazy fusion meets psych stuff.  A must buy for those into this
sort...but then again, there isn't much out there like this...

Back to the regularly scheduled programming, already in progress...

=dgasque=

-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Metheny/Baileys' "Sign of 4" / Dresser's "Dr. Caligari"
Date: 23 Feb 1998 14:51:44 -0600 (CST)

On Mon, 23 Feb 1998, Bob Kowalski wrote:

> As much as I appreciate the talent on both these discs, they haven't
> been in my CD changer much since I bought them.  Anyone interested in
> buying either ($10 a pop) please give a shout (off the list...)

I'll grab both, if still available. What's yer snailmail address? I'm at

18347 Lost Knife Circle
Gaithersburg, MD 20879
- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: "Silent Watcher" <[e-mail]>
Subject: Re: Banyan
Date: 24 Feb 1998 05:15:00 PST


>Possibly off topic, but has anyone here heard the first self-titled CD
by
>Banyan?  Members include Nels Cline, Mike Watt, Stephen Perkins, and
The
>Freeway Keyboardist.  This stuff sounds like Zony Mash in Dieter
Dierks' 1972
>studio!  Crazy fusion meets psych stuff.  A must buy for those into
this
>sort...but then again, there isn't much out there like this...

I promoted this when I was at my old job about a year ago. I thought it
was interesting, particularly where they quoted from "the Rite of
Spring". Apparently they went into the studio to do some improvising and
had it piped through their headphones while they played. Some of the
album seemed too "rock" for me. All in all, though, not a bad album to
have.

SW
For Sale/Want List and Laswell Discography at
http://www.geocities.com/SunsetStrip/Underground/7093

PS - The Freeway Keyboardist is Money Mark from the Beastie Boys...some
sort of contractual thing supposedly forced him to use an assumed name.


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

-



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

From: Rusty Crump <[e-mail]>
Subject: Re: masada 4?
Date: 24 Feb 1998 08:27:16 -0600


>>
>> Masada 4 is available through the usual online outlets -- cduniverse.com,
>> musicblvd.com, etc..  I got mine from cduniverse. But beware, they charge
>> just as much for 4 as for any of the others, even though it's an EP that
>> clocks in at under 20 minutes. And for DIW imports, that ain't cheap...
>
>Really! A local store in my neck of the woods has many Masada discs in
>stock and they charge less for Masada 4 than any of the others. About 14
>bucks for Masada 4 and 20 for the others. What's the scoop elsewhere?
>
>            -Tom Pratt
>

At cduniverse, 1-8 are all $17.93 each and listed under Zorn's name; 9 is
listed under Masada's name for $17.40.

Musicblvd has 1-8 for $19.49 each, and 9 for $19.99.

But the real oddity is that both sites had something called "Soundtrack" by
Masada, Varese Records #5249, released Dec. 10, 1997.
Could anyone tell me whut the hail this dang thing is?

Rusty Crump
Oxford, Mississippi



-



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

From: Yves Dewulf <[e-mail]>
Subject: Re: masada 4?
Date: 24 Feb 1998 15:36:19 +0100


I guess this is the soundtrack of the TV-series Masada (1981),
by Jerry Goldsmith. I've seen this CD before , maybe it's a reissue.

YVes





-



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

From: Bob Kowalski <[e-mail]>
Subject: sign of 4 / dr caligari discs
Date: 24 Feb 1998 09:58:55 -0500

The responses were quick and swift...both CDs have been held aside
for first responder.

On different note, picked up Filmworks VIII last night and found it to be
stunning !  This will get heavy rotation in the old cd changer - even my
better half likes it, which is rare whenever Zorn discs are heard in the
household...

Bob ;^ )

-



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

From: [e-mail]
Subject: Re: masada 4?
Date: 24 Feb 1998 15:50:35 +0100

>But the real oddity is that both sites had something called "Soundtrack" by
>Masada, Varese Records #5249, released Dec. 10, 1997.

>> I guess this is the soundtrack of the TV-series Masada (1981),
>> by Jerry Goldsmith. I've seen this CD before , maybe it's a reissue.

It must be, because it is on Varese (Sarabande, I presume). V.S. has been
re-issuing a number of Goldsmith soundtracks (among others), notably the
Planet Of The Apes soundtrack.

Frankco.

-



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

From: Michel Rondeau <[e-mail]>
Subject: Films
Date: 24 Feb 1998 10:23:09 -0500

To Jan Langlo

Just a few weeks ago I watched the film Zigrail that was part of your list.
If I remember correctly, the zorn cuts off the soundtrack were all taken
from the naked city record with the severed head on the cover. The one that
starts with some Debussy, Messiaen and then kicks in gear with naked city's
trademark furor. No original material was composed for that flick.



-



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

From: [e-mail]
Subject: Filmworks VIII
Date: 24 Feb 1998 10:35:49 -0500

Bob Kowalski:
> On different note, picked up Filmworks VIII last night and found it to
be
> stunning !  This will get heavy rotation in the old cd changer - even
my
> better half likes it, which is rare whenever Zorn discs are heard in
the
> household...

Same reaction in my house.  The second track is gorgeous.  Overall, one
of the strongest of Zorn's so-many recent releases.  Basically, it's two
soundtracks, about 30 mins each.  First half is Masada Chamber Music,
second is Baptista/Wolleson percussion duets (with vibes).

I'm surprised at how fast this one came out --- it was recorded in
November '97.  Zorn is effusive in his praise of the musicians and
producer in the liners.

-



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

From: "coleman francis" <[e-mail]>
Subject: Various bits
Date: 24 Feb 1998 09:03:25 PST

Hey everyone,

A few things:

I'm now confused again about the Painkiller releases. Sorry to be
harping on something that I should have been paying more attention to,
but why is there a box set AND the Earache reissue of Guts/Buried? I
haven't picked up the box yet, and now I see this thing on Earache is
released this week. What's the deal, and what should I be buying? I
think I want it all. (I've only heard Buried Secrets, and it's been a
while, but I really liked it.)

I finally picked up Zorn's First Recordings 1973 the other day. I
laughed my ass off. This is great stuff. Any questions I had left about
his sanity are now answered. This is one sick little boy, and I love him
for it. :)

Also got the Buckethead/Brain thing, Pieces. Good stuff. I particularly
enjoy the tender little acoustic ballad for the porn star Danyel Cheeks.
Very nice. :)
The rest of the album is great, too, but I need more time to assimilate
it all. I'm not really that familiar with this kind of thing.

Off topic, but I'm sure there are some Fripp/King Crimson fans on the
list. I went 6 hours to Nashville this weekend to see ProjeKt 2. This is
Fripp on guitar, Trey Gunn on Warr Guitar, and Adrian Belew (normally
known as a guitarist) on drums.
This was some seriously twisted shit. I thouroughly enjoyed it. Quite
unlike what I'd expect from these guys, and Fripp in particular seems to
be making a concious attempt to break new ground and reinvent his
playing. Sometimes he'd play something more recognizably "Frippian", but
often he really went out into other areas. What a frigging genius this
guy is.
Gunn is an absolute monster and made some really wild noises, and
Belew's drumming-while very much "rock" oriented-was excellent, and kept
the thing grounded, which in this case, I thought was a very good thing.
They have a double CD coming out sometime soon.
One of the opening acts (I'm going to now misspell this name) was a
local Nashville band called Schvelikus (or something). I bought their
CD, and enjoyed it a lot, but they are a great live band, and I think
they would appeal to many people on this list. They only got noisy on
occasion (I met the guitarist afterwards and he said he was a Zorn fan,
though I figure he's into more "normal" stuff as well), but mostly just
had some cool funky grooves, and 2 guest sax players wailing on top of
it (the band is guitar, bass, and drums, and they apparantly have a
revolving-door thing on soloists). Good tight ensemble work as well. Not
totally outrageous, but quite excellent.

Well, thanks for reading my rambles.

Doug


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

-



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

From: ROLAND JOST <[e-mail]>
Subject: Zorn List Digest V2 #240
Date: 24 Feb 1998 13:04:03 -0500

>Date: Mon, 23 Feb 1998 14:06:10 +0000

Alan E Kayser wrote:

> I own all of the Masadas except 4 and all but one of Filmworks.  In
> addition I work in the jazz department of a local (Philadelphia) CD


does anyone know if masada 4 ever came out at all? i remember that my
local shop never had it. they said there'd been some sort of problem...

any info appreciated!

patRice<

it has indeed been issued - diw-923
a very short cd - 3 tracks only
midbar, mahlah and zenan - total time 18:40
i believe, there wasn't actually a problem. this cd was originally
available only in japan. you had to show proof, that you had bought all t=
he
other masada cd's (the first three) and then they'd let you buy number
four. this decision was later reversed and the cd was brought onto the op=
en
market. (so the story goes - anyway, that's what my john zorn dealer told=

me).

cheers
roland

-



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

From: [e-mail] (Douglas Tapia)
Subject: Re: Johnson/Frisell/Baron/?
Date: 24 Feb 1998 11:08:08 -0700

>>5. Marc Johnson (featuring J. Baron, B. Frisell, and Brad Jones)

>Is this different than the new Marc Johnson "The Sound Of Summer Running"
>which features Frisell, Baron & Pat Metheny? If not, what is the title of
>this recording with Brad Jones?

Can't imagine that there is another Johnson/Baron/Frisell thing out there
that NOBODY has mentioned, but if there is, COOL!  (Though I doubt it, as I
walked into my local hole-in-the-wall shop that is on top of all things
jazz and asked to reserve a copy of the new Marc Johnson disk, and I wasn't
asked, "which one?"  . . .For what it's worth. . .)

>"The Sound Of Summer Running" is truly an incredible album, I can't stop
>listening to it. I'd love to hear some opinions on it.

No kiddin'!  Judging by the reaction of certain people on this list to
"Gone, Just Like A Train" I would hesitate to make a blanket recomendation
of this disk, but for anyone who actually digs what Frisell has been up to
as of late, (heavens knows I do) run, don't walk to your local shop!

It's as I imagined it would be in discussing this with friends:  Very folk
oriented at times, with lovely, meaningful solos all around.  I loved the
other Bass Desires releases, but it's nice to hear Frisell reach deep and
pull up some strikingly beautiful melodies in his improvisation.  Certainly
this is nothing new for Bill, but the overall mood of "The Sound of Summer
Running" is calmer and more contemplative.  Things are allowed to unfold
more slowly, and there is never the hard edge as on Resolution (this is not
to say this is good or bad, only different)

Frisell and Metheny are comming from the same angle, and I at times miss
the wrekless juxtposition of styles between Sco' and Frisell (or just
violently different interpertations of the SAME style)  Too, I miss
atmospheric bits from Bill as on "Black is The Color Of My True Love's
Hair," but what are you gonna do?  Listening to this more as I type, I feel
that some of this sounds like a Metheny Group disk, with Pat being pushed
in different directions (eg "Summer Running") and with an OUT drummer.
Joey IS playing a lot of time, but like Keltner, LISTEN TO HOW HE'S PLAYING
IT!!!  Listen to what he leaves out, where he's putting things, how his
drums are tuned!

Yeah, pushing each other into slightly different places without hitting the
listener over the head.  Slick.  Subtle.  Remindes me of "I Can See Your
House From Here" in concept and performance.  Thanks, Marc!

>A friend and I, in anticipation of this release, were wracking our brains
>trying to figure out if this was the first collaboration between Frisell &
>Metheny. We figured that it is. Anybody?

Think so.

See ya,


Doug



-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: cd dilema
Date: 24 Feb 1998 13:14:21 -0500 (EST)


If i could only afford one cd this month, and the choices were

tzadik Burt Bacharach thingy
Durras/Duchamp
Angelus Novus
WCTF: too close to the pole
FW VIII

which one should i take in to my merry home?  The intrumentation on the
back of Durras/Duchamp looked interesting...do they all play at once, or
are they split up between the two pieces?

-jascha





-



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

From: "p.rice" <[e-mail]>
Subject: Re: Laswell Info
Date: 24 Feb 1998 19:56:25 +0000

Jeff Spirer wrote:
>
>
> Miles Davis: Release date is March 10.  Apparently, Sony UK has already
> released this in Europe, although they didn't bother telling Bill.
>

hi jeff!
true, the above is already out in europe. saw it in a record shop
in zurich this very afternoon!
patRice

-



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

From: [e-mail]
Subject: Re: masada 4? & Misha Mengelberg
Date: 24 Feb 1998 11:02:48 -0800 (PST)

I saw #4 the other day at Amoeba in Berkeley.  $20, same as the other
discs.  I got it back when you could trade in the corners of the wrappers
of the first 3 for it, and I have to say that I think it's my favorite.
Sure, it's only 3 tracks, but it's a *very* strong 3 tracks.  It's your
call if you feel like paying $1 a minute, though I could name at least one
8 minute Japanese (twisted) pop CD that I paid closer to $18 and felt the
expense was actually justified.  (Citrus "Jazz the Poops," if anyone is
interested).  I just keep telling myself that bad music is still no matter
how little you pay for it.

Now can anyone tell me why Misha Mengelberg's "No Idea," which was talked
about a bit last summer is impossible to find?  I have yet to see it at any
of my local stores, or w/any online mailorder services?  Tips?

Merci,

Alexander

.Radio Khartoum.           http://www.algonet.se/~elegans/radiok/



-



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

From: [e-mail]
Subject: Re: Laswell Info
Date: 24 Feb 1998 14:03:21 -0500

> Jeff Spirer wrote:
> >
> >
> > Miles Davis: Release date is March 10.  Apparently, Sony UK has
already
> > released this in Europe, although they didn't bother telling Bill.

It was reviewed (cautiously positive) in the January issue of The Wire.

-



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

From: [e-mail]
Subject: Re: Banyan
Date: 24 Feb 1998 14:12:43 EST

In a message dated 98-02-24 11:11:36 EST, you write:

<< Can you tell me the label and the (approximate) release date? >>

Hey Patrice-

It was released on CyberOctave (COCD2005) in 1997 per liners.  The label has a
webpage at:

<A HREF="">http://www.cyberoctave.com/</A>

Good luck

-



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

From: Brent Burton <[e-mail]>
Subject: Re: Free Jazz - new transfer?
Date: 24 Feb 1998 14:37:16 -0500 (EST)

On Mon, 23 Feb 1998, Doug McKay wrote:

> I got Ayler's NEW YORK EYE AND EAR CONTROL. Yep. Ayler stays on my purchase
> list! I love his tone, among other things.

another tangent you might enjoy:  this weekend i picked up peter
brotzmann's _die like a dog_ (fmp), which is a 70 minute tribute of
sorts to the life and music of albert ayler, featuring william parker
(bass), hamid drake (drums) and someone with the surname kondo (trumpet
and electronics).
brotzmann, who can often be a brutal tenor saxophonist, is almost melodic
in this setting and some of the interplay between him and kondo is really
inspired.

b

-



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

From: "Joe the Shmoo" <[e-mail]>
Subject: Re: Free Jazz - new transfer?
Date: 24 Feb 1998 12:08:31 PST

A Brotz disk absolutely recommended for beginners and seasoned vets
alike, IMHO.  Kondo's post wired(pronounce: weird)-Miles wah trumpet and
short electronics-ridden solo are super-high points, as is Brotz's
tarogato dirge.  Not as historically significant as MACHINE GUN, but
infinitely better recorded and--I believe--more satisfying musically. No
more shock value, no more pure experimentation: this is Just Music.

