From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest) To: zorn-list-digest@lists.xmission.com Subject: Zorn List Digest V3 #377 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, April 13 2001 Volume 03 : Number 377 In this issue: - Re: NADE's..New Kang?? Re: Zorn List Digest V3 #376 toop John Hollenbeck Re: John Hollenbeck Killer Joey - Joey Baron Re: Oboe Re: oboe Re: AMM tour reports? Re: NADE's..New Kang?? Class cuts Fwd: [Nettime-bold] Is Mark Dery an Absolute Idiot? Read this and find out.... ---------------------------------------------------------------------- Date: Thu, 12 Apr 2001 16:50:48 +0950 From: "Case" Subject: Re: NADE's..New Kang?? I dont know what a NADE is, but I am sure intereted in any news about new Kang material. Anything on the horizon?< I know a few of you are mates with him, , so whats he up to..? Case NP wire free cd on April issue (Hey, im in Oz) Date: Wed, 11 Apr 2001 16:48:40 EDT From: ObviousEye@aol.com Subject: NADEs - - --part1_84.14171b7f.28061d28_boundary Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit >Kang's '7 NADEs' What is a NADE? ben - - ------------------------------ Date: Thu, 12 Apr 2001 13:27:30 +0200 From: =?iso-8859-1?Q?Thorsten_Kr=E4mer?= Subject: Re: Zorn List Digest V3 #376 > what else do we know about these xtatica cats? im all over the internet > right now and i cant find a damn thing Haena Kim is credited for singing on "Pauvre Lola" (Poor Lola) on Zorn's Gainsbourg Tribute. The odd thing about it is that she sounds like April March and the whole cut (with Ikue Mori & Marc Ribot) sounds exactly like a version of the song on one of April March's records. So I always thought that she's just some kind of alias for Mrs. March. - - ------------------------------ Date: Thu, 12 Apr 2001 12:58:50 -0000 From: "Bill Ashline" Subject: toop >From: dan hill >Subject: toop >ppps. speaking of evan parker, as we weren't, the gig with jah wobble >(picking up on a thread from a couple of weeks ago) at london's QEH a >week ago was abysmal, imho. I caught it on radio. It was a pile of mush to be sure. I prefer Wobble when he's working on someone else's project. His own stuff, other than "Heaven and Earth" and "Molam Dub," I've found generally dull. "Molam Dub" though was an excellent CD, my favorite release from him. Speaking of Toop, one of these days I'm going to muster the words needed to praise the hell out of "Do," an absolutely groundbreaking release. The first track is fabulous. _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. - - ------------------------------ Date: Thu, 12 Apr 2001 09:00:24 EDT From: CuneiWay@aol.com Subject: John Hollenbeck Great drummer & ESP. composer. I saw his Quintet - damn - forget the name, but it had a woman's name, like "The Jennifer Quintet" or something like that - which was heavily composed, intricate chamber jazz type stuff, & was blown away. I have no idea what he'll be doing, but I bet it will be worthwhile! To hell with Survivor - go see some music! Steve F. Don't know >hey I've got a chance to go see a drummer who is currently an >artist-in-residence at a university near here - John Hollenbeck >i haven't heard of him - but he apparently plays with Cuong Vu, >Chris Speed, Drew Gress, and other good players (and is featured >on the Cuong Vu trio album Pure on KF). Can anyone let me know what >he is like and if it is worth missing Survivor tomorrow night >to go check it out (let's all pray Elizabeth doesn't get voted off) >ha ha, nobody kill me. - - ------------------------------ Date: Thu, 12 Apr 2001 09:38:34 -0400 From: Bob Sweet Subject: Re: John Hollenbeck The Claudia Quintet Bob Sweet read Music Universe Music Mind: Revisiting the Creative Music Studio subcscribe to CMS Update http://www.arborville.com CuneiWay@aol.com wrote: > > Great drummer & ESP. composer. > I saw his Quintet - damn - forget the name, but it had a woman's name, like > "The Jennifer Quintet" or something like that - - - ------------------------------ Date: Thu, 12 Apr 2001 09:49:39 -0700 (PDT) From: Theo Klaase Subject: Killer Joey - Joey Baron - --0-25314808-987094179=:25144 Content-Type: text/plain; charset=us-ascii One can now purchase this album from Tone Field's web site for $12.... I just got a copy yesterday and I think it's marvelous... Although I'm not familiar with the either guitarist previous work, I am quite impressed and moved with their playing... Both of them have elements of Frisell and Ribot that really work nicely with Joey's compositions... Recommended to all Joey fans... - -Theo - --------------------------------- Do You Yahoo!? Yahoo! Mail Personal Address - Get email at your own domain with Yahoo! Mail. - --0-25314808-987094179=:25144 Content-Type: text/html; charset=us-ascii

      One can now purchase this album from Tone Field's web site for $12.... I just got a copy yesterday and I think it's marvelous... Although I'm not familiar with the either guitarist previous work, I am quite impressed and moved with their playing... Both of them have elements of Frisell and Ribot that really work nicely with Joey's compositions... Recommended to all Joey fans...

