From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest) To: zorn-list-digest@lists.xmission.com Subject: Zorn List Digest V2 #989 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 Wednesday, July 5 2000 Volume 02 : Number 989 In this issue: - funk Re: Grant Green/Bill Frisell Frisell guitar jazz (Zorn content) ticket for Masada in Montreal Re: psychedelic info Re: frisell / was green Frisell (a bit long) RE: frisell / was green RE: Frisell (a bit long) Re: Frisell (a bit long) Thanks for Green/Frisell ribot article Re: Frisell (a bit long) U.S. Customs Re: U.S. Customs Re: U.S. Customs ---------------------------------------------------------------------- Date: Wed, 5 Jul 2000 11:36:41 EDT From: ObviousEye@aol.com Subject: funk The james brown recommendation was on the mark, get some of that. If you want very complex orchestration and fluid funk, go Curtis Mayfield. IMO "Superfly" is the classic, even though it is a soundtrack. ben - - ------------------------------ Date: Wed, 5 Jul 2000 12:01:43 -0400 (EDT) From: Ken Waxman Subject: Re: Grant Green/Bill Frisell Hey guys: You keep coming up with all these "could be" "sounds like" guitar records for poor Mr. Enet. If he heard Grant Green obviously he likes straight ahead guitar. So the best idea would be for him to listen to Kenny Burell, Jim Hall, (early) Wes Montgomery etc. Then we he has his fill of that he can check out Bill F. (not to mention Dereek Bailey). Ken Waxman - - ------------------------------ Date: Wed, 5 Jul 2000 12:22:58 -0400 (EDT) From: Matthew Ross Davis Subject: Frisell guitar jazz (Zorn content) > > thing, just a little nice Frisell guitar jazz record. Thanks in advance, Some of the very best Frisell "guitar jazz" is found with Zorn on the News for Lulu CD's on HatArt. - -mrd - - ------------------------------ Date: Wed, 5 Jul 2000 12:22:22 EDT From: JonAbbey2@aol.com Subject: ticket for Masada in Montreal please note that i'm forwarding this message for someone else, don't respond to this address. thanks! - ------------------------------------- Hi there, I just found out that I will have one extra ticket for John Zorn's Masada this Friday night in Montreal. If there is anyone on the list that would like to purchase the ticket from me (at the regular cost, no extra!) please contact me at mikewo@hotmail.com We're driving up from halifax!!! Mike. - - ------------------------------ Date: Wed, 5 Jul 2000 12:40:45 -0500 From: "gabe wingfield" Subject: Re: psychedelic info i'd like to second the recommendation for delerium. on the web site, there are also a few interviews as well as brief write-ups about psych bands categorized according to country & period/decade. you might also try bomp! records. they also have a somewhat spotty mailing list. forgive i don't know the url off the top of my head. another good reissue label, especially for the more garage/beat end of the psych spectrum is sundazed. they have a huge online catalog, & almost every release has something written about it. from time to time they also update the news section with interesting interviews and such. you can find it at http://www.sundazed.com. i suggested this to joslyn off-list, but you might also be interested in the DroneOn list. ostensibly dedicated to drone music, it often veers into old psych, folk, basically any type of music. at the risk of being blackballed here, i would say it covers a much more diverse range of music than this list, and i know a few zorn listers also belong to it as well (or at least used to). a nice series of faq pages can be found at http://www.no-fi.com/droneon_faq/index.html i hope some of this helps. gabe - - ------------------------------ Date: Wed, 5 Jul 2000 13:28:48 -0500 (CDT) From: Whit Schonbein Subject: Re: frisell / was green > Date: Tue, 4 Jul 2000 21:17:39 -0400 > From: "Neil H. Enet" > Subject: Grant Green > > I was wondering if Mr. Frisell had some releases that were close to Green's > Idle Moments. frisell shows up on Jim Hall's "Dialogs" disc, which i think is a disc of hall with different lineups. here's the personell: "Dialogues" Jim Hall (g); Gil Goldstein (acc); Joe Lovano (ts); Tom Harrell (fl.hn); Mike Stern/ Bill Frisell (g); Scott Colley (b); Andy Watson (d). 1995. i'm not sure which tracks frisell plays on. also, he performed with a quartet led by hall in 1995 at some point; this is pretty straight ahead stuff in the bop-ish tradition. i don;t know if they ever recorded an album. frisell used to study with hall at some point, early in his career, which explains the connection. as for the rest of frisell's work: 'live' is incredible. 'this land' is a great document of his work with the sextet. 