From: zorn-list-owner@xmission.com (zorn-list Digest) To: zorn-list-digest@xmission.com Subject: zorn-list Digest V2 #101 Reply-To: zorn-list@xmission.com Sender: zorn-list-owner@xmission.com Errors-To: zorn-list-owner@xmission.com Precedence: zorn-list Digest Tuesday, August 19 1997 Volume 02 : Number 101 In this issue: Om Namah Shiva (Transformation Of The Heart Mix) Re: heretic/cobra scores Praxis Re: Masada 7 Scott Bradley/Nino Rota Zony Mash tapes scherer Daevid Allen/Palominos Parachute Box Parachute years or Masada? Re: Parachute years or Masada? Parachute years or Masada? Re: Parachute years or Masada? Re: Parachute years or Masada? Fred Frith article from MUSICS See the end of the digest for information on subscribing to the zorn-list or zorn-list-digest mailing lists and on how to retrieve back issues. ---------------------------------------------------------------------- Date: Mon, 18 Aug 1997 21:03:21 -0500 (CDT) From: "wesley@interaccess.com" Subject: Om Namah Shiva (Transformation Of The Heart Mix) As promised... - -------------------- JAH WOBBLE'S INVADERS OF THE HEART - The Sun Does Rise EP 1) The Sun Does Rise (Radio Edit) 3:07 2) Yalili Ya Aini 2:47 3) Om Namah Shiva (Transformation Of The Heart Mix) 14:08 4) Raga 4:43 Tracks 1 & 4 taken from the album _Take Me To God_ Track 3 : Mix translation and additional production by Bill Laswell. Engineering and programming by Robert Musso. Mix assistance and editing by Layng Martine. Recorded at Greenpoint Studio, Brooklyn. 1994 - Island UK #CID 587/854 037-2 - -------------------- Interesting that this remix appeared before the original did (1995 in Europe, 1996 in the States). If anyone really wants a copy of this, I might be able to get ahold of another one. Out 2 Lunch With Lunchmeat, Paul wesley@interaccess.com ------------------------------------------------------------------- GROOVE O(+> (the artist formerly known as Prince) <+)O - ---------- e - m - a - n - c - i - p - a - t - i - o - n one nation The Exodus Has Concluded - Welcome 2 The Dawn ------------------------------------------------------------------- ------------------------------ Date: Tue, 19 Aug 1997 14:40:05 +1100 From: cmmildren@rubens.its.unimelb.edu.au Subject: Re: heretic/cobra scores Heretic has always seemed to me to be one of the meatiest and most fascinating NC rcords, mainly because of the sheer beauty of much of the quiter more gamelan influenced and atmospheric pieces. I think true enough its up there with the more esoteric and less rhtymically driven zorn projects but I find its pieces to be far more structured and dramatic than some are giving them credit. The trio pieces with Baron, Frith and frisell are almost the last word on trying to do a truly "art" music interpretation of classic rock instrumentation. The trhree title tracks are really quite exciting from a musicaly dramatic perspective as well. I find it has the widest range of actual "sounds" and timbre than any other Zorn release that I'm familiar with. On an entirely different note, can anyone help me regarding finding the performance "score" for Cobra? Or indeed if any scores of Zorn's works have been issued (apart from the Carny one)? ------------------------------ Date: Mon, 18 Aug 1997 22:33:43 -0700 From: "pjm" Subject: Praxis > Unnh; I think I could maybe hazard reasonable guesses at a few of the > sounds on this disc. There's one track on Absinthe (dunno - offhand - > exactly which) built around samples off of SPK's excellent and *rocking* > first album, Information Overload Unit. Same record gets plundered by Zorn > and Eye on their Nanni Nanni collab - for the track Propollution, from > memory. And just this weekend I think I recognised a fragment of this same > record in Ground Zero's swansong, Consume Red. This has reminded me: While listening to Entombed's LEFT HAND PATH lp, i realized that the begining of Praxis' STRONGHOLD on "Sacrafist" CD is sampled from the begining of the first song od the second side...or first side... its recorded on a tape actually..... It was quite a pleasant discovery.. I love finding that stuff... pjm ------------------------------ Date: Mon, 18 Aug 1997 20:48:47 +0000 From: Dan Kuehn Subject: Re: Masada 7 This is a multi-part message in MIME format. - --------------57D1E91D15F2DA74C6FCB0EA Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit just to fan the flames, on bar kokhba, as well as the number eight, there's also the hebrew symbol for eight, "chet". this isn't masada 8? - -- Dan Kuehn resident manager Kailua Maui Gardens - --------------57D1E91D15F2DA74C6FCB0EA Content-Type: text/x-vcard; charset=us-ascii; name="vcard.vcf" Content-Transfer-Encoding: 7bit Content-Description: Card for Dan Kuehn Content-Disposition: attachment; filename="vcard.vcf" begin: vcard fn: Dan Kuehn n: Kuehn;Dan email;internet: smokey@maui.net