-Theo


Do You Yahoo!?
Yahoo! Mail Personal Address - Get email at your own domain with Yahoo! Mail. - --0-25314808-987094179=:25144-- - - ------------------------------ Date: Thu, 12 Apr 2001 13:11:23 EDT From: Eriedell@aol.com Subject: Re: Oboe In a message dated 4/11/01 8:09:02 AM, jcbivins@unity.ncsu.edu writes: << Speaking of Chicago, there's also Robbie Hunsinger (sp?). I saw her play a brief duet with Evan Parker a few years back and she was great. The oboist who played with Chadbourne may well have been Carrie Shull, a fine player who's also in the Micro-East Collective. Jason >> It's very possible that was her. I live in greensboro, nc where chadburne is from (and occasionally comes back to every once and a while). ~eriedell - - ------------------------------ Date: Thu, 12 Apr 2001 18:10:17 From: "William York" Subject: Re: oboe >AMM live reports! more AMM live reports, please! I was one of the zornlisters John mentioned at the Mills show, and he described it really well I'd say. I was going to say that I only had 2 of their CDs, Nameless Uncarved block and Live in Allentown, and that it resembled Allentown more, but that only makes sense b/c that has the same lineup. But the overall form and dynamics were similar enough that it wasn't a real surprise. It was interesting to see how they made some of the sounds, although like John said, you really couldn't see what he was doing that well. My favorite part of the show was the noisier stuff Rowe was doing -- it got loud enough that some people were holding their ears (although these loud parts didn't last long). I did notice a few musicians -- Larry Ochs, Dan plonsey ... I'm sure there were more (Jonathan Segel from Camper Van Beethoven for one apparently), but I didn't look too carefully. As for this: >i interviewed them collectively this morning (for an in-progress doc >film >about politicization in the avant-garde) and one of the things >that keith >rowe spoke of was that they have lately been moving from >the "hotter" >period of abstraction in their music [...] into a >newer "cooler" way of >making improvised music which is more like, say >rothko's color fields >etc...anyway. i keep seeing these kinds of statements from different musicians. which is fine -- at least here they are saying that "they" are moving in this direction, as opposed to "the music" or "things in general." because maybe they are for some folks, but not for everybody. i thought amm was interesting, but i also (heresy) got a lot more out of paraphrase. it is acoustic, jazz-based free improv, but it's not cliched, it's not retro, and it has the physical/emotional/rhythmic qualities that i look for more and that amm doesn't have (or strive for, yes yes, i realize this). i guess it's just a personal thing? wy _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com - - ------------------------------ Date: Thu, 12 Apr 2001 11:18:15 -0700 From: improv@peak.org (Dave Trenkel) Subject: Re: AMM tour reports? At 9:21 PM 4/7/01, JonAbbey2@aol.com wrote: >so the much-anticipated AMM US tour has kicked off, yet we haven't heard >about it yet. > >how did the Colorado show go, Matt? and let's hear some reports on the >California, Portland and Chicago shows once they happen also. I need >something to tide me over for a few weeks until they make it to the East >Coast. > >Jon >www.erstwhilerecords.com > They were in Portland last night. I really don't know what to write about the show, it was typically brilliant and as alike and unalike as any other AMM show. It was at the Old Church, and sponsored by the Creative Music Guild. The CMG really deserves some credit, they have been booking some amazing shows this year (Dave Douglas' Charms of the Night Sky, Sam Rivers Trio), and have done a great job of getting audiences to these shows, the Dave Douglas show, also at the Old Church, was sold out. I thought the turnout at the AMM show was a little light by recent standards, but still good. The Old Church is a wonderful acoustic space, definitely the best I've heard them in, and also has the best piano of the shows I've seen. In the past shows, John Tilbury has tended to disappear beneath the volume that Rowe and Prevost can produce. Last night, I really got a new appreciation of how he provides a harmonic backdrop for AMM. He has a wonderful ability to play the perfect chord that harmonizes the (seemingly) non-pitched sounds that Rowe and Prevost produce. He reminded me of Morton Feldman, very slow moving, not quite tonal, yet not quite atonal either. At one point, about 1/3 of the way through the performance, he left the room and played a piano in another part of the church, and his sounds had the quality of drifting in from the ether, like Rowe's radio drop-ins. They played with just a few lights behind them, and since the light was shining directly in my eyes, I listened to much of the concert with them closed. In the past, I've tended to watch Rowe closely, and I think it's more interesting not to know who is making each sound and how. One