'what in the world' is an excellent document of his work with the quartet w/ hank roberts. i really like 'good dog happy man', but don't think you would like it, given your comments. basically, anything with the core unit of frisell, driscoll, and baron will be very strong, and 'live' comes at the top of the list. oh yeah - doesn't frisell play on joey baron's 'down home' disc with a. blythe and greg cohen? i hear that disc is very straight ahead, but i haven't heard it. happy listening, whit - - ------------------------------ Date: Wed, 05 Jul 2000 12:48:26 -0600 From: "Matthew W Wirzbicki (S) " Subject: Frisell (a bit long) >I was wondering if Mr. Frisell had some releases that were close >to Green's Idle Moments. As Ken pointed out I'm not sure that you're going to find a "nice Frisell Jazz record." Some people debate even putting frisell in the jazz ranks. His skill deserves it I think it's mainly a question of style. I think that his best adaptation of a standard piece is not a jazz piece at all but rather copland's Billy the Kid on "have a little faith" (nonesuch). Personally I like this version more than the symphonic rendition. I think he also plays a couple of jazz standards on this album, maybe a sonny rollins tune but I don't have the disc infront of me. He also plays Hiatt's "have a little faith" and a Madonna tune. still, if you're willing to hear his stuff that may be decidedly unlike Grant Green then listen to the masses: "LIVE" w/ Kermit Driscoll and Joey Baron is his best. My personal second favorite of his work is an album that hasn't been mentioned called "Where in the World." This album features the above trio plus cellist Hank Roberts (who may also play jazz-o-phone fiddle on the recording). I feel that this album is a pretty cohesive 'full album.' In other words the whole album makes a nice piece in and of itself which doesn't happen on most of his other releases. After that go with the Buster Keaton's "Go west" and "high sign/one week". Basically, trust the trio with Driscoll and Baron. "tales from the far side" is also a good one- nice cover art too, IMHO. has anyone ever tried to listen to the Buster Keaton discs while watching the movie? As I understand it that's how it was performed live...am I wrong? >I understand that Bill Frisell has some albums that mess >around with a little country music ... I'm not interested in that kind >of thing, In my opinion you start to see traces of that in "gone just like a train" and then in "good dog happy man" it's full blown. Stay away from these. His earlier stuff is better. I saw him in Boulder this past year with his new quartet -- not recommended. Very sad. I thought the drummer, Kenny Woll-whatever was pretty bad but I'm sure other people here support some of his other stuff. Matt Wirzbicki - - ------------------------------ Date: Wed, 5 Jul 2000 16:24:21 -0300 From: Linares Hugo Subject: RE: frisell / was green Whit wrote: > oh yeah - doesn't frisell play on joey baron's 'down home' disc with a. > blythe and greg cohen? [Linares Hugo] Yes, he does; and the bassist is Ron Carter, instead of Cohen. You wouldn't recognize Frisell's playing if you weren't warned before. In a couple of tracks he's really funky indeed. > i hear that disc is very straight ahead, but i > haven't heard it. [Linares Hugo] It is pretty strightahead, but worth listening to. By the way, is new Baron's cd in stores right now? Hugo Linares - - ------------------------------ Date: Wed, 5 Jul 2000 17:04:18 -0300 From: Linares Hugo Subject: RE: Frisell (a bit long) > new quartet -- not recommended. Very sad. [Linares Hugo] That's bad news. > I thought the drummer, Kenny > Woll-whatever was pretty bad but I'm sure other people here support some > of > his other stuff. [Linares Hugo] I listened to Kenny Wollesen with Masada and he played great. Just my two pesos. Hugo Linares. > - - - ------------------------------ Date: Wed, 5 Jul 2000 16:21:42 EDT From: IOUaLive1@aol.com Subject: Re: Frisell (a bit long) In a message dated 7/5/2000 2:49:40 PM Eastern Daylight Time, M_WIRZBICKI@ColoradoCollege.edu writes: > > still, if you're willing to hear his stuff that may be decidedly unlike > Grant Green then listen to the masses: "LIVE" w/ Kermit Driscoll and Joey > Baron is his best. My personal second favorite of his work is an album that > hasn't been mentioned called "Where in the World." This album features the > above trio plus cellist Hank Roberts (who may also play jazz-o-phone fiddle > on the recording). Seconded ! The Frisell quartet with Joey, Kermit and Hank is I think some of his best stuff ... most definitely it was when they played live. And the LIVE album is incredible too ... > has anyone ever tried to listen to the Buster Keaton discs while watching > the movie? As I understand it that's how it was performed live...am I > wrong? I have a video from Frankfurt where they were playing the music live, along with the movies on a big screen. - -Jody - - ------------------------------ Date: Wed, 5 Jul 2000 16:32:34 -0400 From: "Neil H. Enet" Subject: Thanks for Green/Frisell Hello list, I've really enjoy all your comments and recommendations for Mr. Frisell (and I expect to hear even