Prelapse

From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest) To: zorn-list-digest@lists.xmission.com Subject: Zorn List Digest V3 #96 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, October 4 2000 Volume 03 : Number 096 In this issue: - Re: drumming Prelapse RE: list demographics Age Re: Prelapse, violin, age Re: Re: Age Re: Re: Age new Random Acoustics releases age violin Re:Uncle Bill's Minute Reconstructions Mozart/ modern music (no zorn content) Re:Uncle Bill's Minute Reconstructions PD: Re:violin ---------------------------------------------------------------------- Date: Wed, 04 Oct 2000 18:18:58 -0400 From: Robert Bolling Subject: Re: drumming Arthur Gadney wrote: Any recommendations for drums heavy, guitar soft metal bands? Though this isn't metal in the classic sense (neither is Napalm Death, for that matter) the latest CD from Discordance Axis, "The Inalienable Dreamless", features some insane drum work, courtesy of Dave Witte. Dave used to play in the seminal death-grind outfit Human Remains. The guitar work on "Dreamless" is rather atypical for metal, very trebly, with riffs being fed through flangers and other effects (usually for the length of the song, though the songs are fairly short in duration to begin with). The vocalist sounds like a maniac, of course, but if you can hang with Lee Dorian and Barney, I don't think you'll mind. Also, the band has no bass player, just guitar, drums, and screams. The CD comes in a DVD case with wonderful artwork and packaging. As far as speed goes, Flo Mournier of Cryptopsy is my fave drummer; his blasts make Mick Harris' sound like a funeral march. This is the first time I've ever shot something out on this list, I've been a voyeur for quite some time. I just wanted to say thanks to everyone for the recommendations over the last 6 months, as I've had my eyes (or should I say ears) opened to some incredible musical vistas. Thanks! Peace, Rob P.S.: Good luck Arthur! - - ------------------------------ Date: Wed, 4 Oct 2000 15:30:10 -0700 From: mcizon@800.com Subject: Prelapse 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_01C02E52.A91854F2 Content-Type: text/plain; charset="iso-8859-1" First of all, allow me to say it's good to be back on the list after a three-year sabbatical. Anyway, I apologize in advance if this has been covered recently, but I was wondering what self-titled Prelapse Avant CD is like. I hear things like it features never-before-released Naked City compositions. That Zorn guests on a handful of tracks. That it's excellent. Please confirm/deny this hearsay. Much obliged, Murray Age: 24 NP: Don Cherry "Complete Communion" NR: Lone Star Swing (D. McLean) - ------_=_NextPart_001_01C02E52.A91854F2 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Prelapse

First of all, allow me to say it's good to be back on = the list after a three-year sabbatical.

Anyway, I apologize in advance if this has been = covered recently, but I was wondering what self-titled Prelapse Avant = CD is like. I hear things like it features never-before-released Naked = City compositions. That Zorn guests on a handful of tracks. That it's = excellent. Please confirm/deny this hearsay.

Much obliged,
Murray
Age: 24
NP: Don Cherry "Complete Communion"
NR: Lone Star Swing (D. McLean)

- ------_=_NextPart_001_01C02E52.A91854F2-- - - ------------------------------ Date: Wed, 04 Oct 2000 18:30:53 EDT From: Dgasque@aol.com Subject: RE: list demographics In a message dated Wed, 4 Oct 2000 5:41:12 PM Eastern Daylight Time, pequet@altern.org (Benjamin Pequet) writes: << 26 yo guy, neat, cut, slim build, wheat complexion, seeks 18-28 yo females for sexual pleasures, threesomes welcome, must be discreet. (remainder snipped- to some people's relief, I'm sure!) >> Getting a bit beyond the Zorn scope, aren't we? ;-) - -- =dg= - - ------------------------------ Date: Thu, 5 Oct 2000 10:30:12 +1100 From: "Lee, Edgar" Subject: Age I'm 39 and live in Melbourne, Australia. I work at Missing Link record shop that has a Tzadik/Downtown/free jazz and beyond section, as well as lots of punk. I run a record label, Dr Jims that has put out quite a few artists that have Zorn connections such as Peril, Phlegm, David Watson. I appreciate this list for putting me on to loads of stuff that I would've missed out on especially if their recommended by Brian, Waxman, or Steve Smith. The record that introduced me to the avant garde was the Beatles Revolution number 9. Edgar NP Swell Maps A Trip to Marineville - - ------------------------------ Date: Wed, 04 Oct 2000 19:50:50 EDT From: DRoyko@aol.com Subject: Re: Prelapse, violin, age In a message dated Wed, 4 Oct 2000 6:31:09 PM Eastern Daylight Time, mcizon@800.com writes: << I was wondering what self-titled Prelapse Avant CD is like. I hear things like it features never-before-released Naked City compositions. That Zorn guests on a handful of tracks. That it's excellent. Please confirm/deny this hearsay.