thing I really appreciate about AMM is the way their music evolves. Most of the free improv I've seen lately is tends to be episodic, with little sense of development from moment to moment. With AMM, every sound seems to develop from the last. The musicians move slowly and with great deliberation. None of what Braxton has called "the tyranny of the sweating brow." What else? A cell phone rang at about 30 seconds in. This is one of the reasons I refuse to own one. The were a few people who seemed inspired not just to leave the concert, but to do so as noisily as possible. Despite the fact that the audience were told beforehand that they were free to move about during the show, most of the audience listened raptly throughout. At one point, Rowe dropped in, via radio, a voice saying, "If I could give you amnesia right now, would you want it?" When I saw them in Vancouver BC, 10 year ago or so, he found a voice saying, "You're listening to Vancouver's best rock." I'm constantly astounded that he finds stuff so appropriate, and often hilarious, being broadcast. These things would be cheesy if they were taped, but given that he's just magically stumbling across them, they're great. Great, great show. See them. ____________________________________________ Dave Trenkel : improv@peak.org New & Improv Media http://www.newandimprov.com Now available: Admiral Twinkle Devil: Wabi Dub ____________________________________________ - - ------------------------------ Date: Thu, 12 Apr 2001 13:28:19 -0700 From: improv@peak.org (Dave Trenkel) Subject: Re: NADE's..New Kang?? At 4:50 PM 4/12/01, Case wrote: >I dont know what a NADE is, but I am sure intereted in any news about new Kang >material. > >Anything on the horizon?< >I know a few of you are mates with him, , so whats he up to..? Eyvind did the arranging on Aiko Shimada's new Tzadik disc Blue Marble. Aiko's an old friend, so I'm not exactly objective here, but I think it's pretty great. Probably the most pop thing ion Tzadik, but very nice. ____________________________________________ Dave Trenkel : improv@peak.org New & Improv Media http://www.newandimprov.com Now available: Admiral Twinkle Devil: Wabi Dub ____________________________________________ - - ------------------------------ Date: Fri, 13 Apr 2001 00:27:42 EDT From: DvdBelkin@aol.com Subject: Class cuts OK, when it comes to jazz cutouts, I've got a pretty good idea where to look. But what about classical cutouts? I'm currently looking in particular for Charles Ives: The Celestial Country (Collins CD 14792), which (unlike the recording on Citadel that is in print) also includes Ives' psalm settings. The CD in question isn't particularly old (1996), but the label apparently went belly-up a while back. Got a bunch of other cutout classical CD wants too. Any good tips? (Also still looking for Legba Crossing...) David np: The Band, Academy of Outtakes - - ------------------------------ Date: Fri, 13 Apr 2001 02:12:41 -0400 From: pequet@altern.org (Benjamin Pequet) Subject: Fwd: [Nettime-bold] Is Mark Dery an Absolute Idiot? Read this and find out.... While some of you recount your experience of amm shows in orgasmic terms / for the intellectual-oriented fringe on this mailing list here's something that just appeared on [nettime-bold]. In that email exchange Dj spooky cites his influences and quotes heraclitus, drops a lot of names, philosophises about space and time, ... hip-hop, culture at as part of an African re-contextualization, digital culture, napster, ... That might not fuel your doc film about politicization in the avant-garde but Dj spooky would certainly appreciate the attention and might perhaps even drop the word (politicization) in his next self-interview. I forward only the beginning because it's quite long, email me perso if by any chance you want the rest - and don't forget to check out www.djspooky.com to learn new things! (I guess I sort of knew Dj spooky was a pseudo-intellectual.) Delivered-To: nettime-bold@nettime.org Date: Thu, 12 Apr 2001 22:20:00 -0400 To: nettime-l@bbs.thing.net From: "Paul D. Miller" Subject: [Nettime-bold] Is Mark Dery an Absolute Idiot? Read this and find out.... List-Id: the uncut, unmoderated version of nettime-l X-BeenThere: nettime-bold@nettime.org Hey folks, it's been a while. Things have been mega hectic in the world of djspooky.com Me, Ashley Crawford and a host of other Digital Culture progressives are in the middle of reconstructing 21C, and there's a whole bunch of literary, digital arts/theory stuff on the horizon. Multi-Cultural multi- media folks.... anything is well.... boring. But anyway, enclosed is an interview I did with Roy Christopher, the fellow who edits www.frontwheeldrive.com an e-zine that focuses on "New Science and new Media." In the dialog I talk about stuff like William Gibson's loa computer loa programs versus John Shirley's "city avatars" (John Shirley wrote a classic cyberpunk novel called "City Comes a Walkin'" that influenced Gibson big time, and the different uses of digital