more!!!). The reason why I asked for Frisell albums is that since I enjoyed Green's Idle Moments, I mean, a Guitar Jazz record, I thought I would check out a Frisell album, since I enjoy all of his work in Naked City and Spillane. There are bits and pieces in these albums that are "standard" if you know what I mean, so I thought I would check out some of his albums. I will definetely check out LIVE since I think EVERYBODY has said that it's great. I also read that the DOWN HOME album by Joey Baron is very "standard" so I'll check out that one too, and then I'll take from there. Thanks very much for all your help, and I'll be waiting to see what else you recommend....thanks. Neil H. Enet - ------------ - - ------------------------------ Date: Wed, 05 Jul 2000 18:04:15 -0500 From: kurt_gottschalk@scni.com Subject: ribot article here's a story on marc for y'all. if you want the lengthy kiss tribute that knight-ridder did, email privately. np: george clinton - computer games kg With AP Photo NY327 of July 5 Guitarist finds energy in Cuban music BY JAIME HOLGUIN Associated Press Writer NEW YORK (AP) - Guitarist Marc Ribot is a musician's musician, capable of traveling in many directions and unafraid to explore extremes. Elvis Costello, Marianne Faithfull and Tom Waits have used his passionate guitar playing on their albums and tours. His own projects range from Haitian classical to punk and avant-jazz. Though disparate, his music is bound, he said, "by an energy that I got addicted to when I was very young and heard rock bands playing in small rooms where everybody's sweating and pushing each other. "That kind of intensity is what I look for." A few years ago, Ribot found it in Cuban music, particularly the work of blind bandleader and tres player Arsenio Rodriguez, whose career spanned several decades beginning in the 1920s. "He was the Jimi Hendrix of his time and place, really pushing the envelope on what it was possible to play, and that interested me right away," said Ribot, 46, who decided to reinterpret some of the music. Rodriguez's band generally included backup singers, large percussion section, full horn section, piano and tres (a small double-stringed variant of the guitar). Ribot had only a handful of musicians to work with, so first he learned the songs as guitar solos. "If the other musicians screwed them up," he explained, "I'd still be playing something. I could keep it going all by myself." Fortunately, he found four equally proficient musicians in keyboardist Anthony Coleman, bassist Brad Jones, percussionist E.J. Rodriguez and drummer Robert J. Rodriguez. During a recent performance at the Knitting Factory, Los Cubanos Postizos played with the energy of a punk rock band and the soul of an original Cuban son band. That spirit is captured on the new album "MUY DIVERTIDO! (Very Entertaining!)" (Atlantic), a mixture of original material and interpretations of old Cuban songs. Like its predecessor, "MUY DIVERTIDO!" successfully fuses the sound of New York City's avant-garde scene, of which Ribot is a leading light, with the austerity of Cuban folk music. The quirky percussion and muted melodies of "Obsession" are reminiscent of Ribot's earlier work with the enigmatic crooner Waits, while "Baile Baile Baile" draws from his more discordant inclinations. On "Dame Un Cachito Pa'Huele," the band reinvents Rodriguez's 1940s hit, doing for the original what Carlos Santana did for the Tito Puente-penned classic "Oye Como Va." With the recent popularity of all things Latin, it's not surprising that Los Cubanos Postizos is Ribot's most successful solo project to date. Although he welcomes the attention, "it upsets me that we seem to have wound up being trendy more than it upsets anyone else. Basically, we did the first record because it was fun, and we did the second record because it was still fun." Though not a household name, Ribot does carry clout in the music business, especially within New York City's downtown music scene. Whenever he wants to try out a new project, he books a gig somewhere and uses one of the city's performance venues as his rehearsal space. The results vary depending on his collaborator. Whether it's making discordant atonal squawks with noise adventurer Mike Patton, plucking lush nylon-stringed melodies with Peruvian-singer Susana Baca, or creating hip-shaking Cuban rhythms with his band, Ribot consistently leaves his unique mark. His musical training began at an early age with family friend Frantz Casseus, the Haitian classical composer and guitarist. Casseus played often at the Ribot family home in suburban New Jersey. "I've heard him playing since I was 6 years old," he said. Though he formally studied with Casseus for three years, "It's not like I was some budding 11-year-old classical guitar virtuoso," Ribot said. "All I wanted to do was play in a garage rock band." - - ------------------------------ Date: Wed, 05 Jul 2000 18:19:45 -0400 