From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest) To: zorn-list-digest@lists.xmission.com Subject: Zorn List Digest V3 #171 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 Friday, November 17 2000 Volume 03 : Number 171 In this issue: - mcphee/abbs/taylor electroaccoustic dressed up as the vanguard Re: Dunn Said and Dunn acoustic/electronic Re: acoustic/electronic Re: L.M. Connors godz film? Re: godz film? Motion/Frith Re: godz film? RE: L.M. Connors (was re: Chad Taylor) ---------------------------------------------------------------------- Date: Fri, 17 Nov 2000 13:07:09 -0500 From: kurt_gottschalk@scni.com Subject: mcphee/abbs/taylor ssmithsaid: just back from a spectacular show by the two aforementioned... and Roy Campbell, with a rhythm section previously unknown to me - bassist/tuba player Tom Abbs and drummer Chad Taylor - also thoroughly rocked my world... over to you, Kurt... aw, shucks. well, since you invited. tom abbs is the primary force behind the artists' collective JumpArts. (i'm not a part of jump, although the series i work on, neues kabarett at the brecht forum, has copresented a few fests with them, and will be again in jan.) last nights $5 triple bill (!) was one a jump production. jump is a nonprofit and has been active in getting grant money, thus their ability to put on consistently strong shows for low cover charges. but enough administrative stuff. tom is a great bassist who has grown exponentially in the last couple years. he plays with a didjeridoo strapped to his upright, a high hat next to him and he doubles on tuba, often combining most at a time. not about novelty, tho. the guy just needs to make a lot of sound. chad i've seen play a few times, but last night was the most impressive to date. i believe he also plays with the david boykins outet in chicago and is recording with abbs and another great jumper, pianist andrew bemkey. there's nothing like a bassist and drummer in sympathy. witness william parker and hamid drake. witness _anybody_ and hamid drake. abbs and taylor have something going on. roy campbell i don't need to champion here (i hope). he's one of the great trumpet players around, and a strong rhythm section only pushes him that much more. abbs and taylor are playing the internet cafe on 3d st. in manhattan with daniel carter sometime soon, i believe. sorry i don't have specifics. and joe mcphee is fast becoming one of my all-time faves. thanks, steve, for bringing it up. i'd feel silly raving like a fanboy if i had to introduce the subject myself. kg np: cantar en cuba 'i am time' (cuban 4-disc comp on blue jackel) - - ------------------------------ Date: Fri, 17 Nov 2000 13:28:14 -0500 From: kurt_gottschalk@scni.com Subject: electroaccoustic dressed up as the vanguard without calling names, someone said: < collector marclay taken up otomo's tendencies to transvestism ?) i too am unaware of otomo donning women's clothes, but hoppy kamiyama, his former bandmate in optical*8, is quite fond of doing so, and looks pretty good, too. i saw him in a hilarious, energetic and musically compelling duo called stravinsky's dick with demi semi quaver vocalist emi eleonla (i imagine that's spelled wrong). he was dressed as a woman and she was, uh, wearing cut up pieces of stuffed animals all over her. i read an interview with hoppy where he said he rarely wears drag in the u.s., tho. in japan it's just funny and part of the show, he said, but here everyone asks him if he's gay over and over. someone else said: < avant-garde itself has anything new to say, the > space is and will be in > electro-acoustic improv. well, that's silly. instruments are tools. 