>On Mon, 23 Feb 1998, Doug McKay wrote:
>
>> I got Ayler's NEW YORK EYE AND EAR CONTROL. Yep. Ayler stays on my
purchase
>> list! I love his tone, among other things.
>
>another tangent you might enjoy:  this weekend i picked up peter
>brotzmann's _die like a dog_ (fmp), which is a 70 minute tribute of
>sorts to the life and music of albert ayler, featuring william parker
>(bass), hamid drake (drums) and someone with the surname kondo (trumpet
>and electronics).
>brotzmann, who can often be a brutal tenor saxophonist, is almost
melodic
>in this setting and some of the interplay between him and kondo is
really
>inspired.
>
>b
>
>-
>
>


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

-



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

From: [e-mail]
Subject: RE: Laswell Info
Date: 24 Feb 1998 15:15:24 -0500

> I don't recall The Wire review as cautious. I thought it got a fairly
> hearty endorsement. As I recall the general thrust was that the music
> had been refocused and given a different slant. If I remember
correctly
> the reviewer concluded with the thought that Laswell had done a worthy
> job and that Panthalassa was a welcome addition to the Miles canon.

Right.  "Worthy" and "welcome".  The review ended with the statement
that Miles' original releases remained the standard.  That's what I
meant by "cautious".  After all the controversy and anticipation and
postponements, I was really rooting for Laswell's mixes to be proclaimed
as "definitive" or "extrordinary" (so he would do more).  But they ended
by sending you back to the originals.

-



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

From: [e-mail] (Caleb Deupree)
Subject: Re: cd dilema
Date: 24 Feb 1998 15:27:19 -0500

>>>>> "Jascha" == ia zha nah er vesen <[e-mail]> writes:

    Jascha> If i could only afford one cd this month, and the choices
    Jascha> were

    Jascha> tzadik Burt Bacharach thingy
    Jascha> Durras/Duchamp

    Jascha> which one should i take in to my merry home?  The
    Jascha> intrumentation on the back of Durras/Duchamp looked
    Jascha> interesting...do they all play at once, or are they split
    Jascha> up between the two pieces?

I realize there's been a lot of very positive press on this list about
the Bacharach thingy, but I have to say that I hardly listen to this
at all any more.  I found it mostly a novelty item, "listen to the
avant gardists playing pop music" whose novelty wore pretty thin
pretty quick.  I'll probably trade it at some point.

If you have redbird, you have a good idea of what Duras sounds like.
Duchamp has a few more sudden changes of volume (enough to keep me
from playing it around my companion, who tolerates redbird and
absinthe, but not much other jz) and is a little more abstract.

---
Caleb T. Deupree
;; Opinions are not necessarily shared by management

Computers are useless.  They can only give you answers.
(Pablo Picasso)


-



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

From: Steve Smith <[e-mail]>
Subject: Re: Laswell Info
Date: 24 Feb 1998 15:36:22 -0500

p.rice wrote:

> Jeff Spirer wrote:
> >
> >
> > Miles Davis: Release date is March 10.  Apparently, Sony UK has already
> > released this in Europe, although they didn't bother telling Bill.

U.S. release date is now April 14.

Steve Smith
Flack
[e-mail]


-



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

From: Rusty Crump <[e-mail]>
Subject: Re: cd dilema
Date: 24 Feb 1998 15:11:09 -0600


>
>I realize there's been a lot of very positive press on this list about
>the Bacharach thingy, but I have to say that I hardly listen to this
>at all any more.  I found it mostly a novelty item, "listen to the
>avant gardists playing pop music" whose novelty wore pretty thin
>pretty quick.  I'll probably trade it at some point.
>

Amen to that. The Serge Gainsbourg thingy, on the other hand, is THE BOMB.
I've listened to that at home, at work, on the road... everywhere I can get
at a CD player over the last month. (That, and "The Kinks Are the Village
Green Preservation Society," hmmm...)

Rusty Crump
Oxford, Mississippi



-



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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: Laswell Info
Date: 24 Feb 1998 15:41:31 -0600 (CST)

On Tue, 24 Feb 1998, somebody said:

> > > Miles Davis: Release date is March 10.  Apparently, Sony UK has already
> > > released this in Europe, although they didn't bother telling Bill.

Then Steve Smith said:

> U.S. release date is now April 14.

What the hell..... It's already out in other countries - any reason why it
keeps getting pushed back here (besides the usual impenetrable record
company logic)?

Oh well, I'll get it eventually.....

cya
brian
"The most dementing of all modern sins: the inability to
distinguish excellence from success." - David Hare



-



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

From:    William York <[e-mail]>
Subject: Re: Zorn List Digest V2 #241
Date: 24 Feb 1998 16:44:43 -0500 (EST)

I recently found the Steve Beresford CD "Signals for Tea" for 11 bucks new
so I got it, and I think its really good (it has zorn, d. douglas, cohen,
and wollesen as backing band.  But I'm pretty sure his other stuff is
different than this- does anyone have any recommendations or think his
stuff is worth pursuing?  I am also looking for recommendations
on Anthony Coleman albums, AND am wondering about Dave Douglas
"Sanctuary".  I just
got Parallel Worlds and tiny bell live in europe, plus I heard Stargazer
and they're all great, esp. tiny bell trio.  The Eric Lindberg album he's
on is also great.

Regarding Frisell/Metheny, I am not so big on it.  I first heard Frisell
on Don Byron's "Tuskeegee Exp.", then with Naked City and other Zorn
stuff.  But this Marc Johnson CD and the last Frisell CD, I don't know,
they seem pretty boring to me.  Maybe I just don't get it. Help?


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: Laswell Info
Date: 24 Feb 1998 13:54:42 -0800 (PST)

On Tue, 24 Feb 1998, Brian & Sharon Beuchaw wrote:

> What the hell..... It's already out in other countries - any reason why it
> keeps getting pushed back here (besides the usual impenetrable record
> company logic)?

this may not be the reason, but
i've noticed these days big label
distribution organizations expect
to receive a release schedule
three months in advance or
something like that. at least,
that's the way ADA works. and i'm
pretty certain Koch does the same
ding dang thing too. if as the
record label, you don't have a
slam-dunk release ready in the
can, then you miss your window
of opportunity to ship until the
next cycle.

hasta.

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


-



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

From: [e-mail] (Caleb Deupree)
Subject: Re: Frisell help
Date: 24 Feb 1998 17:15:57 -0500

>>>>> "William" == William York <[e-mail]> writes:

    William> Regarding Frisell/Metheny, I am not so big on it.  I
    William> first heard Frisell on Don Byron's "Tuskeegee Exp.", then
    William> with Naked City and other Zorn stuff.  But this Marc
    William> Johnson CD and the last Frisell CD, I don't know, they
    William> seem pretty boring to me.  Maybe I just don't get
    William> it. Help?

http://www.nwu.edu/wnur/jazz/artists/frisell.bill/discog.txt is an
excellent if somewhat obsolete (dated March 1993) annotated
discography by Matt Wright.  Matt recommends the albums Where in the
World and Have a Little Faith most highly, and I have to second these
recommendations.  Faith in particular is all covers, including Madonna
and Dylan.  These albums are more complex than Nashville, and although
I haven't heard the new one yet, I get the impression that he's
simplifying his style (not necessarily a bad thing) in recent works.

Frisell has a home page at
http://www.geocities.com/Hollywood/2251/frisell.html with some
additional links and info.

---
Caleb T. Deupree
;; Opinions are not necessarily shared by management

Computers are useless.  They can only give you answers.
(Pablo Picasso)


-



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

From: Rich Williams <[e-mail]>
Subject: Re: masada4
Date: 24 Feb 1998 00:30:30 -0500

Jason Tors wrote:
>
> I went to NYC tower last night and looked at 4 for a while. It was 21$$.
> That would have to be an intense 20mins for 21$.
> I got my first Praxis album, Sacrifist. Pretty interesting, I am not always
> in the mood for thrash jazz, although I get a huge rush listening to it on
> headphones, some wild balance tweaks.  Are all the albums like this one?

Sacrifist is the most extreme of the 4 discs. Its also the only one that
doesn't have a real "band" feel. Try Transmutation.

Rich



-



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

From: Steve Smith <[e-mail]>
Subject: Masada not over after all...
Date: 24 Feb 1998 20:43:52 -0500

Guess everyone (including Zorn last fall!) spoke too soon about Masada
being over.  They're playing at the Knitting Factory April 27-29.

Steve Smith
[e-mail]



-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Bobby Previte
Date: 24 Feb 1998 17:47:19 -0800


On Fri, 20 Feb 1998 00:08:06 -0500  Steve Smith wrote:
>
> Now that Patrice and Alan have limned the best places to start for Bobby's
> music, I would also add that if you can find them, there are three very
> special discs on Sound Aspects: "Nine Below Zero," "Todos Santos" and
> "Larks, They Crazy."  All three include Butch Morris and Wayne Horvitz; the
> first is just the trio and is a marvel of electro-acoustic delicacy and
> beauty, while the latter two add additional musicians such as Doug
> Wieselman, Bill Frisell and Robin Holcomb and are comprised completely of
> Holcomb's knotty instrumental compositions.

Nice to see that other people like Robin. I always found the above
records fascinating and inspired. It is really sad that they never
reached a larger audience.

> There's also a trio on Soul Note featuring Wayne and Bobby with William
> Parker, which I've not heard.  Any thoughts?

I guess you mean the following one (with Butch Morris but without Bobby):

014 - SOME ORDER, LONG UNDERSTOOD: Wayne Horvitz
    1994 - Black Saint (Italy), 120059-2 (CD)

This is a pure improv record but in a very introspective and moody way
(as you can expect from people like Wayne and Butch Morris). I find it
a very successful improv session where the musicians really work
together, and not side by side. It is also a pleasure to listen to it
(and one of the very rare pure improv session with Wayne).

    Patrice.

-



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

From: Alan E Kayser <[e-mail]>
Subject: pachora
Date: 24 Feb 1998 21:06:14 -0500

Kntting Factory artists PACHORA will be appearing in Philadelphia on
March 8, 1998.  The performance will take place at 4PM at the Ethical
Society Hall, 19th and Rittenhouse Square.  PACHORA consists of

    Brad Shepik (Tiny Bell Trio, Babkas, Paul Motian) guitar
    Jim Black (Bloodcount, Tiny Bell Trio, Human Feel) percussion
    Chris Speed (Bloodcount) reeds
    Skuli Sverrisson e bass

The concert is presented by SweetNighter Productions, in the debut of
Support Jazz in Philly.  For more information and tickets ($10) contact

    [e-mail]

or purchase tickets directly at 15 S. 11th Street (3rd floor - ask for
Alan or Craig).


-



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

From: [e-mail] (Douglas Tapia)
Subject: Re: Frisell help
Date: 24 Feb 1998 19:57:34 -0700


>http://www.nwu.edu/wnur/jazz/artists/frisell.bill/discog.txt is an
>excellent if somewhat obsolete (dated March 1993) annotated
>discography by Matt Wright.  Matt recommends the albums Where in the
>World and Have a Little Faith most highly, and I have to second these
>recommendations.  Faith in particular is all covers, including Madonna
>and Dylan.  These albums are more complex than Nashville, and although
>I haven't heard the new one yet, I get the impression that he's
>simplifying his style (not necessarily a bad thing) in recent works.

I second this.  I would add to _Where in the World_ and _Have a Little
Faith_ two disks:

_Is That You?_ which was produced by Wayne Horwitz, features a recording of
"Yuba City", (Which Wayne also recorded with THE PRESIDENT) a great
reworking of "The Days of Wine and Roses" and everything in between.

_Live_ featuring Driscol and Baron.  Awsome stuff, very close to a Frisell
concert (Actually, it was) with plenty of "outness" for all.


TTFN,


Doug T.



-



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

From: Dwight Haden <[e-mail]>
Subject: RE: Painkiller Confusion
Date: 25 Feb 1998 05:04:37 +0000

>Date: Tue, 24 Feb 1998 09:03:25 PST
>From: "coleman francis" <[e-mail]>
>Subject: Various bits
>
>I'm now confused again about the Painkiller releases. Sorry to be
>harping on something that I should have been paying more attention to,
>but why is there a box set AND the Earache reissue of Guts/Buried? I
>haven't picked up the box yet, and now I see this thing on Earache is
>released this week. What's the deal, and what should I be buying? I
>think I want it all. (I've only heard Buried Secrets, and it's been a
>while, but I really liked it.)

If you don't have any Painkiller yet, go ahead and buy the 4cd Box set
from Tzadik.  If you liked Buried Secrets, you won't be disappointed.

You should be able to find it for about $40.

Earache has just reissued Buried Secrets/Guts of a Virgin, this time on
one disk.  Their version does not include the "extra" track (w/Haino)
found on the BS/Guts disk in the Tzadik box.  Earache also redesigned
the CD packaging, piecing bits together from both CD's.  Not all of the
original artwork is included.  But hey, it's a lot cheaper.

  Dwight Haden === [e-mail]


-



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

From: [e-mail]
Subject: Re: Filmworks VIII
Date: 25 Feb 1998 08:43:26 +0100

About Filmworks VIII:

> Same reaction in my house.  The second track is gorgeous.  Overall, one
> of the strongest of Zorn's so-many recent releases.  Basically, it's two
> soundtracks, about 30 mins each.  First half is Masada Chamber Music,
> second is Baptista/Wolleson percussion duets (with vibes).
>
> I'm surprised at how fast this one came out --- it was recorded in
> November '97.  Zorn is effusive in his praise of the musicians and
> producer in the liners.

Filmworks VIII is fast becoming my favorite, alongside Filmworks IV. Filmworks
III wasn't too bad either. The fact that it was released so soon after it was
recorded probably means that the rate at which releases in the Filmworks series
are issued will be dropping. Unless there is a lot of archive material, of
course. The first part of FW 8 really makes me look forward to that Masada
String Trio album, as well as Circle Maker.

Frankco.



-



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

From: leon lee <[e-mail]>
Subject: re:Banyan
Date: 25 Feb 1998 00:42:03 -0800 (PST)

[e-mail] wrote:

Possibly off topic, but has anyone here heard the first self-titled CD by
Banyan?

maybe it is off the topic but i feel compelled to shell out my 2cents:
Banyan was very uninteresting to me.  After hearing ANY Nels Cline Trio
records, Banyan is nothing.  The Freeway Keyboardist is rumoured to be
Money Mark (of Keyboard Repair fame) who's chops are nice and soulful but
STephen Perkins has no sense for music that doesn't chime 'rock'.  His
beats are boring, his tempo is in the mud and all he is is steady (like
some have said, if you don't sound good, at least you can be tight).  Watt
isn't a very good improvisor per say.  I can only recollect him being
really inside the music on Nels Cline's 7" Beardism (as an improvisor).
And anybody who hasn't heard Nels Cline play shouldn't check out Banyan
first (or the Geralding Fibbers for that matter) -- check out 'Ground' or
'Chest' -- please.

leon
*i guess i'm being a little harsh, but i couldn't listen to Banyan all the
way through the few times i tried.  i really tried.


  Members include Nels Cline, Mike Watt, Stephen Perkins, and The
Freeway Keyboardist.  This stuff sounds like Zony Mash in Dieter Dierks'
1972 studio!  Crazy fusion meets psych stuff.  A must buy for those into
this sort...but then again, there isn't much out there like this...

Back to the regularly scheduled programming, already in progress...

=dgasque=


disclaimer:it's all true.



