From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest) To: zorn-list-digest@lists.xmission.com Subject: Zorn List Digest V2 #768 Reply-To: zorn-list Sender: owner-zorn-list-digest@lists.xmission.com Errors-To: owner-zorn-list-digest@lists.xmission.com Precedence: bulk Zorn List Digest Thursday, October 7 1999 Volume 02 : Number 768 In this issue: - Re: some Zorn questions Charlemagne Palestine Re: Free Flutists? Re: Charlemagne Palestine Re: Zorn List Digest V2 #767 yet more NYT RE: more FMP news Re: more on the times Re: Couple Questions RE: Couple Questions Re: Couple Questions Re: Free Flutists? RE: Couple Questions Re: Free Flutists? Re: Free Flutists Re: The ubiquitous Greg Cohen Re: Free Flutists? ---------------------------------------------------------------------- Date: Wed, 06 Oct 1999 17:37:08 -0400 From: Jeni Dahmus Subject: Re: some Zorn questions Andy Miller wrote: > 2. In the liner notes to 'The String Quartets' Zorn makes some strong > claims for "Memento Mori"-- something about how the piece was a sort of > breakthrough for him, etc. I've listened to this several times but always > mind myself getting bored with it. Any ideas what Zorn is getting at with > this composition? (and in his remarks about it?) I think the beauty of "Memento Mori" lies in its subtle through-composed structure. Zorn takes the listener on an intimate "journey" in which the musical expression is stripped of conventional models. There is an element of mystery regarding what compositional method will be implemented as the piece unfolds--much like the spontaneity of an example Zorn cited in the liner notes, Harry Smith's Heaven and Earth Magic. I suppose the piece was a breakthrough for Zorn because he approached writing from a different perspective (a gradual working out or stretching of the framework). The string quartet is a perfect medium for an introspective work of this nature; it can express a private dialogue in a way that larger forms cannot. Jeni - - ------------------------------ Date: Wed, 6 Oct 1999 14:57:58 -0700 (PDT) From: Tom Pratt Subject: Charlemagne Palestine I'd just like to quickly rave about the new Charlemagne Palestine disc on New World called 'Schlingen-Blangen'. For those who don't know, Palestine was one of the main innovators of the '70s minimalist movement that included Terry Riley, Philip Glass, Steve Reich and others. For some reason, while those folks gained a lot of attention (even mainstream success), Palestine has continued to remain a largely unknown and neglected figure in music. The disc is a single 72-minute piece for solo organ (performed by Palestine) that evolves very slowly and makes use of some really lush harmonics. It's pretty similar to a lot of Terry Riley's organ works, so I'd definitely recommend this one to any of his fans. Anyway, it's a beautiful disc. For those who are interested, there's a feature article on Palestine at http://home.cdsnet.net/~michaelm/death/charla/html and a really fantastic interview (check this one out!) at http://home.cdsnet.net/!michaelm/death/ch_int.html. Lastly, does anyone know anything about the two Palestine albums on Barooni (Barooni 14 & 19) listed in the selective discography of the liner notes? I'm assuming they're long out-of-print LPs. Am I right? -Tom Pratt ===== __________________________________________________ Do You Yahoo!? Bid and sell for free at http://auctions.yahoo.com - - ------------------------------ Date: Wed, 6 Oct 1999 15:01:04 -0700 (PDT) From: Tom Pratt Subject: Re: Free Flutists? - --- brian_olewnick@smtplink.mssm.edu wrote: > Possibly a silly question, but, aside from the > arguable example of > Robert Dick, are there any free players around > who stick exclusively > to the flute? Not someone like Braxton who > sometimes plays flute and > sometimes plays free, but...the Derek Bailey of > the flute. I don't have an answer to your question, but it prompted a question in my head (which could end up answering your question after all). Has anyone heard the Matthias Ziegler solo CD that just came out? I'd love to hear some comments on that one. Thanks. -Tom Pratt ===== __________________________________________________ Do You Yahoo!? Bid and sell for free at http://auctions.yahoo.com - - ------------------------------ Date: Wed, 6 Oct 1999 18:07:08 -0500 From: Joseph Zitt Subject: Re: Charlemagne Palestine On Wed, Oct 06, 1999 at 02:57:58PM -0700, Tom Pratt wrote: > For those who are interested, there's a feature > article on Palestine at > http://home.cdsnet.net/~michaelm/death/charla/html and That would be http://home.cdsnet.net/~michaelm/death/charla.html > a really fantastic interview (check this one out!) at > http://home.cdsnet.net/!michaelm/death/ch_int.html. and http://home.cdsnet.net/~michaelm/death/ch_int.html - -- |> ~The only thing that is not