From: cfinkle@YorkU.CA Subject: Hidden picture in Duras:Duchamp Date: 30 Oct 1997 21:59:40 +0000 Hi, I just bought Duras:Duchamp today and enjoying it as well, when I saw behind the CD holder some colours. I removed the holder to find a picture of a naked woman (possibly dead) lying on the ground with a candle in her hand. Just sharing info. Jeremy Harry CUSTOM T-CLUB ctc@webpath.com 1-888-TEE-CLUB (1-888-533-2582) Tel:(416)665-2116 Fax: (416)665-2485 980 Alness St., Unit #30, Toronto, Ontario, Canada. M3J 2S2 ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Zorn and Hip Hop Date: 01 Oct 1997 02:01:26 -0400 (EDT) On Tue, 30 Sep 1997, Herb Levy wrote: > Zorn did include rap turntable artist Whiz Kid in one of the Locus Solus > trios, but that seems to be the most recent (& so far only) collaboration > with a performer from that end of the music business. Not quite. Zorn plays game calls on Joe Piscopo's 1985 "Honeymooners Rap", which also features scratching by DST (now DXT) of "Rockit" fame. I trust both gentlemen were paid well for their time. Chris Hamilton ------------------------------------------------------------------------------- From: Stephane Vuilleumier Subject: Re: Zorn and Hip Hop Date: 01 Oct 1997 08:31:36 +0200 >On Tue, 30 Sep 1997, Herb Levy wrote: > >> Zorn did include rap turntable artist Whiz Kid in one of the Locus Solus >> trios, but that seems to be the most recent (& so far only) collaboration >> with a performer from that end of the music business. > >Not quite. Zorn plays game calls on Joe Piscopo's 1985 "Honeymooners >Rap", which also features scratching by DST (now DXT) of "Rockit" fame. I >trust both gentlemen were paid well for their time. > >Chris Hamilton And which Eddie Murphy is it on vocals? 029 - NEW JERSEY: Joe Piscopo 2/ Honeymooners Rap (Schuckett, Willner) 3:58 7/ Fat Boy (T. Adams) 2:08 Recorded at Power Station, New york Joe Piscopo: voice; Eddie Murphy: voice (2); Ralph Schuckett: keyboards; Lloyd Landesman: keyboards; Ira Siegel: guitar; John Siegler: bass; Anton Fig: drums; Jimmy Bralower: drum machine programming (2); D.S.T.: turnta- bles, digital sampler (2); John Zorn: game calls; The Uptown Horns (2); Terry Adams: background vocals (7), Hal Willner: background vocals (7). ------------------------------------------------------------------------------- From: BJOERN Subject: David Garland: Control Songs Date: 01 Oct 1997 09:05:39 +0200 (MESZ) well for any of you who do not know: David Garland`s record "Control Songs" (zorn discog. #045) has been rereleased on CD on the German label No Man`s land. John Zorn plays on track #6.....the CD reissue has some bonus tracks...anyway i heard some of it and thought this was amazing it can be ordered here in Germany from: Gerhard Busse Strassmannstr. 33 10249 Berlin GERMANY BJOERN ------------------------------------------------------------------------------- From: "Julian" Subject: formal training Date: 01 Oct 1997 20:11:14 +1000 Does anyone know what formal musical training John Zorn has had? ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: David Garland: Control Songs Date: 01 Oct 1997 08:23:19 -0700 On Wed, 1 Oct 1997 09:05:39 +0200 (MESZ) BJOERN wrote: > > well for any of you who do not know: David Garland`s record "Control > Songs" (zorn discog. #045) has been rereleased on CD on the German label > No Man`s land. John Zorn plays on track #6.....the CD reissue has some > bonus tracks...anyway i heard some of it and thought this was amazing That's a wonderful news!!!!! The songs have all this little twist which makes them really interesting. Furthermore, the record is really enjoyable (meaning that there is a non-zero risk that some of your friends might like it :-). Patrice (who is longing for more Garland) ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Re: formal training Date: 01 Oct 1997 11:04:13 -0500 (CDT) They're listed in the liner notes of Redbird. I forget them at the moment, however. On Wed, 1 Oct 1997, Julian wrote: > Does anyone know what formal musical training John Zorn has had? > > ------------------------------------------------------------------------------- From: perojo@unsl.edu.ar Subject: Question... Date: 01 Oct 1997 13:23:44 -0300 (GMT-0300) Hi zorlisters: Anyone have some information of the old "No New York", any information?. Thanks. --Pablo. ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: formal training Date: 01 Oct 1997 09:36:42 -0700 On Wed, 1 Oct 1997 20:11:14 +1000 "Julian" wrote: > > Does anyone know what formal musical training John Zorn has had? His first intrument was piano. At the age of 10, he switched to guitar and flute. At 14 he studied composition at the U.N. School in Manhattan with Leonardo Balada (Argentine-born classical composer). At that time he was mainly listening to contemporary classical music (Kagel, Ives, etc). At 16 he discovered John Cage, and that sparked his interest in aleatory and improvi- sed forms. 1971-1973 (1.5 years): he studied at the Webster College in Saint Louis under Kendall Stallings. It is at Webster that his interest for jazz started. It is there that he discovered jazz music (the Black Artist Group). After listening to JCOA (or FOR ALTO), he decides to learn alto saxophone. At that time (1971) Oliver Lake was teaching at the Webster College, and many great musicians, like Luther Thomas, were hanging around. The Black Arts Group (BAG) and the Association for Advancement of Creative Musicians (AACM) were instrumental in turning Zorn to jazz music. One of the reasons being the energy they were dealing with and their concern for structures. After listening to FOR ALTO (Anthony Braxton), he adopts the alto saxophone. Under the influence of Steve Lacy, he will practice the soprano, but after two years he will go back to alto definitely. Patrice. ------------------------------------------------------------------------------- From: JoLaMaSoul@aol.com Subject: Ornette's keyboardist Dave Bryant...gig this Sunday Date: 01 Oct 1997 12:45:57 -0400 (EDT) Hey yallz! For those of you Ornette fans, this might be of particular interest: an organization that I'm pleased to work with, the Boston Creative Music Alliance, is hosting a gig for Dave Bryant, Prime Time's keyboardist. Wish I could see it myself, but my free-improv group Saturnalia will play the Knitting Factory in NYC (9pm) that night joined by Rain House (long-time Living Theatre member) and improvisor extrodanaire Ed Chang. So if ya live in NYC and wanna see another really kewl show....you know. We also perform a film soundtrack ("The Way Things Go") this Saturday Oct. 4th at the Institute for Contemporary Art in Boston, noon and 2pm, FREE! Sunday, October 5. The Dave Bryant Quintet featuring George Garzone. The concert debut of a dynamic harmolodic quintet led by the keyboardist for Ornette Coleman and Prime Time. The band features saxophonist George Garzone, bassist John Turner, and drummers Chris Bowmanand Bob Gullotti. This and all BCMA concerts will begin at 8pm. Tickets for the Boston Series are $10. Tickets for all other concerts are $15. Tickets are available in advance at Twisted Village, 12 Elliot St., Cambridge. (617) 354-6898. For further information call the BCMA (617) 868-3172. The Boston Creative Music Alliance, winner of a 1997 Best of Boston Award for its New Histories music series at the ICA (which included John Zorn's Masada, Henry Threadgill, The Far East Side Band, etc.) is also pleased to announce an expanded season of programming in a new venue, including a special monthly series featuring Boston-area performers, as well as concerts by Marty Ehrlich and the Dark Woods Ensemble (November 1), the Equal Interest trio, (November 7th, featuring Joseph Jarman, Leroy Jenkins, and Myra Melford), Kobold (November 13), and the Dave Douglas Sextet (December 3rd). All concerts will take place at the Dante Alighieri Society Cultural Center at 41 Hampshire St., Cambridge. Conveniently located at the corner of Hampshire and Portland St., near the Kendall Square cinema complex and the pubs and restaurants at One Kendall Square, the Center seats more than 200 in an intimate performance space designed by world-renowned architect, Pietro Belluschi. Only a five minute walk from the Kendall Square stop on the Red Line, the Dante also had free parking in its adjoining lot. ------------------------------------------------------------------------------- From: JoLaMaSoul@aol.com Subject: Ornette's keyboardist Dave Bryant...gig this Sunday Date: 01 Oct 1997 12:47:57 -0400 (EDT) Hey yallz! For those of you Ornette fans, this might be of particular interest: an organization that I'm pleased to work with, the Boston Creative Music Alliance, is hosting a gig for Dave Bryant, Prime Time's keyboardist. Wish I could see it myself, but my free-improv group Saturnalia will play the Knitting Factory in NYC (9pm) that night joined by Rain House (long-time Living Theatre member) and improvisor extrodanaire Ed Chang. So if ya live in NYC and wanna see another really kewl show....you know. We also perform a film soundtrack ("The Way Things Go") this Saturday Oct. 4th at the Institute for Contemporary Art in Boston, noon and 2pm, FREE! Sunday, October 5. The Dave Bryant Quintet featuring George Garzone. The concert debut of a dynamic harmolodic quintet led by the keyboardist for Ornette Coleman and Prime Time. The band features saxophonist George Garzone, bassist John Turner, and drummers Chris Bowmanand Bob Gullotti. This and all BCMA concerts will begin at 8pm. Tickets for the Boston Series are $10. Tickets for all other concerts are $15. Tickets are available in advance at Twisted Village, 12 Elliot St., Cambridge. (617) 354-6898. For further information call the BCMA (617) 868-3172. The Boston Creative Music Alliance, winner of a 1997 Best of Boston Award for its New Histories music series at the ICA (which included John Zorn's Masada, Henry Threadgill, The Far East Side Band, etc.) is also pleased to announce an expanded season of programming in a new venue, including a special monthly series featuring Boston-area performers, as well as concerts by Marty Ehrlich and the Dark Woods Ensemble (November 1), the Equal Interest trio, (November 7th, featuring Joseph Jarman, Leroy Jenkins, and Myra Melford), Kobold (November 13), and the Dave Douglas Sextet (December 3rd). All concerts will take place at the Dante Alighieri Society Cultural Center at 41 Hampshire St., Cambridge. Conveniently located at the corner of Hampshire and Portland St., near the Kendall Square cinema complex and the pubs and restaurants at One Kendall Square, the Center seats more than 200 in an intimate performance space designed by world-renowned architect, Pietro Belluschi. Only a five minute walk from the Kendall Square stop on the Red Line, the Dante also had free parking in its adjoining lot. ------------------------------------------------------------------------------- From: Bob Boster Subject: Re: Philip Gelb - Purple Wind (fwd) Date: 01 Oct 1997 09:57:02 -0700 (PDT) As both a zorn-list reader and a friend and collaborator of Phil's I took the opportunity to mention to him that he hade been plugged recently. He asked me to forward a bit more info to the list. Purple Wind is excellent and I highly recommend it, expecially for folks interested in the places where traditional musics interface with improvisation and/or where electronics interface with improvisation. AS the previous reviewer mentioned, both are present on Phil's disk, and to good effect. Phil's a recent transplant to the SF Bay Area and we've roped him into curating the december installment of the Cultural Labyrinth series (December 20 @ 2779 - formerly komotion, mail bobbost@orban.com for details) He'll be leading an ensemble scoring a film during the show... I've CCed him on this post, so you can contact him directly for more information about other appearances and/or future releases. ---------- Forwarded message ---------- Not sure why my music is being spoken of on a zorn list but i do appreciate the review!! The other musicians on Pruple WInd (in case anyone was interested) are: Miya Masaoka- koto Gino Robair- percussion Dana Reason - piano Shaking Ray Levis - synth, percussion. phil ------------------------------------------------------------------------------- From: OrrickR@aol.com Subject: Re: formal training Date: 01 Oct 1997 11:01:07 -0400 (EDT) John Zorn was a student at Webster College (now University) in St. Louis for a couple semesters around 1972. Oliver Lake and Hamiet Bluiett were working in St. Louis in that period and I expect he was exposed to their music. ------------------------------------------------------------------------------- From: peter_risser@cinfin.com Subject: Game pieces Date: 01 Oct 1997 21:19:37 UT Does anyone have a) a list of all the game pieces Zorn has written, b) what the concepts and/or mechanics are behind them and c) where I can find some scores? Or for that matter, any of his scores? I know they must exist. Does he publish with any music companies? ------------------------------------------------------------------------------- From: peter_risser@cinfin.com Subject: Dangerous ground Date: 01 Oct 1997 21:28:12 UT All right, I know I'm on dangerous ground here, but... My friends and I used to gather in the studio of a local radio station and make noise, noise, noise. We'd bring every instrument and item we could get our hands on. At one point, we even played against a recording of Zorn's Strategies, so it sounded like he was in the room with us. (Actually, that was pretty damn neat. It sounds really cool.) In any case, the free-wheeling stuff we did does not sound that different than the structurally 'composed' Parachute stuff on the box set I just purchased. Admittedly, I think we were advanced in the stuff we were doing, because we had already talked about how people don't have to play all the time, etc etc, so we got a good mixture of dynamics and sound qualities. Dont' get me wrong, I really enjoy listening to the set. It, uh, helps me unwind, believe it or not. I guess my question is, was it worth it? Was it necessary? Does having these 'games' really make a difference in the final musical output? Can anyone else comment? My background pretty much stops at Zorn, too. Some may say it's criminal, but I have no real background in Parker, Bailey, Braxton, Chadbourne, etc. I'm wondering if maybe that's the problem, like, it's a step in the development of improv that I'm seeing and not knowing the context, I might not see how radical it is. Any comments? ------------------------------------------------------------------------------- From: Tom Pratt Subject: Gysi/tuba Date: 01 Oct 1997 20:32:51 -0400 Does anyone here know what instrument a guy named Wadi Gysi plays. I've discovered that he has a duo album out on Intakt with Hans Reichel who I recently discovered and love. This album just might be of interest to me. Any info is appreciated! If anyone out there plays tuba, you need to go find Melvyn Poore's solo tuba experiment's on Georg Graewe's Random Acoustics label. The album is called 'Groundwork' and is all solo tuba compositions and improvisations with assorted stereo delay, tape and live electronics systems. I just got it and completely love it! -Tom Pratt ------------------------------------------------------------------------------- From: "Julian" Subject: school Date: 02 Oct 1997 12:14:53 +1000 anyone know why School didn't turn up on the Parachute Years? ------------------------------------------------------------------------------- From: "Jascha W. Narveson" Subject: Re: Dangerous ground Date: 01 Oct 1997 22:38:32 -0400 (EDT) > All right, I know I'm on dangerous ground here, but... > > My friends and I used to gather in the studio of a local radio station and make > noise, noise, noise. We'd bring every instrument and item we could get our > I guess my question is, was it worth it? Was it necessary? Does having these > 'games' really make a difference in the final musical output? Can anyone else > comment? > My background pretty much stops at Zorn, too. Some may say it's criminal, but I > have no real background in Parker, Bailey, Braxton, Chadbourne, etc. I'm > wondering if maybe that's the problem, like, it's a step in the development of > improv that I'm seeing and not knowing the context, I might not see how radical > it is. hm! I've done stuff like this as well and it seemed to work fine. I prepare to duck for cover as i say this, but i believe that this kind of textural noisey stuff isn't really that challenging to play. It still takes quite alot of imagination, and, most importantly, *soul*, but no theory or 'chops' or knowledge of how conventional music works at all. This isn't to say it's not worthwhile, but it is to say that perhaps is not the mysterious, inaccessible art form which, say, jazz piano is to