-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Panthalassa
Date: 25 Feb 1998 09:52:45 GMT0BST

I have mixed feelings about this, mostly because it seems to get off
to a bad start (a 15 minute mix taking in all the tracks on In A
Silent Way).  Can't see ANY reason for preferring this to the
original album.  That said, the mixes from On The Corner and Get Up
With It are pretty good: Black Satin is mixed into something called
What Is, which sounds unreleased to me (I haven't yet checked my tape
of Miles' 70s singles) then it segues into a slightly dumb dub
version of the Agharta Prelude (Part 2), the one with the riff a
little like Funky Tonk (quoted by Wayne Shorter on Weather Report in
Tokyo, which I picked up at the same time).  Don't know what Bill's
source for this was: that's another gripe - there are FOUR sets of
sleeve notes and none of them tell you anything remotely interesting,
let alone about the original tapes.  It certainly does send you back
to the originals, because there's no track specific personnel list!!
(So the Agharta dub MAY not be from Agharta, but a studio recording
...???).  The stuff from Get Up With It is best.  A sensible mix of
He Loved Him Madly, cutting out most of the first ten minutes, and
Rated X segued into a half length Billy Preston.  I guess time will
tell - I regularly go and listen to these two tracks, so maybe it'll
be Panthalassa rather than Get Up With It which I select for that
purpose.

There's more listening to be done for trainspotters like myself: are
there any alternate solos? (There aren't on the InASilentWay
segment).  But, on the whole, I'm more disappointed than I'd have
hoped ...

The Weather Report album is recommended however (live, January 1972,
Shorter Zawinul Vitous and Eric Gravett.  The first two sides of the
double album were edited to half length for side two of I Sing The
Body Electric.  If you don't like that, then don't bother!)

Sean Wilkie

-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Free Jazz - New transfer
Date: 25 Feb 1998 10:02:22 GMT0BST

while the 6CD box of Coleman recordings is a prize possession for me,
it can be a dent in the wallet.  The FREE JAZZ single disc in
Britain comes complete with the "First Take" first heard on Twins, so
it's not a bad buy if it's mid-price like it is over here ...

Sean Wilkie

-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Buster Keaton
Date: 25 Feb 1998 10:07:10 GMT0BST

Has anyone tried their own "screening" of Keaton movies with Frisell
soundtrack?  One Week was on British TV a year ago, so I videod it,
and tried to play the music alongside.  I was doing all right, and
then hit a bit where, as best I can surmise, a couple of minutes had
been chopped out of the film they broadcast!!

Sean Wilkie

-



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

From: DR S WILKIE <[e-mail]>
Subject:       Re: Bobby Previte
Date: 25 Feb 1998 10:15:55 GMT0BST

I second Empty Suits and ALL Weather Clear Track Fast albums
(including Hue and Cry, what's wrong with it??).

As a sideman, one of Previte's unusual but interesting sessions is as
part of the New Note (?) Quintet, with Greg Cohen on bass, backing
Glasgow's very own Annie Ross in the great Robert Altman's SHORT
CUTS.  You can see Bobby in the film (in the nightclub) if you're
paying attention (as you must with Altman).  Doubtlessly, I'm
influenced by my love of the film, BUT I'm actually very good at NOT
LIKING soundtracks-sans-movie.  (A lot of Morricone, for instance,
which sounds BRILLIANT to me during the film, just sounds silly on
its own).  The music was written by, variously, Horace Silver, Elvis
Costello, The Jazz Passengers, Bono&The Edge (yuk!), Gavin Friday,
and 3 or 4 by Dr.John&Doc Pomus.  Well worth a listen but whatever
you do WATCH THE FILM!!

Next week: Kansas City !

Sean Wilkie

-



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

From: Alan E Kayser <[e-mail]>
Subject: Re: Buster Keaton
Date: 25 Feb 1998 08:58:11 -0500

DR S WILKIE wrote:

> Has anyone tried their own "screening" of Keaton movies with Frisell
> soundtrack?  One Week was on British TV a year ago, so I videod it,
> and tried to play the music alongside.  I was doing all right, and
> then hit a bit where, as best I can surmise, a couple of minutes had
> been chopped out of the film they broadcast!!
>
> Sean Wilkie

As a huge Buster Keaton fan (own all the silents via three box sets on
laser disk, all MGM via two box sets on laser, as well as 8mm prints,
etc) and a Bill Frisell nut, I too have reservations about Bill playing
alongside the films.  It doesn't really work very well.  Bill's music is
a bit too distracting.  Film music for the most part should not distract
from the visuals, especially so for silent films.  Electric guitar
interpretations of on screen actions seem out of place in a silent, as
would say King Oliver during Terminator 2.  However, I certainly enjoy
the music without the film, and applaud Bill for trying this daunting
task.  For an interesting take on modern music for a silent listen to
the Club Foot Orchestra do "Sherlock Jr."  Though not entirely
successful, it seems a better match than Frisell.  I've also tried Mark
Dresser's music for "Dr. Calidgari" but found that the running speeds
vary so much that unless you have the exact right speed it becomes a
major distraction, too.

Alan Kayser

>
>
> -




-



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

From: Alan E Kayser <[e-mail]>
Subject: Re: Filmworks VIII
Date: 25 Feb 1998 09:05:37 -0500

[e-mail] wrote:

> About Filmworks VIII:
>
> > Same reaction in my house.  The second track is gorgeous.  Overall,
> one
> > of the strongest of Zorn's so-many recent releases.  Basically, it's
> two
> > soundtracks, about 30 mins each.  First half is Masada Chamber
> Music,
> > second is Baptista/Wolleson percussion duets (with vibes).
>
> Filmworks VIII is fast becoming my favorite, alongside Filmworks IV.
> Filmworks
> III wasn't too bad either. Frankco.
>

I second third and... the motion.  The Filmworks VIII is a beautiful
recording.  The second piece is indeed a high point in Zorn's
composing.  The story behind the music is very emotional, and that
emotion comes through in the music.  Take it from this Jewish husband
with Chinese wife, it moved both of us.  I can only hope that the new
Bar Kokhba next month will be as good as this.

Alan



> -




-



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

From: "Petsitter" <[e-mail]>
Subject: Painkiller Art
Date: 25 Feb 1998 08:11:34 -0600

This is a multi-part message in MIME format.

------=_NextPart_000_000E_01BD41C4.FCAE03A0
Content-Type: text/plain;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

    Does any one know the original source of the photos in the =
painkiller CD booklets? Also,  I know we talked about the story of the =
hands on buried secrets, but what's the story on Guts of a Virgin?  I =
know its kind of sick but the art in that CD intrigues me.

Thank you


------=_NextPart_000_000E_01BD41C4.FCAE03A0
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 4.71.2016.0"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>    <FONT =
color=3D#000000>Does any=20
one know the original source of the photos in the painkiller CD =
booklets?=20
Also,  I know we talked about the story of the hands on buried =
secrets, but=20
what's the story on Guts of a Virgin?  I know its kind of sick but =
the art=20
in that CD intrigues me.</FONT></FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=3D2>Thank you</FONT></DIV>
<DIV> </DIV></BODY></HTML>

------=_NextPart_000_000E_01BD41C4.FCAE03A0--


-



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

From: JRZ <[e-mail]>
Subject: RE: Painkiller Confusion - MN stores
Date: 25 Feb 1998 09:03:10 -0600

At 05:04 AM 2/25/98 +0000, Dwight Haden wrote:

>
>If you don't have any Painkiller yet, go ahead and buy the 4cd Box set
>from Tzadik.  If you liked Buried Secrets, you won't be disappointed.
>
>You should be able to find it for about $40.
>

I saw this at the Electric Fetus in Minneapolis for $25. I pre-ordered it
from cdnow for a bit more. DOH! That's what I get for not supporting the
local guys.

Any Minnesota people seen Masada 9 or the new Filmworks anywhere in town? I
haven't seen a Masada disc on any shelves for quite some time.

anyway,

zube





my tapelist http://www.winternet.com/~zube/tapelist.htm
Look at Jim Evans, Look at his head, He's got a compass, and a rollaway
bed! - HGB


-



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

From: louie <[e-mail]>
Subject: new 4cd painkiller
Date: 25 Feb 1998 09:09:21 -0700

> I'm now confused again about the Painkiller releases. Sorry to be
> harping on something that I should have been paying more attention to,
> but why is there a box set AND the Earache reissue of Guts/Buried? I
> haven't picked up the box yet, and now I see this thing on Earache is
> released this week. What's the deal, and what should I be buying?


i just bought the new 4cd box set of painkiller last night. here's what
i have discovered: first, it is 4cd's, the first cd being marked "disc
zero" and it contains the entire first two albums (guts and secrets)
plus "marianne" with whats-his-face from ruins.

disc one, two and three is the original 3cd japanese release of
execution ground complete with live in osaka on disc 3 and ambient on
disc 2. (anybody interested in the 2disc release of execution ground
from subharmonic? i suddenly seem to have an extra copy. hmmmm....)

and true to tzadik's form, the printing of the artwork is impeccable.
all intact & uncencored as specified. so unless earache prints
everything as original, i'd say get the tzadik version.

the only question i have is: is "live in osaka" the same as the
recording on the cd "rituals". seems strange that the box set says right
on the case "painkiller,  complete works 1991-1994" and not include
rituals?

well, gotta go listen to this out in my vehicle, the wife says no to
zorn when she's around the house. (*damn*)

-louie

-



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

From: louie <[e-mail]>
Subject: re:gone...
Date: 25 Feb 1998 09:17:30 -0700

>   Judging by the reaction of certain people on this list to
> "Gone, Just Like A Train"


i thought i was paying attention. i don't recall any negative reaction
to "gone..." i love it! listen to torture garden then immediately listen
to gone...just like a train, your emotions run the entire gamut!

-louie

-



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

From: [e-mail]
Subject: RE: FRISSEL HELP
Date: 25 Feb 1998 11:36:30 EST

In a message dated 98-02-25 11:19:54 EST, you write:

<< _Live_ featuring Driscol and Baron.  Awsome stuff, very close to a Frisell
 concert (Actually, it was) with plenty of "outness" for all. >>

i advise you all to get this album.. i just got it myself... its really
hypnotic and all dat good shit.. really scattered but in an organized way...
ya'kno9w what i mean?
-corn

-



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

From: David Keffer <[e-mail]>
Subject: Rituals is not live in Osaka
Date: 25 Feb 1998 11:41:49 -0500

> the only question i have is: is "live in osaka" the same as the
> recording on the cd "rituals".

"Rituals" is not "Live in Osaka".
Rituals is PainKiller + Haino. Live in Osaka is PainKiller + Eye.
Rituals sounds like "Guts of a Virgin" and "Buried Secrets".
Live in Osaka sounds like "Execution Ground" and the zorn/eye
sax/voice duos from Naked City's "Heretic" release.


-



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

From: Brian & Sharon Beuchaw <[e-mail]>
Subject: Re: new 4cd painkiller
Date: 25 Feb 1998 10:40:14 -0600 (CST)

On Wed, 25 Feb 1998, louie wrote:

> i just bought the new 4cd box set of painkiller last night. here's what
> i have discovered: first, it is 4cd's, the first cd being marked "disc
> zero" and it contains the entire first two albums (guts and secrets)
> plus "marianne" with whats-his-face from ruins.

It's Keiji Haino from Fushitsusha and Nijiumu (but not Ruins).

> the only question i have is: is "live in osaka" the same as the
> recording on the cd "rituals". seems strange that the box set says right
> on the case "painkiller,  complete works 1991-1994" and not include
> rituals?

No, "Live In Osaka" is "Live In Osaka" and "Rituals" is "Rituals".
"Rituals" is *not* included on this set.  Jeez, this has only been talked
about a half dozen times - check the archives (if they're still around).
:-)

cya
brian
"The most dementing of all modern sins: the inability to
distinguish excellence from success." - David Hare



-



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

From: Brent Burton <[e-mail]>
Subject: milford graves
Date: 25 Feb 1998 11:48:03 -0500 (EST)

speaking of the new tzadik releases, i picked up a copy of graves' new
solo _grand unification_ and it is really a great, great disc!  very
similar to his 1960's album on esp with sunny morgan, except the
recording quality is so much more vibrant and this time around there's
lots of chanting from graves.  highly recommended.

btw: does anyone besides me own graves' record, _babi_, with arthur doyle?
it is one of the most unrelentingly skronky albums i own.  where did they
get all that energy?

b

-



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

From: "Fran Bacon" <[e-mail]>
Subject: braxton book:dirt cheep
Date: 25 Feb 1998 08:46:23 PST

A Helio Hello:

The new University of Chicago Press sale catalog came to me by mail the
other day.  Ronald Radano's NEW MUSICAL FIGURATIONS: ANTHONY BRAXTON"S
SOCIAL CRITIQUE is on sale for $3.00.  That's right.  Part of a
publisher overstock thingy; you can find the listings by subject in the
overstock section, back of the catalog.  Just thought ya'll would be
interested.

KSH

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

-



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

From: Craig Rath <[e-mail]>
Subject: Keaton/Frisell
Date: 25 Feb 1998 12:51:52 -0600


>As a huge Buster Keaton fan (own all the silents via three box sets on
>laser disk, all MGM via two box sets on laser, as well as 8mm prints,
>etc) and a Bill Frisell nut, I too have reservations about Bill playing
>alongside the films.  It doesn't really work very well.  Bill's music is
>a bit too distracting.

Here I have to disagree.  While I've never made an effort to play the disc
alongside a video of the movie it represents, I did get a chance to see
Bill play his music live with the movies playing on a screen behind the
band.  It was amazing.  The only distracting thing for me in this instance
was that it was my first time seeing either the film or the band so I had
to make decisions at times which one to watch more closely.  Anyone who has
seen Joey Baron live knows what I'm talking about.  As far as the music
being too distracting, I don't believe this is true.  It seemed to flow
very well alongside the film.  When the timing is on and the cues are
right, the music works.  When you try to play the disc with the video, no
matter what the timing is going to be off just a bit.  I would be willing
to bet that if they ever released a tape of the film with Bill's music
seamlessly integerated into the soundtrack, you would have a different
impression.


>Film music for the most part should not distract
>from the visuals, especially so for silent films.  Electric guitar
>interpretations of on screen actions seem out of place in a silent, as
>would say King Oliver during Terminator 2.  However, I certainly enjoy
>the music without the film, and applaud Bill for trying this daunting
>task.

The thing I found most interesting about the live concert/film experience
was that there were about half of the people there for the movies, and the
other half there for Frisell.  In the end both sides of the coin flipped
for the whole experience.  I saw people who had never even heard of Frisell
commenting on how great the music fit.  He's not likely to ever do it
again, I suppose, but if he ever does, try to see the combination live.
It's truly the definitive way of enjoying his unique interpretations of
these films.




For an interesting take on modern music for a silent listen to
>the Club Foot Orchestra do "Sherlock Jr."  Though not entirely
>successful, it seems a better match than Frisell.  I've also tried Mark
>Dresser's music for "Dr. Calidgari" but found that the running speeds
>vary so much that unless you have the exact right speed it becomes a
>major distraction, too.
>



-



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

From: louie <[e-mail]>
Subject: re:praxis
Date: 25 Feb 1998 12:31:45 -0700

> Sacrifist is the most extreme of the 4 discs. Its also the only one that
> doesn't have a real "band" feel.

"unproduced" as it were. i'm sure they're guilty as charged!
i also find the "one 45 minute track" concept another slap in the face
of mainstream music. of course the fact that zorn is involved makes this
a moot point...

-louie

-



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

From: "Silent Watcher" <[e-mail]>
Subject: re:praxis
Date: 25 Feb 1998 12:13:50 PST


>"unproduced" as it were. i'm sure they're guilty as charged!
>i also find the "one 45 minute track" concept another slap in the face
>of mainstream music. of course the fact that zorn is involved makes
this

Apparently you have a bootleg copy of the album, as the original
"Sacrifist" is not one long track.  My friend got a copy of what is
probably the one you have, which breaks into Lightnin' Rod's "Hustler's
Convention" (I think) at some point on the disc.

