From: zorn-list-owner@xmission.com (zorn-list Digest) To: zorn-list-digest@xmission.com Subject: zorn-list Digest V2 #127 Reply-To: zorn-list@xmission.com Sender: zorn-list-owner@xmission.com Errors-To: zorn-list-owner@xmission.com Precedence: zorn-list Digest Wednesday, October 1 1997 Volume 02 : Number 127 In this issue: Re: Tears of Ecstacy Re: Zorn and Hip Hop Re: Zorn and Hip Hop Re: Zorn and Hip Hop David Garland: Control Songs formal training Re: David Garland: Control Songs Re: formal training Question... Re: formal training Ornette's keyboardist Dave Bryant...gig this Sunday Ornette's keyboardist Dave Bryant...gig this Sunday Re: Philip Gelb - Purple Wind (fwd) Re: formal training Game pieces Dangerous ground Gysi/tuba school Re: Dangerous ground Re: school 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: Tue, 30 Sep 1997 20:19:54 -0400 From: Lang Thompson Subject: Re: Tears of Ecstacy Don't know about this one but there is another film from the same director available in the US. I saw the box in a local (Atlanta) video store that soon went bankrupt so I never rented it. The tape was part of a series of gay-themed "art" films that was called something like Pink Visions (or maybe I'm misremembering it). Facets in Chicago might be able to help track it down. Lang Thompson http://members.aol.com/wlt4/index.htm ------------------------------ Date: Tue, 30 Sep 1997 19:58:47 -0800 From: Herb Levy Subject: Re: Zorn and Hip Hop The samples of Public Enemy are part of Wayne Horvitz' sampler set up for a couple of particular pieces in the Naked City repertoire, I don't know whether this was at Zorn's request or if it was Wayne's idea. Zorn did include rap turntable artist Whiz Kid in one of the Locus Solus trios, but that seems to be the most recent (& so far only) collaboration with a performer from that end of the music business. Bests, Herb Herb Levy herb@eskimo.com ------------------------------ Date: Wed, 1 Oct 1997 02:01:26 -0400 (EDT) From: Christopher Hamilton Subject: Re: Zorn and Hip Hop On Tue, 30 Sep 1997, Herb Levy wrote: > Zorn did include rap turntable artist Whiz Kid in one of the Locus Solus > trios, but that seems to be the most recent (& so far only) collaboration > with a performer from that end of the music business. Not quite. Zorn plays game calls on Joe Piscopo's 1985 "Honeymooners Rap", which also features scratching by DST (now DXT) of "Rockit" fame. I trust both gentlemen were paid well for their time. Chris Hamilton ------------------------------ Date: Wed, 01 Oct 1997 08:31:36 +0200 From: Stephane Vuilleumier Subject: Re: Zorn and Hip Hop >On Tue, 30 Sep 1997, Herb Levy wrote: > >> Zorn did include rap turntable artist Whiz Kid in one of the Locus Solus >> trios, but that seems to be the most recent (& so far only) collaboration >> with a performer from that end of the music business. > >Not quite. Zorn plays game calls on Joe Piscopo's 1985 "Honeymooners >Rap", which also features scratching by DST (now DXT) of "Rockit" fame. I >trust both gentlemen were paid well for their time. > >Chris Hamilton And which Eddie Murphy is it on vocals? 029 - NEW JERSEY: Joe Piscopo 2/ Honeymooners Rap (Schuckett, Willner) 3:58 7/ Fat Boy (T. Adams) 2:08 Recorded at Power Station, New york Joe Piscopo: voice; Eddie Murphy: voice (2); Ralph Schuckett: keyboards; Lloyd Landesman: keyboards; Ira Siegel: guitar; John Siegler: bass; Anton Fig: drums; Jimmy Bralower: drum machine programming (2); D.S.T.: turnta- bles, digital sampler (2); John Zorn: game calls; The Uptown Horns (2); Terry Adams: background vocals (7), Hal Willner: background vocals (7). ------------------------------ Date: Wed, 1 Oct 1997 09:05:39 +0200 (MESZ) From: BJOERN Subject: David Garland: Control Songs well for any of you who do not know: David Garland`s record "Control Songs" (zorn discog. #045) has been rereleased on CD on the German label No Man`s land. John Zorn plays on track #6.....the CD reissue has some bonus tracks...anyway i heard some of it and thought this was amazing it can be ordered here in Germany from: Gerhard Busse Strassmannstr. 