x-mozilla-cpt: ;0 x-mozilla-html: FALSE end: vcard - --------------57D1E91D15F2DA74C6FCB0EA-- ------------------------------ Date: Mon, 18 Aug 1997 19:01:26 +0200 (MESZ) From: BJOERN Subject: Scott Bradley/Nino Rota wellll someone mentioned Carl Stalling Project some days ago........ great CDs...... hmm can anyone tell me if there is any recording of Scott Bradley`s (MGM cartoons like Tom & Jerry) music except for the Tex Avery CD????? Personally I think that his stuff is even better than the Stalling music... (well just listen what David Shea did with parts of the Bradley stuff on "Cartoon for Scott Bradley" of the Shock Corridor CD) other question is: where can i find the Godfather pt 1 soundtrack by Nino Rota?? BJOERN ------------------------------ Date: Tue, 19 Aug 1997 01:23:48 -0700 (PDT) From: Todd Bramy Subject: Zony Mash tapes All right, I know you're out there. Come on out. I saw the Frisell night as well as the Torture Garden night of the Zony Mash shows last week at the OK Hotel in Seattle and I saw lots of microphones in the back of the room. My buddy Chris, who was running the board estimates 4 or 5 direct to DAT tapers each night. I'd really love to get copies of at least these two nights. Please email me for trade possibilities. Thanks Todd Bramy tbramy@oz.net ------------------------------ Date: Tue, 19 Aug 1997 10:41:42 GMT0BST From: DR S WILKIE Subject: scherer does anyone have info. on Peter Scherer's "very neon pet" cd (mgb9401)? thanks... ------------------------------ Date: Tue, 19 Aug 1997 07:28:50 PDT From: "David Brunelle" Subject: Daevid Allen/Palominos I just got a copy of Dividedalienplaybax80, but there's no info on it other than song titles. Does anyone know when and where it was recorded and who the players are? It was my understanding that it was (as with New York Gong's "New York Now:) that the original Material players were on this. Also, does anyone know why Anton Fier disbanded the Golden Palominos? Dave Brunelle IHVH@hotmail.com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Tue, 19 Aug 1997 08:17:39 -0700 From: dayna Subject: Parachute Box Ok. So there was a larger than expected response for me to pick up a couple of Zorn's Parachute Years Box Sets from work. And seemingly a lot more people read this list than post to it. I will try to get in touch with the Koch Dist. buyer today to let him know that there are X number of sets I need. There may be a chance that these pieces had to be ordered very early b/c of the limited nature of the set; and also cautious buying because of the price. Some people asked me about shipping to Europe; The postage will be considerably higher; it's a heavy set. I'm guessing $90 U.S. to get it to you air mail. I wouldn't want to chance surface mail for this. Again; I'm only doing this because I have (hopefully) access to these sets at work at a lower cost. I wasn't sure how to do it, but I am going to need the checks ahead of time simply because if 12 of the people who wrote me are serious, I'll have to bring about $1000 cash to work to pick these up. As for the people who want to know WHAT the box is; be advised I'm NOT liable for taste; if you LIKE this music or not. I've had a tape of Archery (one of the albums to be re-released on Parachute) for years that frankly I almost never listen to it. In fact it is probably my LEAST favorite Zorn piece. This set will certainly be a Difficult Listening (7) Hours. More details to follow as I get them. Mark M. ------------------------------ Date: Tue, 19 Aug 1997 11:14:37 -0500 From: PETSITTER Subject: Parachute years or Masada? Hi, this is my first time writting to this list. I have only been listening to Zorn for about 3 years, but am as enthusiastic as some one who has been listening for longer. As soon as I first heard Zorn I wanted to try and collect every thing he has. The only Masada CD I have is number 6. I would like to purchase the others. I have been hearing a lot of talk about the Parachute set. I fear if I do not purchase it I will never find it easily. I have found a place where I can aquire all the Masada's. My question is, as a collector, would it be wiser to order the parachute set or first get the Masada CD's? Jeff Schuth ------------------------------ Date: Tue, 19 Aug 1997 09:27:24 -0700 From: "Patrice L. Roussel" Subject: Re: Parachute years or Masada? On Tue, 19 Aug 1997 11:14:37 -0500 PETSITTER wrote: > > Hi, this is my first time writting to this list. I have only been > listening to Zorn for about 3 years, but am as enthusiastic as some one > who has been listening for longer. As soon as I first heard Zorn I > wanted to try and collect every thing he has. > The only Masada CD I have is number 6. I would like to purchase the > others. I have been hearing a lot of talk about the Parachute set. I > fear if I do not purchase it I will never find it