most, or Tabla playing... And there's definitely the potential to do it really badly (i've heard it done badly, sometimes by me), but to aware, imaginative folks with noise-makers, the very real possibility of doing interesting things with sound exists, even if they can't improvise a jazz chord progression in twelve different keys. I see this as a very good thing. -jascha ------------------------------------------------------------------------------- From: "Jascha W. Narveson" Subject: Re: school Date: 01 Oct 1997 22:40:56 -0400 (EDT) > anyone know why School didn't turn up on the Parachute Years? "School"=game piece ----> school=game (according to Zorn anyway)? -jascha ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: school Date: 01 Oct 1997 23:07:08 -0400 (EDT) On Thu, 2 Oct 1997, Julian wrote: > anyone know why School didn't turn up on the Parachute Years? Probably because it's a Chadbourne composition. Chris Hamilton ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Dangerous ground Date: 01 Oct 1997 23:05:42 -0400 (EDT) On Wed, 1 Oct 1997 peter_risser@cinfin.com wrote: > I guess my question is, was it worth it? Was it necessary? Does having these > 'games' really make a difference in the final musical output? Can anyone else > comment? Interesting questions, Peter. First off, sometimes the games pretty clearly make a difference in the way a piece sounds. On the Parachute box, this is clearest with "Hockey". You'll notice that each performance has a similar back-and-forth quality not shared by performances of other pieces on th box. Now, that's not to say that three musicians couldn't have created the same noises without a game to guide them. But this game obviously leads them to make sounds within certain parameters. Second, the games seem to impose a Zornian sense of structure on the players. The majority of the performances involve the kind of quick changes from one sound-event to another that Zorn favored in the early part of his career. It doesn't seem likely that all of these musicians would have played that way outside of a game which required/encouraged them to do so. Third, the game structure makes it easier for large ensembles, like the one which performs "Archery", to improvise without the music becoming overly cluttered. While it's certainly possible for restrained players to achieve this without some preconceived structure, such a structure is certainly helpful. Fourth, it may not be so important that a game piece performance and a totally free improvisation sound that different. As Zorn writes in the liner notes to _Pool_, "My concern is not so much with how things SOUND, as with how things WORK." It's certainly a totally different experience as a performer, and it leads musicians to think about what they're playing in a different way. I can probably expand on this point if people want to discuss it further. > My background pretty much stops at Zorn, too. Some may say it's criminal, but I > have no real background in Parker, Bailey, Braxton, Chadbourne, etc. That's criminal. I'm calling the improv police. > I'm > wondering if maybe that's the problem, like, it's a step in the development of > improv that I'm seeing and not knowing the context, I might not see how radical > it is. Possibly. It might be helpful to be familiar with other approaches to structuring free music. If you're interested in contrasting Zorn's approach with others, you might check out Sun Ra's _The Magic City_, Stockhausen's _Aus den sieben Tage_, and the London Jazz Composer's Orchestra's _Ode_ strike me as some important earlier attempts to structure free playing around something other than heads or modes without just letting it all hang out. And you might check out Butch Morris's slightly later conduction pieces, such as _Current Trends in Racism in Modern America_, for yet another take. Something that I've been thinking about lately is that the game-piece approach in some ways loses much of what's most interesting about free improvisation. (Before I'm torn to bits, let me point out that I really love this aspect of Zorn's work. It sounds great, and on a certain level, that's all that counts.) The approach seems to be based on the idea that what's important about free players is that they create very unique sound-events, but it seems to me that much of the best free music gets at least as much of its power from the novel stuctures which emerge out of collective improvisation. By imposing a metalogic on an improvisation, Zorn keeps his musicians from doing one of the things they're best at. (Which is not to say that playing a game-piece does not provide useful experience for improvisors.) Chris Hamilton ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Dangerous ground Date: 01 Oct 1997 23:18:39 -0400 (EDT) On Wed, 1 Oct 1997, Jascha W. Narveson wrote: > i believe that this kind of > textural noisey stuff isn't really that challenging to play. It still > takes quite alot of imagination, and, most importantly, *soul*, but no > theory or 'chops' or knowledge of how conventional music works at all. In some ways, this makes it more challenging. There's nothing to fall back on. Of course, you can bullshit an audience sometimes. But _you_ know when you've fucked up. The vast majority of musicians in the history of the world have done quite well without music theory. I think it's also misleading to say that it doesn't require chops. If you're playing music, you're using technique to do it. Your technique is good if you can get the sounds you want. I do agree that this kind of music is open to musicians with narrower technique than is required to play, say, bebop piano, and in that sense it's more accessible. However, its resistance to theory makes it more mysterious in a way. Chris Hamilton ------------------------------------------------------------------------------- From: "allen huotari" Subject: RE: Gysi/tuba Date: 01 Oct 1997 20:18:54 UT Wadi Gysi is a guitarist curious listeners are urged to investigate a recording on ReR entitled "Vanishing Point" by the (EC) Nudes who are comprised of Wadi Gysi, Amy Denio, and Chris Cutler. Not improv but "energetic and fun punk/folk/jazz/art-rock" (to quote the Wayside catalogue) and "wow!" (to quote the Ponk catalogue) actually fans of the Curlew/Amy Denio recording "Beautiful Western Saddle" should want this disc also another tuba recording of note is also on ReR and is entitled "Tuba Intim" by Michael Vogt "a must for serious tuna lovers" (Ponk) (and no I'm not on the Wayside or Ponk payroll) tuba is also a prominently tasty feature of Henry Threadgill's Very Very Circus recordings as well as a new one by the trio of Godard/Tadic/Nauseef entitled "Loose Wires" ---------- Sent: Thursday, October 02, 1997 1:32 AM Does anyone here know what instrument a guy named Wadi Gysi plays. I've discovered that he has a duo album out on Intakt with Hans Reichel who I recently discovered and love. This album just might be of interest to me. Any info is appreciated! If anyone out there plays tuba, you need to go find Melvyn Poore's solo tuba experiment's on Georg Graewe's Random Acoustics label. The album is called 'Groundwork' and is all solo tuba compositions and improvisations with assorted stereo delay, tape and live electronics systems. I just got it and completely love it! -Tom Pratt ------------------------------------------------------------------------------- From: Todd Bramy Subject: parachute box Date: 01 Oct 1997 23:41:56 -0800 Well, it's described in our house as my early Christmas gift from my wife, but I call it a yummy tub o'fun. It's the Parachute Years...finally...here in my home. Okay, enough drama. I got the set today and will be spending the next several days giving some close scrutiny. All I've heard is about the first half of the Lacrosse disc (and some skipping around), and I have to say that I thought it was great. I was a tad nervous, I must say, after some of the previews here on the list. I got the impression that it was going to be extremely challenging listening. It is. I also got the impression it was a rather aimless period musically. I found this was not the case. The improvs are bold with plenty of left over phrasing. After looking through the notes, I too wonder...why no "School"? Todd Bramy tbramy@oz.net ------------------------------------------------------------------------------- From: Stephane Vuilleumier Subject: Re: Gysi Date: 02 Oct 1997 08:49:40 +0200 I can give further details on the following records and quote all players if anybody's offended but in essence Wadi Gysi plays guitar and often other effects in "swiss german" groups like PALE NUDES / EC NUDES (Denio, Cutler,ReR), BLAUER HIRSCH (with Werner Ludi, Unit), DIE HAND (Peter Hollinger, Unit), Marco Kaeppeli connection (Plainisphere, w/Nicolai, Koch,Schuetz), a unit compilation called 10 WIM Pern (Unit)...There was also a group called Nuage du Courage (LP, Unit, 1987) with Mich Gerber and Marc Jundt, which I still listen to a lot. BTW a catalogue of all this swiss label stuff (in english, german or french) called Neighbours/Nachbarn/Voisins can be obtained from VIMS, the association of swiss improv musicians, at the following email address: vims@music.ch Stephane At 20:32 01.10.97 -0400, Tom Pratt wrote: >Does anyone here know what instrument a guy named Wadi Gysi plays. I've >discovered that he has a duo album out on Intakt with Hans Reichel who I >recently discovered and love. This album just might be of interest to >me. Any info is appreciated! > ------------------------------------------------------------------------------- From: gsg@juno.com (Geoff S Gersh) Subject: Straylight @ the Knit Date: 02 Oct 1997 03:09:22 -0400 The ambient/world music imrpov. trio, Straylight, will be appearing at the Knitting Factory Saturday Oct. 4th at 11pm in The Alterknit. Features: Charles Cohen - analog Buchla Sound Easel Jason Finkelman - African/Brazilian & found percussion and yours truely on electric guitar ------------------------------------------------------------------------------- From: Mason Wendell Subject: Sigmoid Flexure at the Knit- reminder Date: 02 Oct 1997 09:11:45 -0400 Ohaiyo Gozaimasu folks, Just sending out a little reminder about the rip-roarin' Sigmoid show at the Knitting Factory. VERY IMPORTANT!!! Please note the new set time. I wouldn't want any of y'all to fly in to the only to have to wait two hours to get in. Mon 10/6 11:00 PM (not 9:00) - Sigmoid Flexure Knitting Factory's Alterknit Theater 74 Leonard St, NYC w/ Spooky Actions Sigmoid Flexure, Mason from Blinder and Prelapse's free improvisation group, will play the Knitting Factory on Oct 6th. The sound is most quickly described as Loud Free Improv. If you'd like a more detailed description... "Mixing equal parts free jazz and punk rock, Sigmoid Flexure finds a home between the walls of chaotic ambiance, hard-core composition, and spoken text rivers" I promise a great show. Come on down! Megan Gass - vocals, effects (from Blinder) Emily Weber - tenor sax (from Ever Since Day One) Chris Lavender - vibraphone Dane Johnson - fretless guitar (from Prelapse) Mason Wendell - fretless bass (from Blinder and Prelapse) Rohin Khemani - drums Hope to see you in NYC! Mason Mason Wendell Blinder- http://www.tiac.net/users/prelapse/blinder.html Sigmoid Flexure- Loud Free Improv Prelapse- the music of Naked City and new music for loud ensemble Freelance Computer Music Copying ------------------------------------------------------------------------------- From: Brent Burton Subject: Re: Dangerous ground Date: 02 Oct 1997 11:07:01 -0400 (EDT) On Wed, 1 Oct 1997, Jascha W. Narveson wrote: > hm! I've done stuff like this as well and it seemed to work fine. I > prepare to duck for cover as i say this, but i believe that this kind of > textural noisey stuff isn't really that challenging to play. It still > takes quite alot of imagination, and, most importantly, *soul*, but no > theory or 'chops' or knowledge of how conventional music works at all. Sorry to be the curmudgeon, but there's a *big* difference between a bunch of guys having fun with "textured noise" and working musicians (Spontaneous Music Ensemble or Cobra or...) who have not only devoted a large chunk of their lives to making improvised music, but also (especially in the case of someone like Derek Bailey) spend a great deal of each day practicing for these settings. Yours is similar to the old argument that someone's child could've painted a Picasso. I think you should give these guys a little more credit. b ------------------------------------------------------------------------------- From: "Charles Gillett" Subject: Game pieces, etc. Date: 02 Oct 1997 11:29:34 +0000 On Wed, 1 Oct 1997 21:19:37 UT, peter_risser@cinfin.com wrote: > > Does anyone have a) a list of all the game pieces Zorn has written, > b) what the concepts and/or mechanics are behind them and c) where > I can find some scores? I don't know anything about where scores can be found, and I don't know much about how the games work, but I have been compiling (in a casual way) a list of Zorn's works so I can keep track of which ones have not yet been recorded or released. My main sources have been the booklet for the Book of Heads, Cole Gagne's list of works in his "Soundpieces 2," the notes from "Zornfest," and of course Patrice's discography. Some of the years might be wrong (Gagne's list doesn't match up with the one in the Book of Heads), but the games thus far: 1977 Lacrosse (for between four and seven players) 1978 Curling (for four players?) 1978 Hockey (for three players) 1979 Pool (for four players) 1979 Archery (for twelve players) 1979 Tennis (for two keyboards or two drummers) 1980 Fencing (for three of the same instrument) 1980 Jai-Alai (opera) [a game opera? this is from Gagne's list] 1981 Croquet (for sixteen players) 1981 Go! (a play of roles) 1982 Track & Field (for any number of dancers, performance artists, and musicians) 1983 Rugby (for five players) 1983 Darts (for five dancers and five musicians) 1983 Sebastopol (for three trios [rock, classical, and improvising]) 1984 Cobra (for ten or more players) 1985 Xu Feng (for six players) 1987 Ruan Lingyu (for three narrators and eight musicians) 1987 Hu Die (for two guitars and Chinese narration) 1988 Hwang Chin-ee (for two drummers and Korean narration) 1988 Que Tran (for two keyboards and Vietnamese narration) 1989 Bezique (for nine or more players) and on Wed, 1 Oct 1997 21:28:12 UT, he wrote: > I guess my question is, was it worth it? Was it necessary? Does > having these 'games' really make a difference in the final musical > output? Can anyone else comment? The actual sound of a game piece is bound to share some characteristics with that of a free improv by the same players. However, the games force the players to concentrate on aspects of playing and listening that they might ordinarily not consider. They'll still make that farting noise, but their reason for doing so will be different. This is somewhat like using Tarot cards--the cards don't control anything by themselves, and your average rational person won't agree that cosmic forces are guiding the cards, but the laying out of the spread makes you consider aspects of your life that you may have been ignoring, and thus focuses your meditation. So the games focus improvisation. Very relevant here is Zorn's quote from Pool: "My concern is not so much with how things SOUND, as with how things WORK." -- Charles ------------------------------------------------------------------------------- From: Dgasque@aol.com Subject: Re: Dangerous ground Date: 02 Oct 1997 12:45:16 -0400 (EDT) In a message dated 97-10-01 17:35:57 EDT, you write: << My friends and I used to gather in the studio of a local radio station and make noise, noise, noise. We'd bring every instrument and item we could get our hands on. At one point, we even played against a recording of Zorn's Strategies, so it sounded like he was in the room with us. (Actually, that was pretty damn neat. It sounds really cool.) In any case, the free-wheeling stuff we did does not sound that different than the structurally 'composed' Parachute stuff on the box set I just purchased. Admittedly, I think we were advanced in the stuff we were doing, because we had already talked about how people don't have to play all the time, etc etc, so we got a good mixture of dynamics and sound qualities. >> << I guess my question is, was it worth it? Was it necessary? Does having these 'games' really make a difference in the final musical output? Can anyone else comment? >> Hi all- first time poster after a week of lurking... The free "jam" is the heartbeat of the improv movement. After continual meetings with musicians, you get to know what each musician does, feels, loves, hates. With no chart in front of you to dictate direction, each musician is free to express