SW
For Sale/Want List and Laswell Discography @
http://www.geocities.com/SunsetStrip/Underground/7093

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

-



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

From: Paul Jacobson <[e-mail]>
Subject: re:praxis
Date: 26 Feb 1998 07:37:59 +1000

>Apparently you have a bootleg copy of the album, as the original=20
>"Sacrifist" is not one long track.  My friend got a copy of what is=20
>probably the one you have, which breaks into Lightnin' Rod's "Hustler's=20
>Convention" (I think) at some point on the disc.

Unfortunately it isn't a bootleg. Jeff has mentioned the quality issues of=
 post-Laswell Subharmonic releases, and this is a fine example. Apparently=
 the current label "owner" and erstwhile "executive producer" didn't have=
 access to the master tapes and the crap  bootleg style pressing that is=
 currently available in the guise of an offical release is the result. Jim=
 Koehnline's artwork also suffers from the copying process.=20

A good indication that the copy is vicitim of the repressing process is

* The title is in chunky white type as oposed to far smaller gold/bronze=
 type on a "fully functional press"
* The back cover has the line "Realization by John Matarazzo"


If a copy your looking at has these features insist on listening before you =
buy
at which point you'll probably hear that there is only one track with sound=
 quality about 2-3 generations below the original + the last 10-15min=
 consist of some half-step dj messing with "Hustlers Convention"

peace

Paul



material-ism=20
http://users.webtime.com.au/pauljay/



-



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

From: "Charles Gillett" <[e-mail]>
Subject: RE: Painkiller Confusion - MN stores
Date: 25 Feb 1998 13:25:57 +0000

On Wed, 25 Feb 1998 09:03:10 -0600, JRZ <[e-mail]> wrote:
> I saw this at the Electric Fetus in Minneapolis for $25. I pre-ordered it
> from cdnow for a bit more. DOH! That's what I get for not supporting the
> local guys.

   I went back there and got it yesterday, even though I wasn't in
that "Painkiller mood" (I find I can justify any purchase as long as
I'm in the mood).  I knew I'd kick myself if I ended up getting it
later for $40, or $60 as is recommended on the Tzadik page.

> Any Minnesota people seen Masada 9 or the new Filmworks anywhere in town? I
> haven't seen a Masada disc on any shelves for quite some time.

   Go back to the Electric Fetus, go to the Jazz new release rack,
find the Painkiller CD, then take one step to your left.  Masada 9
for $19.99, Filmworks VIII for $14.99 (and remember, buy three or
more CDs and they're all 10% off).


On Wed, 25 Feb 1998 09:09:21 -0700, louie <[e-mail]> wrote:
> and true to tzadik's form, the printing of the artwork is impeccable.
> all intact & uncencored as specified.

   Impeccable as long as you don't handle the paper, if even then--the
main crease in the Execution Ground liner notes of my copy is one big
ugly ragged white stripe, running through the songlist for the ambient
disc.  The glossy-paper stuff ages badly, I think.  My copy of Zorn's
"First Recordings" looks like it's been through a war, and I hardly
ever listen to it, much less abuse the artwork.

   Here's to matte paper!


-- Charles

-



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

From: Jeff Spirer <[e-mail]>
Subject: re:praxis
Date: 25 Feb 1998 13:40:19 -0800

At 07:37 AM 2/26/98 +1000, Paul Jacobson wrote:
>>Apparently you have a bootleg copy of the album, as the original
>>"Sacrifist" is not one long track.  My friend got a copy of what is
>>probably the one you have, which breaks into Lightnin' Rod's "Hustler's
>>Convention" (I think) at some point on the disc.
>
>Unfortunately it isn't a bootleg. Jeff has mentioned the quality issues of
post-Laswell Subharmonic releases, and this is a fine example....

Paul is very correct on this.  Unfortunately, there is nothing in print
right now that is done right.  Look for either the Toys Factory release or
the original Subharmonic release, which does not bear the name of an
executive producer or someone who labels themself with the term
"Realisation."  Unfortunately, Bill has no control over the quality of
anything coming out on Subharmonic these days.


Jeff Spirer
B&W Photos: http://www.pomegranates.com
Color and B&W Photos: http://www.hyperreal.org/~jeffs/gallery.html
Axiom/Material: http://www.hyperreal.org/axiom/

-



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

From: "Silent Watcher" <[e-mail]>
Subject: re:praxis
Date: 25 Feb 1998 14:16:25 PST


>Unfortunately it isn't a bootleg. Jeff has mentioned the quality issues
of=
> post-Laswell Subharmonic releases, and this is a fine example.

Thanks for the info. I knew about all the Subharmonic dealings, but
wasn't aware of how degenerate these people are, to put that out as an
official release. Especially with that "Hustler's Convention" bullshit
tacked on the end.

SW

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

-



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

From: "Fran Bacon" <[e-mail]>
Subject: Re: [chi-improv] braxton book:dirt cheep
Date: 25 Feb 1998 16:31:20 PST


>
>An address would help :-).
>
>Even better, the amount to send them (including postage) to get it!
>
>    Patrice.


TO ALL CONCERNED:

My catalog has DISAPPEARED.  Go check the Website at
www.press.uchicago.com, or something similar.  Mr Beatus seems to have
it.  I'm suffering from "Electric Fetus syndrome", wherein I bought the
book two years ago for $20.  So someone ELSE post the answers.

I love all of you

fb


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

-



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

From: James Hale <[e-mail]>
Subject: Re: Buster Keaton
Date: 25 Feb 1998 19:34:05 -0500

Alan E Kayser wrote:
It doesn't really work very well.  Bill's music is
> a bit too distracting.

It worked brilliantly live (as witnessed at the Victoriaville festival)
especially with Joey watching the film, cracking up and improvising like
mad.

James Hale



-



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

From: Barry Gilbert <[e-mail]>
Subject: Re: Free Jazz - New transfer
Date: 25 Feb 1998 17:57:10 -0700

At 10:02 AM 2/25/98 +0000, you wrote:
>while the 6CD box of Coleman recordings is a prize possession for me,
>it can be a dent in the wallet.  The FREE JAZZ single disc in
>Britain comes complete with the "First Take" first heard on Twins, so
>it's not a bad buy if it's mid-price like it is over here ...
>
>Sean Wilkie
>

I've got originals of everything in this box with the exception of the
Gunther Schuller pieces. How are these?



Barry Gilbert
Boulder, Colorado

-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: Free Jazz - New transfer
Date: 25 Feb 1998 20:06:57 -0500 (EST)



On Wed, 25 Feb 1998, Barry Gilbert wrote:

> I've got originals of everything in this box with the exception of the
> Gunther Schuller pieces. How are these?

Interesting, but a bit dry, especially in contrast to the other stuff on
the set.  They're almost certainly not worth the price of the box.
However, the six Coleman compositions which were (as far as I know) never
otherwise released are on a par with the previously released stuff.  These
may be worth the price of the box if you're a big Coleman fan.

Chris Hamilton


-



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

From: Tom Pratt <[e-mail]>
Subject: Re: milford graves
Date: 25 Feb 1998 20:00:37 -0500

Brent Burton wrote:
>
> speaking of the new tzadik releases, i picked up a copy of graves' new
> solo _grand unification_ and it is really a great, great disc!  very
> similar to his 1960's album on esp with sunny morgan, except the
> recording quality is so much more vibrant and this time around there's
> lots of chanting from graves.  highly recommended.

I actually picked this one up today as my Tzadik pick (it was a tough
battle between Graves, Daniel Goode, and Filmworks VIII) and I've really
been enjoying it! I haven't gotten to listen to the whole thing yet
because I also picked up a 3-LP set of Chinese Opera, but I wasn't
expecting 'Grand Unification' to be as energetic as this! I was actually
just going to post asking where else I can find this guy so thanks for
the info on the record with Doyle. I just got introduced to Arthur
Doyle's music through two of his solo records which I can't decide if I
like or not... Anybody have Doyle recommendations?

                -Tom Pratt

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: Frisell help
Date: 25 Feb 1998 20:06:26 -0500

> I second this.  I would add to _Where in the World_ and _Have a Little
> Faith_ two disks:

I think 'Where In The World?' is Frisell's best! Especially the third
track, "Spell"... awwww! A good intro to Frisell would be 'Where In The
World?' and 'Quartet' I think. 'Quartet' is such a GREAT disc!

> _Is That You?_ which was produced by Wayne Horwitz, features a recording of
> "Yuba City", (Which Wayne also recorded with THE PRESIDENT) a great
> reworking of "The Days of Wine and Roses" and everything in between.

'Is That You?' is probably my least favorite Frisell record actually. I
do like the 'Live' album a lot but think 'Is That You?' should be
avoided as well as the Vernon Reid duets.

                -Tom Pratt

-



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

From: "Julian" <[e-mail]>
Subject: Re: Filmworks VIII
Date: 26 Feb 1998 17:23:42 +1100

> Filmworks VIII is fast becoming my favorite, alongside Filmworks IV.
Filmworks
> III wasn't too bad either. The fact that it was released so soon after it
was
> recorded probably means that the rate at which releases in the Filmworks
series
> are issued will be dropping. Unless there is a lot of archive material,
of
> course. The first part of FW 8 really makes me look forward to that
Masada
> String Trio album, as well as Circle Maker.

I was under the impression that Circle Maker (at least the first disc of
Circle Maker) WAS the Masada String Trio album. Am I wrong?


-



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

From: "p.rice" <[e-mail]>
Subject: Re: Buster Keaton
Date: 26 Feb 1998 11:31:32 +0000

alan

i do disagree with you.
i saw bill frisell's buster keaton project live (with full cinema
screen), and have to say it was excellent. i didn't know all of the
films beforehand, but had always liked the ones i knew. after the
concert i got even more into buster keaton.
i think that the whole thing went very well. the band used tv-monitors
so they always knew what was happening on the screen, and kept up no
problem with every single change on-screen. (i'm sure it took them some
time to work all that out.) the music - because of the bands accurate
playing - never distracted me from the film, it only enhanced a lot of
the parts.
also, don't forget that at the time the silent films originally came
out, cinemas used to have an in-house piano player to improvise along to
the films. bill's idea bases on a long forgotten tradition. i must admit
though, that the idea of a band playing to a film probably only works in
a live concert/screening; and not sitting at home, chucking the cd into
the stereo and trying to get that in synch with your video!!!
patRice

Alan E Kayser wrote:
>
> As a huge Buster Keaton fan (own all the silents via three box sets on
> laser disk, all MGM via two box sets on laser, as well as 8mm prints,
> etc) and a Bill Frisell nut, I too have reservations about Bill playing
> alongside the films.  It doesn't really work very well.  Bill's music is
> a bit too distracting.  Film music for the most part should not distract
> from the visuals, especially so for silent films.  Electric guitar
> interpretations of on screen actions seem out of place in a silent, as
> would say King Oliver during Terminator 2.  However, I certainly enjoy
> the music without the film, and applaud Bill for trying this daunting
> task.  For an interesting take on modern music for a silent listen to
> the Club Foot Orchestra do "Sherlock Jr."  Though not entirely
> successful, it seems a better match than Frisell.  I've also tried Mark
> Dresser's music for "Dr. Calidgari" but found that the running speeds
> vary so much that unless you have the exact right speed it becomes a
> major distraction, too.
>
> Alan Kayser
>
> >
> >
> > -
>
> -

-



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

From: "Tim Schelfhout" <[e-mail]>
Subject: Re: selling vinyl Big Gundown
Date: 26 Feb 1998 03:37:59 PST

----Original Message Follows----
Reply-To: [e-mail]
[e-mail]

Patrice L. Roussel wrote:
>
> On Wed, 11 Feb 1998 20:47:46 -0500  Tom Pratt wrote:
> >
> > I am selling an absolutely perfect condition vinyl copy of John
Zorn's
> > 'The Big Gundown' for $50 even (shipping and handling included).
This is
> > a very rare Zorn collectors item that I will sell to the first
person
> > who responds.
>
> $50? For a record that still pops up once in a while in the bins...
> Even RADIO HOUR does not reach that price.
>
>         Patrice.

When trying to figure out how much I wanted to sell this record, if at
all, I asked a music-freak friend in Boston and he told me that he once
saw a sealed copy of 'The Big Gundown' selling for $65 - I'm not sure
where. Because my copy is in perfect condition and I'm not really
itching to get rid of it, I decided on $50. If this truly is outrageous,
let me know - but I don't think it is.

                -Tom Pratt

-
I'm sorry, I do think it is outrageous !!  I bought this album a little
over a year ago and it cost me +/- 15$.  Occasionally I see
it in a record store but I've never seen it higher priced than  20$ and
I'm talking import here cuz' I live all the way in Belgium (Brussels in
Belgium for those who  care!! Here I am thinking records are so much
cheaper in the US.  Don't tell me I got the wrong impression coz I'm
coming over next month.

Pratt get a grip on the prices man, 50$ is a blast !!

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

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: selling vinyl Big Gundown
Date: 26 Feb 1998 06:25:21 -0500

> Pratt get a grip on the prices man, 50$ is a blast !!

I'm sorry folks! I did not know this was so crazy. I got the price by
asking a friend, and because it's obviously outrageous, screw the whole
thing. Adios!

                -Tom Pratt

-



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

From: "A. Bueno" <[e-mail]>
Subject: new x-legged sally album
Date: 26 Feb 1998 10:39:00 -0300

Does someone in the list heard this album or knows where to get this cd.

-Legged Sally | Fired | cd/Bang!

        Fired is X-Legged Sally's testament. This
funk-speed-metal-free-jazz Belgian band was well known outside Belgium,
with theri records produced by Bill Laswell and their gigs in The
Knitting Factory. Fired is a live-album whichgives a fairly good
overview of the band's repertoire. And that's free jazz, heavy rock,
speed metal mixed together in a vertigo of melodies and rhythms (these
guys are excellent musicians). Sometimes they sound a bit like
the freejazz noise combo Naked City and at other times like Frank Zappa
(they cover one of his songs City of Tiny Lites). The drums and the bass
keep everything together while the keyboards, guitar and horns really
freak out. Most of the songs are instrumental, but a few once feature a
fucked up singer. This is definitely no easy-listening music, but
X-Legged Sally was the perfect band to mix jazz and rock. Most its
 band members have started new bands and projects, so there is a good
chance that eventually a band will pop up which can fill the gap that is
left in the Belgian music scene. (bt)

Thank you A.Bueno

-



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

From: [e-mail]
Subject: The <gag> Grammies
Date: 26 Feb 1998 14:02:46 UT

Well, Zorn didn't win anything again this year.  What's up with that Grammy
committee??

Heh.

Actually, I noticed that someone took the prize for best box set package and the
way I see it, there's no way it coulda had a nicer package than that beautiful
shiny Parachute Set box I got.  But oh well.  With an academy that still gives
awards for best Polka album of the year (Frankie Yankovic's a 17-time Grammy
Award Winner!  But what about Guy Klucevsic?), gave the best Rock Instrumental
award to the Chemical Brothers and gave awards to Bob Dylan for best Folk Album
AND Best Male Rock Vocal (can we say, contradiction?  can we say, Idol Worship?)
what can we expect.

That 's why I think we should have the Zornies.

Best Improvised Jazz Release
Best Traditional Jazz Release
Best Classical-Oriented Release
Best DnB Release
Best Sax Performance - Solo
Best Guitar Performance - Solo
Best Drum Performance - Solo
Best Sax Performance with a Group
Best Guitar Performance with a Group
Best Drum Performance with a Group
Best Performance by a Duo or Group - Jazz
Best Reissue
Best Package
Best Remixer

etc. etc.
What other categories would there be?

I think it's high time the artists mentioned on this list got some specific
recognition for their hard work, and who better than the people on this list to
nominate and award?

Anyway, if people are interested, and I mean this semi-seriously,
email me privately and send me your list of categories and maybe nominees.