'avant-garde' is a label. it's people that either have something to say or don't. what tools they choose is by and large beside the point. kg - - ------------------------------ Date: Fri, 17 Nov 2000 10:09:57 -0800 From: " A.VanValin" Subject: Re: Dunn - ----- Original Message ----- From: "Diego Gruber" > But perhaps it is Patton's popularity and the hard to > remove FNM association Anyone who's seen Patton/Zorn as a live duo would, I think, be over the 'FNM association'. Patton also holds his own in Cobra sets. - - ------------------------------ Date: Fri, 17 Nov 2000 10:54:16 -0800 From: "Fag music" Subject: Said and Dunn WWVhaCwNCiAgIGFsc28gb24gdGhvc2UgdHdvIHNvbG9zLEFkdWx0IHRoZW1lcyBmb3Igdm9p Y2UgYW5kIFByYW56byBPbHRyYW56aXN0YS5DYW4ndCBzYXkgSSdtIHJlYWxseSBpbnRvIHRo ZXNlIG9uZSxidXQgdGhleSBnbyBmYXIgYmV5b25kIEZOTS5PbiBhIHNpZGUgbm90ZSxJIGdv dCBtYWlscyBhc2tpbmcgbWUgd2hhdCdzIHRoaXMgVHJldm9yIER1bm4gc29sbyBsaWtlLGFu ZCBJIHJlYWxseSBkdW5ubyBob3cgdG8gZGVzY3JpYmUsdGhlIG9ubHkgdGhpbmcgSSBjYW4g c2F5IGlzIHRoYXQgaXQgaGFzIEFkYW0gTGV2eSBvbiBndWl0YXIgYW5kIEtlbm55IHdvbGxl c2VuIG9uIGRydW1zLlRoZSBiZXN0IHdheSBJIGZvdW5kIHRvIGRlc2NyaWJlIHdhcyBsZXR0 aW5nIHBlb3BsZSBoZWFyLHNvIEknbSBwbGFubmluZyBvbiBwdXR0aW5nIHNvbWUgb2YgaXRz IHRyYWNrcyBvbiBkcml2ZXdheSxzbyxhbnlvbmUgd2hvIHdhbnRzIGl0LGp1c3QgbWFpbCBt ZSBhbmQgd2UnbGwgc2V0IHN1bXRoaW4nIHVwLi4uYnkgdGhlIHdheSxzaW5jZSB3ZSdyZSB0 YWxraW5nIGFib3V0IEZhbnT0bWFzLGRpZCBhbnlvbmUga25vdyBhbnl0aGluZyBhYm91dCBE YXZlIExvbWJhcmRvIHJlbGVhc2luZyBhbiBhbGJ1bSB3aXRoIFZpdmFsZGkgY29tcG9zaXRp b25zPz8/Pz8NCkVwaWNzLA0KQW50aG9ueSBLaWVkaXMob3IgJyd0aGUgZmFuIHRoYXQgd291 bGRuJ3QgZ28gYXdheSkNCg0KPkRhdGU6IEZyaSwgMTcgTm92IDIwMDAgMTA6MDk6NTcgLTA4 MDANCj5Gcm9tOiAiIEEuVmFuVmFsaW4iIDx2YW52YWxpbkBwYWNiZWxsLm5ldD4NCj5TdWJq ZWN0OiBSZTogRHVubg0KPlRvOiBab3JuIGxpc3QgPHpvcm4tbGlzdEBsaXN0cy54bWlzc2lv bi5jb20+DQo+DQo+DQo+LS0tLS0gT3JpZ2luYWwgTWVzc2FnZSAtLS0tLQ0KPkZyb206ICJE aWVnbyBHcnViZXIiIDxkaWVnby5ncnViZXJAY2hlbGxvLmF0Pg0KPg0KPg0KPg0KPj4gQnV0 IHBlcmhhcHMgaXQgaXMgUGF0dG9uJ3MgcG9wdWxhcml0eSBhbmQgdGhlIGhhcmQgdG8NCj4+ IHJlbW92ZSBGTk0gYXNzb2NpYXRpb24NCj4NCj5BbnlvbmUgd2hvJ3Mgc2VlbiAgUGF0dG9u L1pvcm4gYXMgYSBsaXZlIGR1byB3b3VsZCwgSSB0aGluaywgYmUgb3ZlciB0aGUNCj4nRk5N IGFzc29jaWF0aW9uJy4gUGF0dG9uIGFsc28gaG9sZHMgaGlzIG93biBpbiBDb2JyYSBzZXRz Lg0KPg0KPg0KPi0NCg0KDQoNCg0KLS0tLS0tLS0tLS0tLS0tLS0tLS0tLS0tLS0tLS0tLS0t LS0tLS0tLS0tLS0tLS0tLS0tLS0tLS0tLS0tDQpodHRwOi8vZTI4OTMuMzcuY29tL0ZyZWUt RS1DYXJkLyAgICA8LS0tIFlvdSBIYXZlIEEgR3JlZXRpbmcgIDopDQoNCg0K - - ------------------------------ Date: Fri, 17 Nov 2000 14:01:20 EST From: JonAbbey2@aol.com Subject: acoustic/electronic Kurt said: < avant-garde itself has anything new to say, the > space is and will be in > electro-acoustic improv. well, that's silly. instruments are tools. 'avant-garde' is a label. it's people that either have something to say or don't. what tools they choose is by and large beside the point. >> isn't that a little overly reductionist? wouldn't even the staunchest fans of acoustic improv (excluding Ken Waxman) agree that the vocabulary has been explored far more thoroughly over the last century than has that of electronics in improv? yes, there have been selected cases over the past 30 years, but finally in the last few years, software and processing speed have progressed to where there can be much more fluid interaction, with acoustic instruments or not, in a live setting. I think I mentioned it here once already, but it makes me think of what Keith Rowe told me in Boston a few weeks ago, that finally improvisation has moved out of the post-Coltrane world, in which everyone, no matter what area of the world they were, essentially followed the same path. he thinks that now improvisation is in a post-Duchamp world, in which there's room for sine wave explorers from Japan, free noise feedback artists from New Zealand, Kevin Drumm who's been greatly influenced by Ralf Wehowsky, and numerous others. the variety of approaches and backgrounds is one thing that makes this new wave of music, be it electronic, acoustic, or somewhere in between, so exciting to me. interestingly enough, David Toop's next book is on "the impact digital music creation is having on more 'traditional' means of making music - both the ways in which it seems to make performance in the conventional sense redundant and in the ways it has connected with the very social, physical and spontaneous methods of improvised