himself alone, in duo, or with a group. You can choose to put down the horn and listen. You can pick up the drumstick and tap the bell of your horn. You can read aloud from the book sitting on the table next to you. You can turn on the radio and play the Top 40 junk on that FM station you absolutely hate. It is structured anarchy. It is insanity crushing the structure. It is the truest of expression that one can share with their comrades while contributing to the whole. It is freedom in the truest sense. Is it necessary? Most definitely. Is it "dangerous ground" to say that your music is of an equal to Zorn's or any other musicians free jazz recordings? Absolutely not. As far as i'm concerned, brilliance can be found anywhere you look, you just don't always recognize it. Hope this made sense. =dgasque= ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Bernard Zekri Date: 02 Oct 1997 10:48:21 PDT Can someone tell me who Bernard Zekri is? I've seen his name as co-writer on a lot of the old Celluloid singles, and more recently on the APC Tracks discs. I was curious to know what he plays, and what else he has done aside from these albums. Thanks in advance. Dave IHVH@hotmail.com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: Dgasque@aol.com Subject: Re: Dangerous ground Date: 02 Oct 1997 14:03:55 -0400 (EDT) In a message dated 97-10-02 11:10:26 EDT, you write: << Sorry to be the curmudgeon, but there's a *big* difference between a bunch of guys having fun with "textured noise" and working musicians (Spontaneous Music Ensemble or Cobra or...) who have not only devoted a large chunk of their lives to making improvised music, but also (especially in the case of someone like Derek Bailey) spend a great deal of each day practicing for these settings. Yours is similar to the old argument that someone's child could've painted a Picasso. I think you should give these guys a little more credit. >> I've heard bad music by "working musicians" too. I've heard good music by weekend warriors. Have you heard anything by Mr. Narveson to back up your criticisim? =dgasque= ------------------------------------------------------------------------------- From: john shiurba Subject: Re: school Date: 02 Oct 1997 13:57:17 -0700 > > anyone know why School didn't turn up on the Parachute Years? > > Probably because it's a Chadbourne composition. actually, "School" is the title of the double lp split between Zorn and Chadbourne. There's no piece on the record called "School" by either JZ or EC. The contents of Zorn's half of the record are featured on the Parachute box set-- "Lacrosse" (takes 3, 4 & 6) along with 3 other takes recorded at the same time and one earlier version by Twins. Unfortunately the contents of Chadbourne's half of the lp are not included, perhaps they're being saved for the Eugene Chadbourne Parachute Years boxset... -- shiurba@sfo.com http://www.sfo.com/~shiurba ------------------------------------------------------------------------------- From: Herb Levy Subject: Re school Date: 02 Oct 1997 15:48:06 -0800 Chris Hamilton wrote: >On Thu, 2 Oct 1997, Julian wrote: > >> anyone know why School didn't turn up on the Parachute Years? > >Probably because it's a Chadbourne composition. > >Chris Hamilton Actually, it's not a composition by anyone, it's the title of the two disc set on Parachute that included the original release of three takes of Lacrosse on one disc. The other disc contains mainly Chadbourne compositions from 1977-78, several of which are recorded by groups which include Zorn (including a couple of pieces by the Twins band that's also heard on the Parachute years), as well as an improvised duet by Chadbourne & Zorn & a lovely solo guitar version of Ellington's Solitude by Chadbourne. Obviously the Parachute Years documents only Zorn's compositions from those releases. I'd like to have heard some of the previously unrecorded (or unreleased) game pieces. Oh well. Herb Levy herb@eskimo.com ------------------------------------------------------------------------------- From: "Tim Schelfhout" Subject: Zorn Spirit ? Date: 02 Oct 1997 17:03:38 PDT Hi Zorners, Just got back from a free improv gig in Leuven (Belgium) featuring Zeena Parkins, David Shea, Jim O'rourke, Toshinoro Kondo, DJ Low, etc.. I gotta tell ya, It was fockin' great!! The way those µzics handle their instruments is to obtain a friggin µsical orgasm. It woz as if ZOrn led them by the hand. As if he ever could do that ? Anyone interested, they will continue performing FREE ?!* for the next 4 days at 't Stuc in Leuven (Belgium; for those who are American minded). Check it out! P?S? : Does anyone know when Zorn will be in Belgium, again? (Or am I the only Zornboy in Belgium on tha net?) Timpy ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Zorn Spirit ? Date: 02 Oct 1997 21:04:29 -0400 (EDT) On Thu, 2 Oct 1997, Tim Schelfhout wrote: > Just got back from a free improv gig in Leuven (Belgium) featuring > Zeena Parkins, David Shea, Jim O'rourke, Toshinoro Kondo, DJ Low, etc.. Sounds great! Was O'Rourke playing guitar? I'd heard a rumor he was giving it up. Chris Hamilton (By the way, all, sorry for the fuckup regarding _School_. I realized my mistake about three minutes after hitting send, and decided to just hope no one would read the message. Mea culpa, mea culpa...) ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Zorn Spirit ? Date: 03 Oct 1997 00:42:20 -0400 (EDT) On Thu, 2 Oct 1997, Christopher Hamilton wrote: > Sounds great! Was O'Rourke playing guitar? I'd heard a rumor he was > giving it up. A speedy (private) response from another list member makes me think I should stress this was a rumor with a capital R. I don't put much credence in it, but it made me wonder if O'Rourke was playing guitar or something else. Chris ------------------------------------------------------------------------------- From: peter_risser@cinfin.com Subject: Re: Dangerous Ground Date: 03 Oct 1997 13:29:05 UT Brent Burton > Sorry to be the curmudgeon, but there's a *big* difference between a > bunch of guys having fun with "textured noise" and working musicians > (Spontaneous Music Ensemble or Cobra or...) who have not only devoted > a large chunk of their lives to making improvised music, but also > (especially in the case of someone like Derek Bailey) spend a great deal > of each day practicing for these settings. Yours is similar to the > old argument that someone's child could've painted a Picasso. I think > you should give these guys a little more credit. Ya, I agree that you are being a bit of a curmudgeon. First off, there's been a ton of Cobra performances by people who *haven't* spent most of their lives making improv music. You know? I think I could paint like Pollack. No, I don't think my kid could paint like Pollack. His isn't just spilled paint, it's texture and structure and color choices, etc. So, with some practice, yeah, I could. And with more practice, so could my kid. (Pollack was a child once.) In any case, I wasn't challenging the music or saying it was easier to play. I was saying does it make a difference if the downtown set uses a game piece or not? Because when I've jammed without structure, the results sound similar. On recollection, we were in fact imposing structure. The very basics. Not just, make any noise you want, because that's boring. The key that I think most people forget is that you are playing music as an ensemble. And I think that other person (name forgotten) was right, that the game piece helps you concentrate on that. It was always very important for us to listen to what was going on and play together. And I think that's were we made the difference. Back to using that Zorn record, that worked great, because we focused on playing with the record and responding to what he was doing. It concentrated us. Anyway, there's been some fabulous comments. I'm cataloging these so I can tell my children why this stuff is important and how its supposed to work. Thanks. Peter ------------------------------------------------------------------------------- From: Matthew Ross Davis Subject: Re: Dangerous Ground Date: 03 Oct 1997 09:29:27 -0400 (EDT) Well, I think Picasso is a bad example for this analogy (especially after having seen the exhibit of early works (blue period, etc) at the National Gallery...WOW) , but I catch your drift. However, I think there are two important things to consider when making statements like this and arguments against statements like this. #1. The music #2. The musician The music - without getting into messy aesthetic issues, the music has the ability to stand on its own. Yes, putting a performance of Cobra (e.g. a highly structured improvisation, which I don't consider 'free' whatsoever) next to a purely 'free' improv performance may yield absolutely no differences in what's perceived and what's planned. You may be dealing with highly proficient musicians on the one hand and amateurs on the other, but the musical product has the ability to be similar. The musicians - here, you're no longer considering the music so much as respect and admiration for a particular artist. Respect for Picasso's painting is hightened by the fact that his earlier, more realistic and impressionistic works were equally amazing in scope and technique. Bailey's technique and prowess as an improvisor makes us respect and appreciate his music on a different level, because we know something of what's behind the music, and how it's being played. An amateur player may produce similar sounding music which we like very much on an aesthetic level, but our appreciation of the artist themselves may be different - we may note their instictiveness and passion instead of their amateur technique, and leave it at that. On the one hand, in the end it's the Music: it's what the product is, and it's what we come to enjoy. On the other, there's the Musician: a creative soul that we can appreciate and respect on many different levels. The two aren't mutually exclusive, but their weight against each other colors how each of us individually perceive the performance and the performer. | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | m-a-t-t-h-e-w r-o-s-s d-a-v-i-s university of maryland http://www.artswire.org/~mrd school of music | S | O | H | C | 4 | # | 3 | 6 | 5 | | | 7 | 9 | C | B | 6 | 5 | 0 | ------------------------------------------------------------------------------- From: Alain Potvin Subject: Naked City video (Marquee Club) Date: 03 Oct 1997 12:04:01 -0400 Hello all Who sing/scream with Y. Eye on Leng T'che on the Naked City video at the marquee club? Thanks Alain Potvin 1296 Julien St-Felicien Quebec, Canada ------------------------------------------------------------------------------- From: perojo@unsl.edu.ar Subject: ....... about Quine Date: 03 Oct 1997 14:34:45 -0300 (GMT-0300) Hi, Ayone have any information about Robert Qine, last proyect, new proyects? Txs. -- Pablo. ------------------------------------------------------------------------------- From: jihad7@juno.com (Nathan M Earixson) Subject: Re: ....... about Quine Date: 03 Oct 1997 13:35:45 -0500 Was in the Voidoids. Worked on at least one Richard Hell solo album. On at least two Matthew Sweet albums (with Richard Lloyd) On some of the Filmworks. Plays on Ikue Mori's "Painted Desert" with Marc Ribot. and that's all I know right now. ******************************************************** "What could possibly go wrong?" "Melville". ******************************************************** On Fri, 3 Oct 1997 14:34:45 -0300 (GMT-0300) perojo@unsl.edu.ar writes: >Hi, > Ayone have any information about Robert Qine, last proyect, >new >proyects? > Txs. > >-- Pablo. > > ------------------------------------------------------------------------------- From: Stephane Vuilleumier Subject: Re: ....... about Quine Date: 03 Oct 1997 21:03:54 +0200 Surely there must be a Robert Quine discog somewhere! I for one would love to see one... RQ also played and recorded with Lydia Lunch, Lou Reed, Fred Maher, lately also on the Corin Curschellas record with Ikue Mori, Christian Marclay, Marc Ribot... On Fri, 3 Oct 1997 13:35:45 -0500 jihad7@juno.com (Nathan M Earixson) wrote: >Was in the Voidoids. Worked on at least one Richard Hell solo album. >On at least two Matthew Sweet albums (with Richard Lloyd) >On some of the Filmworks. >Plays on Ikue Mori's "Painted Desert" with Marc Ribot. >and that's all I know right now. > >On Fri, 3 Oct 1997 14:34:45 -0300 (GMT-0300) perojo@unsl.edu.ar wrote: >>Hi, >> Ayone have any information about Robert Qine, last proyect, >>new >>proyects? >> Txs. >> >>-- Pablo. >> >> > > > ------------------------------------------------------------------------------- From: Valkwitch Subject: Re: Zorn Spirit ? Date: 03 Oct 1997 15:38:22 -0400 Christopher Hamilton wrote: > > On Thu, 2 Oct 1997, Tim Schelfhout wrote: > > > Just got back from a free improv gig in Leuven (Belgium) featuring > > Zeena Parkins, David Shea, Jim O'rourke, Toshinoro Kondo, DJ Low, etc.. > > Sounds great! Was O'Rourke playing guitar? I'd heard a rumor he was > giving it up. > > Chris Hamilton i think o'rourke has given up the guitar entirely, according to an interview/article in the latest 'Option' magazine. He says he's bored with the instrument and wants to do compositional work, i suppose... ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Re: ....... about Quine Date: 03 Oct 1997 12:41:06 PDT >Surely there must be a Robert Quine discog somewhere! >I for one would love to see one... > >RQ also played and recorded with Lydia Lunch, Lou Reed, Fred Maher, >lately also on the Corin Curschellas record with Ikue Mori, >Christian Marclay, Marc Ribot... > He also played on some early Material tracks. Dave Brunelle IHVH@hotmail.com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: Herb Levy Subject: Harry Smith Date: 03 Oct 1997 14:46:22 -0800 Smithsonian Folkways has recently re-issued a great collection called Anthology of American Folk Music, originally compiled by Harry Smith, to whom John Zorn dedicated the naked City disc Heretics. Zorn describes Smith there as "Mystical Animator, Pioneer Ethnomusicologist, Hermetic Scholar, Creator of 'Heaven + Earth Magic' one of the greatest films of all time." This collection contains NO music by Zorn, or any other musician usually name checked on this list. & not everyone on this list will find things of interest to them in the collection. Still, those of you with an interest in the roots of American music, as well as the roots of how the roots of American music came to influence the music of the present, could do much worse than looking into this collection of 84 examples of early blues, folk, gospel, bluegrass, and other proto-weird musics of the United States. When this anthology was first released in the early 50s much of the music was totally unknown, Smith's collection helped to spark a revival in interest and performance of these areas of music that still has impact on musicians today. The raw energy of many of these recorded performances, as well as Smith's vision in compiling the set, is exemplary. The final disc of the set is an expanded CD which, in addition to more than 40 minutesd of music, includes QuickTime videos (of performers as well as some of Smith's own experimental films), interviews, and lots more on the music and Smith, as well. Herb Levy herb@eskimo.com ------------------------------------------------------------------------------- From: Zachary Subject: Re: ....... about Quine Date: 03 Oct 1997 18:16:01 -0400 On Fri, 3 Oct 1997 14:34:45 -0300 (GMT-0300) perojo@unsl.edu.ar wrote: >>>Hi, >>> Ayone have any information about Robert Qine, last proyect, >>>new >>>proyects? On Fri, 3 Oct 1997 13:35:45 -0500 jihad7@juno.com (Nathan M Earixson) replied: >>Was in the Voidoids. Worked on at least one Richard Hell solo album. >>On at least two Matthew Sweet albums (with Richard Lloyd) >>On some of the Filmworks. >>Plays on Ikue Mori's "Painted Desert" with Marc Ribot. >>and that's all I know right now. Then, at 09:03 PM 10/3/97 +0200, Stephane Vuilleumier wrote: >RQ also played and recorded with Lydia Lunch, Lou Reed, Fred Maher, >lately also on the Corin Curschellas record with Ikue Mori, >Christian Marclay, Marc Ribot... He also did some abrasive stuff with Jim Thirlwell in Scraping Foetus Off The Wheel. >Surely there must be a Robert Quine discog somewhere! >I for one would love to see one... Agreed...it could very well be as long as Zorn's (and just as diverse). -Zachary - _________________________ )) Zachary (( [|**| zachary@netwalk.com |**|] |__| "Coffee Cures Everything" |__| ------------------------------------------------------------------------------- From: Herb Levy Subject: Periplum CDs: Greinke/Land & Deep Listening Band/Ellen Fullman Date: 03 Oct 1997 16:54:27 -0800 Hi folks, I'll keep this short. Periplum has released 2 CDs this