>> I became interested in Prelapse from the tracks on the Zorn Taboo & Exile (or is it Music for Children?)CD, so I bought the Prelapse disc, hoping for more of the same. My huge disappointment came as soon as I heard an Eye-style vocal in the Prelapse stuff. I despise Eye's contributions to Naked City (if I could excise his 'contributions' from NC, I'd spend a lot more time listening to their discs), and the Prelapse "Eye-lite" takes a lot away from their music for me. As for violinists, I missed some of the posts, but I didn't see Mark O'Connor mentioned, which surprises me (unless the original post asked about strictly avant-style players). Yes, he's doing classical crossover these days, and he's never done anything remotely avantish, but he is one monster if an improvising instrumentalist. Certainly technically, there's never been anybody even remotely on his level in the non-classical world, and very few in the classical field either. But it is what he does with it that can be mind-boggling. His best stuff is still found in the progressive bluegrass/newgrass/new acoustic bins, usually as a sideman (especially from the 1980s, early '90s), but he's also done some a few great albums himself. Try "New Nashville Cats," or "Heroes," for starters. And having mainly lurked around here for about a year, I was surprised at how many folks are in my age bracket (41). Dave Royko - - ------------------------------ Date: Thu, 5 Oct 2000 00:55:32 +0100 From: "Alastair Wilson" Subject: Re: Re: Age wrote: > 34, look great in Italian sportcoats purchased tax-free as remainders at the Burlington Coat >Factory in Paramus, NJ, and worn over t-shirts, never ever mananged to hear Quine and >Maher's 'Basic' despite years of trying to order a copy. Don't bother - it's one of the more disappointing records I've heard in my 31 years of male existence. - - ------------------------------ Date: Wed, 4 Oct 2000 20:15:52 -0400 From: Maurice Rickard Subject: Re: Re: Age At 12:55 AM +0100 10/5/00, Alastair Wilson wrote: > wrote: >>Quine and >Maher's 'Basic' > >Don't bother - it's one of the more disappointing records I've heard in my >31 years of male existence. > What's not to like about it? Sure, it's not bursting out all over the place with Quine solos (okay, that could be a source of your disappointment), and it's got that 80s up-front Linn drum thing (possibly another), but there's a great interplay between guitars (yup, Fred plays, too) and there _are_ some hot Quine solos ("Bluffer," f'r'instance). Standouts for me are "Pickup," the aforementioned seriously-rocking "Bluffer," the lighthearted "Fala," and the evocative "Summer Storm." (Okay, most of Side 1.) "'65" is great, too, although I will admit that side two does slow down a bit. The guy who sold me my copy cautioned me that it wasn't what I expected, and said he remembered Quine telling him with delight that it didn't have any solos on it and that people would hate it. (Significant paraphrasing there; don't quote me.) I failed to be disappointed, though. Yours in relativism/pluralism/etc., Maurice - -- Maurice Rickard http://mauricerickard.com/ - - ------------------------------ Date: Wed, 4 Oct 2000 20:37:45 EDT From: JonAbbey2@aol.com Subject: new Random Acoustics releases here are descriptions for the four new Random Acoustics releases I mentioned= =20 a few days ago. Verge (www.vergemusic.com) has them in now, and I should get= =20 a bunch of the solo Lehn in next week sometime. Jon www.erstwhilerecords.com - ------------------------------------------- RANDOM ACOUSTICS Germany Gustafsson, Mats, John Corbett, Terri Kapsalis & Fred Lonberg-Holm Battuto RG-RA023-CD Jazz 786497261529 ($20.00 CD) John Corbett, guitar; Mats Gustafsson, tenor sax, fluteophone, flute, flageolet; Terri Kapsalis, violin; Fred Lonberg-Holm, cello. Recorded 1996 in Chicago. =ECI remember hearing this recording for the first time during a car ride thru Chicago in 1996. I was immediately fascinated by the tightness of the musical text. Apart from the obvious James Brown-like quality of =EBgetting down=ED, these 18 cuts have all the density, clarity and logic of some of the best scores from the heroic days of the =EBnew music=ED of the 1950s. There are moods too and fantasy and lots of improvisation ...