music." Jon www.erstwhilerecords.com - - ------------------------------ Date: Fri, 17 Nov 2000 13:24:59 -0500 From: Joseph Zitt Subject: Re: acoustic/electronic On Fri, Nov 17, 2000 at 02:01:20PM -0500, JonAbbey2@aol.com wrote: > interestingly enough, David Toop's next book is on "the impact > digital music creation is having on more 'traditional' means of making > music - both the ways in which it seems to make performance in the > conventional sense redundant and in the ways it has connected with the very > social, physical and spontaneous methods of improvised music." I'll be eager to read that. One area in which this has definitely been the case over the years (though looking at "electronic/tape" rather than digital) has been the history of sound poetry, much of which started with experiments in processing the voice that spawned unprocessed live structures and techniques. - -- |> ~The only thing that is not art is inattention~ --- Marcel Duchamp <| | jzitt@metatronpress.com http://www.metatronpress.com/jzitt | | Latest CD: Jerusaklyn http://www.mp3.com/josephzitt | | Comma: Voices of New Music Silence: the John Cage Discussion List | - - ------------------------------ Date: Fri, 17 Nov 2000 14:07:18 EST From: JonAbbey2@aol.com Subject: Re: L.M. Connors In a message dated 11/17/00 12:38:37 PM, M_WIRZBICKI@ColoradoCollege.edu writes: << I hear that the following are rather neccesary: 9th Avenue Hell's Kitchen Park In Twilight >> yeah, these three are all great, along with Evangeline, The Carmelites, In Pittsburgh, Two Nights (w/Alan Licht), In Bern (w/ Jim O'Rourke), and Crucible, not to mention the Haunted House CD on my label. I would suggest starting with one or two from this list, definitely not with the 4 CD box, which is for LMC addicts only, I think. Jon www.erstwhilerecords.com - - ------------------------------ Date: Fri, 17 Nov 2000 14:42:56 -0500 From: wlt4@mindspring.com Subject: godz film? THE GODZ (Jud Yalkut) That's a listing for something being shown to accompany a Ken Jacobs show at the Museum of the Moving Image (or whatever the real name is). Does anybody know if it has anything to do with the Godz who recorded on ESP? Lang - - ------------------------------ Date: Fri, 17 Nov 2000 14:53:05 -0500 From: Steve Smith Subject: Re: godz film? wlt4@mindspring.com wrote: > THE GODZ (Jud Yalkut) > > That's a listing for something being shown to accompany a Ken Jacobs show at the Museum of the Moving Image (or whatever the real name is). Does anybody know if it has anything to do with the Godz who recorded on ESP? Yes. From a similar program that appeared at the Whitney Museum last Halloween: ESP-disk Films ESP-disk was a pioneering record label that issued avant-garde rock and jazz records. Assembled here for the first time are the three films ESP-disk commissioned to promote its artists, together with Michael Snow's film New York Eye and Ear Control (A Walking Woman Work), featuring a soundtrack by Albert Ayler that became the first ESP jazz release. Edward English, The Fugs, 1963, color, sound, 12 1/2 min. (The Fugs) Jud Yalkut, The Godz, 1966, color, sound, 12 min. (The Godz) Edward English, Spaceways, 1968, color, sound, 18 min. (Sun Ra) Michael Snow, New York Eye and Ear Control (A Walking Woman Work), 1964, b/w, sound, 34 min. (Albert Ayler) Steve Smith ssmith36@sprynet.com (reporting from lovely downtown Long Island City, just around the corner from the American Museum of the Moving Image...) - - ------------------------------ Date: Fri, 17 Nov 2000 21:11:37 +0100 From: Pascal Cortes Subject: Motion/Frith Hi, Zornlist On the Motion website, at the end of his (excellent) review of XU FENG, Simon Hopkins writes: "PS. Fred Frith is sooooo on form at the moment" Well, if the latest releases with Frith I bought were: - - Maybe Monday (Buzz recs, with Miya Masaoka and Larry Ochs), - - Later... (Victo, with Ikue Mori and Mark Dresser), and - - Traffic Continues (W&W), did I miss something REALLY important? The last Frith/Cutler duo, maybe? Anything