Thanks,
Peter

[e-mail]

-



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

From: dennis summers <[e-mail]>
Subject: Painkiller
Date: 26 Feb 1998 07:10:25 -0700

Just a shot in the dark, but if anyone bought the new Painkiller box, and
has an old 3CD version of execution ground they want to unload, please
contact me. Thanx.

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


-



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

From: "Andy Marks" <[e-mail]>
Subject: Re: Big Gundown (Value of releases: Bible Launcher)
Date: 26 Feb 1998 09:12:34 -0500

While we're talking about the value of this release
on vinyl, what do you people think would be
the going price for a nice shiny, unopened copy of
the canceled Tzadik release Bible Launcher?

I've got one, though I am not in any hurry to unload
it. I am just curious as to what other people think
it might be worth. I haven't seen any lately.

-



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

From: Alan E Kayser <[e-mail]>
Subject: Re: Buster Keaton
Date: 26 Feb 1998 09:37:25 -0500

p.rice wrote:

> alan
>
> i do disagree with you.
> i saw bill frisell's buster keaton project live (with full cinema
> screen), and have to say it was excellent. i didn't know all of the
> films beforehand, but had always liked the ones i knew. after the
> concert i got even more into buster keaton.
> i think that the whole thing went very well. the band used tv-monitors
>
> so they always knew what was happening on the screen, and kept up no
> problem with every single change on-screen. (i'm sure it took them
> some
> time to work all that out.) the music - because of the bands accurate
> playing - never distracted me from the film, it only enhanced a lot of
>
> the parts.
> also, don't forget that at the time the silent films originally came
> out, cinemas used to have an in-house piano player to improvise along
> to
> the films. bill's idea bases on a long forgotten tradition. i must
> admit
> though, that the idea of a band playing to a film probably only works
> in
> a live concert/screening; and not sitting at home, chucking the cd
> into
> the stereo and trying to get that in synch with your video!!!
> patRice
>

I've received quite a few responses to my posting concerning the
Frisell/Keaton project.  Since I was not lucky enough to see this live,
my feelings were directed toward the at-home experience.  It's quite
difficult to try matching/synchronizing the cd to the film.  Thus my
statement on the music being a distraction.  I will repeat that I am a
huge fan of both Buster and Bill, and in fact see some similarities
between the two.  I do enjoy the Keaton music, just not while watching
the films.  Perhaps if I had seen it live my feelings would be
different.

For those of you in the Philadelphia area, I will be presenting PACHORA
here on March 8 at the Ethical Society Hall, 19th and Rittenhouse
Square.  This beautiful location is perfect for this type of music.  The
show will begin at 4pm, tickets are $10.  They can be purchased at the
door or ahead of time at 15 S. 11th St 3rd Floor.  Ask for me.  In case
you are wondering, PACHORA is Jim Black, Brad Shepik, Chris Speed, and
Skuli Sverrisson.  Thus the Zorn connection.  It's not often that these
New York guys get to play here, so please come out and show your
support.

Alan


-



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

From: Brent Burton <[e-mail]>
Subject: Re: milford graves
Date: 26 Feb 1998 09:48:27 -0500 (EST)

On Wed, 25 Feb 1998, Tom Pratt wrote:

> I actually picked this one up today as my Tzadik pick (it was a tough
> battle between Graves, Daniel Goode, and Filmworks VIII) and I've really
> been enjoying it! I haven't gotten to listen to the whole thing yet
> because I also picked up a 3-LP set of Chinese Opera, but I wasn't
> expecting 'Grand Unification' to be as energetic as this! I was actually
> just going to post asking where else I can find this guy so thanks for
> the info on the record with Doyle. I just got introduced to Arthur
> Doyle's music through two of his solo records which I can't decide if I
> like or not... Anybody have Doyle recommendations?

i think _babi_ was a pretty limited pressing from the late 60's/early
70's kind of like graves' record with don pullen called _nommo_.  that's
why i was wondering if anyone else had a copy.  john corbett mentions it
in _extended play_, but i think you'll have a tough time tracking it
down.  if you like _grand unification_ then you should definitely check
out graves' disc on esp.  he also has great records with new york art
quartet and albert ayler.

b

-



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

From: DR S WILKIE <[e-mail]>
Subject:       graves
Date: 26 Feb 1998 13:51:56 GMT0BST

if you like the new milford graves solo disc, you may also like his
duo cd with david murray -"real deal" (diw) .         hywel

-



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

From: louie <[e-mail]>
Subject: re:praxis
Date: 26 Feb 1998 08:13:00 -0700

>
> Apparently you have a bootleg copy of the album, as the original
> "Sacrifist" is not one long track.

really. i bought it from cd now about a year ago. looked official (guess
that's the concept...). should it have contained an insert booklet of
some kind? was the original from subharmonic?  thats the label mine is.



>My friend got a copy of what is
 probably the one you have, which breaks into Lightnin' Rod's "Hustler's
> Convention" (I think) at some point on the disc

yea... just sort of goes into a hip-hop funky spoken word kinda thing
with a lot of cut & paste, then just sort of ends... interesting
tho...-louie

-



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

From: Jeff Spirer <[e-mail]>
Subject: re:praxis
Date: 26 Feb 1998 07:28:24 -0800

At 08:13 AM 2/26/98 -0700, louie wrote:
>>
>> Apparently you have a bootleg copy of the album, as the original
>> "Sacrifist" is not one long track.
>
>really. i bought it from cd now about a year ago. looked official (guess
>that's the concept...). should it have contained an insert booklet of
>some kind? was the original from subharmonic?  thats the label mine is.

It's not really a bootleg.  It is a post-Laswell Subharmonic release.
Quality control obviously disappeared when Bill pulled out.  There was a
very obvious mastering error on this disc and the printing is not up to snuff.


Jeff Spirer
B&W Photos: http://www.pomegranates.com
Color and B&W Photos: http://www.hyperreal.org/~jeffs/gallery.html
Axiom/Material: http://www.hyperreal.org/axiom/

-



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

From: Glenn Lea <[e-mail]>
Subject: Re: The <gag> Grammies
Date: 26 Feb 1998 13:28:21 -0500

[e-mail] wrote:

> Actually, I noticed that someone took the prize for best box set package and the
> way I see it, there's no way it coulda had a nicer package than that beautiful
> shiny Parachute Set box I got.

The winner was "Beg, Scream and Shout".  A hands-down better "package".  While
Parachute Box is classy, it's fairly traditional, being several jewel cases in
a box with beautiful graphics and production values.  Rhino's "Beg, Scream and
Shout", a collection of 120 60s soul singles, is a whole concept that really
works.  It's a sturdy numbered carrying case like people used to carry 45s
around in, complete with handle.  Inside are 6 7" "sleeves" that look just
like 45 sleeves with the big hole showing the label (actually, the CD).  Each
of the CDs has a different label that looks like a classic soul label (though
the "Chess" label has a rhino silhouette instead of the usual chess knight).
Each CD fits into a plastic 45 (complete with fake grooves) that slides into
its sleeve.  Big, readable :) print on the sleeve tells you what the tracks
are. There's a 7"x7" booklet summarizing the whole set.  Last but not least,
there's a box containing 120 "trading cards", one per artist, with a photo on
one side and "stats" on the back.  As cool as Parachute is, this has it beat.

Another great "package" is the Anthology of American Folk, but I see that won
in a couple of other categories.

-



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

From: Glenn Lea <[e-mail]>
Subject: grammies again
Date: 26 Feb 1998 13:37:23 -0500

I see that both the Children's Music and Children's Spoken winners were by
dead people (John Denver and Charles Kuralt).  Over-the-hill, only  popular
with people older than me dead people at that.
I know, this has nothing to do with Zorn.

-



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

From: "Fran Bacon" <[e-mail]>
Subject: classic soul
Date: 26 Feb 1998 12:30:52 PST

I ask because you guys seem to be pretty damn eclectic, especially when
it comes to the obvious:

What are good (large dose or small dose)  introductions to classic
(through late Seventies, Early 80s even) soul?  For example, I see there
are two marvin gaye box sets--the packaging on one looks better, the
content of the other looks more complete.  What to do?  How about label
boxes: Motown, Stax/Volt, etc?

This is a bigtime deviation, so feel free to mail me personally, unless
you think this will be relevant to others' interests.

Thanks

fb

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

-



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

From: BJOERN <[e-mail]>
Subject: homepage
Date: 26 Feb 1998 22:08:32 +0100 (MEZ)

sorry for this,
just would like to announce that my new homepage "the music of bjoern
eichstaedt" is now online at:

http://www.cityinfonetz.de/uni/homepage/bjoern.eichstaedt

thanx

B

-



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

From: JRZ <[e-mail]>
Subject: Re: classic soul
Date: 26 Feb 1998 15:09:51 -0600

At 12:30 PM 2/26/98 PST, Fran Bacon wrote:
>I ask because you guys seem to be pretty damn eclectic, especially when
>it comes to the obvious:
>
>What are good (large dose or small dose)  introductions to classic
>(through late Seventies, Early 80s even) soul?

Otis Redding!

Classic 60's soul. The man who wrote 'Respect', 'Hard to Handle', 'I Can't
Turn you Loose' (Blues Brothers theme), not to mention 'Sittin by the Dock
of the Bay'. The undisputed king of soul, in my mind anyway. Otis had
'Booker T and the MG's' as his backing band for most of his sessions. Steve
Cropper is a true master of soul guitar. His playing is simple and
effective, just beautiful. I don't think you can go wrong with any Otis
Redding albums.


Some classic albums,

Curtis Mayfield - Superfly
Issac Hayes - Soundtrack from Shaft (I don't think it's available on CD),
Marvin Gaye - What's Going On

Although it may pain people to admit it, The (original) Blues Brothers were
an excellent Soul/R&B combo and put out some pretty good albums.






zube  (young america at it's best)

my tapelist http://www.winternet.com/~zube/tapelist.htm


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: classic soul
Date: 26 Feb 1998 13:21:17 -0800 (PST)


On Thu, 26 Feb 1998, JRZ wrote:

> Issac Hayes - Soundtrack from Shaft (I don't think it's available on CD),

on the contrary, i've seen it on CD.
Aquarius Records has it.

http://aquarius.bianca.com

hasta.

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


-



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

From: "Ch{is Barrett" <[e-mail]>
Subject: Re: classic soul
Date: 26 Feb 1998 16:37:14 -0500


>Some classic albums,
>
>Curtis Mayfield - Superfly
>Issac Hayes - Soundtrack from Shaft (I don't think it's available on CD),
>Marvin Gaye - What's Going On

There is a 25th anniversary reissue of the Superfly soundtrack.  I've
listened to a little of it and most of the extra tracks are kind of
superfluous unless you are really into the outtakes and demo versions.
However, the remastering job does sound like it's done wonders for the
album.  A fantastic album.  Rhino has a Curtis Mayfield greatest hits cd
that includes some tracks from this, and some other great tunes like "Move
On Up"  (all 8 minutes), "Kung Fu" and "Future Shock", but the mastering
isn't that good.

The soundtrack from Shaft has also just been reissued.

"What's Goin' On" has some great tunes, but if your looking for a cheap
sampling to get an idea of what Marvin you'd like, there is a Mowtown
issued greatest hits that you can usually find new for about ten bucks that
has a good intersection of his late sixties and early seventies stuff
(though it is missing "Make Me Wanna Holler" from What's Goin' On) thats
pretty cool.  I don't own any of the box sets, but I've been meaning to get
one.

One other set that I've heard real good things about, but haven't had the
chance to pick up yet, is the Gamble and Huff box set (3cds) which is the
Philly soul story (no, NOT Hall and Oates ;)) with one hit wonders like the
tune "Me and Mrs. Jones" and I believe Harold Melvin and the Bluenotes
(with Teddy Pendergrass) among others.

Finally, Stevie Wonder has three great albums ("Innervisions", "Talking
Book" and "Songs in the Key of Life")  from the seventies, before he
cheesed out in the eighties, with great tunes like "Livin' For The City",
"Superstition" and "Sir Duke".

Great Stuff.

-Chris



-



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

From: Tom Pratt <[e-mail]>
Subject: Re: classic soul
Date: 26 Feb 1998 17:13:26 -0500

How about Sly & The Family Stone guys! buy the Anthology. People talk
about Curtis Mayfield's solo stuff but what about the Impressions? They
were awesome and they now have a two-disc anthology out. I also really
like the Dramatics. "Get Up & Get Down" is one of my all-time favorite
soul tunes. Actually the soundtrack to Dead Presidents is damn good for
this stuff - it has awesomeness by Mayfield, Sly, Barry White, James
Brown, Aretha Franklin, O'Jays, Isaac Hayes, Dramatics, etc... Get the
James Brown box set and the Live At The Apollo discs too!

                -Tom Pratt

-



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

From: "Petsitter" <[e-mail]>
Subject: Re: Painkiller
Date: 26 Feb 1998 16:37:50 -0600


-----Original Message-----


>Just a shot in the dark, but if anyone bought the new Painkiller box, and
>has an old 3CD version of execution ground they want to unload, >
>-
>I know have a Buried Secrets and also an Execution ground (2 CD version
but it was already used) that I want to unload.  If any one wants to trade?


-



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

From: Ash <[e-mail]>
Subject: The Zornies
Date: 26 Feb 1998 15:08:53 -0800 (PST)

Bring on the Zornies.  I love it!

...And the Zornie for best guitar album of the year goes to Bill
Frisell for "Gone...Just Like A Train".  <applause>





_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com


-



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

From: Bob Boster <[e-mail]>
Subject: Re: classic soul
Date: 26 Feb 1998 15:53:25 -0800 (PST)




On Thu, 26 Feb 1998, Fran Bacon wrote:

> I ask because you guys seem to be pretty damn eclectic, especially when
> it comes to the obvious:
>
> What are good (large dose or small dose)  introductions to classic
> (through late Seventies, Early 80s even) soul?  For example, I see there
> are two marvin gaye box sets--the packaging on one looks better, the
> content of the other looks more complete.  What to do?  How about label
> boxes: Motown, Stax/Volt, etc?
>
> This is a bigtime deviation, so feel free to mail me personally, unless
> you think this will be relevant to others' interests.



Just an opinion, but I happen to find the first volume of the Stax/Volt
boxes (first volume is 9 CDs and there's a second I don't own) a totally
indispensible collection of music.  While I like the Motown stuff, I don't
even personally qualify it as soul (more like black pop for the white
market)... A lesser investment would be the Atlantic R&B series which
has a decent smattering of the Stax material (Atlantic was their
distributor), only some of those are up to the same standard of quality as
the Stax box.

Bob


-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: Re: grammies again
Date: 26 Feb 1998 19:27:38 -0500 (EST)

> I see that both the Children's Music and Children's Spoken winners were by
> dead people (John Denver and Charles Kuralt).  Over-the-hill, only  popular
> with people older than me dead people at that.
> I know, this has nothing to do with Zorn.

Well, 'Cynical Hysterie Tour' was music for a kid's cartoon, right?... :)

-jascha


-



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

From:    ia zha nah er vesen <[e-mail]>
Subject: Re: The Zornies
Date: 26 Feb 1998 19:32:55 -0500 (EST)


> Bring on the Zornies.  I love it!

"And now announcing the winners, ladies and gents: best Jazz album: John
Zorn! (applause)  best film album: John Zorn! (applause)  best imrov
album: John Zorn! (applause)  best box set: John Zorn! (applause)
best..."

I dunno...the zornies might be a real sleeper of an event... :)

-jascha



-



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

From: <[e-mail]>
Subject: iceburn
Date: 26 Feb 1998 20:40:01 -0500


is there anyone interested in the band Iceburn (or the iceburn collective)?
they are on revelation records, who usually carry hardcore bands, but are
definately worth checking out. they are a free jazz/hardcore type band. i'd
recommend "polar bear suit". great art work also.