=EE =F3Georg Graewe, Berkeley, CA, February 2000. Lehn, Thomas Feldstarken RG-RA027-CD Jazz 786497261925 ($20.00 CD) Thomas Lehn, analogue synthesizer. All compositions by Thomas Lehn. Recorded between July and October 1998 and May and October 1999. All the music was created in real time with an EMS Snthi =EBA=ED synthesizer. Schiaffini, Giancarlo Tuba Libre RG-RA025-CD Jazz 786497261727 ($20.00 CD) Giancarlo Schiaffini, tuba. Although Schiaffini=EDs place in modern jazz history is well ensconced as a trombonist, he has also built a reputation on the tuba. Solo albums are difficult vehicles in which to sustain the listener=EDs interest; but Schiaffini gets around this somewhat by adding electronics to his acoustic tuba - not by merely distorting its solitary sound, but by using the electronics as a separate, additional instrument. What he accomplished is nothing short of remarkable - not only for its virtuosity, but more importantly for its emotional depths. Stelen Four In One RG-RA026-CD Jazz 786497261826 ($20.00 CD) Johannes Bauer, trombone; Luc Houtkamp, alto & tenor sax; Dieter Manderscheid, double bass; Martin Blume, drums. Recorded in 1999 in Koln. The exquisite music on this CD symbolizes the tension between freedom and order, appealing to the listener to discard predetermined notions and immerse himself in a new world of splendours. Every piece on this recording is completely improvised. There are no melodies in the conventional sense, but there is tremendous variety, ranging from intense interaction to contemplative moments of simmering beauty. There are magnificent solos and extraordinary virtuosity. - - ------------------------------ Date: Wed, 4 Oct 2000 18:27:18 -0700 (PDT) From: =?iso-8859-1?q?A?= Subject: age I'm 20, male, even though I'm very girly looking. A np: Lawnmower Deth - Weebles Wobble But They Don't Fall Down __________________________________________________ Do You Yahoo!? Yahoo! Photos - 35mm Quality Prints, Now Get 15 Free! http://photos.yahoo.com/ - - ------------------------------ Date: Thu, 5 Oct 2000 12:38:13 +1000 From: "Julian" Subject: violin In the dying moments of the violin thread, I figured I should throw in a mention for one of my favourites, Eyvind Kang... - - ------------------------------ Date: 5 Oct 2000 03:06:33 -0000 From: "Tim Keenliside" Subject: Re:Uncle Bill's Minute Reconstructions >"There's surely a difference between Laswell's >dub(ious) splice jobs from existing material and, say, `Hotel California'" In all honesty, I feel more creativity was invested in the making of Hotel California...in fact, you too can make your very own patented reconstituted destructions of your favourite musicks, just get yerself 2 turntables and a microphone, er...2 CD decks and a mixer, and I guarantee you will be splicin' and mixin', choppin', dicin' and reconstructin' in no time, and unlike Teo and Miles, you don't even need the artist's own creative input! But hey, you can listen to whatever you want, personally I don't like tributes or reconstitutions (kinda like orange juice don't ya think?), I would rather listen to musicians performing their own compositions, or as in the case of the much exampled Big Gundown, giving a unique new twist to the material...just play yer gitar there, Bill _____________________________________________________________ Email your boss can't read - sign up for free disinfo.net email at http://www.disinfo.com, your gateway to the underground - - ------------------------------ Date: Wed, 4 Oct 2000 23:43:02 EDT From: User384726@aol.com Subject: Mozart/ modern music (no zorn content) > (but Mozart is boring in the conventional sense), In a recent letter about L'Avventura, Sigmund popped in the line above. I believe it was not supposed to imply that Mozart is always boring but I happen to find Mozart one of the most amazing composers ever. He is possibly the least innovative (with a few exceptions) popular composer ever and his music is some of the easiest to analyze in terms of form, harmonic relationships, and melodic development. Yet no one ever has been or will ever be able to come close to coping his style. He has the most easily identifiable style I've ever heard and it's because is a true master. He is also able to take the most juvenile melodic material (many of his melodies are arpeggios or scales) and make the some of the most amazing music ever. He is one of the reasons I have some problems with modern music. Today composers have to bring