easily. > I have found a place where I can aquire all the Masada's. My question > is, as a collector, would it be wiser to order the parachute set or > first get the Masada CD's? If you like Masada, I would stick to it. The music on Parachute is extremely important from an historic point of view (than from a pleasurable one :-). Chadbourne, Cora, Zorn, etc were very influenced initially by the English school of free improv (Bailey, Parker, etc). But the music of the Parachute years already shows that they had took their distance from it and that they were defining a new genre of improv (Zorn's first game pieces, for example). There is a very interesting article by Fred Frith where he gives his impressions of the music Zorn, Chadbourne, etc were creating in the late '70s. If people are interested, I can post it. Patrice. ------------------------------ Date: Tue, 19 Aug 1997 12:29:41 -0400 From: "Ockham's stubble" Subject: Parachute years or Masada? yes, please do. - -b There is a very interesting article by Fred Frith where he gives his impressions of the music Zorn, Chadbourne, etc were creating in the late '70s. If people are interested, I can post it. Patrice. ------------------------------ Date: Tue, 19 Aug 1997 10:38:19 -0700 From: dtapia@unoco.edu (Douglas Tapia) Subject: Re: Parachute years or Masada? >There is a very interesting article by Fred Frith where he gives his >impressions of the music Zorn, Chadbourne, etc were creating in the >late '70s. If people are interested, I can post it. > > Patrice. That would be great! Please post it. Doug Tapia General Manager, MTP UNC Music Tech Press University of Northern Colorado Fraiser 108 Greeley, CO 80639 Voice: 970-351-2614 Fax: 970-351-1923 Email: mtp@unoco.edu http://arts.univnorthco.edu/mtp ------------------------------ Date: Tue, 19 Aug 1997 17:43:50 +0000 From: Scott Russell Subject: Re: Parachute years or Masada? - --MimeMultipartBoundary Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Patrice L. Roussel wrote: > would it be wiser to order the parachute set or > > first get the Masada CD's? > > If you like Masada, I would stick to it. > > The music on Parachute is extremely important from an historic point of > view (than from a pleasurable one :-). Chadbourne, Cora, Zorn, etc were > very influenced initially by the English school of free improv (Bailey, > Parker, etc). But the music of the Parachute years already shows that > they had took their distance from it and that they were defining a new > genre of improv (Zorn's first game pieces, for example). > > There is a very interesting article by Fred Frith where he gives his > impressions of the music Zorn, Chadbourne, etc were creating in the > late '70s. If people are interested, I can post it. > Patrice I, for one, would be interested to read anything Fred Frith has written about music, especially Zorn. Regarding the parachute box, this thread is in danger of getting hysterical. Many of us who would like this set haven't actually heard much, or any of this period Zorn. Perhaps it would be useful if someone in the know could advise us of exact nature of the material. For example, you mention British improv as an influence on these discs. Does that mean extended bouts of skronking and scraping a la Derek Bailey and AMM? If so is it any more difficult than 'Yankees' for instance (which is curious but interesting)? On the other hand is the music anything like Cobra (which I find very entertaining indeed)? Or is it further away from either? Scott Russell ++++++++++++++++++++++ Scott Russell Information Systems Specialist Scottish Media Newspapers Email:Srussell@cims.co.uk Tel: 0141 552 6255 ext3628 ++++++++++++++++++++++ - --MimeMultipartBoundary-- ------------------------------ Date: Tue, 19 Aug 1997 09:47:10 -0700 From: "Patrice L. Roussel" Subject: Fred Frith article from MUSICS From MUSICS, No.23, November 1979 2000 STATUES AND ZU MINI-STATUES, by Fred Frith New York, 5-9 June, 1979. The Zu-place -- 3 small lofts and a basement full of junk in W.24th St. On the top floor Giorgio Gomelski is picking up the pieces in the final stages of a 34-date tour by GONG, MOTHER GONG, YOCH'KO SEFFER and the ZU BAND; economically disastrous and unthinkably chaotic, but nonetheless the first attempt to bring 'European' rock music to America on a co-ordinated 'alternative' basis and as such worthy of admiration. Actually he is asleep and remains so throughout most of the day. On the middle floor his deprived dog stalks around, no doubt contemplating the final solution. Below, a large orchestra of improvisors, assembled by guitarist Eugene Chadbourne to play two of his pieces and one by reed-player John Zorn, limber up for the first time. The Orchestra consists of some students and alumni of Karl Berger's Creative Music Studio in Woodstock -- 'cellist Tom Cora, Chuck ver