-



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

From: FUNKADELlC <[e-mail]>
Subject: Re: PRAXIS
Date: 26 Feb 1998 21:27:18 EST

In a message dated 98-02-26 17:56:36 EST, you write:

<<  It is a post-Laswell Subharmonic release.
 Quality control obviously disappeared when Bill pulled out.  There was a
 very obvious mastering error on this disc and the printing is not up to
snuff. >>

this SUCKS!!!! how do i get a REAL version?? out of print all together??
-corn

-



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

From: "Johnny Cash's Hunchin' Noise Bandit" <[e-mail]>
Subject: Re: iceburn
Date: 26 Feb 1998 22:26:32 -0500 (EST)

On Thu, 26 Feb 1998 [e-mail] wrote:

>
> is there anyone interested in the band Iceburn (or the iceburn collective)?
> they are on revelation records, who usually carry hardcore bands, but are
> definately worth checking out. they are a free jazz/hardcore type band. i'd
> recommend "polar bear suit". great art work also.
>
>
> -
>

I love thee old Iceburn albums like "Firon" (Victory Records) and their
Revelations albums. I just got thee new one a few days ago and it sounds
pretty good. They have getting mellower and mellower as they progress
though, but overall pretty interesting....

thee grasshopper

-



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

From: Dan Kuehn <[e-mail]>
Subject: Re: NEW XLS??!!
Date: 26 Feb 1998 19:13:56 -1000

What's this - a new last live X-Legged Sally?  Where can I get it and how much
can I expect to pay for a Bang! release?  Imported from where?

--
Dan Kuehn

-



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

From: Steve Smith <[e-mail]>
Subject: Re: Laswell Info
Date: 27 Feb 1998 00:16:32 -0500

Brian & Sharon Beuchaw wrote:

> What the hell..... It's already out in other countries - any reason why it
> keeps getting pushed back here (besides the usual impenetrable record
> company logic)?

No logic, just the transition from one set of company heads to another.  It's
never smooth.  But Columbia seems to be holding firm to April 14 now.  And
obviously the project's been completed for quite some time now...

Steve Smith
[e-mail]


-



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

From: Jeff Spirer <[e-mail]>
Subject: Re: PRAXIS
Date: 26 Feb 1998 21:24:44 -0800

At 09:27 PM 2/26/98 EST, FUNKADELlC wrote:
>In a message dated 98-02-26 17:56:36 EST, you write:
>
><<  It is a post-Laswell Subharmonic release.
> Quality control obviously disappeared when Bill pulled out.  There was a
> very obvious mastering error on this disc and the printing is not up to
>snuff. >>
>
>this SUCKS!!!! how do i get a REAL version?? out of print all together??

Yes.  Best thing to do at this point is look for a used copy on Toys Factory.


Jeff Spirer
B&W Photos: http://www.pomegranates.com
Color and B&W Photos: http://www.hyperreal.org/~jeffs/gallery.html
Axiom/Material: http://www.hyperreal.org/axiom/

-



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

From: Phil <[e-mail]>
Subject: Re: Praxis
Date: 27 Feb 1998 03:41:52 -0700

Having bought the original pressing of the Sacrifist CD, I'm a bit confused
as to why there is a version of "Hustlers Convention" stuck at the end of
the new Subharmonic version. I know Bill remixed the original years ago,
but who is responsible for the version here, and what is it doing on a
Praxis CD? Are Subharmonic really that irresponsible that they'll slap
anything down on their CDs?? Any suggestions?

Phil Clarkson
[e-mail]

>My friend got a copy of what is probably the one you have, which breaks
>into >Lightnin' Rod's "Hustler's  Convention" (I think) at some point on
>the disc



-



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

From: Perfect Sound Forever <[e-mail]>
Subject: Re: The <gag> Grammies
Date: 27 Feb 1998 09:13:12 -0500

Don't expect much out of an institution that sees Jethro Tull as heavy metal.  Zorn is
snubbed by these tasteless idiots for the same reason that Ornette, Braxton and a lot
of other truly innovative artists are: they ain't mainstream and chart-toppin'
enough.  Great criteria for awards, ain't it?

Anyone catch John S. Hall's Anti-Grammy show the same night at Coney Island High?
Damn disappointed that I missed this-  Rev. Ivan Stang of Subgenius was there!

My two cents on classic soul is: AL GREEN

Jason
--

Perfect Sound Forever
[e-mail]
http://www.furious.com/perfect



-



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

From: JRZ <[e-mail]>
Subject: Re: classic soul
Date: 27 Feb 1998 09:03:59 -0600

At 05:13 PM 2/26/98 -0500, Tom Pratt wrote:
>How about Sly & The Family Stone guys! buy the Anthology.

I guess I always thought of Sly and the Family as funk. A lot of the music
in the 70's doesn't lead itself to definite classification.

For Sly and the Family Stone I'd recommend "Stand" and "There's a Riot
Goin' On". These are both great albums. I also have the older version of
the greatest hits but the new one is probably the one to get.

I usually like to buy the original albums instead of an anthology.
Anthologies rarely capture the same flow or feel as the original release.
There's a reason the songs were placed that way. I think it captures the
moment in time a lot better than 7 albums on 4 discs or whoevers idea of
what the important material is.

anyway,





zube  (young america at it's best)

my tapelist http://www.winternet.com/~zube/tapelist.htm


-



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

From: "Chris Barrett" <[e-mail]>
Subject: Re: The Zornies
Date: 27 Feb 1998 12:01:29 -0500

At 7:32 PM 2/26/98, ia zha nah er vesen wrote:
>> Bring on the Zornies.  I love it!
>
>"And now announcing the winners, ladies and gents: best Jazz album: John
>Zorn! (applause)  best film album: John Zorn! (applause)  best imrov
>album: John Zorn! (applause)  best box set: John Zorn! (applause)
>best..."
>
>I dunno...the zornies might be a real sleeper of an event... :)
>

Well, I guess the Zornies would have to automatically disqualify you know
who......

And be given to those who best imbody that Zorn (or Barton Fink) feeling in
each category.

-Chris




-



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

From: [e-mail] (Nathan M Earixson)
Subject: Re: iceburn
Date: 27 Feb 1998 10:39:00 -0600


On Thu, 26 Feb 1998 20:40:01 -0500 <[e-mail]> writes:
>
>is there anyone interested in the band Iceburn (or the iceburn
>collective)?
>they are on revelation records, who usually carry hardcore bands, but
>are
>definately worth checking out. they are a free jazz/hardcore type
>band. i'd
>recommend "polar bear suit". great art work also.
>
>
>


Good stuff.
I've seen them cover Masada tunes live before.   I'd reccommend Hephastus
(sp?), Poetry of Fire, and whatever the new one was called.

_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]


-



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

From: JRZ <[e-mail]>
Subject: classic soul on the radio
Date: 27 Feb 1998 13:16:43 -0600

There's a syndicated radio station around the country that plays old soul
classics. "Solid Gold Soul". You might want to scan the dial in your area
and see if you have a local affiliate. I used to carry a pad of paper in my
car to write down great tunes I heard while driving. Then you just hit up
your friendly neighborhood used record store and go nuts.

They play a lot of crap but a lot of great stuff too. Listenin to some
Issac Hayes right now. In Minneapolis it's 950 AM.

anyway,


zube  (young america at it's best)

my tapelist http://www.winternet.com/~zube/tapelist.htm


-



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

From: Jeff Hobbs <[e-mail]>
Subject: Homemade Filmworks Compendium
Date: 27 Feb 1998 16:01:41 -0500

Hello all,

    I just wanted to show n' tell a little bit about an expiriment I
did a couple nights ago... I used my Mac's mpeg music compressor to make a
CD that contains almost all* of the Filmworks CD's (1-8), plus the Big
Gundown (Filmworks Zero?), 258 songs in total. I now have it
shuffle-playing in the background. Filmworks 8 is quickly becoming my
favorite...

    Now, US *software* law allows you to make a backup for yourself, as
long as you are the owner of the source material. But is this different in
the case of music? I seem to remember hearing that the record companies
considered it illegal to, for example, make a tape of a CD for use in your
car.

    In any case, it sounds really great, and I may do this with the
Masada CD's as well as soon as Circle Maker comes out. Sure beats buying
that 100 disc changer...

~Jeff

* "A Lot of Fun for the Evil One" and "Credits Included" from Filmworks 4
were too big to fit, and I'm not a huge fan of those compositions anyhow.


mailto:[e-mail]
telephone: [phone]
Hampshire College, Box 572,
Amherst, MA 01002



-



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

From: "Doug McKay" <[e-mail]>
Subject: The Wire  (and)  Cadence
Date: 27 Feb 1998 15:26:13

Boy, do I feel like I've been living in a cave. I've just been paging
through my first issue (Jan '98) of THE WIRE. So this is where you guys
have been coming from. It shows.

Now how is CADENCE? I haven't found it here in the Twin Cities yet.

Doug McKay
In Minnesota





-



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

From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: The Wire  (and)  Cadence
Date: 27 Feb 1998 15:22:17 -0600 (CST)

On Fri, 27 Feb 1998, Doug McKay wrote:

> Boy, do I feel like I've been living in a cave. I've just been paging
> through my first issue (Jan '98) of THE WIRE. So this is where you guys
> have been coming from. It shows.
>
> Now how is CADENCE? I haven't found it here in the Twin Cities yet.

Cadence is dynamite: great gobs of reviews and interviews, wrapped around
a catalog that carries everydamnthing. Compared to similar zines, it's
also ridiculously cheap at $3 a copy, due probably to its no-frills
packaging and being subsidized, I would guess, by the catalog end of
things.

I get my copies at Tower mostly, but lotsa places carry it.

http://www.cadencebuilding.com/Cadence/CadenceMagazine.html
- ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


-



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

From: SUGAR in their vitamins? <[e-mail]>
Subject: Re: The Wire  (and)  Cadence
Date: 27 Feb 1998 13:27:31 -0800 (PST)


On Fri, 27 Feb 1998, Doug McKay wrote:

> Boy, do I feel like I've been living in a cave. I've just been paging
> through my first issue (Jan '98) of THE WIRE. So this is where you guys
> have been coming from. It shows.

The Wire also have a website.

http://www.dfuse.com/the-wire/homefr.htm


> Now how is CADENCE? I haven't found it here in the Twin Cities yet.

Cadence tends to have more
in-depth articles and interviews,
although it is slanted sometimes.

hasta.

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


-



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

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Homemade Filmworks Compendium
Date: 27 Feb 1998 13:44:01 -0800


On Fri, 27 Feb 1998 16:01:41 -0500  Jeff Hobbs wrote:
>
> Hello all,
>
>     I just wanted to show n' tell a little bit about an expiriment I
> did a couple nights ago... I used my Mac's mpeg music compressor to make a
> CD that contains almost all* of the Filmworks CD's (1-8), plus the Big
> Gundown (Filmworks Zero?), 258 songs in total. I now have it
> shuffle-playing in the background. Filmworks 8 is quickly becoming my
> favorite...

That's a neat idea. I was thinking about doing that with the 100xCD
set (IN CHINA) :-), but I never thought about compression (or using a
DVD...).

>     Now, US *software* law allows you to make a backup for yourself, as
> long as you are the owner of the source material. But is this different in
> the case of music? I seem to remember hearing that the record companies
> considered it illegal to, for example, make a tape of a CD for use in your
> car.

Making a copy for yourself is fine. I doubt that the record industry
loves it, but you bought at least one format in the first place.

The problem starts when you make tape copies for others.

>     In any case, it sounds really great, and I may do this with the
> Masada CD's as well as soon as Circle Maker comes out. Sure beats buying
> that 100 disc changer...
>
> ~Jeff
>
> * "A Lot of Fun for the Evil One" and "Credits Included" from Filmworks 4
> were too big to fit, and I'm not a huge fan of those compositions anyhow.
>
>
> mailto:[e-mail]
> telephone: [phone]
> Hampshire College, Box 572,
> Amherst, MA 01002
>
>
>
> -
>


-



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

From: Paul Jacobson <[e-mail]>
Subject: Re: Praxis
Date: 28 Feb 1998 08:53:37 +1000

>Are Subharmonic really that irresponsible that they'll slap
>anything down on their CDs?? Any suggestions?

I'm sure Jeff S can clarify the situation further, but my understanding is=
 that Matarazzo contols both the catalogues of Celluloid and Subharmonic.=
 This has been evident from a number of Celluloid titles now showing up as=
 Subharmonic re-issues.

As Jeff S. has pointed out in the past, Celluloid artists are receiving no=
 money from the sales of their recordings, and I would assume that a similar=
 situation exists with Subharmonic. So I hardly think that some so=
 principled would worry about putting out a substandard release.

"Hustlers Convention" (Lightnin' Rod aka Jalal of Last Poets + music by Kool=
 & The Gang when they were funky) is/was owned Celluloid which had secured=
 the rights to the Douglas back catalogue.

Apparently the master tapes & cover-art for Sacrifist were not available to=
 the current "owners" of Subharmonic and the currently available release was=
 dubbed from cd, althought it may have been cassette given the sound=
 quality. The "Lightnin' Rod" segment tacked on the end sounds to me like a=
 dj has dropped the tape in a recorder and started to practice cutting up=
 without realising that there was other material on the tape.

This doesn't excuse the poor sound quality, total lack of mastering (ie no=
 index points) and the fact that nobody at Subharmonic picked up the mistake=
 or cared enough to withdraw the disc from sale.

The bottom line is that the current Subharmonic release is not worth buying =
unless;

1) you are a completeist and have to have every version of the recording
or;
2) You can pick up a cheap copy as a fill in 'til you get a legit copy

peace

Paul






material-ism=20
http://users.webtime.com.au/pauljay/



-



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

From: Jeff Spirer <[e-mail]>
Subject: Re: Praxis
Date: 27 Feb 1998 14:34:18 -0800

At 08:53 AM 2/28/98 +1000, Paul Jacobson wrote:

>
>1) you are a completeist and have to have every version of the recording

If this is the case, buy the relatively rare (at least here in the US) Toys
Factory release.


Jeff Spirer
B&W Photos: http://www.pomegranates.com
Color and B&W Photos: http://www.hyperreal.org/~jeffs/gallery.html
Axiom/Material: http://www.hyperreal.org/axiom/

-



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

From: =?iso-8859-1?Q?R=E9mi?= Bissonnette <[e-mail]>
Subject: Praxis Sacrifist / Last Exit unreleased?
Date: 27 Feb 1998 18:32:14 -0500

If you're looking for the original version of the Sacrifist CD (but not
necessarily the ultra-rare Toy's Factory version), I suggest trying at the
Downtown Music Gallery ([e-mail]).  Not so long ago when I was
searching for mine (after months of frustration) I asked them and they
found it without too much trouble.  Great service as always.

On another note, I've read somewhere on the net that there are supposedly
lots of unreleased live tapes of Last Exit, which would eventually come
out.  I guess this must primarily be up to Bill Laswell (if he ever has the
time to get to that), unless this is just an unfounded rumor?

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: C E DANGELO <[e-mail]>
Date: 27 Feb 1998 16:24:34 -0800 (PST)

Before everyone gets carried away with compilations on their PCs...

The last time I checked, making copies of audio recordings was NOT "fine"
under US copyright law, whether you own a copy or not. And although
"software" and audio CDs are both binary info protected by copyright law,
they are not to be confused (Software is protected as literary works are -
copying a few words here and there, or any amount of "ideas" IS ok - but
any copying of a recording, even "sampling", is prohibited)

Additionally, many countries such as Canada and much of continental Europe
afford "moral rights" protection to artists which preclude modifications
to works - the atrocious compression that is applied to squish audio
files for much PC and internet use may constitute such a modification (as
may anything that is not a perfect DIGITAL copy).