art is inattention~ --- Marcel Duchamp <| | jzitt@metatronpress.com http://www.metatronpress.com/jzitt | | Latest CD: Shekhinah: The Presence http://www.mp3.com/josephzitt | | Comma: Voices of New Music Silence: the John Cage Discussion List | - - ------------------------------ Date: Wed, 6 Oct 1999 17:30:13 -0500 (CDT) From: Whit Schonbein Subject: Re: Zorn List Digest V2 #767 On Wed, 6 Oct 1999, Zorn List Digest wrote: > Date: Wed, 6 Oct 1999 17:58:40 +0200 > From: "Stefan Verstraeten" > Subject: Re: contacting avant > np frisell...good dog happy man..... one of his best albums in my opinion i agree wholeheartedly. i /really/ like this album (and i'm usually a fan of his older material, e.g., this land, where in the world, and live material with the frisell/driscoll/baron trio). it really fills a niche in my music collection, and i find myself coming back to it time and time again. cheers, whit schonbein np: plug (luke vibert), 'drum'n'bass for papa' - --------------------------------- http://artsci.wustl.edu/~wwschonb - - ------------------------------ Date: Wed, 6 Oct 1999 15:38:35 -0700 (PDT) From: Ryan Novak Subject: yet more NYT >Date: Wed, 06 Oct 1999 12:45:41 -0500From: Mark >Corroto >Subject: NYT started it.... >At the risk of assasination and censure: >My wife made an astute observation regarding the >Timespiece >Zorn's career is tracking the same path as Spike Lee's >preaching to the converted is boring >enlightening the uninformed is much more interesting I read the NYT article (and now I can get the NYT, pretty cool, thanks) and I thought it was, well, written by a guy who doesn't know Zorn too well and doesn't want to start. But at the same time, all of those points are valid. Zorn's probably on to something good but he may be over-zealous about it a lot of the time. I think when he started with hardcore it was a lot like that (and someone mentioned not wanting to "follow" that particular path). Probably in time that will chill out and writers won't get distracted by all the peripheral stuff and they'll focus on the music instead. - ---Ryan Novak ===== __________________________________________________ Do You Yahoo!? Bid and sell for free at http://auctions.yahoo.com - - ------------------------------ Date: Wed, 6 Oct 1999 18:06:24 -0500 From: "John Thomas" Subject: RE: more FMP news >>so we'll have to wait a bit longer for the first Evan=20 >>Parker/Schlippenbach/Lovens record in 8 years. but check out what else FMP=20 >>has planned for their next set of releases: >>FMP CD 106:=A0=A0COMPLETE COMBUSTION - Schlippenbach Trio=20 >>Evan Parker: soprano + tenor saxophones >>Alexander von Schlippenbach: piano >>Paul Lovens: drums + percussion >>Recorded April 1998, Berlin (75:00)=20 I heard from FMP directly that this should be available in Europe in November '99 and available through Cadence in December '99 just in time for Xmas stocking stuffing. :-) John - - ------------------------------ Date: Wed, 06 Oct 1999 20:34:09 -0400 From: Steve Smith Subject: Re: more on the times philz wrote: > >"The prime architects of the new sensibility are Mr. Zorn, *who now > >considers himself a Jewish composer*..." > > But isn't he? Why else would he do pieces like Kristalnacht, or make > a band like Masada? He has emphasized his culture so that I can't > personally help but think of him in those terms, at least partially I think the point of emphasis is "now considers himself a Jewish composer." This seems to be painting Zorn as an opportunist, something of a Johnny-come-lately who found an easy marketing hook. This seems to deny that Zorn has always been Jewish and also that he's still doing music not easily categorized as "Jewish." > >"The titles of his compositions *often evoke Jewish victimhood*..." > > Like Kristalnacht? I stood packed in a dark room in the old Knitting > Factory assaulted by the sounds of that piece and understood a piece > of the Holocaust that I might not have otherwise understood... is > this comment really inaccurate? It is if you focus on the word "often," which was where I was looking. Aside from 'Kristalnacht' and the band name Masada, are there actually enough other examples to justify using the word "often," which to my mind is being used to reinforce the premise that Zorn is looking to evoke his eternal victimhood? > >"Recently, Mr. Zorn has spoken *in almost hallucinatory tones* about > >what it means to be Jewish in America." > > This sounds like the writer's attempt to add color and imagery to his > article... much of what I talk about my coworkers probably find > hallucinatory (but maybe that's 'cause I smoke too much :) Yes, but in this particular case, given that the writer has been expending so much effort to point out the general falsehood and opportunism of Zonr's Jewish stance, the word "hallucinatory" is just one