Stracton (trombone) and Mark Kramer (trombone and organ) -- plus Bob Ostertag (synthesizer) and Jim Katzin (violin) of Fall Mountain, Evan Gallagher, a percussionist from Mississippi, Davey Williams (guitar, banjo, mandolin) and LaDonna Smith (viola) from Alabama, John Zorn and Polly Bradfield (violin), Andrea Centazzo (drums), Toshinori Kondo and Lesli Dalaba (trumpet), Wayne Horvitz (piano and double bass), Mark Miller (percussion), myself, Steve Beresford and Chadbourne, presiding with his usual manic enthusiasm, jovial insults and energetic vagueness. The excitement in the air verges at times towards the atmosphere of a Boys Brigade Summer Camp. The Schedule is 4 days rehearsal, with 3 concerts in the evenings at ZU. These will consist of small groups and solos in which nearly all the orchestra members are featured (why not all?). Finally a day in a recording studio to put down Eugene's 'English Channel', and a concert at Columbia University of the fruits of our work. Rehearsals The Three Pieces: The English Channel. The players are numbered. The score consists of boxes with appropriate numbers in them. The boxes themselves are numbered and one proceeds in a relatively orderly fashion from box to box until the end of the piece, which is in 3 sections. Contained in this structure are solos of almost everyone, some seen as final events in a box, others as whole boxes. It's difficult to make out if there is supposed to be a quantitative or qualitative difference between these two types of solo, but it's scarcely important. The only other written instructions are directions as to which instrument to play (for those with more than one) and hints as to ambience -- 'Texas Chain Massacre', 'I Walk The Line', 'An imitation of Anthony Braxton', 'Swing', 'R & B Trades', 'Noodling', etc. There are 3 more or less set pieces - -- a fragment of West Coast jazz, a loony calypso entitled 'I am the Dentist' which Eugene sings inaudibly into a contact microphone, and the inevitable Disco section. Oh yes, and an Incus Records takeoff. In the last 'movement', the idea is that a melody line moves around from instrument to instrument, but a melody line generated spontaneously by the musicians themselves. When the piece was performed by an orchestra of students at Woodstock, this was apparently very successful; here it remains unclear and Eugene decides to cut it from both the record and the concert. There are some inevitable contradictions at work, especially the old favorite of the composer saying that fundamentally he'd like us to do what we want in the improvised sections, only later to reveal that he has quite specific ideas about what it should sound like. Why not write them down? Attempts to discuss this and related issues during and after rehearsals were generally unsuccessful. A popular response was to questions about structure and improvisation seems to be 'This is the way I work'. Frustrating. The most helpful description of the piece for me was when Eugene said that what he was really after was for it to sound like him if he happened to be an orchestra. As such, it sounds pretty good in the end. Psychology This appears to be based on the idea of strip comics, and presents words or phrases for players to interpret freely, like 'plumbing', 'Miami', 'domesticity', 'Only one-horrible!', 'escape', 'dressing-up'. The orchestra is divided into 3 simultaneously unravelling strands, a Song Band, the Brass Section and Andrea Centazzo (Everything Italian). For me, this piece contained both too many instructions and too few. I mean I'd rather have had more specific things to do as in 'Stripsody' or just completely improvised a strip comic, which I've also seen done successfully. Anyway, we got bogged down and Eugene withdrew the piece after one rehearsal. Archery (John Zorn) 'Archery' is a complex set of instructions with a tendency towards the mathematical. We only barely had time to rehearse it with any degree of success, and it would take several performances for it to achieve any real coherence in my opinion. Players are identified by their initials. The 3 basic strands of the piece are clock events, duos-and-trios and solos. Every time the clock reaches zero, any number of players can 'improvise', in however sparse or dense a manner they please, for up to 60 seconds (in practice, it was usually between 5 and 20). These events take place during the first and last thirds of the piece, but not the middle third. Duos-and-trios occur in order, by sections. The sections are labelled A to O and each is divided into 14 sub-sections (O has 12). Each sub-section corresponds to a specific duo or trio combination from the Orchestra. The duos-and-trios proceed in strict consequence, but they can overlap and be of any duration (in practice, mostly pretty short). They can also consist of, or end with 'fixed