On another topic - any chance of MASADA shows on the WEST COAST?

                  -cappyd


-



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

From: "Keith McMullen" <[e-mail]>
Subject: Re: The Wire  (and)  Cadence
Date: 27 Feb 1998 13:30:50 -0800


>Cadence tends to have more
>in-depth articles and interviews,
>although it is slanted sometimes.
>

In the correct direction, of course.

Keith


-



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

From: "Patrice L. Roussel" <[e-mail]>
Date: 27 Feb 1998 16:39:11 -0800


On Fri, 27 Feb 1998 16:24:34 -0800 (PST)  C E DANGELO wrote:
>
> Before everyone gets carried away with compilations on their PCs...
>
> The last time I checked, making copies of audio recordings was NOT "fine"
> under US copyright law, whether you own a copy or not. And although
        ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

But I doubt anybody has even been in trouble for doing it (and limiting the
copy for his own consumption).

> "software" and audio CDs are both binary info protected by copyright law,
> they are not to be confused (Software is protected as literary works are -
> copying a few words here and there, or any amount of "ideas" IS ok - but
> any copying of a recording, even "sampling", is prohibited)

My comment was based on France.

> Additionally, many countries such as Canada and much of continental Europe
> afford "moral rights" protection to artists which preclude modifications
> to works - the atrocious compression that is applied to squish audio
> files for much PC and internet use may constitute such a modification (as
> may anything that is not a perfect DIGITAL copy).

This "atrocious" compression is basically what was used (why do I use the
past...) by Philips Digital tape and Sony Mini-Disc. If I remember well,
the compression technique used by MPEG is very close to one of these
two.

    Patrice.

-



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

From: Greg Mills <[e-mail]>
Subject: Blind Idiot God Recos
Date: 27 Feb 1998 16:51:35 -0800

This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.

------ =_NextPart_001_01BD43E3.05636D62
Content-Type: text/plain;
    charset="iso-8859-1"

I had good luck with the John Patton recos...

Now...Blind Idiot God? Anyone?

And what about Idries Muhammed?

Thanks

Greg

------ =_NextPart_001_01BD43E3.05636D62
Content-Type: text/html;
    charset="iso-8859-1"

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2//EN">
<HTML>
<HEAD>
<META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=iso-8859-1">
<META NAME="Generator" CONTENT="MS Exchange Server version 5.5.1960.3">
<TITLE>Blind Idiot God Recos</TITLE>
</HEAD>
<BODY>

<P><FONT SIZE=2 FACE="Arial">I had good luck with the John Patton recos...</FONT>
</P>

<P><FONT SIZE=2 FACE="Arial">Now...Blind Idiot God? Anyone?</FONT>
</P>

<P><FONT SIZE=2 FACE="Arial">And what about Idries Muhammed?</FONT>
</P>

<P><FONT SIZE=2 FACE="Arial">Thanks</FONT>
</P>

<P><FONT SIZE=2 FACE="Arial">Greg</FONT>
</P>

</BODY>
</HTML>
------ =_NextPart_001_01BD43E3.05636D62--

-



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

From: [e-mail] (Nathan M Earixson)
Subject: Re: Blind Idiot God Recos
Date: 27 Feb 1998 19:09:04 -0600


On Fri, 27 Feb 1998 16:51:35 -0800 Greg Mills <[e-mail]>
writes:

>
>Now...Blind Idiot God? Anyone?
>
>And what about Idries Muhammed?
>
>Thanks
>
>Greg
>

the self titled release on SST is super cool.  I've never been able to
find 'Cyclotron' anywheres, so I've never heard it.  The album who's name
escapes me (The one on Enemy Records) is pretty OK, and has a sort of
interesting guest appearance by John Zorn.  I guess I'd recommend the
self titled one, for coolness and availablility.  Very loud guitar
instrumentals, tempered by some really neat dub pieces.




_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]


-



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

From: "Patrick Stockton" <[e-mail]>
Subject: test
Date: 27 Feb 1998 17:35:08 -0800

test...sorry

-



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

From: FUNKADELlC <[e-mail]>
Subject: Re:PRAXIS
Date: 27 Feb 1998 20:43:45 EST

fuck this whole sub-harmoic BULLSHIT!!! I WANT THE REAL SACRAFIST!!!! so if
anyone would be kind enough to wanna trade a dumb kid in Los angelos a COPY of
the original Sarcifist.. it would be cool! i got lotsa stuff to trade and ill
provide the blank tape....sum one please help!!!
-cory sklar

-



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

From: Rich Williams <[e-mail]>
Subject: Re: The Wire  (and)  Cadence
Date: 27 Feb 1998 20:30:15 -0500

Doug McKay wrote:
>
> Boy, do I feel like I've been living in a cave. I've just been paging
> through my first issue (Jan '98) of THE WIRE. So this is where you guys
> have been coming from. It shows.


If anyone is looking for Back Issues of The Wire, Option, DownBeat etc
check out.  http://home.att.net/~punkjazz/mags.html

     And please visit my main Sale page at http://home.att.net/~punkjazz
for a whole range of stuff that is clogging my tiny apartment.
     LOTS of rare JZ stuff included, Such as pristine vinyl of Locus Solus
and Archery, and a whole bunch of Concert programs and fliers from the
Parachute days. Dont be put off by some of the prices, I'm willing to
deal. I'll make a very special deal to anyone who can take a bunch of
Reel-To-Reel tapes off my hands.

Thanks for enduring my shameless self-promotion.

Rich



-



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

From: Rich Williams <[e-mail]>
Subject: Re: Praxis Sacrifist / Last Exit unreleased?
Date: 27 Feb 1998 20:13:01 -0500

R=E9mi Bissonnette wrote:

> On another note, I've read somewhere on the net that there are supposed=
ly
> lots of unreleased live tapes of Last Exit, which would eventually come
> out.  I guess this must primarily be up to Bill Laswell (if he ever has=
 the
> time to get to that), unless this is just an unfounded rumor?
>=20

They do exist, and there are quite a few, but as I remember, each album
was generally made up of the best concerts from a particular tour, so
we've probably heard the best of them already. But if they were thinking
of releasing any more(hello Jeff), I'd vote for their appearance at the
Tampere Jazz Fest, or maybe some of the shows that featured guests like
Billy Bang, Linda Sharrock, or Diamanda Galas.



-



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

From: Jesse Simon <[e-mail]>
Subject: bass albums
Date: 27 Feb 1998 22:47:15

I'm looking for albums of SOLO double bass. That's right. Unaccompanied
double bass. I'm sure some great bassist of the fifties or sixties must
have done one. Ron Carter perhaps? Paul Chambers? Jimmy Garrison? Charlie
Haden? Gary Peacock? Even someone more modern would be good. If anyone
knows of anything, please e-mail me, privately or otherwise.

Thanks,
Jesse


-



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

From: Jeff Spirer <[e-mail]>
Subject: Re: Praxis Sacrifist / Last Exit unreleased?
Date: 27 Feb 1998 20:47:48 -0800

At 08:13 PM 2/27/98 -0500, Rich Williams wrote:

>They do exist, and there are quite a few, but as I remember, each album
>was generally made up of the best concerts from a particular tour, so
>we've probably heard the best of them already. But if they were thinking
>of releasing any more(hello Jeff),

There are probably a lot of tapes.  There are tapes of all the live Praxis
gigs and the Third Rail too (I have been trying to extract a tape of the SF
Third Rail gig for quite a while.)  I just don't know who would put more
stuff out given the cost to support the effort.


Jeff Spirer
B&W Photos: http://www.pomegranates.com
Color and B&W Photos: http://www.hyperreal.org/~jeffs/gallery.html
Axiom/Material: http://www.hyperreal.org/axiom/

-



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

From: Steve Smith <[e-mail]>
Subject: Re: bass albums
Date: 28 Feb 1998 00:46:47 -0500

Jesse Simon wrote:

> I'm looking for albums of SOLO double bass.

I think the solo bass disc is a fairly recent phenomenon, so I wouldn't hold
my breath waiting for one from the '50s or '60s as you describe.  Remember
that a solo alto saxophone disc was scandalous as recently as Braxton's "For
Alto."  Pianists were about the only ones who got away with solo records
until damn near the '70s, and I'd imagine that bassists were some of the last
to get away with it (possibly followed by drummers).

Mark Dresser's solo disc "Invocation" on Knitting Factory Works is pretty
incredible.  Dave Holland and, if I remember correctly, Peter Kowald also had
very fine solo bass records last year.  Barry Guy must surely have recorded
one I would think.  Michael Formanek has just finished one for Screwgun that
will be issued in the fall.  Those are all that leap to mind but I'm sure
others will come up with more.  Oh, and back in high school my bass-playing
girlfriend used to play a lot of solo music recorded by a classical bass
virtuoso named Francois Rabbath... while not jazz, these certainly had some
air of improvisation about them.

Steve Smith
[e-mail]


-



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

From: JonAbbey2 <[e-mail]>
Subject: Re: Blind Idiot God Recos
Date: 28 Feb 1998 01:36:16 EST


In a message dated 2/27/98 8:17:24 PM, [e-mail] wrote:

<<the self titled release on SST is super cool.  I've never been able to
find 'Cyclotron' anywheres, so I've never heard it.  The album who's name
escapes me (The one on Enemy Records) is pretty OK, and has a sort of
interesting guest appearance by John Zorn. >>

Cyclotron is very, very good. The first one I sold after listening to it once
or twice; I didn't think it was even close to as good as Cyclotron. I haven't
heard the one on Enemy.

Jon

-



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

From: Christopher Hamilton <[e-mail]>
Subject: Re: classic soul
Date: 28 Feb 1998 03:38:51 -0500 (EST)



On Fri, 27 Feb 1998, JRZ wrote:

> I usually like to buy the original albums instead of an anthology.
> Anthologies rarely capture the same flow or feel as the original release.
> There's a reason the songs were placed that way.

But a lot of great sixties soul records only ever existed on singles or
anthologies.  The album as the primary artifact is a relatively recent
phenomenon for pop music.

Chris Hamilton



-



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

From: Friedrich Feger <[e-mail]>
Subject: Ernst Reijseger: Colla Parte. Finally.
Date: 28 Feb 1998 13:57:17 +0100

Hi everybody,

after months my copy of Reijseger's Colla Parte on Winter & Winter arrived.
Here is my review:

The first impression, as with every Winter & Winter CD, is the
extraordinarily lavish, creative and beautiful packing.

He is very versatile: there are lots of classical elements, i. e. he
heavily relies on Bach and contemporary chamber music composers, some
country style stuff, a few "jazzy" things, pop, even the Flamenco idiom is
used effectively.

His technique is brilliant. He plays risky, but never looses control over
his sound and intonation. And the diversity of sounds he produces is
impressive. He has developed some very Cello-specific things which on the
one hand don't try to transmit Frisell/Frith-like guitar tricks and on the
other hand go far beyond the classical techniques, even those used by
contemporary composers like Gubaidulina and the like (or however her name
is spelled, I'll never memorize it. Damn). Sometimes he sings, what he
should better refrain from, IMO. On one track he whistles, not virtuous,
but okay and musically meaningful.

Although there are some passages where pure sounds are explored, mostly
defined melodic, harmonic and rythmic structures are used. The pieces are
heterogeneous, but each is very consistent and built with a beautiful sense
for tension and development.

Okay, I dare a comparision to two other solo-Cello CDs I'm currently
listening to:

Compared to Hank Roberts "22 Years From Now" I'd favour Reijseger because
the latter has a much broader approach, i. e. it covers quite a lot of
Robert's things but has to say a bunch of other things. Robert's singing is
by far superior. But I must say that it seemed to me that Reijseger is
influenced by Roberts, what would change the picture a little...
originator/follower, something like that.

Of Roberts, Reijseger and Tom Cora, I believe Reijseger to be the best
technician. But Cora has obviously stuff none of the others does, e. g. the
sample delay things, this early Blues-guitar faking et c. (Reijseger
doesn't use any electronics on "Colla Parte"). A similarity between Cora
and Reijseger is the heavy Bach influence, where IMO Reijseger is more
sucessful both in "serving" and in "processing" it. I think Cora's and
Reijsegers statements are both strong, with me slightly preferring
Reijseger because he is more Cello-specific.

More than enough said,
Fritz.

-



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

From: Dgasque <[e-mail]>
Subject: Re: bass albums
Date: 28 Feb 1998 08:09:55 EST

In a message dated 98-02-27 23:45:24 EST, you write:

<< I'm looking for albums of SOLO double bass. That's right. Unaccompanied
 double bass. I'm sure some great bassist of the fifties or sixties must
 have done one. Ron Carter perhaps? Paul Chambers? Jimmy Garrison? Charlie
 Haden? Gary Peacock? Even someone more modern would be good. If anyone
 knows of anything, please e-mail me, privately or otherwise.
  >>

ECM bassist Barre Phillips has a decent solo CD out, although he plays more
than just double bass on it.  IIRC, it's called _One Moon Rising_ or something
like that...

=dgasque=

-



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

From: Brian Olewnick <[e-mail]>
Subject: Re: bass albums
Date: 28 Feb 1998 08:05:58 -0800

Jesse Simon wrote:
>
> I'm looking for albums of SOLO double bass. That's right. Unaccompanied
> double bass. I'm sure some great bassist of the fifties or sixties must
> have done one. Ron Carter perhaps? Paul Chambers? Jimmy Garrison? Charlie
> Haden? Gary Peacock? Even someone more modern would be good. If anyone
> knows of anything, please e-mail me, privately or otherwise.
>

There's Dave Holland's 'Ones All' (INT 2148 2) from a couple of years
back that's very beautiful. Most of the others I can think of off the
top of my head are European/free improv in nature: Joelle Leandre, Barre
Phillips, etc.

An incredible double bass _duo_ recording is 'Arcus' by Phillips and
Barry Guy (Maya MCD 9101)--just astonishing playing.

Somewhat farther afield, but no less wonderful, is Tom Johnson's
'Failing--A Very Difficult Piece for String-Bass', superbly performed by
Robert Black on Vol. 1 of Bang on a Can Live (CRI CD 628).

Something in the back of my head makes me think Reggie Workman might
have put a solo record out in the late 70's, but I could well be wrong.

Brian Olewnick

-



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

From: Friedrich Feger <[e-mail]>
Subject: Top 10 Charts of Zorn, Frisell et c. Records
Date: 28 Feb 1998 14:41:31 +0100

Hi,

watching the share of mails devoted to rankings and recommendations of
recordings and interfering about the demand behind that, I would propose to
set up charts for the most discussed artists, based on the opinions of list
members. OF COURSE this cannot substitute a detailed and profound
discussion about every record, but it could be at least a funny and
revealing thing, secondly help people who don't know anything about an
artist to choose their first purchase, and thirdly launch a great and
time-consuming discussion about a democratic concept of objective truth in
matters of taste.

All right, to make a beginning, I would agree to compile such a chart list
for Bill Frisell. Anyone who likes to contribute her/his very personal
ranking of favorite Frisell records is asked to email me her/his choice
privately, copying

Frisell-Charts

into the subject line (for my filter). (Anyone who finds the whole project
silly is asked to email me privately with a subject line like "Don't you
ever bore me again!").

Fritz.