From: James Hale Subject: Re: Frisell (a bit long) Matthew W Wirzbicki (S) wrote: > has anyone ever tried to listen to the Buster Keaton discs while watching > the movie? As I understand it that's how it was performed live...am I > wrong? The trio performed with the films at Victoriaville a few years ago (their last performance). It was brilliant... particularly Joey. I think you miss Frisell's recent recordings at your loss. Good Dog, Happy Man and Ghost Town are filled with fabulous improvisation and some beautiful tonal explorations. James Hale - - ------------------------------ Date: Wed, 5 Jul 2000 15:35:10 -0700 (PDT) From: Craig Matsumoto Subject: U.S. Customs Apologies to non-U.S. list members; this is a bit off-topic... Twice recently, I've heard about Japanese noise/electronics artists being unable to enter the U.S. They get detained at customs and told to go home. * First, in May, Yasuhiro Otani was stopped in Chicago en route to the Big Sur festival in California. Reportedly, Customs saw his computer/electornics gear and decided he must be coming to the U.S. for work ... and they sent him home. * More recently, KK Null and Masashi Kitawara (SP) of the band "YBO?" couldn't get to San Francisco for a show. Not sure why, but I'd guess the reason is similar. I'm curious if similar stories are cropping up here and there. There's a bit of controversy about foreign engineers being brought to the U.S. to work, and it'd be amusing if certain types of musicians (Asian, carrying computers) were being mistaken for engineers and programmers. Or maybe I'm just jumping to conclusions, in which case you should ignore this post. :) - -- Craig Matsumoto KZSU, 90.1 FM, Stanford University wedge@slip.net - - ------------------------------ Date: Wed, 05 Jul 2000 15:42:22 -0700 From: "Patrice L. Roussel" Subject: Re: U.S. Customs On Wed, 5 Jul 2000 15:35:10 -0700 (PDT) Craig Matsumoto wrote: > > I'm curious if similar stories are cropping up here and there. There's a > bit of controversy about foreign engineers being brought to the U.S. to > work, and it'd be amusing if certain types of musicians (Asian, carrying > computers) were being mistaken for engineers and programmers. > > Or maybe I'm just jumping to conclusions, in which case you should ignore > this post. :) I remembered that another Japanese musician was blocked at the airport of Porltand OR. Unfortunately, I can't remember the name of the artist. Patrice. - - ------------------------------ Date: Wed Jul 05 18:55:34 2000 From: Dgasque@aol.com Subject: Re: U.S. Customs This has been a hot topic on the rec.music.afro-latin NG. Seems as though there are many artists trying to come to the United States from Cuba for tour dates that have been set up in advance by promoters, yet they've been denied visas by U.S. Customs because they're afraid they will request asylum. Many of these musicians have given proof such as having to be able to provide for sick parents, wives/children, etc., but the pleas go unnoticed. =dg= - -------------------- In a message dated Wed, 5 Jul 2000 6:35:57 PM Eastern Daylight Time, Craig Matsumoto writes: << Apologies to non-U.S. list members; this is a bit off-topic... Twice recently, I've heard about Japanese noise/electronics artists being unable to enter the U.S. They get detained at customs and told to go home. * First, in May, Yasuhiro Otani was stopped in Chicago en route to the Big Sur festival in California. Reportedly, Customs saw his computer/electornics gear and decided he must be coming to the U.S. for work ... and they sent him home. * More recently, KK Null and Masashi Kitawara (SP) of the band "YBO?" couldn't get to San Francisco for a show. Not sure why, but I'd guess the reason is similar. I'm curious if similar stories are cropping up here and there. There's a bit of controversy about foreign engineers being brought to the U.S. to work, and it'd be amusing if certain types of musicians (Asian, carrying computers) were being mistaken for engineers and programmers. Or maybe I'm just jumping to conclusions, in which case you should ignore this post. :) - -- Craig Matsumoto KZSU, 90.1 FM, Stanford University wedge@slip.net - - >> - - ------------------------------ End of Zorn List Digest V2 #989 ******************************* To unsubscribe from zorn-list-digest, send an email to "majordomo@lists.xmission.com" with "unsubscribe zorn-list-digest" in the body of the message. For information on digests or retrieving files and old messages send "help" to the same address. Do not use quotes in your message. A non-digest (direct mail) version of this list is also available; to subscribe to that instead, replace all instances of "zorn-list-digest" in the commands above with "zorn-list". Back issues are available for anonymous FTP from ftp.xmission.com, in pub/lists/zorn-list/archive. These are organized by date. Problems? Email the list owner at zorn-list-owner@lists.xmission.com