points' or 'help points'. Solos can be taken up at any moment in the piece, but only one at a time -- the soloist stands up or indicates to the 'prompter' that s/he is taking a solo. That's the basic structure; there's a lot more, to do with 'divisi' -- other sections of 'clock events' (variously timed free sections), or other duos-and-trios, or events which divide the orchestra into different equal numbers of musicians who then improvise as a sequence of soloists (one at a time, each cuing the next). These 'divisi' are cued to the 'prompter' by specific players holding up cards; they override the basic structure (Archery), which has to stop at the next clock-zero to allow the cued section to happen; they are in turn overridden by any breaking of the rules (but in practice usually by a soloist standing up to signal a return to 'Archery' which happens, in theory, at once). Since durations of duos-and-trios, cues of divisi, solos and choice of whether or not to play 'clock events' are all in the hands of the musicians, there are inevitable struggles; we only begin to touch on the possibilities. During rehearsals there's a nagging feeling in the back of my mind that this could be a lot more fun to play than to listen to; plus incomprehension at some of the claims John makes for his piece in his notes to us on improvisation. Can it be said, for example, that this piece constitutes 'an analysis of an improvisation' anymore that an improvisation constitutes an analysis of an improvisation? And shouldn't any improvised piece require the same alertness and care in making choices as we were required to exercise in 'Archery'? The rehearsals are good-humoured but concentrated, intense; they have to be to enable us to play the thing at all. I think this concentration has a tangible effect on the concerts at Zu -- I've seldom seen such consistently good, diverse, surprising improvised music as there was over those three nights. It was as if we all felt the constraints of the days lifted, a sense of release. The concerts I can't review the Zu concerts properly; it would be difficult as I was involved to some extent each night, and not having intended to write all this, I didn't make notes. However, I'll try and pick out some details. For example, the solo performance by John Zorn. He used silence effectively and often, but it was not one of those tense, cerebral affairs. The tension has its element of wit, the technique, rather than hingeing on simultaneity of sound was linear, consisting of a rapid succession of quite different timbres and variations of dynamics, crammed into short moment's and interspersed with pauses, shuffling noises, quick changes from mouthpiece to mouthpiece. Rivetting. I also really liked Davey Williams and LaDonna Smith's duo. They've reached a rare degree of telepathy and manage to be fiery without being aggressive, delicate without being ephemeral. LaDonna also manages beautifully to suggest the tension between the degree to which she is in command of her instrument and the degree to which it wilfully carries her off to some other planet. Polly Bradfield's solo playing was quite different -- harder, less lyrical and treading a tightrope between controlled and contrived. I thought she had a lot of bottle actually, because she's chosen a difficult path; her playing is austere and uncompromising, a little stiff; she takes chances; her use of silence is similar to John Zorn's, though her humour's dryer (it's there though). After she'd played I felt mentally excited but earthbound. Chadbourne, Centazzo and Kondo cropped up together and in various combinations with those already mentioned at Zu. The three of them fit together in my mind, seem to represent a particular side of what was going on, inseparable from each other. Chadbourne and Centazzo in particular rest in my memory of that week as a kind of joint venture in bad taste, colossal and hilarious, refined in the former case and crude in the latter, energetically imposing their obsessive and quite singular ideas on whatever context they found themselves in, playing jokes and insulting at least each other and simultaneously carrying the music headlong and head-on. Kondo perfectly suited their schemes in his sensitive, extrovert way and managed to hold the balance, preventing them from ever sinking into meaningless jive by his timing and talent, while appearing on the contrary to encourage their excesses. His performances were real tours de force. The sextet with these three, Zorn, Bradfield and Tom Cora was particularly good I thought. Steve Beresford sat in with various groups. I like his playing very much when it's in shord burst like that, it becomes more concentrated and he doesn't have so much opportunity to get bored, an important factor in his longer concerts I always think. In the recording and at the final