33 10249 Berlin GERMANY BJOERN ------------------------------ Date: Wed, 1 Oct 1997 20:11:14 +1000 From: "Julian" Subject: formal training Does anyone know what formal musical training John Zorn has had? ------------------------------ Date: Wed, 01 Oct 1997 08:23:19 -0700 From: "Patrice L. Roussel" Subject: Re: David Garland: Control Songs On Wed, 1 Oct 1997 09:05:39 +0200 (MESZ) BJOERN wrote: > > well for any of you who do not know: David Garland`s record "Control > Songs" (zorn discog. #045) has been rereleased on CD on the German label > No Man`s land. John Zorn plays on track #6.....the CD reissue has some > bonus tracks...anyway i heard some of it and thought this was amazing That's a wonderful news!!!!! The songs have all this little twist which makes them really interesting. Furthermore, the record is really enjoyable (meaning that there is a non-zero risk that some of your friends might like it :-). Patrice (who is longing for more Garland) ------------------------------ Date: Wed, 01 Oct 1997 11:04:13 -0500 (CDT) From: y9d62@TTACS.TTU.EDU Subject: Re: formal training They're listed in the liner notes of Redbird. I forget them at the moment, however. On Wed, 1 Oct 1997, Julian wrote: > Does anyone know what formal musical training John Zorn has had? > > ------------------------------ Date: Wed, 1 Oct 1997 13:23:44 -0300 (GMT-0300) From: perojo@unsl.edu.ar Subject: Question... Hi zorlisters: Anyone have some information of the old "No New York", any information?. Thanks. - --Pablo. ------------------------------ Date: Wed, 01 Oct 1997 09:36:42 -0700 From: "Patrice L. Roussel" Subject: Re: formal training On Wed, 1 Oct 1997 20:11:14 +1000 "Julian" wrote: > > Does anyone know what formal musical training John Zorn has had? His first intrument was piano. At the age of 10, he switched to guitar and flute. At 14 he studied composition at the U.N. School in Manhattan with Leonardo Balada (Argentine-born classical composer). At that time he was mainly listening to contemporary classical music (Kagel, Ives, etc). At 16 he discovered John Cage, and that sparked his interest in aleatory and improvi- sed forms. 1971-1973 (1.5 years): he studied at the Webster College in Saint Louis under Kendall Stallings. It is at Webster that his interest for jazz started. It is there that he discovered jazz music (the Black Artist Group). After listening to JCOA (or FOR ALTO), he decides to learn alto saxophone. At that time (1971) Oliver Lake was teaching at the Webster College, and many great musicians, like Luther Thomas, were hanging around. The Black Arts Group (BAG) and the Association for Advancement of Creative Musicians (AACM) were instrumental in turning Zorn to jazz music. One of the reasons being the energy they were dealing with and their concern for structures. After listening to FOR ALTO (Anthony Braxton), he adopts the alto saxophone. Under the influence of Steve Lacy, he will practice the soprano, but after two years he will go back to alto definitely. Patrice. ------------------------------ Date: Wed, 1 Oct 1997 12:45:57 -0400 (EDT) From: JoLaMaSoul@aol.com Subject: Ornette's keyboardist Dave Bryant...gig this Sunday Hey yallz! For those of you Ornette fans, this might be of particular interest: an organization that I'm pleased to work with, the Boston Creative Music Alliance, is hosting a gig for Dave Bryant, Prime Time's keyboardist. Wish I could see it myself, but my free-improv group Saturnalia will play the Knitting Factory in NYC (9pm) that night joined by Rain House (long-time Living Theatre member) and improvisor extrodanaire Ed Chang. So if ya live in NYC and wanna see another really kewl show....you know. We also perform a film soundtrack ("The Way Things Go") this Saturday Oct. 4th at the Institute for Contemporary Art in Boston, noon and 2pm, FREE! Sunday, October 5. The Dave Bryant Quintet featuring George Garzone. The concert debut of a dynamic harmolodic quintet led by the keyboardist for Ornette Coleman and Prime Time. The band features saxophonist George Garzone, bassist John Turner, and drummers Chris Bowmanand Bob Gullotti. This and all BCMA concerts will begin at 8pm. Tickets for the Boston Series are $10. Tickets for all other concerts are $15. Tickets are available in advance at Twisted Village, 12 Elliot St., Cambridge. (617) 354-6898. For further information call the BCMA (617) 868-3172. The Boston Creative Music Alliance, winner of a 1997 Best of Boston Award for its New Histories music series at the ICA (which included John Zorn's Masada, Henry Threadgill, The Far East Side Band, etc.) is also pleased to announce an expanded season of programming in a new venue, including a special monthly series featuring Boston-area performers, as well as concerts by Marty Ehrlich and the Dark Woods Ensemble (November 1), the Equal Interest trio, (November 7th, featuring Joseph Jarman, Leroy Jenkins, and Myra Melford), Kobold (November 13), and the Dave Douglas Sextet (December 3rd). All concerts will take place at the Dante Alighieri Society Cultural Center at 41 Hampshire St., Cambridge. Conveniently located at the corner of Hampshire and Portland St., near the Kendall Square cinema complex and the pubs and restaurants at One Kendall Square, the Center seats more than 200 in