year: one is the second release by Jeff Greinke & Land (Dennis Rea, Lesli Dalaba, Ed Pias, George Soler, Bill Moyer and Greg Gilmore), called Archipelago with eight group compositions & Suspended Music, a collaboration between the Deep Listening Band (Pauline Oliveros, Stuart Dempster, David Gamper) & Ellen Fullman & the Long String Instrument featuring both groups playing new compositions by Oliveros & Fullman. I'm offering these to list members for US$14 including postage for either disc or US$26 including postage for both. E-mail inquiries to , checks/money orders to Periplum, POBox 95678, Seattle, WA 98145 USA. Forthcoming releases, out in early 98, include a CD of interactive computer music pieces by Canadian composer Martin Bartlett & a series of songs for voice and piano by eleven US composers including John Luther Adams, Peter Garland, Robin Holcomb, David Mahler, Maggi Payne, Susan Stenger. Affter that a few surprises, including some things that may be particularly pertinent to this list. Bests, Herb Herb Levy herb@eskimo.com ------------------------------------------------------------------------------- From: perojo@unsl.edu.ar Subject: about Quine.. Date: 03 Oct 1997 20:57:50 -0300 (GMT-0300) Txs to all. Yes i know that quine was working with Reed Dna Lunch John Zorn and so on.. But i these year has work in some project? maybe with Zorn? Masada? Txs again .. ------------------------------------------------------------------------------- From: stephen drury Subject: game pieces Date: 03 Oct 1997 21:18:58 -0400 Let me add two quick comments to Chris Hamilton's excellent discussion of Zorn's game pieces. First, along with music of Butch Morris and Stockhausen's "intuitive" pieces, it's really useful to consider Zorn's game pieces in the light of non- (or semi-)improvised "open form" compositions by Cage, Earle Brown, Christian Wolff and the like. A "composition" which maintains its identity from performance to performance, even though any two performances sound completely different from each other was very much one of Cage's preoccupations toward the end of his life (and throughout his career). Works of Cage like (warning: Plug alert) "Music Walk" will be nearly unrecognizable from one performance to another, while performances of works like "Fourteen" will differ only in details. Secondly (and I suppose this is obvious, in a way), just like Beethoven or Ellington, Zorn's game music has meanings and mechanisms that only become apparent once you've actually performed the pieces several times. It's not really possible to fully communicate those meanings verbally. His written out music is very much the same. -- steve drury ------------------------------------------------------------------------------- From: Brian & Sharon Beuchaw Subject: Re: Harry Smith Date: 03 Oct 1997 23:20:40 -0500 (CDT) On Fri, 3 Oct 1997, Herb Levy wrote: > The final disc of the set is an expanded CD which, in addition to more than > 40 minutesd of music, includes QuickTime videos (of performers as well as > some of Smith's own experimental films), interviews, and lots more on the > music and Smith, as well. > > Herb Levy > herb@eskimo.com Um, I don't remember any videos of performers (just of SMith's films and a clip of him accepting a Grammy and another clip or two of him), which is kinda disappointing. It does have audio interviews with some of the performers (or their wives), but AFAIK, no videos of the performers. cya brian ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Harry Smith Date: 04 Oct 1997 00:50:53 -0400 (EDT) On Fri, 3 Oct 1997, Herb Levy wrote: > This collection contains NO music by Zorn, or any other musician usually > name checked on this list. & not everyone on this list will find things of > interest to them in the collection. However, Frank Cloutier and the Victoria Cafe Orchestra's "Moonshiner's Dance Part One" is, I swear to God, what Naked City would have sounded like in 1927. Every few bars, somebody shouts "1-2-3-4" and the band changes genres. Chris Hamilton ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: ....... about Quine Date: 04 Oct 1997 00:54:35 -0400 (EDT) On Fri, 3 Oct 1997 perojo@unsl.edu.ar wrote: > Ayone have any information about Robert Qine, last proyect, new > proyects? Earlier this year (I think), a Richard Hell spoken word CD came out which featured musical accompaniment by Quine. That's the most recent thing I've heard about. Chris Hamilton ------------------------------------------------------------------------------- From: Richard Williams Subject: Re: Game pieces, etc. Date: 03 Oct 1997 09:11:22 -0500 Charles Gillett wrote: but the games thus far: > > 1977 Lacrosse (for between four and seven players) > 1978 Curling (for four players?) > 1978 Hockey (for three players) > 1979 Pool (for four players) > 1979 Archery (for twelve players) > 1979 Tennis (for two keyboards or two drummers) > 1980 Fencing (for three of the same instrument) > 1980 Jai-Alai (opera) [a game opera? this is from Gagne's list] > 1981 Croquet (for sixteen players) > 1981 Go! (a play of roles) > 1982 Track & Field (for any number of dancers, performance > artists, and musicians) > 1983 Rugby (for five players) > 1983 Darts (for five dancers and five musicians) > 1983 Sebastopol (for three trios [rock, classical, and improvising]) > 1984 Cobra (for ten or more players) > 1985 Xu Feng (for six players) > 1987 Ruan Lingyu (for three narrators and eight musicians) > 1987 Hu Die (for two guitars and Chinese narration) > 1988 Hwang Chin-ee (for two drummers and Korean narration) > 1988 Que Tran (for two keyboards and Vietnamese narration) > 1989 Bezique (for nine or more players) Charles, Great job on the list. Brought back some great memories! Here's another(though I'm not quite sure it Qualifies as a game piece) 1984 "Impressions of Africa" (for trio) (Zorn,David Moss,Mark Miller) I've got a bunch of handbills and programs from the early-mid 80's, but they're in storage, when I get a chance I'll check for any others that I might have documentation on. ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: ....... about Quine Date: 04 Oct 1997 01:12:54 -0400 Christopher Hamilton wrote: > > Ayone have any information about Robert Qine, last proyect, > new > > proyects? > > Earlier this year (I think), a Richard Hell spoken word CD came out > which > featured musical accompaniment by Quine. That's the most recent thing > > I've heard about. His duo CD with Fred Maher has just been reissued by Virgin. I had this disc on order for something like an entire year back in the late '80s - early '90s (can't remember exactly when it was issued to be honest) and never got it -- because it went out of print, I later learned. Can anyone speak to what this thing is like? Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: "Julian" Subject: yearbooks Date: 04 Oct 1997 18:07:03 +1000 Does anyone know if those (Y)earbooks are still available anywhere? I seem to remember someone posting about them a while ago. ------------------------------------------------------------------------------- From: Dgasque@aol.com Subject: Re: ....... about Quine Date: 04 Oct 1997 04:40:49 -0400 (EDT) In a message dated 97-10-03 15:14:07 EDT, you write: << Surely there must be a Robert Quine discog somewhere! I for one would love to see one... RQ also played and recorded with Lydia Lunch, Lou Reed, Fred Maher, lately also on the Corin Curschellas record with Ikue Mori, Christian Marclay, Marc Ribot... >> Also on an Editions EG LP (1984) with Fred Maher. =dgasque= ------------------------------------------------------------------------------- From: Richard Williams Subject: Re: ....... about Quine Date: 04 Oct 1997 01:23:39 -0500 >Surely there must be a Robert Quine discog somewhere! > for one would love to see one... >RQ also played and recorded with Lydia Lunch, Lou Reed, Fred Maher, > >lately also on the Corin Curschellas record with Ikue Mori> >Christian Marclay, Marc Ribot... He also made "Escape" with Jody Harris, and a rythym section of Dave Hofstra and Dennis Charles. A friend of mine, when hearing it for the first time exclaimed: "Surf's up in Soho!" and thats as good a description as I could come up with. ------------------------------------------------------------------------------- From: Richard Williams Subject: Re: ....... about Quine Date: 04 Oct 1997 01:39:58 -0500 Steve Smith wrote: > His duo CD with Fred Maher has just been reissued by Virgin. . Can > anyone speak to what this thing is like? It's very much in the Material/Downtown rock sound of the early 80's. Quine doubles on Bass, and Maher drums acousticly, and with machines. Not a bad album, but IMO it could have been much better with a real band. BTW, it's called "Basic" , and it was originally released on Editions EG in 1984. ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: ....... about Quine Date: 04 Oct 1997 08:29:19 -0700 I may have missed it if this was mentioned, but Quine played with Zorn and Laswell and Ted Epstein (BIG) on the Rubaiyat (Elektra) recording. The Material appearance was first put out on the vinyl _American Songs_. I thought there was also an instrumental surf LP with Jody Harris that I once owned, would have come out in the mid-80s. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Caleb Deupree Subject: No New York info Date: 04 Oct 1997 11:42:13 -0600 > Anyone have some information of the old "No New York", >any information?. Although there was a recent thread on the subject of this album (check the archives), here's more complete technical info and track listings. Antilles release AN 7067, 1978. Cover design (with Steve Keister), cover photo, and production by Brian Eno. Engineers Vishek Woszcyk, Kurt Munkasci, assistant Roddy Hui. Recorded at Big Apple Studio, NYC, Spring 1978. Track listing: Contortions, featuring James White (sax, vocals), Don Christensen (drums), Pat Place (slide guitar), Jody Harris (guitar), George Scott III (bass), and Adele Bertei (acetone organ): Dish it out, Flip your Face, Jaded, I Can't Stand Myself Teenage Jesus and the Jerks, featuring Lydia Lunch (guitar, vocal), Gordon Stevenson (bass), Bradley Field (drum [sic]): Burning Rubber, The Closet, Red Alert, I Woke Up Dreaming Mars, featuring Sumner Crane (guitar, vocal), Nancy Arlen (drums), Mark Cunningham (bass, vocal), and China Burg (guitar, vocal): Helen Fordsdale, Hairwaves, Tunnel, Puerto Rican Ghost D.N.A., featuring Robin Crutchfield (organ, vocal), Ikue Ile (drums), and Arto Lindsay (guitar, vocal): Egomaniac's Kiss, Lionel, Not Moving, Size. -- Caleb T. Deupree cdeupree@erinet.com ;; For every complex question there is a simple answer. ;; And it is wrong. (H. L. Mencken) ------------------------------------------------------------------------------- From: ia zha nah er vesen Subject: Re: Harry Smith Date: 04 Oct 1997 14:25:41 -0400 (EDT) > > This collection contains NO music by Zorn, or any other musician usually > > name checked on this list. & not everyone on this list will find things of > > interest to them in the collection. > However, Frank Cloutier and the Victoria Cafe Orchestra's "Moonshiner's > Dance Part One" is, I swear to God, what Naked City would have sounded > like in 1927. Every few bars, somebody shouts "1-2-3-4" and the band > changes genres. okay, this is starting to sound really cool...what's the exact info on this set? Label, title, places to find it? -jascha ------------------------------------------------------------------------------- From: cdeupree@interagp.com (Caleb Deupree) Subject: Review: David Shea, Satyricon Date: 04 Oct 1997 14:43:18 -0400 There has been some recent activity on the ambient list about David Shea, so I'm submitting a brief review intended for the zorn list of his recent album Satyricon. While there is more ambient content here than on Shea's earlier work, but there is also some material to which I could not give that classification. This new composition represents a very different direction from his other studio releases. In keeping with some of his most recent releases, this one too is based on an ancient novel, but from Rome at the time of Nero (c. 50 CE), together with Fellini's film version. The album has a very wide variety of atmospheres and events, but few of the quick jumps which characterized Shock Corridor and Prisoner. I recommend it highly if you liked Tower of Mirrors (which Satyricon now replaces as my candidate for Shea's best work), or generally a lot of variety while still having a single unified work. Each track has a very different sound than the pieces which precede and follow. After a short opening of low drones with Jim Pugliese on gongs and Shea playing gong samples, there is a wonderful fast-ish techno piece, which transforms gradually into solo piano playing similar loops and beats. I've never heard Shea play piano before at all, so to hear this kind of instrumental chops on an acoustic instrument is an unexpected high moment. Shea mentions in the notes that except for one piece at the end of the album (a dream sequence), there are no sampled records or CDs, which helps unify the work. Then there are two pieces with bowed vibraphone (Pugliese again), a gorgeous piece with voice (Tiziana Kutic) which wouldn't be too out of place on an adventurous new age album, and pieces with Erik Friedlander, string quartet, electronics, traditional northern Italian musicians, and the usual gang of suspects (Zeena Parkins, Anthony Coleman, etc -- this one gets a little noisy). I read somewhere recently an unfavorable review of the entire album that Shea had made with a group of traditional Italian musicians, but here as one of many colors it works quite well. The melodies (yes, there are some) have a Mediterranean quality to them, but the album darkens as it progresses, with more electronics and harsh sounds. On now: Maarten Altena, Cities and Streets -- Caleb T. Deupree cdeupree@erinet.com ;; For every complex question there is a simple answer. ;; And it is wrong. (H. L. Mencken) ------------------------------------------------------------------------------- From: john shiurba Subject: Re: yearbooks Date: 04 Oct 1997 11:57:36 -0700 > Does anyone know if those (Y)earbooks are still available anywhere? I seem > to remember someone posting about them a while ago. the (Y)earbook CDs (on Rastascan) are still available. Try the label directly if you can't find them in stores: email ginorobair@aol.com web: http://www.rastascan.com They're all excellent -- shiurba@sfo.com http://www.sfo.com/~shiurba ------------------------------------------------------------------------------- From: Dgasque@aol.com Subject: Frank Lowe Orchestra- Lowe and Behold LPs FS Date: 04 Oct 1997 15:41:24 -0400 (EDT) This week, I came across a two copies of this pretty free-wheeling affair, recorded in 1977 in NYC, on the Musicworks label (cat. #3002). The LPs are SS and the covers are in EX condition. Lots of heavies here: Frank Lowe- tenor sax, composer, arranger Joseph Bowie- trombone Lawrence "Butch" Morris- coronet Arthur Williams- trumpet Billy Bang- violin Polly Bradfield- violin Eugene Chadborne- guitar John Lindburg- Bass Philip Wilson- drums and percussion John Zorn- alto sax Peter Kuhn- clarinet and bass clarinet Side 1- Heart in Hand or (How Vain I Am) (13:58) A Hipster's Dream (4:24) Side 2- Lowe-commotion (7:58) Heavy Drama (12:49) I'm asking $10 plus shipping. Interested parties may email me privately. =dgasque= ------------------------------------------------------------------------------- From: xander@sirius.com Subject: Re: Review: David Shea, Satyricon Date: 04 Oct 1997 13:20:57 -0700 Great review, I'll have to have another listen to Satyricon. >...I read somewhere recently an unfavorable review of the entire album >that Shea had made with a group of traditional Italian musicians, but here >as one of many colors it works quite well. But for the record, what is this other album you mention? Thanks, Alexander ------------------------------------------------------------------------------- From: dennis summers Subject: Wilner Date: 04 Oct 1997 16:48:45 -0600 I'm catching up on two weeks of zorn digests, and the Monk/Wilner conversation makes me ask this question. As some of you have alluded, Wilner is an extraordinary producer, and I try to snatch up everything I can find that he has a hand in. As you may guess it's harder to find disks by producer than by artist. Has anyone seen a Wilner discography. If not, Patrice, are you looking for a serious challenge. I could help with what I know (which probably doesn'r number much more than about 6 disks). I've been meaning to write Wilner a fan letter for years now, but have yet to get around to it. Anyone know how to reach him (other than picking one of the record labels and hoping they'll forward it on)? Oh well, back to catching up. yours in zornocity --ds ***Quantum