media in the two novels speaks volumes about how people can perceive the uh... "Africa Within" of Mchluhan's Gutenberg Galaxy of text and electri-city) and alot more stuff. Check it out! More info? Check the website, www.djspooky.com read on.... To: roy christopher From: "Paul D. Miller" Subject: Re: brief interview for frontwheeldrive slight edits... Cc: Bcc: X-Attachments: Hey Roy! Okay,this is the "final" edited version. Please use it instead of the ones that I sent yesterday... - -------------- 1) The worlds of academia and pop culture are oft found at odds with one another, yet your work resides - and prospers - decidedly in the crossfire between the two. From your unique vantagepoint, how do you perceive the two worlds and their interaction? 1) Response: Well... the basic idea for me is to somehow convey a sense of how conceptual art, language art, and an engagement with some kind of idealism can function in this day and age. Basically, as an artist, my work is an investigation into how culture gets made. I guess you could say its process oriented... That doesn't mean I'm going to sit down everyday and write "cultural crit" stuff. Folks who I like to call "low level cultural bureaucrats" do that... it's a false and ultimately sterile way to try to beat culture into some kind of formula that they then try to stamp their name on to make some kind of "career" and it's a modus operandi that disgusts me.... A weird hero on mine is a Victorian age biologist, Paul Kammerer, who in the late 19th century/early 20th century was the first person to really explore ideas of "synchronicity" - how things converge in patterns. He would walk around and collect examples of simultaneity - coincidences would be marked and registered with exact mathematical precision, and he searched long and hard for an equation that would describe how things manifested in urban reality. He'd call this kind of stuff "the law of sequences" or a "law of series" "Das gesetz der serie" in German (that's also parallel to how we name the elements of a music track these days - "a sequence"), and he was looking for algorhythms of everyday life - how patterns appear - stuff like what the biochemist Rupert Sheldrake would call "morphic fields" - i.e. how morphology of structure can affect all aspects of the creative act. In other words, patterns ain't just about bein' digital. They are global. They are universal. They are rhythms that hold everything we know and can understand together. But anyway, Kammerer's idea of sequential reality and process oriented events - it's one of the first systematic attempts at figuring out a rhythm of everyday life in an industrial context. It ended badly - he committed suicide. I'm more concerned with praxis - how to foster a milieu where dialog about culture becomes a way to move into the pictures we describe with words, text, sounds - you name it. I'm an archivist of sound. Like I always enjoy saying its a method that becomes "actionary" rather than "re-actionary" - you end up with a culture that is healthier and more dynamic. What Kammerer would call a series, someone like Henry Louis Gates would call "signifyin'" - it's all about how we play with perception of events, and this is the link that I make between dj culture, techno-science, and the art of everyday creativity in a digital environment. I'm not really concerned with the "academy" per se - it's one reflection of the illusions of class structure and hierarchy that have clouded any real progressive contexts of criticism and that I think have been an absolute bane to any kind of creativity in American culture for the last decade or so. When theory gets too in the way of culture, it's dead. Period. No comma, no colon, no semi-colon... it's the end of the sentence, and it's time for a new paragraph. Turn the page, close the book, check a different website, 'cause that's when things get really really boring. I think that youth culture reflexively understands this. Part of my goal was to bypass the notion of the "critic" as an "authority" who controls narrative, and to create a new role that's alot more concurrent with web culture: you become the cultural producer and content provider at the same time. It's a role consolidation. After all, American media is so utterly terrible that even lame critics like Mark Dery are still around. That's not just sad, it's something that is a tragedy. When you're in a situation where the pop culture mags are terrible and the art/theory stuff is so out of touch with what's going on... it's time for a new situation. End the mix tape, stop the CD player, press cancel on that file that was downloading... whatever... I started dj'ing as a conceptual art project that critiqued alot of the absolutely terrible things I see in American media, and the end result was to create my own platform - social sculpture - [snip snip snip] - - ------------------------------ End of Zorn List Digest V3 #377 ******************************* 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