an intimate performance space designed by world-renowned architect, Pietro Belluschi. Only a five minute walk from the Kendall Square stop on the Red Line, the Dante also had free parking in its adjoining lot. ------------------------------ Date: Wed, 1 Oct 1997 12:47:57 -0400 (EDT) From: JoLaMaSoul@aol.com Subject: Ornette's keyboardist Dave Bryant...gig this Sunday Hey yallz! For those of you Ornette fans, this might be of particular interest: an organization that I'm pleased to work with, the Boston Creative Music Alliance, is hosting a gig for Dave Bryant, Prime Time's keyboardist. Wish I could see it myself, but my free-improv group Saturnalia will play the Knitting Factory in NYC (9pm) that night joined by Rain House (long-time Living Theatre member) and improvisor extrodanaire Ed Chang. So if ya live in NYC and wanna see another really kewl show....you know. We also perform a film soundtrack ("The Way Things Go") this Saturday Oct. 4th at the Institute for Contemporary Art in Boston, noon and 2pm, FREE! Sunday, October 5. The Dave Bryant Quintet featuring George Garzone. The concert debut of a dynamic harmolodic quintet led by the keyboardist for Ornette Coleman and Prime Time. The band features saxophonist George Garzone, bassist John Turner, and drummers Chris Bowmanand Bob Gullotti. This and all BCMA concerts will begin at 8pm. Tickets for the Boston Series are $10. Tickets for all other concerts are $15. Tickets are available in advance at Twisted Village, 12 Elliot St., Cambridge. (617) 354-6898. For further information call the BCMA (617) 868-3172. The Boston Creative Music Alliance, winner of a 1997 Best of Boston Award for its New Histories music series at the ICA (which included John Zorn's Masada, Henry Threadgill, The Far East Side Band, etc.) is also pleased to announce an expanded season of programming in a new venue, including a special monthly series featuring Boston-area performers, as well as concerts by Marty Ehrlich and the Dark Woods Ensemble (November 1), the Equal Interest trio, (November 7th, featuring Joseph Jarman, Leroy Jenkins, and Myra Melford), Kobold (November 13), and the Dave Douglas Sextet (December 3rd). All concerts will take place at the Dante Alighieri Society Cultural Center at 41 Hampshire St., Cambridge. Conveniently located at the corner of Hampshire and Portland St., near the Kendall Square cinema complex and the pubs and restaurants at One Kendall Square, the Center seats more than 200 in an intimate performance space designed by world-renowned architect, Pietro Belluschi. Only a five minute walk from the Kendall Square stop on the Red Line, the Dante also had free parking in its adjoining lot. ------------------------------ Date: Wed, 1 Oct 1997 09:57:02 -0700 (PDT) From: Bob Boster Subject: Re: Philip Gelb - Purple Wind (fwd) As both a zorn-list reader and a friend and collaborator of Phil's I took the opportunity to mention to him that he hade been plugged recently. He asked me to forward a bit more info to the list. Purple Wind is excellent and I highly recommend it, expecially for folks interested in the places where traditional musics interface with improvisation and/or where electronics interface with improvisation. AS the previous reviewer mentioned, both are present on Phil's disk, and to good effect. Phil's a recent transplant to the SF Bay Area and we've roped him into curating the december installment of the Cultural Labyrinth series (December 20 @ 2779 - formerly komotion, mail bobbost@orban.com for details) He'll be leading an ensemble scoring a film during the show... I've CCed him on this post, so you can contact him directly for more information about other appearances and/or future releases. - ---------- Forwarded message ---------- Date: Tue, 30 Sep 1997 21:30:46 -0400 (EDT) From: Philip Gelb To: Bob Boster Subject: Re: Philip Gelb - Purple Wind (fwd) Not sure why my music is being spoken of on a zorn list but i do appreciate the review!! The other musicians on Pruple WInd (in case anyone was interested) are: Miya Masaoka- koto Gino Robair- percussion Dana Reason - piano Shaking Ray Levis - synth, percussion. phil ------------------------------ Date: Wed, 1 Oct 1997 11:01:07 -0400 (EDT) From: OrrickR@aol.com Subject: Re: formal training John Zorn was a student at Webster College (now University) in St. Louis for a couple semesters around 1972. Oliver Lake and Hamiet Bluiett were working in St. Louis in that period and I expect he was exposed to their music. ------------------------------ Date: Wed, 1 Oct 1997 21:19:37 UT From: peter_risser@cinfin.com Subject: Game pieces Does anyone have a) a list of all the game pieces Zorn has written, b) what