-



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

From: Sean Terwilliger <[e-mail]>
Subject: Re: bass albums
Date: 28 Feb 1998 10:22:05 -0500

Jesse Simon wrote:

> I'm looking for albums of SOLO double bass. That's right. Unaccompanied
> double bass. I'm sure some great bassist of the fifties or sixties must
> have done one. Ron Carter perhaps? Paul Chambers? Jimmy Garrison? Charlie
> Haden? Gary Peacock? Even someone more modern would be good. If anyone
> knows of anything, please e-mail me, privately or otherwise.
>
> Thanks,
> Jesse
>
> -

  There's a guy called John Voigt who has a bass only cd out. Got it through
Cadence. It's got a hand painted cover and is a collection of solo, duet,
quartet, quintet and sextet of string bass, all played by John. It's fairly
out there.

Also, Jonas Hellborg has 2 solo  bass CD's out. One electric and one
acoustic.

-Sean



-



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

From: [e-mail] (Jamie F Graves)
Subject: Re: Classic Soul
Date: 28 Feb 1998 11:06:46 -0500

The best soul thing I've picked up in the past few years was James
Brown's "Star Time" box set. The four discs cover everything from his
early days as a crooner to his later more dance influenced stuff. I'd say
this is a must for any record collection.
Jamie

_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]


-



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

From: Glenn Astarita <[e-mail]>
Subject: RE: bass albums
Date: 28 Feb 1998 10:50:00 -0600



>=20
[]  snip
=20
Mark Dresser's solo disc "Invocation" on Knitting Factory Works is =
pretty
incredible.  Dave Holland and, if I remember correctly, Peter Kowald =
also had
very fine solo bass records last year.  Barry Guy must surely have =
recorded
one I would think.  Michael Formanek has just finished one for Screwgun =
that
will be issued in the fall.  Those are all that leap to mind but I'm =
sure
others will come up with more.  Oh, and back in high school my =
bass-playing
girlfriend used to play a lot of solo music recorded by a classical bass
virtuoso named Francois Rabbath... while not jazz, these certainly had =
some
air of improvisation about them.

Steve Smith
[e-mail]


[Glenn Astarita]  Check out Miroslav Vitous' solo ECM lp from the early =
80's.  ? title...A remarkable display of arco bass technique.  Honestly, =
i don't know if it ever made it to cd.  (my 2 cents)

glenn

-



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

From: Jeff Spirer <[e-mail]>
Subject: Re: bass albums
Date: 28 Feb 1998 08:45:27 -0800

At 10:22 AM 2/28/98 -0500, Sean Terwilliger wrote:

>Also, Jonas Hellborg has 2 solo  bass CD's out. One electric and one
>acoustic.

If I remember correctly, the acoustic one is not a double bass though, but
his acoustic bass guitar.  Unfortunately, I loaned this to someone and
never got it back.


Jeff Spirer
B&W Photos: http://www.pomegranates.com
Color and B&W Photos: http://www.hyperreal.org/~jeffs/gallery.html
Axiom/Material: http://www.hyperreal.org/axiom/

-



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

From: WINRECORDS <[e-mail]>
Subject: Re: bass albums
Date: 28 Feb 1998 12:23:49 EST

FYI: WIN Records will be releasing a CD of solo (electric) bass by CRIB next
month, entitled: "She is Church." CRIB has played shows with the likes of
Thurston Moore, Charles Gayle, William Hooker, Merzbow & more. Info. is
available online at: http://www.winrecords.com/winroster/crib.html

-



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

From: Todd Bramy <[e-mail]>
Subject: solo bass
Date: 28 Feb 1998 10:10:45 -0800

>ECM bassist Barre Phillips has a decent solo CD out, although he plays more
>than just double bass on it.  IIRC, it's called _One Moon Rising_ or someth=
ing
>like that...

The Barre Phillips recording is called "Three Day Moon" and while it is a
wonderful recording centered on his bass playing, it also includes Terje
Rypdal on guitar, guitar synth, organ; Dieter Feichtner on synth; and
Trilok Gurtu on tabla, percussion.

Let me throw another recording into the mix. One of my very favorite CDs of
solo bass:
Miroslav Vitous "Emergence"  ECM 1986



<< todd >>

=83=83=83=83=83=83=83
"I don't want to spend my life explaining myself.
You either get it or you don't."
=46rank Zappa



-



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

From: James Hale <[e-mail]>
Subject: Re: bass albums
Date: 28 Feb 1998 12:39:22 -0500

Jesse Simon wrote:
>
> I'm looking for albums of SOLO double bass. That's right. Unaccompanied
> double bass.

Check out Nightbird Inventions by Dominic Duval (bassist with Cecil
Taylor) on Cadence. Amazing technique and musical vision.

James Hale


-



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

From: Nils Jacobson <[e-mail]>
Subject: bass albums
Date: 28 Feb 1998 13:42:35 +0100


Jesse Simon <[e-mail]> wrote:
> I'm looking for albums of SOLO double bass. That's right. Unaccompanied
> double bass. I'm sure some great bassist of the fifties or sixties must
> have done one. Ron Carter perhaps? Paul Chambers? Jimmy Garrison? Charlie
> Haden? Gary Peacock? Even someone more modern would be good. If anyone
> knows of anything, please e-mail me, privately or otherwise.

I would highly recommend the William Parker album *Testimony*.  This is
very fine stuff, pretty out there, lots of scratching and higher order
harmonics.  It's on Zero-In and may be a bit hard to find, but if you
have enjoyed Parker in other contexts this is definitely one to check out.

Also, Dave Holland has a couple of solo discs people have not mentioned.
Among these are his 1977 release *Emerald Tears* (which has a pretty cool
Braxton tune on it) and his 1982 organic cello solo disc *Life Cycle.*
Both on ECM and both highly recommended.

> An incredible double bass _duo_ recording is 'Arcus' by Phillips and
> Barry Guy (Maya MCD 9101)--just astonishing playing.

Yes, I would have to agree strongly on that one.  Amazing what these two
guys can do together.  A bit out there, but really nice.

(Could I have used an 'and' in that last sentence?)

-Nils

-



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

From: M.Ho <[e-mail]>
Subject: Re: bass albums
Date: 28 Feb 1998 15:43:54 EST

You must check out Bert Turetzky who has been working since the 60's, I
believe, and is the father of contemporary bass music.  He bridges the
gap between jazz, improv, contemporary and classical and he is very
accessible as well.  His albums are hard to come by, however.  He's
recorded with the 9winds label.  His scores are easier to find and he
has an album that has pieces dedicated to Mingus and that contemporary
composer from California that we've discussed on this list
serveral times but I can't remember his name right now.  Anyways,
being a bassist myself, I love not only listening to his works but
playing them as well.  A friend of mine conducted an interview with
him for one of the fall 1996 issues of Bass Player magazine.  There is
a discography as well as an excerpt of one of his scores in this
article.  Check it out if you have access to the magazine.  By the
way, he is a former teacher of Mark Dresser and last summer the two
conducted a concert via satelitte at the Kitchen in N.Y., Bert being
"teleported" in from California while Dresser was at the Kitchen.

Robert Black has a bass solo album that's entitled State of the Bass.
I picked that one up at Tower.

-Mary

-



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

From: M.Ho <[e-mail]>
Subject: Re: bass albums
Date: 28 Feb 1998 15:53:50 EST

And also, William Parker (of Matthew Shipp fame) has a few
improvisational solo bass albums out.  Testimony is the title of
one and its very psychotic (in a good way).

Ron Carter unfortunately released a solo album of all Bach pieces.
I love Ron C. but this is a total embarassment.  Avoid it like the
plague.  It's pretty good considering playing jazz and classical on
bass is as different as taking up organ if you were a kazoo player,
but I still would not have released this album if I were him.

-Mary

-



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

From: Tom Pratt <[e-mail]>
Subject: Re: bass albums
Date: 28 Feb 1998 16:37:41 -0500

I love Mark Dresser's 'Invocation' but it completely surprised me
because there was a lot of overdubbing arco stuff which creates a very
powerful mass of sound. Really incredible music but totally not what you
would expect from a "solo bass album".

Dave Holland has a couple of solo bass albums (as well as solo cello)
which are really great. Holland has an amzing tone!

Ron Carter has at least one solo bass album that isn't Bach stuff. I've
seen his solo CD's and LP's floating around. They exist.

Peter Kowald, Barre Phillips, Barry Guy & Joelle Leandre all have solo
recordings out in the free improv idiom. Check out
http://www.shef.ac.uk/misc/rec/ps/efi/ to find some of those.

Also, Romanian composer Iancu Dumitrescu has written some really amazing
music for contrabass. Check out the disc with "Medium III' on the
Edition Modern label. You can get it through Forced Exposure. Enjoy!

                -Tom Pratt

-



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

From: "A. Bueno" <[e-mail]>
Subject: bass solo
Date: 28 Feb 1998 19:17:40 -0300

I think Joelle Leandre has a solo album named "urban Bass"don`t remember
the label.
Barry Guy has "Fizzles" on Maya records.

A.Bueno

-



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

From: FUNKADELlC <[e-mail]>
Subject: Re:bass albums
Date: 28 Feb 1998 17:36:53 EST

In a message dated 98-02-28 11:20:33 EST, you write:

<<   I'm looking for albums of SOLO double bass.  >>

dont yell at me.... i know this is electric bass.... but the DOS albums
featuring WATT and KIRA are fuckin great!!! its just 2 electric basses and im
sure the majority of them are on SST or like the subsadary of SST... HEY
EVERYONE.. SPEAKING OF WATT... his band Banyan <feat stephen perkins too> is
plain with BUCKETHEAD the 12 of March at THE GIG in LA..
-cory sklar

-



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

From: C E DANGELO <[e-mail]>
Subject: Re: bass(es)
Date: 28 Feb 1998 14:46:30 -0800 (PST)

If you want creative bass music, check this out (I've heard a recording so
I know it exists...):

Ustvolskaya, Galina: Composition No.2, 'Dies Irae' for 8 Double Basses,
Wood Cube and Piano. (20')

Ustvolskaya
    was a pupil of Shostakovich. "This is a work of great power and
energy, combining the sonorous qualities of a double
    bass octet with the percussive qualities of the piano and wood cube to
produce unusual textures and colours. The work
    is dominated by tone clusters creating abrasive textures and sounds,
and the double bass writing is basically
    chordal-sometimes in unison, sometimes in harmony. It needs eight
bassists who are not afraid of playing in thumb
    position. This is music of distinction and vision and would be ideal
for any contemporary concert series or festival."
    (Review taken from the British & International Bass Forum Newsletter,
no. 9) (Available for hire (96) from Boosey
    and Hawkes, 0171-580 2060.)

-cappyd


-



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

From: "Jason J. Tar" <[e-mail]>
Subject: Zorn/Eye box?
Date: 28 Feb 1998 19:20:36 -0500

Hello,
I know there were rumours of a Zorn/Eye box set of 100 discs to be
released.  Was it ever?  Some person is selling a copy for $400...if it
came out is this a good price?  Just curious.  (I didn't think it ever had
been released, but I've bought stuff from this person before, so....?)

Thanks.

---
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: Gabriel Lichtmann <[e-mail]>
Subject: Robert Rodriguez
Date: 10 Feb 1998 19:05:45 -0300

    I just bought Tzadik's "Great Jewish Music: Serge Gainsbourg". It's a
wonderful record , I think I like it better than the Burt Bacharach one;
what I wanted to find out is if anyone knows if the Robert Rodriguez who
plays drums on the track "Un poison violent, c'est ca l'amour" is the
filmmaker.

                        Thanks.

    P.D: Zorn's track is amazing, that guy keeps surprising me.


-



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

From: Herb Levy <[e-mail]>
Subject: Gainsbourg
Date: 16 Feb 1998 06:42:17 -0800

This e-mail just showed up on digest, tw0 months after it's posted date.  I
don't know whether it showed up earlier for those of you who get the
messages individually.

While I'm not sure I want to start up this whole discussion again
(especially cause this is a particularly busy time for me & I'm only
reading non-work-related e-mail about once a week), let me briefly point
you in a couple of directions that may help you with the points you raise.

First, I'm assuming that Zorn simply sees things in Gainsbourg's work that
he wants to claim as a kind of precursor to contemporary work that does a
more specifically jewish content. In general, precursors don't have to
consciously foresee their role (& usually don't), they merely have to be
recognized by later artists who feel an affinity with what they did.

As to  the Coleman text you had trouble getting anything useful out of.
There's a short book/long essay by DeLeuze & Guattari about Kafka that
describes in a far less colloquial manner, some of the ideas surrounding
the concept of "self-hating jews", as well as the concept of how someone
who specifically rejects identifying as a jew can be seen within a strong
tradition of jewish culture.  In english this book is called (I think)
Kafka: toward a minor literature.  I don't own it, haven't read it in a
while, & don't know what the title might be in french.  I just hope it
turns out to be the essay I think it is.

I hope also that these brief comments help you to see the point I was making.

Bests,

Herb



>Date: Wed, 10 Dec 1997 16:42:14 +0100
>From: Nuno BARREIRO <[e-mail]>
>Subject: Gainsbourg
>
>> 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
>
>
>


Herb Levy
[e-mail]









-



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

From: [e-mail] (Caleb Deupree)
Subject: Re: The Wire  (and)  Cadence
Date: 27 Feb 1998 16:26:27 -0500

>>>>> "Doug" == Doug McKay <[e-mail]> writes:

    Doug> Boy, do I feel like I've been living in a cave. I've just
    Doug> been paging through my first issue (Jan '98) of THE WIRE. So
    Doug> this is where you guys have been coming from. It shows.

Hint: subscribe.  It might be worth while waiting for a nice special
CD offer you like, but if you like one issue, sooner or later you'll
want them all.  I just got the March issue yesterday, so you also get
them a lot sooner if you subscribe.

    Doug> Now how is CADENCE? I haven't found it here in the Twin
    Doug> Cities yet.

You'll almost certainly have to subscribe to this -- I don't think
I've ever seen it in a store.  I find this as indispensible as the
Wire, although for different reasons.  The music and interviews focus
much more on 'jazz'.  As wide ranging as this genre is, except for a
limited amount of Zorn output (Masada, News for Lulu, etc.), it really
doesn't apply to much of the music discussed here.  Most Cadence
reviewers are not very favorable to the genre bending experiments that
the Wire likes so much.  However, Cadence does have a wide view of
'jazz', so they will review Brotzmann, Vandermark, Crispell,
Hemingway, etc., favorably and often.  The more you like all forms of
creative improvised music, the more you'll like Cadence.

The best part of Cadence, however, is their mail order catalog.  It is
the only reliable source I know for Hat, FMP, Okka, BVHaast, Leo, and
lots of other jazz labels, and they stock the non-jazz releases (my
most recent Cadence purchase included Morton Feldman's opera Neither,
a limited edition on Hat Art).  And even when Cadence isn't the only
source, they're still pretty cheap, discounted for subscribers, and
very quick delivery.  They are also very knowledgeable if you're
looking for a starting point, as I was a few years ago when I was
curious about Willem Breuker (they recommended Heibel, a great album).


---
Caleb T. Deupree
;; Opinions are not necessarily shared by management

Computers are useless.  They can only give you answers.
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From: Gabriel Lichtmann <[e-mail]>
Subject: RE: Masada
Date: 11 Feb 1998 04:52:43 -0300

    Well, I can=B4t believe this whole argument about the originality of Zorn's
music. I'm jewish, and I've been educated as a jew since childhood, and
Masada's music sure rings a bell; I know I've heard those melodies before
but I'm not sure where, they belong to the jewish tradition, and remember
that "there is such a thing as a treasure hunt within tradition which
creates a living relationship to tradition" (Gerschom Sholem, as cited in
the back of the Masada cd's). Zorn's music has never been about
originality, but about playing with the notion of it, that's why he
continously names his influences (like in the Naked City records) and is so
interested in someone like Carl Stalling. =BFRemember Post-Modernism? Let's
not forget that if he stands alone in contemporary music is because he can
combine this with an amazing musicianship and a wicked sense of humour. =20


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