else? Thanks Pascal. - - ------------------------------ Date: Fri, 17 Nov 2000 13:01:14 -0800 From: Jim Flannery Subject: Re: godz film? wlt4@mindspring.com wrote: > > THE GODZ (Jud Yalkut) > > That's a listing for something being shown to accompany a Ken Jacobs show at the Museum of the Moving Image (or whatever the real name is). Does anybody know if it has anything to do with the Godz who recorded on ESP? Yes it does. 2 p.m. on Sunday. Jud also has a current series at the Whitney, featuring film programs and a number of reconstructed installations from the 60s (the second opens today); infos follow (note, there are a number of other films that may appeal to folks here). > The Whitney Museum is pleased to present 'Dreamreels', an exhibition > and film program of psychedelic artist and filmmaker Jud Yalkut's work > from the sixties and the present. The exhibition, which opens this > Saturday November 4th, presents two film environments from the sixties, > not seen since their first showings in 1967, and a new three-projection > video installation. Each installation runs for one week. Those > Frameworkers in New York are urged to see all three installations! The > first film environment, 'Yin /Yang / sine pulse', (1967) made with USCO, > will be on show from Saturday November 4th to 12th daily. Inside a > silver mylared space, films are projected onto weather balloons, > re-creating one of the classic multi-media film environments of the > sixties. > > From November 17 - 23, 'Destruct Film' (1967) will be shown. In this > film environment, film is strewn across the floor, ankle deep, into > which the viewer is invited to walk, sit or lie, watching films and > slides moving around the space, animated by beam-splitting mirrors. > > From November 25 - December 1, 'Vision Cantos' will be shown. This > new 3 projection video installation by Yalkut shows digitised and > synthesised film images, projected in the space in a continuing work > which will evolve for the remaining course of the artist's life. > > A special film program of Yalkut's work will be presented on the > final weekend of the exhibition, Saturday December 2 and Sunday December > 3. Complete schedule of films to follow. The film program includes rare > work such as 'Metamedia: A Film Journal of Intermedia and the > Avant-Garde 1966 - 1972', and includes footage of Timothy Leary, a Ken > Dewey car collision happening, Carolee Schneeman's performance 'Illinois > Central Transposed', E.A.T. events, the American premiere of Hermann > Nitsch's 'Orgy-Mystery Theatre in 1968, and many others. The program > will also include a group of videofilms made in collaboration with Nam > June Paik, including rarely screened works such as 'Skating' and > 'Electronic Fables'. > Saturday, December 2 > Sunday, December 3 > Screenings are repeated each day except where noted. > > Noon > The Participating Camera: Film Journals and Diaries > Kusama's Self-Obliteration, with Yayoi Kusama, 1967, 24 min. Sat. only. > Planes, 1968-72, with Simone Forti for Trisha Brown, 17 min. Sun. only. > John Cage Mushroom Hunting in Stony Point, 1972-73, silent, 8 min. > Metamedia: A Film Journal of Intermedia and the Avant-Garde 1966-1970, > 1972, silent, 50 min. In fifteen sections: > 1. Timothy Leary's psychedelic celebration The Resurrection of Christ at > the Village Theatre, New York, 1966. > 2. USCO, Lower East Side: Past and Present, projection environment, The > Jewish Museum, New York, 1966. > 3. Ken Dewey, Red, White and Blue, car collision happening, Group 212, > Woodstock, New York, July 4, 1967. > 4. Phyllis Yampolsky, Feast of Connection for the First 50 Strangers, > Group 212, Woodstock, New York, July 4, 1967. > 5. Expo '67, Montreal, 1967. > 6. Yayoi Kusama happening at Cooper Square Playhouse, New York, 1968. > 7. Carolee Schneemann, Illinois Central Transposed, performance, State > University of New York, Albany, Intermedia '68 tour. > 8. The Living Theatre, Paradise Now, performance, Brooklyn Academy of > Music, New York, 1968. > 9. E.A.T. (Experiments in Art and Technology) project, John Anthes > (Boston) and Tracy Kinsell (Bell Labs), Electronic Laser Light Image, > New York, 1968. >10. Hermann Nitsch, Orgy-Mystery Theatre, American premiere, Filmmakers' > Cinematheque, New York, 1968. >11. USCO, Fanflashstick, strobe environment, Intermedia '68 tour, 1968. >12. Les Levine, Photon: Strangeness No. 4, Intermedia '68 tour, 1968. >13. Larry Warshaw, Flower Light, kinetic exhibition, Hofstra University, > 1968. >14. The 7th Annual New York Avant-Garde Festival, Wards Island, New York, > 1969. >15. "TV as a Creative Medium," exhibition, Howard Wise Gallery, New York, > 1969. > > 2 pm > Kinetic Films and USCO > > Us Down by the Riverside, 1966, 3 min. > Diffraction Film, 1965, silent, 10 min. > Turn, Turn, Turn, 1966, 10 min. > Moondial Film, with Aldo Tambellini, 1966, black-and-white, 4 min. > US, 1966-67, silent, 10 min. > USCO, Ghost Rev, with Jud Yalkut, 1965, black-and-white, 8 min., > double-screen projection. > Festival Mix, 1968, 30 min., triple-screen projection. > > 4 pm > Videofilms: Cinema Metaphysique > Made in collaboration with Nam June Paik > Videotape Study No. 3, 1967-69, black-and-white, 4 min. > Electronic Moon, 1967-69, 4 1/2 min. > Cinema Metaphysique Nos. 1-4, 1966-72, black-and-white, 13 min. > Cinema Metaphysique No. 5, 1967, silent, 2 min. > Waiting for Commercials, 1972, 7 min. > Skating, from Suite 212, 1975, videotape, 5 min. > Electronic Fables, 1971, 9 min. > P+A-I(K), 1966, 10 min. > > 5 pm > > Projected Music > > Saturday only: > Aquarian Rushes, 1969, 49 min. > > Sunday only: > The Loving Spoonful (Summer in the City), 1966, black-and-white, 3 min. > Beatles Electroniques, with Nam June Paik, 1966-69, black-and-white and > color, 3 min. > Slop Print, 1973, 3 min. > China Cat Sunflower, with the Grateful Dead, 1973, 5 min. - -- Jim Flannery newgrange@sfo.com - - ------------------------------ Date: Fri, 17 Nov 2000 15:06:29 -0600 From: Craig Rath Subject: RE: L.M. Connors (was re: Chad Taylor) At 10:36 AM 11/17/00 -0700, you wrote: >I hear that the following are rather >neccesary: > >9th Avenue >Hell's Kitchen Park >In Twilight >(and the box you've mentioned) > >I can only vouch for 9th ave. I think these are all good places to start, though as was stated before, the box might not be everyone's cup of tea. >Apparently Connors believes "Airs" is his best recording achievment but I >think many listeners dissagree including people on this list. I'd have to agree with Connors on this one. It is definitely one of my favorites. In fact I was just listening to it at work today and thinking how great it was. I'm wondering what about it makes people disagree? >I also enjoy >In Bern >Evangeline >and Hell Hell Hell... > >but these may not be as crutial. All good as well. I guess it depends on which style of his playing you are in the mood for. If you like his more sparse, introspective stuff, then Airs or Evangeline are good ones. If you like his more dark, distorted stuff, then Hell! Hell! Hell! Hell! Hell! or his release on Table of the Elements are good ones for that. But I also really like his duets - with Licht or Haino or Darin Gray, etc. I'm not a huge fan of Suzanne Langille's voice, so I usually don't recommend his pairings with her as highly, although they are good in the right mood. Basically my rule of thumb when it comes to Connors is this: If I see an album on which he plays that I don't already own, I buy it. So far I've not been disappointed. The only thing to be aware of ahead of time is the fact that more often than not, you won't get a whole lot of 'bang for your buck' with his releases - don't be surprised to find a lot of them are no more than 20 to 30 minutes in length. Still worth it in my opinion, though. Craig M. Rath H: fripp@mn.mediaone.net W: rathc@questarweb.com - - ------------------------------ End of Zorn List Digest V3 #171 ******************************* 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