the concepts and/or mechanics are behind them and c) where I can find some scores? Or for that matter, any of his scores? I know they must exist. Does he publish with any music companies? ------------------------------ Date: Wed, 1 Oct 1997 21:28:12 UT From: peter_risser@cinfin.com Subject: Dangerous ground All right, I know I'm on dangerous ground here, but... My friends and I used to gather in the studio of a local radio station and make noise, noise, noise. We'd bring every instrument and item we could get our hands on. At one point, we even played against a recording of Zorn's Strategies, so it sounded like he was in the room with us. (Actually, that was pretty damn neat. It sounds really cool.) In any case, the free-wheeling stuff we did does not sound that different than the structurally 'composed' Parachute stuff on the box set I just purchased. Admittedly, I think we were advanced in the stuff we were doing, because we had already talked about how people don't have to play all the time, etc etc, so we got a good mixture of dynamics and sound qualities. Dont' get me wrong, I really enjoy listening to the set. It, uh, helps me unwind, believe it or not. I guess my question is, was it worth it? Was it necessary? Does having these 'games' really make a difference in the final musical output? Can anyone else comment? My background pretty much stops at Zorn, too. Some may say it's criminal, but I have no real background in Parker, Bailey, Braxton, Chadbourne, etc. I'm wondering if maybe that's the problem, like, it's a step in the development of improv that I'm seeing and not knowing the context, I might not see how radical it is. Any comments? ------------------------------ Date: Wed, 01 Oct 1997 20:32:51 -0400 From: Tom Pratt Subject: Gysi/tuba Does anyone here know what instrument a guy named Wadi Gysi plays. I've discovered that he has a duo album out on Intakt with Hans Reichel who I recently discovered and love. This album just might be of interest to me. Any info is appreciated! If anyone out there plays tuba, you need to go find Melvyn Poore's solo tuba experiment's on Georg Graewe's Random Acoustics label. The album is called 'Groundwork' and is all solo tuba compositions and improvisations with assorted stereo delay, tape and live electronics systems. I just got it and completely love it! -Tom Pratt ------------------------------ Date: Thu, 2 Oct 1997 12:14:53 +1000 From: "Julian" Subject: school anyone know why School didn't turn up on the Parachute Years? ------------------------------ Date: Wed, 1 Oct 1997 22:38:32 -0400 (EDT) From: "Jascha W. Narveson" Subject: Re: Dangerous ground > All right, I know I'm on dangerous ground here, but... > > My friends and I used to gather in the studio of a local radio station and make > noise, noise, noise. We'd bring every instrument and item we could get our > I guess my question is, was it worth it? Was it necessary? Does having these > 'games' really make a difference in the final musical output? Can anyone else > comment? > My background pretty much stops at Zorn, too. Some may say it's criminal, but I > have no real background in Parker, Bailey, Braxton, Chadbourne, etc. I'm > wondering if maybe that's the problem, like, it's a step in the development of > improv that I'm seeing and not knowing the context, I might not see how radical > it is. hm! I've done stuff like this as well and it seemed to work fine. I prepare to duck for cover as i say this, but i believe that this kind of textural noisey stuff isn't really that challenging to play. It still takes quite alot of imagination, and, most importantly, *soul*, but no theory or 'chops' or knowledge of how conventional music works at all. This isn't to say it's not worthwhile, but it is to say that perhaps is not the mysterious, inaccessible art form which, say, jazz piano is to most, or Tabla playing... And there's definitely the potential to do it really badly (i've heard it done badly, sometimes by me), but to aware, imaginative folks with noise-makers, the very real possibility of doing interesting things with sound exists, even if they can't improvise a jazz chord progression in twelve different keys. I see this as a very good thing. - -jascha ------------------------------ Date: Wed, 1 Oct 1997 22:40:56 -0400 (EDT) From: "Jascha W. Narveson" Subject: Re: school > anyone know why School didn't turn up on the Parachute Years? "School"=game piece ----> school=game (according to Zorn anyway)? - -jascha ------------------------------ End of zorn-list Digest V2 #127 ******************************* 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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