more twist of the knife. Everyone, but everyone, with whom I have spoken has pointed out that particular phrase and its implications. > >"It may be that for Mr. Zorn, Jewishness answers a deeply felt > >desire - a desire not to be a white jazz musician. *By invoking his > >own history of oppression, he can assert his right to play the > >blues*, without the racial envy that often burdens white musicians." > > OK, this unbased speculation is probably the most offensive thing in > the article, but I really don't think the writer was attempting to > misrepresent Zorn, just place him inside the growing emphasis on > Jewish culture that Zorn has cultivated. Clearly it's only a piece > of the Zorn puzzle, which is the writer's major mistake, but it is > the most obvious attribute of Zorn to anyone who hasn't followed his > music closely. But please remember that probably 99.999999999999999% of those who will see this article fit into the category of those who haven't followed Zorn's career at all, let alone closely. In that light, is this article a fair introduction? > Well, better leave me in the dark, I still find the article, even > with the comments illustrated above, generally positive and > inoffensive. It focuses attention on the artists involved and on some > of their personal interests. No, it doesn't, and that's a big part of the problem. A premise is introduced, one which may have been interesting if developed, and then just as quickly it is abandoned in order to launch into this Zorn/Lindsay dichotomy. Steve Smith ssmith36@sprynet.com - - ------------------------------ Date: Wed, 06 Oct 1999 20:38:13 -0400 From: Steve Smith Subject: Re: Couple Questions Jeremy Isaac Mc Cormick wrote: > Does anyone know of any Downbeat articles about David S. Ware? I'm > interested in checking out what equipment he uses. Anything in the past > year or two would be cool. Not Down Beat, no, but there was a Jazz Times article in Ocotber 1998, and I do think that Jazz Times also lists equipment at the end of articles. There was also a Jazziz cover story but I don't think they list equipment. Steve Smith ssmith36@sprynet.com - - ------------------------------ Date: Wed, 6 Oct 1999 17:50:15 -0700 From: "Benito Vergara" Subject: RE: Couple Questions > -----Original Message----- > From: owner-zorn-list@lists.xmission.com > [mailto:owner-zorn-list@lists.xmission.com]On Behalf Of Steve Smith > Sent: Wednesday, October 06, 1999 5:38 PM > Jeremy Isaac Mc Cormick wrote: > > > Does anyone know of any Downbeat articles about David S. Ware? I'm > > interested in checking out what equipment he uses. Anything in the past > > year or two would be cool. According to the liner notes in "Go See The World" (1998), "David S. Ware plays Buffet Crampon tenor saxophones exclusively." Linking this back to the NY Times, can anyone elaborate on the supposed connection (earlier alluded to by Kurt or Steve maybe, I can't remember) between the NYT article on Susie Ibarra and her departure from the Ware Quartet? Later, Ben np: "in memoriam gilles deleuze" http://www.bigfoot.com/~bvergara/ ICQ# 12832406 - - ------------------------------ Date: Wed, 06 Oct 1999 20:57:37 -0400 From: "Rick Lopez" Subject: Re: Couple Questions >According to the liner notes in "Go See The World" (1998), "David S. Ware >plays Buffet Crampon tenor saxophones exclusively." > >Linking this back to the NY Times, can anyone elaborate on the supposed >connection (earlier alluded to by Kurt or Steve maybe, I can't remember) >between the NYT article on Susie Ibarra and her departure from the Ware >Quartet? Well... Actually the Ibarra split post-NYT was with Willi', Parker and all of his projects. She had left the Ware Qrtt a short while before that. Complications on their complications, RL Marilyn Crispell, Susie Ibarra, William Parker, Sam Rivers, Matthew Shipp, David S. Ware, and Reggie Workman Discographies--Samuel Beckett Eulogy--Baseball & the 10,000 Things--Time Stops--LOVETORN--HARD BOIL--etc., at: http://www.velocity.net/~bb10k UPDATE August 20, 1999: vids, a few CDs, baseball books, a few Cadence back issues, a few more CDs... ***Very Various For Sale: ***http://www.velocity.net/~bb10k/4SALE.html - - ------------------------------ Date: Wed, 6 Oct 1999 22:33:55 -0400 From: "Daniel L Brown" Subject: Re: Free Flutists? > Possibly a silly question, but, aside from the arguable example of > Robert Dick, are there any free players around who stick exclusively > to the flute? Not someone like Braxton who sometimes plays flute and > sometimes plays free, but...the Derek Bailey of the flute. Not a completely free player (think Dolphy instead of Bailey), but James Newton has some wonderful stuff out there.... Dann - - - - ------------------------------ Date: Tue, 5 Oct 1999 23:41:21 -0300 From: "Hugo Linares" Subject: RE: Couple Questions Jeremy Isaac Mc Cormick wrote: > > Does anyone know of any Downbeat articles about David S. Ware? I'm >interested in checking out what equipment he uses. Anything in the past >year or two would be cool. > There's one in the January '95 issue (Sonny Rollins on the cover): David S. Ware/Charles Gayle.