something new to music in order to be excepted. Handy wrote 104 symphonies and Mozart wrote 41 but today most composers can't write the same kind of piece over and over again. Can some write something with a tape loop going out of sync with itself and not be compared to Reich? Total serials today will be compared to Boulez and Babbit. If you write difficult overlapping rhythms for piano your trying to be like Nancarrow. And if a composer works with silence they will be perceived in the image of Cage. Think of how many major work there were in the twentieth century that didn't bring a new "trick" to the music world. Don't get me wrong now. I love modern music and I'm a big fan of progress. But I don't feel something has to be new to be exciting. If that were true I would have to write off the blues and most other traditional music for that matter. I mean you guys know that blues tune about women ... you know, the one that's twelve bars ... come on with the I, IV, V progression? Just some food for thought. Aaron Solomon - - ------------------------------ Date: Thu, 05 Oct 2000 03:43:34 GMT From: "Bill Ashline" Subject: Re:Uncle Bill's Minute Reconstructions >From: "Tim Keenliside" > >"There's surely a difference between Laswell's > >dub(ious) splice jobs from existing material and, say, >`Hotel California'" >In all honesty, I feel more creativity was invested in the >making of Hotel California...But hey, >you can listen to whatever you want, personally I don't >like tributes or reconstitutions (kinda like orange juice >don't ya think?), I would rather listen to musicians >performing their own compositions, or as in the case of >the much exampled Big Gundown, giving a unique new twist >to the material...just play yer gitar there, Bill Well, there's no accounting for taste, as we see time and again. Choose your poison. Whatever you like you like and for whatever reason. I don't know why I like Laswell's reconstructions any more than why I like and don't enjoy some of Zorn's productions. And actually, I didn't enjoy Uncle Bill's recent reconstruction of Irish music, while I did like the Cuban project (interpretation two over interpretation one). But what was interesting about Iara Lee's film "Modulations: Cinema for the Ear" was when Teo talks about the studio being like a musical instrument that he "plays" all the time. A point Laswell has made as well. I see these reconstructions as invoking a new paradigm of listening over production which is just as valid musically as any other production, whether you cathect with it or not. You can, as you say "rather listen" to whatever you like, but if you are going to say that a musical interpretation done in the studio is empirically of less aesthetic worth than live set of live musicians, I'm going to say it's because of how you are conditioned rather than your particular access to some aesthetic priority. If you don't like what Laswell does, that's fine by me. I suspect he gets a lot of flack because he's not avant-garde anymore, but he found that to be a dead category, which it really is not matter how much I enjoy certain avant players. In any case, if it's considered "dubious," with all the related puns, then this implies a notion of "authenticity" which is even more dubious. I think someone used the phrase "faux reggae" before which is simply conceptually and intellectually silly. The point is after all to be "false" in order to be "true." Intelligent criticism requires a bit more homework. _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com. - - ------------------------------ Date: Thu, 5 Oct 2000 05:52:45 +0200 From: "Jerzy Matysiakiewicz" Subject: PD: Re:violin - ----- Wiadomosc oryginalna ----- Od: "Jerzy Matysiakiewicz" Do: "Ken Waxman" DW: "Jerzy Matysiakiewicz" Wyslano: 5 pazdziernika 2000 05:51 Temat: Odp: Re:violin | | | | | And Jerzy are there any Polish jazz violinists who | | weren't saxophonists first? | | | | | | Ken Waxman | | | | | Good question :)) | Yeah, two most famous /Urbaniak & Seifert/ started with saxes. | Violinist without pipes: | Krzesimir Debski - String Connection, now switched to the film & | contemporary concert music, alas.. | Maciej Strzelczyk with great CD's "Grappelling" and "Jobim" | Henryk Gembalski | Jan Bledowski - more bluesy, in SugarCabe Harris style | Ireneusz Dudek - same case like Bledowski | | Jerzy | - - ------------------------------ End of Zorn List Digest V3 #96 ****************************** 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. 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