concert he played two great piano solos which gave me as much pleasure as anything that happened during the rest of the week. Bob Ostertag is the first synthesizer player I've heard (Sun Ra always excepted) with any kind of an interesting approach to the instrument. He derives a lot of his raw material from the radio, and is careful and discriminating. (It's clear that in remembering the concerts I've concentrated pretty much on personalities; but that's because for me, the concerts came across more sharply on that level than any other. Or is it a function of my memory? Of not having made notes about precise musical occurences at the time?) The recording A very strange experience, engineered with great skill in a small professional studio by the genial Les Paul Jnr. A whole album in a day, with a 17 piece band; problems like the brass sitting next to the strings in the same room, acoustic and electric guitars playing at the same time, three percussionists... the mixing was never likely to be anything less than erratic, but Les did a remarkable job. Eugene entered into his mad genius persona ("That's really awful -- fantastic!"), pressing on in the face of our murmuring voices wanting to do things again. In the end there were no 2nd takes of anything at all. It probably wouldn't have made much difference under the circumstances. Lesli Dalaba played two fined trumpet solos, quiet, slow, subtle, sure; in fact all the solos went much better than the ensemble improvisations, which was entirely predictable as a lot of us couldn't hear what half of us were doing! On leaving the studio I inadvertently broke a door. It cost us $100. I could have mended it myself for 2... The concert Eugene's piece in the first half, John's in the second. On the way to the theatre Tom Cora and I walk out of the subway and find ourselves in the middle of Harlem. A mistake. Thirty seconds of another world. We are firmly directed into the subway again by an amused local. 100 people in the audiences (it is a 1000 seater). There's a week-long festival of new music downtown, pretentiously packaged and extensively covered in the press, which has no doubt diverted many of the potentially curious. It's hard not to be inhibited by the structure of the music. We have fun, there are stirring moments, but the contrast with the energy of the first night and now is clear. It never quite takes off. Eugene's piece seems entertaining but lightweight. Is this a criticism? What most strikes me about John's magnum opus in its 1 1/4 hour performance is on the one hand the importance of the visual element, constant patterns of hand-gestures, holding-up of cards, eye-contact, concentration on the clock; and on the other, the degree to which the bones of the game dominate the flesh, players hurrying to exercise control, to counteract each others' cues, with little apparent thought as to the intended effect, what it will sound like. Not that that mattered -- in fact it led to a few moments of hair-line humour when the prompter found himself desperately juggling pieces of card and paper while simultaneously trying to keep an eye on the clock, to the accompaniment of a strained and puzzled silence from the musicians and giggles from the audience. I enjoyed that bit! By the end, when we all tiring, I felt that there was a tendency to respond to cues by making a noise, any noise, just to fulfil our obligations to the score on a minimal level, to bring it to a close. It was as if we were trapped inside the piece with a long slog ahead to get out of it. This was an obvious drawback, though a surmountable one -- provisions for ending could be much clearer. I'm looking forward to hearing the tape. Reactions varied. A critic friend found it over-weight, old-fashioned and boring but enjoyed individual performances. Others thought it visually compelling, often startling to listen to, but much too long. It needs to be played some more. I can't make up my mind, not only about the piece but about the philosophy of this approach to improvising. Should we merely be 'open' to all different kinds of improvisation, or should we at least develop some kind of critique to discover what processes are at work and to discuss them? Is this imposition of structure an anachronism? A contradiction in terms? Are restrictions placed on improvisors legitimate means to specific ends or are they just interfering with a richer creative process? Does free improvisation relate to anarchy in the same way that structured improvisation relates, say, to democracy? These are other questions... ------------------------------ End of zorn-list Digest V2 #101 ******************************* To subscribe to zorn-list Digest, send the command: subscribe zorn-list-digest in the body of a message to "majordomo@xmission.com". 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