- Tenor Madness (pages 34, 35, 36 and 37). Best, Hugo - - ------------------------------ Date: Thu, 07 Oct 1999 00:35:15 -0400 From: Matthew Ross Davis Subject: Re: Free Flutists? Not necessarilly a 'free' flute player, but definitely one to know if you're interested in contemporary flautists is John Fonville. He has done a LOAD of recordings with various composers and improvisors (including the whole Roulette gang) and even has a CD out on the Einstein label with some of his own compositions along with other composers. Some of the microtonal stuff he can do is pretty amazing! - - ------------------------------ Date: Thu, 7 Oct 1999 07:14:14 +0200 From: "Stefan Verstraeten" Subject: Re: Free Flutists >From: brian_olewnick@smtplink.mssm.edu >Subject: Free Flutists? > > Possibly a silly question, but, aside from the arguable example of > Robert Dick, are there any free players around who stick exclusively > to the flute? Not someone like Braxton who sometimes plays flute and > sometimes plays free, but...the Derek Bailey of the flute. > > Brian Olewnick Hi Brian, how do you do? The derek bailey of the flute, ahum, interisting point of view... I would defintitely recommend Bobbi Humphrey, and as far as i know she exclusively plays the flute. But there is one problem, because the only albums that were released so far on the blue note label are 'blue breakbeats' and 'black and blues'.... albums that are filled with very beautiful and very steaming jazz-funk-soul ..... but no free playing i am afraid. She has definitely made free music as well but no rereleased i am afraid. Although i can't wait to hear this free stuff, because she really has incredible techniques..... ps anyone on this list knows what she does these days Best wishes stefan verstraeten NP Bobbi Humphrey: Blue bREAKBEATS.... or what did you think - - ------------------------------ Date: Thu, 7 Oct 1999 09:58:38 GMT0BST From: DR S WILKIE Subject: Re: The ubiquitous Greg Cohen He IS everywhere - check out Annie Ross' character's band in the nightclub in Short Cuts. Greg plays a bass player, and his old buddy Tom Waits plays the drunk slumped over the bar. Sean Wilkie - - ------------------------------ Date: Thu, 07 Oct 1999 13:38:23 CEST From: "Andreas Dietz" Subject: Re: Free Flutists? This is a multi-part message in MIME format. - ------=_NextPart_000_27ea972f_7528cc71$2ea98223 Content-Type: multipart/alternative; boundary="----=_NextPart_001_49bc7731_7528cc71$2ea98223" - ------=_NextPart_001_49bc7731_7528cc71$2ea98223 Content-Type: text/plain; format=flowed > Possibly a silly question, but, aside from the arguable example of > Robert Dick, are there any free players around who stick exclusively > to the flute? Not someone like Braxton who sometimes plays flute and > sometimes plays free, but...the Derek Bailey of the flute. > > Brian Olewnick > Not a Derek Bailey but I have to mention Michael Heupel, a member of the Cologne Loft Scene. He plays the whole flute family from piccolo to subcontrabassflute (according to the lines notes on his solo cd 'Flute News' from 1989 he is the only one who has such a flute in the whole world). In the early eighties he played with the band BOURY. Heīs not well known but he does very interesting flute explorations in different moods. I think before his premature death Thomas Chapin was the most amazing flute player though he didnīt use it as his major instrument. Andreas Dietz ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com - ------=_NextPart_001_49bc7731_7528cc71$2ea98223 Content-type: text/html
                            
       Possibly a silly question, but, aside from the arguable example of
     Robert Dick, are there any free players around who stick exclusively
     to the flute? Not someone like Braxton who sometimes plays flute and
     sometimes plays free, but...the Derek Bailey of the flute.

     Brian Olewnick


Not a Derek Bailey but I have to mention Michael Heupel, a member of the Cologne Loft Scene. He plays the whole flute family from piccolo to subcontrabassflute (according to the lines notes on his solo cd 'Flute News' from 1989 he is the only one who has such a flute in the whole world). In the early eighties he played with the band BOURY. Heīs not well known but he does very interesting flute explorations in different moods.

I think before his premature death Thomas Chapin was the most amazing flute player though he didnīt use it as his major instrument.

Andreas Dietz

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