Dance Works*** ****http://ic.net/~denniss**** ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Game pieces, etc. Date: 04 Oct 1997 19:38:03 -0400 > Charles Gillett wrote: > > > 1983 Sebastopol (for three trios [rock, classical, and improvising]) Not that anyone exactly asked, but a recording of an excerpt of a performance of "Sebastopol" is currently available on the Einstein records compilation "A Confederacy of Dances, Vol. 1" featuring Zorn on reeds, Vicki Bodner, oboe and English horn, Carol Emanuel, harp, Wayne Horvitz, keyboard, Robert James, tapes and sound effects, Arto Lindsay, voice and guitar, Christian Marclay, turntables, M.E. Miller, drums, Ursula Oppens, piano, Robin Holcomb, prompter. "The premiere performance of one of Zorn's 'game' environment pieces. This one is for 3 classical musicians, 3 rock musicians and 3 improvisers. As with the other pieces of this type, musicians use hand gestures and musical cues to communicate which are controlled by a 'prompter' holding up instruction cards. A faced-paced virtually theatrical experience for the audience." > > 1985 Xu Feng (for six players) Likewise, there's an excerpt from a performance of "Xu Feng" on the Rastascan compilation "(Y)earbook, Vol. 2," which features Zorn as conductor with Myles Boisen, guitar, Gannon Hall, drums, Bob Ostertag, sampler, David Slusser, sampler, Trey Spruance, guitar, and William Winant, percussion. "'Xu Feng' is an improvisational score or 'game piece' written by John Zorn. In performance, the musicians can be seen waving their hands like eager schoolkids to attract the attention of Zorn (the conductor). Once chosen, a musician uses hand signals to indicate a particular change in the current grouping, playing relationships, dynamics, etc. from the various options described verbally in the score. Zorn then signals this change to the ensemble, generally conducting abrupt cues with one or more hand-held placards. Most of the cues are heard as splice-like "cuts" within the piece, and since the musical material is completely improvised from beginning to end, 'Xu Feng' is full of surprises for listeners and players alike. This was the first piece in the first set of a concert organized with the help of Larry Ochs and the ROVA Saxophone Quartet." Speaking of ROVA, anyone who's ever seen them play Steve Adams's piece "Cage" (inspired by the composer of the same name) will no doubt recognize similar strategies in action; players encourage or circumvent different musical activities through the use of handsignals throughout the piece. And the new Misha Mengelberg disc on hatOLOGY, "The Root of the Problem," is described in its notes (by John Corbett) as "Musical chess master Misha Mengelberg versus four worthy opponents. A German trumpeter [Thomas Heberer] and drummer [Achim Kremer], a French tuba player [Michel Godard], and an American-born, French-resident (since 1972) saxophonist [Steve Potts].... matching wits in duets and trios. One can sense the Maestro taking on all contestants, approaching the music as a game of strategy, a set of moves and countermoves.... Chess is also a suitable metaphor for the Dutchman's approach to instant composition because it has no final or definitive form, no absolute and irrefutable game-plan.. Within its rule structures, the game is improvised." Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Todd Bramy Subject: RQ & SFOTW Date: 04 Oct 1997 12:42:24 -0800 >>RQ also played and recorded with Lydia Lunch, Lou Reed, Fred Maher, >>lately also on the Corin Curschellas record with Ikue Mori, >>Christian Marclay, Marc Ribot... > >He also did some abrasive stuff with Jim Thirlwell in Scraping Foetus Off >The Wheel. Really? Which recordings, if you know? Todd Bramy tbramy@oz.net ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: ....... about Quine Date: 05 Oct 1997 03:31:35 -0400 (EDT) On Sat, 4 Oct 1997, Steve Smith wrote: > His duo CD with Fred Maher has just been reissued by Virgin. I had this > disc on order for something like an entire year back in the late '80s - > early '90s (can't remember exactly when it was issued to be honest) and > never got it -- because it went out of print, I later learned. Can > anyone speak to what this thing is like? It's been a while since I've listened to this one, but as I recall, it's similar in feel to Brian Eno's _Music for Films_, but slightly more energetic: brief snippets of mostly textural ideas, with little attempt at development. It's pretty slight, but good fun if you're a fan of these guys. Chris Hamilton ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Harry Smith Date: 05 Oct 1997 03:42:41 -0400 (EDT) On Sat, 4 Oct 1997, ia zha nah er vesen wrote: > okay, this is starting to sound really cool...what's the exact info on > this set? Label, title, places to find it? Smithsonian Folkways Recordings, _Anthology of American Folk Music_, and anywhere that sells 6CD sets of folk music manufactured by Sony. But I want to reemphasize that, despite my comparison to Naked City, this is not avant-garde music in any of the usual senses: just rural U.S. popular music of the late 20's/early 30's. It's great stuff, but people on this list who dislike roots music will probably despise it. Chris Hamilton ------------------------------------------------------------------------------- From: molony@worldscope.co.uk (molony) Subject: Re: Wilner Date: 05 Oct 1997 10:57:56 +0100 >I'm catching up on two weeks of zorn digests, and the Monk/Wilner >conversation makes me ask this question. As some of you have alluded, Wilner >is an extraordinary producer, and I try to snatch up everything I can find >that he has a hand in. As you may guess it's harder to find disks by >producer than by artist. Has anyone seen a Wilner discography. If not, >Patrice, are you looking for a serious challenge. I could help with what I >know (which probably doesn'r number much more than about 6 disks). I've been >meaning to write Wilner a fan letter for years now, but have yet to get >around to it. dennis summers I'M GLAD THIS ONE CAME ALONG BECAUSE I'VE BEEN WONDERING WHAT HE'S UP TO. OVER THE YEARS THERE'S BEEN TALK OF FOLLOW UP NINO ROTA, ELLINGTON AND EDITH PIAF TRIBUTES. I SAW HIM TALKING ABOUT HIS WORK WITH BURROUGHS LAST YEAR AT LACM AND HE INTIMATED THAT THERE WAS ANOTHER ALBUM'S WORTH OF STUFF THERE. SO IN THE LIGHT OF BOTH GINSBERG AND UNCLE BILL'S DEMISE PERHAPS THAT WILL BE FORTHCOMING.A QUICH RUN THROUGH OF THE" FILE UNDER WILNER" SHELVES HERE THROW THESE UP:- MATHILDE SANTING-OUT OF THIS DREAm LORI CARSON- SHELTER ROTA TRIBUTE AMARCORD MONK TRIBUTE CARL STALLING VOLS 1&2. WEIRD NIGHTMARE MINGUS TRIBUTE STAY AWAKE DISNEY LOST IN THE STARS WEILL SEPTEMBER SONGS WEILL MARIANNE FAITHFULL STRANGE WEATHER MARIANNE FAITHFULL BLAZING AWAY JAZZ PASSENGERS- IN LOVE OST SHORT CUTS LENNY PICKETT AND THE BORNEO HORNS THER'S ALSO BEEN A COUPLE OF PRODUCTIONS I THINK FOR THE KNITTING FACTORY LABEL. SPANISH FLY?? ALSO I HEARD OF A WILNER PRODUCED EP BY SP.FLY BUT COULD NEVER TRACK IT DOWN. ANYONE GOT ANY MORE INFO???REGARDS KEVIN M. ------------------------------------------------------------------------------- From: pm.carey@utoronto.ca (Patrick Carey) Subject: Re: Review: David Shea, Satyricon Date: 05 Oct 1997 09:43:56 -0400 >Great review, I'll have to have another listen to Satyricon. >>...I read somewhere recently an unfavorable review of the entire album >>that Shea had made with a group of traditional Italian musicians, but here >>as one of many colors it works quite well. >But for the record, what is this other album you mention? It's called "The Poem De Nuestra Signora" and it's on the Italian label More Music (MOMUS008-CD). -Patrick np: Alan Lamb - "Primal Image" ------------------------------------------------------------------------------- From: Perfect Sound Forever Subject: ....... about Quine and Harry Smith Date: 05 Oct 1997 09:59:03 -0400 Glad to see that Quine is getting some recognition, he's one of the most under-rated guitarists around. He did some amazing work with Richard Hell/Voidoids and later with Matthew Sweet, Lloyd Cole, Brian Eno (NERVE NET) and Lou Reed (BLUE MASK, LEGENDARY HEARTS, LIVE IN ITALY). Recently, he's been playing in a band with a guy named Michael Maxwell at some small clubs here in NYC- in the ads, Quine's name is printed large (as it should be). Nice to see that BASIC (his LP with Fred Maher) is getting reissued. Really unique stuff- some ambient, some twangy guitar, lotsa interesting rhythms. Definitely worth an investment of your pesos. Someone asked about the Harry Smith boxset also in the last digest. You can order it from Folkways: Call 1-(800) 410-9815 (U.S. only, 9am - 5pm EST) Outside U.S. Call (301) 443-2314 I'm seen the major store chains carry this also- some as cheap as 50 bucks. It's an amazing music archive and Zorn was right to rave about it. I might as well mention that we have an article about Smith, culled from the liner notes- tributes by Peter Stampfel, John Fahey and Allen Ginsberg: http://www.furious.com/perfect/harrysmith.html Jason Perfect Sound Forever Warped perspectives on all types of music perfect-sound@furious.com http://www.furious.com/perfect ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: ....... about Quine Date: 05 Oct 1997 07:51:16 -0700 At 09:59 AM 10/5/97 -0400, Perfect Sound Forever wrote: >Glad to see that Quine is getting some recognition, he's one of the most >under-rated guitarists around. He did some amazing work with Richard >Hell/Voidoids He was amazing live with them, much more intense than on the Voidoid recordings, with the exception of the original EP with Blank Generation on Terry Ork's label, which had a blistering, angular guitar line. The only thing I have heard similar is some of Buckethead's stuff. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Jesse Simon Subject: Re: Willner Date: 06 Oct 1997 11:46:12 At 10:57 AM 10/5/97 +0100, molony wrote: >THER'S ALSO BEEN A COUPLE OF PRODUCTIONS I THINK FOR THE KNITTING FACTORY >LABEL. SPANISH FLY?? ALSO I HEARD OF A WILNER PRODUCED EP BY SP.FLY BUT >COULD NEVER TRACK IT DOWN. ANYONE GOT ANY MORE INFO???REGARDS KEVIN M. Indeed Hal Willner produced Spanish Fly's first album "Rags to Britches" on Knitting Factory Works. It's an excellent album of loosely strung improv, strangely arranged covers and other cool sounds courtesy of Tronzo (slide guitar), Marcus Rojas (tuba) and Steven Bernstein (trumpet). The EP was released on John Flansburgh's Hello Record Label and I don't believe it was Willner produced. The EP was included on their second album "Fly by Night", on Accurate Records. Jesse ------------------------------------------------------------------------------- From: Herb Levy Subject: Re: zorn-list Digest V2 #130 Date: 05 Oct 1997 14:00:02 -0800 Brian Beuchaw wrote: > >On Fri, 3 Oct 1997, Herb Levy wrote: > >> The final disc of the set is an expanded CD which, in addition to more than >> 40 minutesd of music, includes QuickTime videos (of performers as well as >> some of Smith's own experimental films), interviews, and lots more on the >> music and Smith, as well. >> >> Herb Levy >> herb@eskimo.com > >Um, I don't remember any videos of performers (just of SMith's films and a >clip of him accepting a Grammy and another clip or two of him), which is >kinda disappointing. It does have audio interviews with some of the >performers (or their wives), but AFAIK, no videos of the performers. Bad copy editing on my part, I moved some words around & left the parenthetical comment about interviews in the wrong place. Sorry for the lack of clarity. For the couple of folks looking for the set: The Anthology of American Folk Music is released by Smithsonian Folkways recordings, distributed by Sony Music Special Products. The Web site for Smithsonian Folkways is . Check it out. Bests, Herb Herb Levy herb@eskimo.com ------------------------------------------------------------------------------- From: IOUaLive1@aol.com Subject: Re: ....... about Quine Date: 05 Oct 1997 17:25:50 -0400 (EDT) Robert Quine and Jody Harris recorded "Yes It Is", on the cd "Come Together: Guitar Tribute to the Beatles Vol.2", which was produced by Mike Mainieri. It was released in 1995. ------------------------------------------------------------------------------- From: "Tim Schelfhout" Subject: Re: Zorn Spirit ? Date: 05 Oct 1997 14:55:39 PDT //A speedy (private) response from another list member makes me think //I //should stress this was a rumor with a capital R. I don't put much //credence in it, but it made me wonder if O'Rourke was playing guitar //or something else. I can assure you O'Rourke WAS playing the guitar ... and VERY original as well. The guitar was accompanied with a sampler though and it sounded really weird. As a matter of fact, they're playing right now again in the same line-up (T. Kondo, Z. Parkins, O'Rourke, DJ Low, ...). Unfortunately, I couldn't go tonight, coz' I had to babysit. Timpy ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: penwaves@mindspring.com (joel lewis) Subject: RE: robert quine Date: 05 Oct 1997 20:33:21 -0400 (EDT) there was a quine/fred maher (ex-material drummer) out about 15 years ago on e.g. records-- all instrumental, nice. not sure if ever reissued. also am told that a lou reed live in italy had los of quine joel lewis ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: ....... about Quine Date: 05 Oct 1997 21:01:46 -0400 (EDT) On Sun, 5 Oct 1997, Jeff Spirer wrote: > He was amazing live with them, much more intense than on the Voidoid > recordings, with the exception of the original EP with Blank Generation on > Terry Ork's label, which had a blistering, angular guitar line. The only > thing I have heard similar is some of Buckethead's stuff. Which Buckethead are you thinking of? I've never heard anything of his I'd describe as angular, and I'd like to check it out. Chris Hamilton ------------------------------------------------------------------------------- From: Ethan Subject: info on harry smith Date: 05 Oct 1997 22:39:32 -0400 (EDT) for info on harry smith and some stills from his films check out http://152.175.1.205/NISmith.html http://www.absolutvodka.com/panushka/history/profiles/smith_h/indexbz.html http://www.si.edu/folkways/ you can order the anthology of american folk music for $85.00 ppd. from the smithsonian. (ouch.) here's a blurb from the first URL, above: Harry always considered himself more a painter than a filmmaker, and the distinctions were sometimes moot; e.g., he created the first frame-by-frame hand-painted films in America in the early 1940's. He was among the first American artists to exhibit at the Louvre, around 1951, in a two-man show with Marcel Duchamp. He spent years living among American Indian tribes (cf. his recordings of "Kiowa Peyote Rituals" on Folkways Records), and amassed an important collection of sacred Indian religious ritual objects, now in a museum in Stockholm. His other collections included his books (among the largest, finest private libraries and a fantastic collection of Ukrainian painted Easter eggs. He even amassed what was undoubtedly the world's largest collection of paper airplanes. For forty years, as he found one (and he found them everywhere), he would note the date and place and file it away. By the early 80s he had no less than a dozen large boxes. The Smithsonian Air-Space Museum sent a special courier when he donated the collection. He also spent years befriending and recording early American folk and blues musicians, and in the early 1950's issued his multi-volume "Anthology of American Folk Music" on Folkways Records. He received a Lifetime Achievement Award at the 1991 Grammy Awards in New York for his contribution to blues and folk music. Many of his animated films employ overt magical symbolism, such as FILM NO. 10, which he described as "an exposition of Buddhism and the Kabbalah in the form of a collage. The final scene shows Agaric mushrooms growing on the moon while the hero and heroine row by on a cerebrum." Another early film was a collaboration with Thelonious Monk (FILM # 11, MIRROR ANIMATIONS). Among his masterworks is HEAVEN AND EARTH MAGIC (FILM NO. 12), created in the late 1950's and early '60s by using chance operations to animate cutouts from old department store catalogs and books. Smith declared that "my movies are made by God; I am just the medium for them." His art was pure hermeticism, and he, a modern Prospero. e ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: ....... about Quine Date: 05 Oct 1997 19:50:00 -0700 At 09:01 PM 10/5/97 -0400, Christopher Hamilton wrote: > > >On Sun, 5 Oct 1997, Jeff Spirer wrote: > >> He was amazing live with them, much more intense than on the Voidoid >> recordings, with the exception of the original EP with Blank Generation on >> Terry Ork's label, which had a blistering, angular guitar line. The only >> thing I have heard similar is some of Buckethead's stuff. > >Which Buckethead are you thinking of? I've never heard anything of his >I'd describe as angular, and I'd like to check it out. I would suggest the first Praxis and the forthcoming Arcana CDs for this. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: QUESOMALO@aol.com Subject: Re: Willner and Spanish Fly Date: 05 Oct 1997 23:01:27 -0400 (EDT) In a message dated 97-10-05 12:52:17 EDT, you write: << The EP was released on John Flansburgh's Hello Record Label and I don't believe it was Willner produced. >> This EP was, infact, produced by Wilner. Wilner also supplied some very amusing background vocals. Come to think of it, there is very little about this group wich isn't amusing. -nick ------------------------------------------------------------------------------- From: Lang Thompson Subject: Wilner Poe tribute (+Burroughs box) Date: 06 Oct 1997 00:12:03 -0400 Here's what Hal Wilner's been up to, from the Addicted to Noise website: The works of Beat novelist William Burroughs and gothic novelist/poet Edgar Allen Poe as interpreted by musicians from Iggy Pop to Laurie Anderson will be featured on two upcoming box sets. Closed on Account of Rabies (Nov. 25), a two-CD set produced by Hal Wilner (Allen Ginsberg, Charles Mingustribute), features a number of actors/musicians paying homage to America's most famous dark poet, Poe, who died 150 years ago. Marianne Faithfull, Iggy Pop, Ken Nordine, Diamanda Galas, the late Jeff Buckley, Dr. John, Deborah Harry & the Jazz Passengers, actors Christopher Walken, Gabriel Byrne and director Abel Ferrara are among those celebrating Poe's work on the collection. The artists will lend their voices to such dark Poe classics as "The Tell-Tale Heart," "The Raven," "The Black Cat" and "The Masque of the Red Death." Released on the same day will be a still-untitled four-CD set honoring Burroughs (Naked Lunch, Junkie), who died this year at age 83. The CDs will highlight performances of some of Burroughs' most well-known works, recorded live between 1971 and 1987. The collection was produced by John Giorno, a long-timefixture on the American poetry scene, who produced a number of albums on his Giorno Poetry Systems Records in the late-1970s and early-1980s which featured performances from Burroughs, and musical artists Patti Smith, Frank Zappa and Laurie Anderson. The set will feature Burroughs, known for his dry, laconic reading style, performing selections from his most famous novels, including, Naked Lunch, The Wild Boys, Nova Express, The Soft Machine and Junkie. -- Gil Kaufman[Fri., Oct. 3, 1997, 9 a.m. PDT] Lang Thompson http://members.aol.com/wlt4/index.htm ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Wilner Poe tribute (+Burroughs box) Date: 06 Oct 1997 07:22:00 -0700 It doesn't sound like Wilner had anything to do with the Burroughs, at least from what you posted. I couldn't find the original article at AtN's site. At 12:12 AM 10/6/97 -0400, Lang Thompson wrote: >Here's what Hal Wilner's been up to, from the Addicted to Noise website: > >The works of Beat novelist William Burroughs and gothic novelist/poet Edgar >Allen Poe as interpreted by musicians from Iggy Pop to Laurie Anderson will >be featured on two upcoming box sets. > > Closed on Account of Rabies (Nov. 25), a two-CD >set produced by Hal Wilner (Allen Ginsberg, Charles Mingustribute), >features a number of actors/musicians paying homage to America's most >famous dark poet, Poe, who died 150 years ago. Marianne Faithfull, Iggy >Pop, Ken Nordine, Diamanda Galas, the late Jeff Buckley, Dr. John, Deborah >Harry & the Jazz Passengers, actors Christopher Walken, Gabriel Byrne and >director Abel Ferrara are among those celebrating Poe's work on the >collection. The artists will lend their voices to such dark Poe classics as >"The Tell-Tale Heart," "The Raven," "The Black Cat" and "The Masque of the >Red Death." > > Released on the same day will be a >still-untitled four-CD set honoring Burroughs (Naked Lunch, Junkie), who died > this year at age 83. The CDs will highlight performances of some of >Burroughs' most well-known works, recorded live between 1971 and 1987. > > The collection was produced by John Giorno, a >long-timefixture on the American poetry scene, who produced a number of >albums on his Giorno Poetry Systems Records in the late-1970s and >early-1980s which featured performances from Burroughs, and musical artists >Patti >Smith, Frank Zappa and Laurie Anderson. The set will feature Burroughs, >known for his dry, laconic reading style, performing selections from his >most famous novels, including, Naked Lunch, The Wild Boys, Nova Express, >The Soft Machine and Junkie. -- Gil Kaufman[Fri., Oct. 3, 1997, 9 a.m. PDT] >Lang Thompson >http://members.aol.com/wlt4/index.htm > > > Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Lang Thompson Subject: Re: Wilner Poe tribute (+Burroughs box) Date: 06 Oct 1997 23:03:02 -0400 Sorry for the confusion: Wilner is only connected with the Poe tribute. The info about the Burroughs box was part of the original article & I left it in, thinking it would be of interest to list subscribers. The original article is at http://www.addict.com/MNOTW/lofi/971003/971003_1408.shtml Lang Thompson http://members.aol.com/wlt4/index.htm ------------------------------------------------------------------------------- From: peter_risser@cinfin.com Subject: Execution Ground, Again Date: 07 Oct 1997 12:50:33 UT All right. I've seen people ask this question several times. I am going to ask it again. I really really really want a copy of the three CD version of Execution Ground and someone a long time ago said Tzadik was going to reissue it. Is this true, or was it just a rumor? Does anyone know for sure? If it is true, does anyone know when? Please, could someone in the know clear this up? Thanks, Peter ------------------------------------------------------------------------------- From: Joseph S Zitt Subject: Re: Harry Smith Date: 07 Oct 1997 08:26:49 -0500 (CDT) The lead article in the last week's New York Press, "The Rabbi's Basement Tapes", is about Harry Smith, from a somewhat... um... different POV than the other articles I've seen. ------------------------------------------------------------------------------- From: Yves Dewulf Subject: Gainsbourg Date: 08 Oct 1997 09:46:38 +0200 Yes, I finally got the Great Jewish Music : Serge Gainsbourg-CD, and it is amazing. Brilliant tracks from Kramer,MMW,Mike Patton , Cibbo Matto, David Shea and the maestro himself. Does anybody know if zorn makes the choice of artist and songs himself, or is every artist free to chose a song ? (It was pretty obvious to me that Cibbo Matto should cover "je t'aime, moi non plus"). Yves, P.S. after Bacharach and Gainsbourg, who's the next victim in this Jewish-outing game? I can hardly wait ! ------------------------------------------------------------------------------- From: Jeff Schwartz Subject: Re: Gainsbourg Date: 08 Oct 1997 13:38:19 -0400 Yves Dewulf wrote: > > Yes, I finally got the Great Jewish Music : Serge Gainsbourg-CD, and it is amazing. Brilliant tracks from Kramer,MMW,Mike Patton , Cibbo Matto, David Shea and > Does anybody know if zorn makes the choice of artist and songs himself, or is every artist free to chose a song ? (It was pretty obvious to me that Cibbo Matto > > Yves, > > P.S. after Bacharach and Gainsbourg, who's the next victim in this Jewish-outing game? I can hardly wait ! Lou Reed, Bob Dylan, Gene Simmons (but all by their original names). -- Jeff Schwartz jeffs@bgnet.bgsu.edu http://www.bgsu.edu/~jeffs/main.html ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Magma Date: 08 Oct 1997 12:54:31 -0500 (CDT) Who can tell me about the group Magma? What exactly do they sound like? What does "Live" sound like? ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Magma Date: 08 Oct 1997 11:18:16 -0700 On Wed, 08 Oct 1997 12:54:31 -0500 (CDT) y9d62@ttacs1.ttu.edu wrote: > > Who can tell me about the group Magma? What exactly do they sound like? > What does "Live" sound like? Magma was a French band founded by the drummer Christian Vander in the late '60s. The band had various lineups, but always with Vander. The band used a lot of vocals sung in a made-up language (Kobaien). With vocals, the music could remind you of some Carl Orff clone (Carmina...). The music was fairly heavy, non-psychedelic at all, generous on drums and percussion (thanks to Vander), with brass. As you can see, light years from the "peace and love" sound of SF/California :-). The band got accused of propagating some right-wing ideas (imagine a little bit Laibach 30 years ago). Although they were never on that side, it was easy to get confused with the sometimes fairly military kind of rhythms, the language, use of symbols, the martial discipline proned by its leader, and, if I remember well, even the outfit. In general, a performance would look like a black mass with its set of rites. In concert? The band could play one unique track for 2 hours without a break and interruption. In short, if France ever had a good "rock" band, Magma is likely to be that one. Patrice. ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Re: Magma Date: 08 Oct 1997 13:25:29 -0500 (CDT) I heard someone comparing Ruins to Magma. On Wed, 8 Oct 1997, Patrice L. Roussel wrote: > > On Wed, 08 Oct 1997 12:54:31 -0500 (CDT) y9d62@ttacs1.ttu.edu wrote: > > > > Who can tell me about the group Magma? What exactly do they sound like? > > What does "Live" sound like? > > Magma was a French band founded by the drummer Christian Vander in the late > '60s. > > The band had various lineups, but always with Vander. > > The band used a lot of vocals sung in a made-up language (Kobaien). With > vocals, the music could remind you of some Carl Orff clone (Carmina...). > > The music was fairly heavy, non-psychedelic at all, generous on drums and > percussion (thanks to Vander), with brass. As you can see, light years > from the "peace and love" sound of SF/California :-). > > The band got accused of propagating some right-wing ideas (imagine a little > bit Laibach 30 years ago). Although they were never on that side, it was > easy to get confused with the sometimes fairly military kind of rhythms, > the language, use of symbols, the martial discipline proned by its leader, > and, if I remember well, even the outfit. In general, a performance would > look like a black mass with its set of rites. > > In concert? The band could play one unique track for 2 hours without a > break and interruption. > > In short, if France ever had a good "rock" band, Magma is likely to be > that one. > > Patrice. > ------------------------------------------------------------------------------- From: Richard Williams Subject: Re: ....... about Quine (correction) Date: 08 Oct 1997 14:26:58 -0500 I had written: > He also made "Escape" with Jody Harris, and a rythym section of Dave > Hofstra and Dennis Charles. A friend of mine, when hearing it for the > first time exclaimed: "Surf's up in Soho!" and thats as good a > description as I could come up with. Geez, guess I'm getting senile....... The Quine/Harris LP is actually aduo with both guitarists doubling on bass and elec drums. The LP I had it confused with is called "It Happened One Night"; which consists of two different recording sessions. a trio of Harris, Hofstra and Dennis Charles; and a quintet of Harris,Hofstra,Don Christianson on Drums and Stanley Harrison and Richard Peck on Tenors Sax. ------------------------------------------------------------------------------- From: SUGAR in their vitamins? Subject: Re: Magma Date: 08 Oct 1997 11:57:17 -0700 (PDT) On Wed, 8 Oct 1997 y9d62@ttacs1.ttu.edu wrote: > I heard someone comparing Ruins to Magma. and with good reason... hasta. Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. ------------------------------------------------------------------------------- From: Robert Pleshar Subject: Re: Gainsbourg Date: 08 Oct 1997 14:07:58 -0500 (CDT) At 01:38 PM 10/8/97 -0400, Jeff Schwartz wrote: >> P.S. after Bacharach and Gainsbourg, who's the next victim in this Jewish-outing game? I can hardly wait ! > >Lou Reed, Bob Dylan, Gene Simmons (but all by their >original names). Also, Paul Stanley, that way you could have all of the great Kiss tunes except "Cold Gin." If anyone says "Beth" is a great Kiss tune, I'll slap them. Ralph ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Magma Date: 08 Oct 1997 12:12:23 -0700 On Wed, 8 Oct 1997 11:57:17 -0700 (PDT) SUGAR in their vitamins? wrote: > > On Wed, 8 Oct 1997 y9d62@ttacs1.ttu.edu wrote: > > > I heard someone comparing Ruins to Magma. > > and with good reason... This is kind of true only from the following points: - vocal (both use kind of opera/vocalise techniques) - power drums But besides that, there are quite different. Patrice. ------------------------------------------------------------------------------- From: SUGAR in their vitamins? Subject: Re: Magma Date: 08 Oct 1997 12:38:37 -0700 (PDT) On Wed, 8 Oct 1997, Patrice L. Roussel wrote: > This is kind of true only from the following points: i was referring mostly to the fact that Yoshida is very influenced by Magma. yeah, Ruins are a bit faster paced than Magma with more stop-start change-ups etc, but it's all still very Magma-like. the new(ish) Koenjihiyaki disc sounds almost exactly like an updated version of Magma. hasta. Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. ------------------------------------------------------------------------------- From: Brent Burton Subject: Re: Gainsbourg Date: 08 Oct 1997 15:54:03 -0400 (EDT) On Wed, 8 Oct 1997, Robert Pleshar wrote: > Also, Paul Stanley, that way you could have all of the great Kiss tunes > except "Cold Gin." If anyone says "Beth" is a great Kiss tune, I'll slap them. "beth" is a great kiss tune. b p.s. c'mon, it's the first power-ballad! ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Magma Date: 08 Oct 1997 12:52:29 -0700 On Wed, 8 Oct 1997 12:38:37 -0700 (PDT) SUGAR in their vitamins? wrote: > > On Wed, 8 Oct 1997, Patrice L. Roussel wrote: > > > This is kind of true only from the following points: > > i was referring mostly to the fact > that Yoshida is very influenced > by Magma. yeah, Ruins are a > bit faster paced than Magma > with more stop-start change-ups > etc, but it's all still very > Magma-like. the new(ish) Koenjihiyaki ^^^^^^^^^^^^ Never heard about that one. What label? Patrice. ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Magma Date: 08 Oct 1997 13:39:50 -0700 On Wed, 8 Oct 1997 13:33:39 -0700 (PDT) SUGAR in their vitamins? wrote: > > On Wed, 8 Oct 1997, Patrice L. Roussel wrote: > > > Never heard about that one. What label? > > koenjihyakei KOENJIHYAKE (CD, God Mountain: GMCD 027) > > 1. grembo zavia (10:14) > 2. gaddinoba revoss (4:28) > 3. sllina vezom (5:28) > 4. quidom (3:43) > 5. aramida (5:53) > 6. brahggo (3:42) > 7. cembell rotta (4:48) > 8. rissenddo rraimb (9:17) > 9. guoth dahha (9:25) > 10. pamillazze (1:19) > > Tatsuya Yoshida: vocal, drums, keyboards, reeds > Aki Kubota: vocal, keyboards > Jin Harada: vocal, electric guitar, acoustic guitar > Kengo Sakamoto: vocal, bass You did not warn us that it was the Ruins Ensemble and not Ruins :-). Patrice. ------------------------------------------------------------------------------- From: SUGAR in their vitamins? Subject: Re: Magma Date: 08 Oct 1997 13:33:39 -0700 (PDT) On Wed, 8 Oct 1997, Patrice L. Roussel wrote: > Never heard about that one. What label? koenjihyakei KOENJIHYAKE (CD, God Mountain: GMCD 027) 1. grembo zavia (10:14) 2. gaddinoba revoss (4:28) 3. sllina vezom (5:28) 4. quidom (3:43) 5. aramida (5:53) 6. brahggo (3:42) 7. cembell rotta (4:48) 8. rissenddo rraimb (9:17) 9. guoth dahha (9:25) 10. pamillazze (1:19) Tatsuya Yoshida: vocal, drums, keyboards, reeds Aki Kubota: vocal, keyboards Jin Harada: vocal, electric guitar, acoustic guitar Kengo Sakamoto: vocal, bass recorded August 1996. released 1997. Koenjihyakei is the "follow-up" band/album to 100 Sights Of Koenji. hasta. Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Gainsbourg Date: 08 Oct 1997 16:48:03 -0400 Robert Pleshar wrote: > >> P.S. after Bacharach and Gainsbourg, who's the next victim in this > Jewish-outing game? I can hardly wait ! > > > >Lou Reed, Bob Dylan, Gene Simmons (but all by their > >original names). > > Also, Paul Stanley, that way you could have all of the great Kiss > tunes > except "Cold Gin." If anyone says "Beth" is a great Kiss tune, I'll > slap them. Hoo-eee, the mind reels. "Great Jewish Music - Stanley Eisen and Chaim Witz"!!! I'm having a good time coming up with a potential track listing, though. Marc Ribot y los Cubanos play "Strutter"? Wayne Horvitz's Pig Pen in "Hotter than Hell" / "Firehouse"? Pain Killer with special guest Kevin Sharp on "God of Thunder"? Perhaps Cibo Matto in "I Was Made For Lovin' You"? Anthony Coleman in "Christine Sixteen"? And certainly David Krakauer's Klezmer Madness in "Rock and Roll All Nite"... Maybe Sean Lennon could sing "Hard Luck Woman" this time around. Throw in Mr. Bungle doing "Calling Dr. Love" and we'd have a winner on our hands. Okay, this is getting out of hand... Steve Smith ssmith36@sprynet.com (who was videotaped in full facepaint and costume lip-syncing "Beth" and air-drumming "God of Thunder" in sixth grade) ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Gainsbourg Date: 08 Oct 1997 16:58:12 -0400 Brent Burton wrote: > On Wed, 8 Oct 1997, Robert Pleshar wrote: > > > Also, Paul Stanley, that way you could have all of the great Kiss > tunes > > except "Cold Gin." If anyone says "Beth" is a great Kiss tune, I'll > slap them. > > "beth" is a great kiss tune. > > b > > p.s. c'mon, it's the first power-ballad! No way!!! I loved it back in the day (if you saw the confessional sig on my previous msg you already know this), but a power ballad? It's a WUSS ballad, with strings and horns! Just like Alice Cooper's "I Never Cry" or "Only Women Bleed" (and wasn't Bob Ezrin involved in both of those songs too?). For a power ballad you have to have the ridiculously overblown electric guitar chords of the Scorpions's "Still Loving You," or Paul Stanley's somewhat later "I Still Love You." On that song you know he was pulling the hairs out of his chest. On "Beth" Peter just sounded like he was making weepy excuses to his wife on the phone so she wouldn't think he was out ballin with the boys all night, probably originally sung over the pay phone in the bathroom of the tiki lounge he was at that night (comparing golf tips with Alice). Okay, now I'm really done. Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: SUGAR in their vitamins? Subject: Re: Magma Date: 08 Oct 1997 13:58:52 -0700 (PDT) On Wed, 8 Oct 1997, Patrice L. Roussel wrote: > You did not warn us that it was the Ruins Ensemble and not Ruins :-). think of it as a pleasant surprise... hasta. Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. ------------------------------------------------------------------------------- From: "Andy Marks" Subject: Re: 100 Sights of Koenji Date: 09 Oct 1997 07:48:08 -0400 > Koenjihyakei is the "follow-up" > band/album to 100 Sights Of Koenji. Does anybody have "100 Sights of Koenji"? What's it like? There's a store near that has had it for quite some time. I have considered getting it many times as I knew some members of the Ruins were involved, but I never actually picked it up. ------------------------------------------------------------------------------- From: Johan Uusitalo Subject: Black box? Date: 10 Oct 1997 15:21:30 +0100 (MET) Does anyone know when the next Naked City "black box" will be released? J Uusitalo, Sweden ------------------------------------------------------------------------------- From: Mike Shepherd Subject: Re: Black box? Date: 10 Oct 1997 09:12:44 -0500 (CDT) On Fri, 10 Oct 1997, Johan Uusitalo wrote: > Does anyone know when the next Naked City "black box" will be released? > I guess I didn't think that there was gonna be another Black Box, that those two particular records were packaged together because of their brevity, the controversial art, and the fact that both were kinda outta print. I may be wrong on this one, though. Someone let me know if I am, please. - Mike "It's only romantic 'cause it never works." - Harriet the Spy ********************************* Mike Shepherd rein0065@frank.mtsu.edu Middle Tennessee State University (615) 898-3652 ********************************* ------------------------------------------------------------------------------- From: Toby Dodds Subject: Zony Mash Tour & Tape Offer Date: 10 Oct 1997 16:25:37 -0700 (PDT) I hope you're not getting this twice.................................... The following are current tour dates for Wayne Horvitz & Zony Mash. This is bound to be a special tour with special guests showing up here and there. Recently during a week of shows in Seattle, Zony Mash welcomed the likes of Bill Frisell, Skerik (Critters Buggin), Eyvind Kang (BFQ), Robin Holcomb (vocalist on Nashville, among other solo projects), Briggan Kraus (the immensely talented alto from Pigpen, Babkas and now Sex Mob) and many others. It was a monumental week of shows, even included a run through of Torture Garden the classic Naked City document. Wayne of course was a integral part of said group, with Frisell, Baron, Frith and Zorn. OK enough name dropping. Basically, since moving out to Seattle 6 years ago Wayne has contributed deeply to the music scene out here. And he hardly ever tours! So don't miss out. Zony Mash is his most recent project, and features excellent work on the B3. Recently Wayne has brought the Moog and the Yamaha DX7 out of the closet and will be touring with them as well. Anyone whose delved into the depths of Naked City or Pigpen knows that this is great news indeed. I've never heard anyone solo on a synthesized keyboard like Wayne. He treats the instrument like the plastic toy that it is, and the result is frightening at times. The music of Zony Mash swings between the avant jazz of Wayne's roots to soulful B3 organ based grooves. Of course Zony Mash itself is the name of an old Meters tune.. Good influences indeed. Thanks for listening and enjoy the shows! ZONY MASH FALL TOUR 1997 thu 10/16 Portland, OR - Green Onion sat 10/25 Madison, WI - Univ. of Madison mon 10/27 Ann Arbor, MI - Gypsy Cafe tue 10/28 Detroit, MI - Music Menu thu 10/30 Cleveland , OH - Grog Shop sat 11/01 Lexington, KY - Lynagh's (90% confirmed) sun 11/02 Nashville, TN - Tommy Guns tue 11/04 Atlanta, GA - Red Light Cafe wed 11/05 Chapel Hill, NC - Local 506 fri 11/07 NY, NY - Knitting Factory sat 11/08 Amherst, MA - Univ. of MA tue 11/11 Philadelphia, PA - The Five Spot fri 11/14 Chicago, IL - The Elbo Room sat 11/15 Ames, IA - The Maintenance Shop TAPE OFFER: If you have any interest in these shows, please e-mail me or visit the website: www.zonymash.com. Anyone signing the mailing list (to recieve concert and new release info...you won't be spammed I promise) who mentions the MMW list will receive a beautiful live tape of Zony Mash this August with special guests Briggan Kraus and Mike Stone from Pigpen. The tape was recorded to DAT with a boom mic on stage. It serves as a nice intro to the genius of Wayne. If you don't have access to a web browser just e-mail me. FINALLY: Zony Mash is very TAPER FRIENDLY, so don't hesitate to bring your gear. Just be sure to send the band a copy! Thanks! Toby zonymash@zonymash.com ------------------------------------------------------------------------------- From: Toby Dodds Subject: re: Zony Mash offer Date: 10 Oct 1997 17:12:16 -0700 (PDT) OOOPS If you read my post I mentioned a tape offer if you mentioned the Medeski, Martin & Wood list. That is the other list I posted this to. Please specify the Zorn-list anyway...Cheers, Toby ------------------------------------------------------------------------------- From: Jason Edward Kocol Subject: Re: Kiss? Date: 10 Oct 1997 18:17:22 -0700 > If anyone says "Beth" is a great Kiss tune, I'll slap them. If anyone says ANY Kiss song is great, I'll slap them too. Heheheh. -Jason http://suburban3.home.ml.org http://members.tripod.com/~misterlazy ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Kiss? Date: 10 Oct 1997 21:27:06 -0400 Jason Edward Kocol wrote: > > If anyone says "Beth" is a great Kiss tune, I'll slap them. > > If anyone says ANY Kiss song is great, I'll slap them too. > Heheheh. Many Kiss songs are great. (Many others are not.) Which cheek do you prefer? Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Zony Mash Tour & Tape Offer Date: 11 Oct 1997 00:54:14 -0400 (EDT) On Fri, 10 Oct 1997, Toby Dodds wrote: > It was a monumental week of shows, even included a run > through of Torture Garden the classic Naked City document. The whole thing?!?! Even "Gob of Spit"? Chris Hamilton ------------------------------------------------------------------------------- From: Matthew Ross Davis Subject: Re: Zony Mash Tour & Tape Offer Date: 11 Oct 1997 10:57:33 -0400 >The whole thing?!?! Even "Gob of Spit"? This is absolutely my favorite Naked City tune on TG/GG! | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | m-a-t-t-h-e-w r-o-s-s d-a-v-i-s university of maryland http://www.artswire.org/~mrd school of music | S | O | H | C | 4 | # | 3 | 6 | 5 | | | 7 | 9 | C | B | 6 | 5 | 0 | ------------------------------------------------------------------------------- From: "Marc A.Foster" Subject: cds for trade Date: 11 Oct 1997 12:14:12 +0000 I have several CDs for trade. I'm not very interested in sale, but could be convinced if that's what someone wants to do. Here they are: John Zorn- The Book of Heads David S. Ware- Cryptology Medeski, Martin, and Wood- Shack-Man Tim Berne- Fulton Street Maul Tim Berne's Caos Totale- Nice View Henry Kaiser- Re-Marrying for Money (with Bill Frisell and others) Bootsy Collins/ Zillatron- Lord of the Harvest (with Buckethead, Laswell, and others) Heiner Goebbels/ Alfred 23 Harth- Goebbels Heart Bill Laswell- Divination II DJ Shadow- Endtroducing... Melvins- Prick Godflesh- Slateman/ Wound/ Cold World Godflesh- Love & Hate in Dub Autechre- Tri Repetae (double CD, but I'll trade it as 1) In addition to regular trade, I'll trade 2 or 3-for-1 for new Masada 4, 7, or 8 or Naked City Black Box, for those of you who have easy access to a good music store. Let me know if you're interested. Marc A. Foster ------------------------------------------------------------------------------- From: SUGAR in their vitamins? Subject: Re: 100 Sights of Koenji Date: 11 Oct 1997 16:39:43 -0700 (PDT) On Thu, 9 Oct 1997, Andy Marks wrote: > Does anybody have "100 Sights of Koenji"? both 100 Sights and Koenjihyakei are Ruins plus members of Bondage Fruits. as always, everything is orchestrated by Yoshida. for 100 Sights, Masuda played guitar instead of bass. hasta. Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. ------------------------------------------------------------------------------- From: Mike Shepherd Subject: Re: Zony Mash Tour & Tape Offer Date: 12 Oct 1997 01:37:35 -0500 (CDT) On Sat, 11 Oct 1997, Matthew Ross Davis wrote: > >The whole thing?!?! Even "Gob of Spit"? > > This is absolutely my favorite Naked City tune on TG/GG! > I am personally of the opinion that Gob of Spit is kinda silly, and might have been better left unsaid, unplayed, whatever. But who am I to argue with the mighty JZ and NC? "It's only romantic 'cause it never works." - Harriet the Spy ********************************* Mike Shepherd rein0065@frank.mtsu.edu Middle Tennessee State University (615) 898-3652 ********************************* ------------------------------------------------------------------------------- From: "Schwitterz" Subject: KISS my ass Date: 11 Oct 1997 23:14:59 -0700 This is a multi-part message in MIME format. ------=_NextPart_000_0006_01BCD69B.7ECEFAA0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable just got home from sitting 6 feet from the blur they say is Cecil = Taylor's hands... it wasn't KISS, but it'll have to do... amazing... Sz ------=_NextPart_000_0006_01BCD69B.7ECEFAA0 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
just got home from sitting 6 feet = from the blur=20 they say is Cecil Taylor's hands...
it wasn't = KISS, but it'll=20 have to do...
amazing... 
 
Sz
 
------=_NextPart_000_0006_01BCD69B.7ECEFAA0-- ------------------------------------------------------------------------------- From: Alister Shew Subject: cynical hysterie whoops Date: 13 Oct 1997 22:27:43 -0000 In amongst the skithery joy of "Cynical Hysterie Hour", there's a squeaky sound that comes up quite a lot. Would this be the 'wet-finger whoops' mentioned on "Book of Heads"? I assume this is done with a wet finger(s) on the body of the guitar? Al ------------------------------------------------------------------------------- From: "Aaron Hertzmann" Subject: Stargazer performances Date: 13 Oct 1997 11:04:09 -0400 Stargazer, Dave Douglas' latest is good stuff. Does anyone know if they plan any performances to coincide with the album release? Aaron ------------------------------------------------------------------------------- From: peter_risser@cinfin.com Subject: Tzadik releases Date: 13 Oct 1997 19:17:23 UT Anyone know what's next for Tzadik? Is there anyway to find out, besides the little rumors section on the Web? Thanks, Peter ------------------------------------------------------------------------------- From: Jesse Simon Subject: Re: Tzadik releases Date: 14 Oct 1997 15:24:49 At 07:17 PM 10/13/97 UT, peter_risser@cinfin.com wrote: >Anyone know what's next for Tzadik? >Is there anyway to find out, besides the little rumors section on the Web? I don't know if you've been there already but http://www.tzadik.com is the official web site of the label and they've got a schedule of new releases up to about december or so. (I was a bit disappointed to find no mention of the rumored Painkiller re-issues. Maybe next year?) best, Jesse ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Re: Tzadik releases Date: 13 Oct 1997 13:38:03 PDT >(I was a bit disappointed to find no mention of the rumored Painkiller >re-issues. Maybe next year?) Someone in the chat section of the Dub Terrorist's pages said that Tzadik would be re-issuing "Guts of a Virgin", "Buried Secrets" and the 3 disc "Execution Ground" later this year. Of course, he didn't say how he came by this information. Dave ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: Damon Holzborn Subject: Zu Casa Date: 13 Oct 1997 20:31:58 -0700 Hello Zorn-listers, I'm an improvisor in the San Diego area who's been lurking on the Zorn-list for a while and just launched a web site that I thought I'd mention. Zu Casa has videos, some web trinkets, and over four hours of music performed by Hans Fjellestad and myself. In the future we'll also be including collaborations with other artists, writers, and musicians. We'll be adding a lot more stuff in the next few months so if you hear anything you like don't forget to send email to damon@zucasa.com and we'll send you the occasional update. Point your browsers to: http://www.zucasa.com Thanks, =========================== Damon Holzborn damon@im.gte.com damon@zucasa.com Zu casa es su casa... http://www.zucasa.com =========================== ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Stargazer performances Date: 14 Oct 1997 01:16:52 -0400 Aaron Hertzmann wrote: > Stargazer, Dave Douglas' latest is good stuff. Does anyone know if > they plan > any performances to coincide with the album release? There's at least a small tour planned, I know there's a Boston date in early December. And for you, Aaron, in particular (judging by the ".nyu." in your address) and other New York Zornlisters in general, look for a week at the snazzy looking Lincoln Center-area club Iridium in early December. See you there... Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Tzadik releases Date: 14 Oct 1997 01:30:25 -0400 Jesse Simon wrote: > peter_risser@cinfin.com wrote: > >Anyone know what's next for Tzadik? > >Is there anyway to find out, besides the little rumors section on the > Web? > > I don't know if you've been there already but http://www.tzadik.com is > the > official web site of the label and they've got a schedule of new > releases > up to about december or so. Say wha'? "the little rumors section" to which Peter Risser referred IS the new release page on the official Tzadik website (produced for mass-consumption by the goldarned Knitting Factory, dontcha know) and I don't see anything past the release scheduled for October 21. Where are you looking, exactly? Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: And... Date: 14 Oct 1997 10:03:55 -0500 (CDT) Also, "Masada Live In N.Y. 1994" ENCO600961 10/95? ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Chadborne tribute? Date: 14 Oct 1997 10:02:31 -0500 (CDT) I may be uninformed. Have you guys heard of "In Memeory Of Eugene Chadborne" by John Zorn? IncusCD23 6/97 ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Chadborne tribute? Date: 14 Oct 1997 12:14:08 -0400 y9d62@ttacs1.ttu.edu wrote: > I may be uninformed. Have you guys heard of "In Memeory Of Eugene > Chadborne" by John Zorn? IncusCD23 6/97 Umm, that would be "In Memory of Nikki Arane" by John Zorn AND Eugene Chadbourne. It's exactly what you'd expect it to be. Best, Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Re: Chadborne tribute? Date: 14 Oct 1997 16:51:14 -0500 (CDT) I saw the title in a German catalogue, and was a little surprised. On Tue, 14 Oct 1997, Steve Smith wrote: > y9d62@ttacs1.ttu.edu wrote: > > > I may be uninformed. Have you guys heard of "In Memeory Of Eugene > > Chadborne" by John Zorn? IncusCD23 6/97 > > Umm, that would be "In Memory of Nikki Arane" by John Zorn AND Eugene > Chadbourne. > > It's exactly what you'd expect it to be. > > Best, > Steve Smith > ssmith36@sprynet.com > > > > > ------------------------------------------------------------------------------- From: Tom Pratt Subject: AMM Date: 14 Oct 1997 19:44:52 -0400 I would love to hear any AMM reccomendations you all have. I'm just getting into them. I know there are different lineups. I'm thinking I want to get either 'The Inexhaustible Document', the Prevost/Rowe duo 'It Had Been An...' or a Prevost/Rowe/Tilbury one (there are multiple). What do YOU recommend???? -Tom Pratt ------------------------------------------------------------------------------- From: "pjm" Subject: Re: Zony Mash Tour & Tape Offer Date: 14 Oct 1997 18:27:18 -0700 just one man's opinion: I think "Gob of Spit" is the greatest closing song on any LP i've ever heard. > > >The whole thing?!?! Even "Gob of Spit"? > > > > This is absolutely my favorite Naked City tune on TG/GG! > > > I am personally of the opinion that Gob of Spit is kinda silly, and might > have been better left unsaid, unplayed, whatever. But who am I to argue > with the mighty JZ and NC? > ------------------------------------------------------------------------------- From: tricky88@earthlink.net Subject: Nov. Koch releases. Date: 14 Oct 1997 22:44:10 -0700 New Koch book is here! Here are the goodies we save our nickels for... KEN BUTLER: VOICES OF ANXIOUS OBJECTS Tzadik7402 Lunatic Fringe (DDD) Ken Butler, Stomu Takeishi, Seido Salifoski, Matt Darriau Tzadik's Lunatic Fringe series continues with the work of manic visual artist and amster of musical mayhem, Ken Butler.. Performing on hybrid instruments of his own creation, Ken has been performing everywhere from the Metropolitan Museum, of art to the Pink Pony bar. ...a delightful anecdote ro the humdrum sounds of today's popular stylings. Rubberband trumpet, double axe cello, hammerbridge violin, gulfclub sitar/tabla, and a snowshovel are just a few of the instruments you will hear... Includes a 16 page booklet with notes by the artist and photographs of the instruments. SHAKUSHAIN - DESERT IN HAND Knitting Factory Works 215 One of Japan'e premiere jazz bands, drawing massive crowds at European festivals, Tokyo concert halls or intimate clubs. Comprised of many of Japan's most notable musicians, composers, scorers and choreographers. Kazutoki Umezu is the leader of Shakushain and had a solo release on KFW called the "first deserter." Umexu is also a frequent collaborator of Marc Ribot, John Zorn and Tom Cora (of The Ex). VARIOUS - DROP ACID...LISTEN TO THIS!! Knitting Factory Works218 DJ Spooky, DJ Olive, William Hooker, Zony Mash, Umezu , Beatles, A dark twisted,swirling morass of stylistic excess and atonal minimalism. DAVID SOLDIER - SMUT Avant019 Twangy guitars, droning brass and pornographic lyrics. Dedicated to Robert Mapplethorpe and David Wojnarowicz, these strange songs, adapted from homo- and hetero-erotic Latin poetry of the middle ages,create a medieval surf sound that will make you want to hit the beach with a copy of Catullus. Using children's voices, rappers and city noises, Soldier structures this work like opposing mirrors, in a barber shop - imitation upon imitation. JOHN ZORN'S COBRA - TOKYO OPERATIONS '94 AVANT049 These recordings from the heart of Tokyo features a new generation of Japan's most creative traditional musicians prompted by the enthusiastic master Makigami Koichi. Japanese instruments mix with guitar, bass, vocals and percussion ina meeting of east meets west and north and south and every point on the compass. Hmm. There's more...I'll post the rest tomorrow. ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Nov. Koch releases. Date: 15 Oct 1997 03:00:00 -0400 tricky88@earthlink.net wrote: > KEN BUTLER: VOICES OF ANXIOUS OBJECTS > Tzadik7402 Lunatic Fringe (DDD) > Ken Butler, Stomu Takeishi, Seido Salifoski, Matt Darriau For those who've visited the Knitting Factory and marveled at the way-cool "musical instrument" sculptures hanging above the CD case in the Front Bar, this is your chance to hear them actually being played by the guy who built them. Electric pitchfork and any number of other instruments that look like they could only exist in a Picasso cubist-period painting. I confess I haven't actually heard Ken's music but have heard it described as a sort of Middle Eastern fusion, which would seem to be borne out by the presence of the fabulous Darriau (Paradox Trio), Salifoski (Paradox Trio, Brad Shepik and the Commuters) and Takeishi (Henry Threadgill).(Speaking of the "Lunatic Fringe," I saw several NEW boxes of Bible Launcher CDs today at the office of the company that oversees production of Tzadik releases, so I guess it's time to uncork THAT bottle again...) > SHAKUSHAIN - DESERT IN HAND > Knitting Factory Works 215 Dr. Umezu is swell. Wasn't there a small band release by him this month on KFW, featuring Ribot and Horvitz among others? > VARIOUS - DROP ACID...LISTEN TO THIS!! > Knitting Factory Works218 > DJ Spooky, DJ Olive, William Hooker, Zony Mash, Umezu , Beatles, A > dark > twisted,swirling morass of stylistic excess and atonal minimalism. Stupid title, stupid "concept" -- typical given the source. The people who write this copy have no idea what they are talking about musically or otherwise. Sorry if I come off as a curmudgeon (and gad I thought you had to be way older than 31 to qualify as one of those...), but please save your money for something worthy... > DAVID SOLDIER - SMUT > Avant019 > JOHN ZORN'S COBRA - TOKYO OPERATIONS '94 > AVANT049 Nice that Koch is resoliciting the Avant back catalog so that stores who missed out the first time around can catch up. Soldier's disc is interesting... po-mo Carmina Burana? Tokyo Operations is very cool. Steve Smith ssmith36@sprynet.com standard disclaimer - ex-Koch, ex-Knitting Factory ------------------------------------------------------------------------------- From: john shiurba Subject: Re: AMM Date: 15 Oct 1997 00:31:33 -0700 tom pratt: > I would love to hear any AMM reccomendations you all have. I'm just > getting into them. I know there are different lineups. I'm thinking I > want to get either 'The Inexhaustible Document', the Prevost/Rowe duo > 'It Had Been An...' or a Prevost/Rowe/Tilbury one (there are multiple). the early recordings (AMMusic, The Crypt, CD1 of Laminal) are the noisiest. It's often hard to figure out how sax, piano, cello, guitar & drums are producing the sounds you hear. these are highly recommended, but perhaps the most 'challenging' the 70s are represented only by 2 cds (It had been an ordinary enough day..., To Hear and Back Again). these are easily my least favorite AMM recordings. More in the free jazz terrain, which I don't think is their best area. Keith Rowe actually plays conventionally on 'It had been...' (ie he holds the guitar upright & plays notes) Keith Rowe is one of my few guitar heroes, but this recording is not the reason. the later stuff with John Tilbury is uniformly excellent. Long, often fairly quiet very open sounding organically developing improvisations. the level of detail, and the unusual group dynamic that appears to be based more on layering sounds together, as opposed to reacting directly to one another, are simply astonishing at times. I'd recommend 'Generative Themes' or 'The Inexhaustible Document' but they're all really good. I think that a really good primer for AMM would be the 3CD set Laminal that has recordings from 69, 82 and 94. The second CD (82) is one of my favorite later AMM recordings, and the set of 3 nicely represents what they've been up to all these years. -- shiurba@sfo.com http://www.sfo.com/~shiurba ------------------------------------------------------------------------------- From: DMB5561719@aol.com Subject: The MELA Foundation web site is up Date: 15 Oct 1997 04:16:01 -0400 (EDT) The MELA Foundation web site is up. Information about Pandit Pran Nath, La Monte Young and Marian Zazeela and their art and music. http://www.virtulink.com/mela/main.htm Dream House: Seven Years of Sound and Light has also reopened for the season. Information at the above site. * . * . . D a v i d B e a r d s l e y .. dmb5561719@aol.com * * .. * ... .* .... *.. .. * I M M P & B i i n k! m u s i c * . . * .. .. * .. .. * . J u x t a p o s i t i o n Ezine * * . .. .* . .*.. . .. . . .*. . . . . .. * . http://www.virtulink.com/immp/lookhere.htm * . . . . .. .*.. * . . . .* ..*. . .. . *. ------------------------------------------------------------------------------- From: DR S WILKIE Subject: Re: Dave Douglas Sextet/Stargazer Date: 15 Oct 1997 10:55:20 GMT0BST What Wayne Shorter tunes are on the album? On The Milky Way Express was broadcast from the Vortex, when they were in UK; in Birmingham, the focus was more on Little (or, at least, on In Our Lifetime) because Kenny Wheeler was specially guesting. But they did play one original ("Goldfish"?) that was said to be part of the upcoming Shorter album. ------------------------------------------------------------------------------- From: Yves Dewulf Subject: DXT Date: 15 Oct 1997 12:28:34 +0200 Yesterday I was listening to the excellent DXT-contributions on the Bill Laswell-compilations Vallis (I & II) and altered beats. I know that DXT is the same person as DST, who was scratching on "rock-it" of Herbie Hancock. Does anybody know what DXT has been doing in between this recordings (quite a long time, since "rock-it" was early 80's if I remember well !) and are there any solo-recordings by him ? ------------------------------------------------------------------------------- From: louie Subject: re: painkiller re-issues Date: 15 Oct 1997 08:07:29 -0600 > Someone in the chat section of the Dub Terrorist's pages said that > Tzadik would be re-issuing "Guts of a Virgin", "Buried Secrets" and the > 3 disc "Execution Ground" later this year. Of course, he didn't say how > he came by this information. i read the same thing, if anyone in the know has any info i'm sure there are many zorn-list folks who would love to find out if this is true.(these albums are slowly becoming larger than life, hopefully when the day comes that i hear them (i have execution ground) i'm not disappointed!);\ maybe if we whine enuff they'll release all three plus "rituals" as a box set. maybe they could call it "pill box" or "you can't find that in stores anymore (vol.1 -4)" or "the valium years" or... (sorry guys, it's kind of early) -louie ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Dave Douglas Sextet/Stargazer Date: 15 Oct 1997 08:13:08 -0700 On Wed, 15 Oct 1997 10:55:20 GMT0BST DR S WILKIE wrote: > > What Wayne Shorter tunes are on the album? On The Milky > Way Express was broadcast from the Vortex, when they were in UK; in > Birmingham, the focus was more on Little (or, at least, on In > Our Lifetime) because Kenny Wheeler was specially guesting. > But they did play one original ("Goldfish"?) that was said to be part 073 - STARGAZER: Dave Douglas 1/ Spring Ahead (Douglas) 4:24 2/ Goldfish (Douglas) 10:28 3/ Stargazer (Douglas) 6:39 4/ Four Sleepers (Douglas) 10:23 5/ On The Milky Way Express (Wayne Shorter) 4:12 6/ Pug Nose (Wayne Shorter) 4:41 7/ Dark Sky (Douglas) 5:53 8/ Intuitive Science (Douglas) 8:49 9/ Diana (Wayne Shorter) 4:32 Recorded on December 30, 1996 Dave Douglas: trumpet; Chris Speed: tenor, clarinet; Joshua Roseman: trom- bone; Uri Caine: piano; James Genus: bass; Joey Baron: drums. 1997 - Arabesque (USA), AJ0132 (CD) Patrice. ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: painkiller re-issues Date: 15 Oct 1997 08:11:47 -0700 On Wed, 15 Oct 1997 08:07:29 -0600 louie wrote: > > > Someone in the chat section of the Dub Terrorist's pages said that > > Tzadik would be re-issuing "Guts of a Virgin", "Buried Secrets" and the > > 3 disc "Execution Ground" later this year. Of course, he didn't say how > > he came by this information. > > i read the same thing, if anyone in the know has any info i'm sure there > are many zorn-list folks who would love to find out if this is > true.(these albums are slowly becoming larger than life, hopefully when > the day comes that i hear them (i have execution ground) i'm not > disappointed!);\ > > maybe if we whine enuff they'll release all three plus "rituals" as a > box set. maybe they could call it "pill box" or "you can't find that in > stores anymore (vol.1 -4)" or "the valium years" or... Last news: EXECUTION GROUND (the 3xCD set with LIVE IN OSAKA) should be reissued by Tzadik next January or February Patrice. ------------------------------------------------------------------------------- From: Anthony Fabio Subject: mystery (to me) group Date: 15 Oct 1997 11:11:28 -0400 (EDT) has anyone heard of a band called N.A.D.? i think they are an italian band. i keep seeing at a used CD store a CD by them in which i have been tempted to buy several times. zeena parkins, sonny sharrock, elliot sharp and others play on various cuts. the album is titled something like "ghosts". tony |=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-| Here we go Steelers, here we go! |Anthony Fabio, MPH, RD, Doctoral Student|=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= | Department of Epidemiology | E-mail: EPI2110f+@pitt.edu or | | University of Pittsburgh | AFAST1@vms.cis.pitt.edu | ******************************************************************************* ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Nov. Koch releases. Date: 15 Oct 1997 08:36:17 -0700 On Wed, 15 Oct 1997 03:00:00 -0400 Steve Smith wrote: > > and Takeishi (Henry Threadgill).(Speaking of the "Lunatic Fringe," I saw > several NEW boxes of Bible Launcher CDs today at the office of the > company that oversees production of Tzadik releases, so I guess it's > time to uncork THAT bottle again...) Hum... > > SHAKUSHAIN - DESERT IN HAND > > Knitting Factory Works 215 > > Dr. Umezu is swell. Wasn't there a small band release by him this month > on KFW, featuring Ribot and Horvitz among others? Yep and it seems to be out: 092 - FIRST DESERTER: Umezu Kazutoki Umezu Kazutoki: soprano, saxcello, alto, baritone saxophone, clarinet, bass clarinet, penny whistle, kojok, kehn; Marc Ribot: guitars, alto trumpet; Wayne Horvitz: piano, organ, keyboards, kehn; Tom Cora: cello, kehn; Sam Bennett, drums, percussion, samples, loops, kehn. 1995 - Off Note (Japan), ON-7 (CD) 1997 - Knitting Factory Works (USA), KFW 214 (CD) really looking for it! Patrice. ------------------------------------------------------------------------------- From: Mark Michael Mathis Subject: Bill Frisell in Texas Date: 15 Oct 1997 10:43:31 -0500 (CDT) I saw Bill Frisell (quartet) about a week ago in Austin. The show was absolutely amazing, in my opinion. At the beginning he said, "We've never been here before. So this is Texas? Sure doesn't seem like it." Later, after much applause and a couple encores, he said, "We should have come here a long time ago." This brings up an interesting question. Why doesn't anybody come to Texas? When painkiller toured for "execution ground" they played on the coasts and in like Chicago. Why? I know tons of people here that would love to see John Zorn play. Mark Mathis ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Praxis Date: 15 Oct 1997 08:48:08 PDT While looking through CDNow, I noticed that Subharmonic is preparing to issue "1984" on CD the beginning of November. I assume this is part of their plan to make money off of Laswell, since he stopped putting stuff out on the label. I also saw "Transmutations Live" listed at $12.99. Does this mean that Douglas finally found US distribution? Dave IHVH@hotmail.com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Nov. Koch releases. Date: 15 Oct 1997 08:52:41 -0700 On Tue, 14 Oct 1997 22:44:10 -0700 tricky88@earthlink.net wrote: > > New Koch book is here! Here are the goodies we save our nickels for... > KEN BUTLER: VOICES OF ANXIOUS OBJECTS > Tzadik7402 Lunatic Fringe (DDD) ^^^^^^^^^^ Really? I thought 7402 was the catalog number of BIBLE LAUNCHER. Patrice. ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Praxis Date: 15 Oct 1997 15:44:54 -0400 (EDT) On Wed, 15 Oct 1997, David Brunelle wrote: > While looking through CDNow, I noticed that Subharmonic is preparing to > issue "1984" on CD the beginning of November. Is this title being given to the original _Praxis_ EP (home of the track "1984") or is this something else/more? Chris Hamilton ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Bill Frisell in Texas Date: 15 Oct 1997 15:50:37 -0400 (EDT) On Wed, 15 Oct 1997, Mark Michael Mathis wrote: > This brings up an interesting question. Why > doesn't anybody come to Texas? When painkiller toured for "execution > ground" they played on the coasts and in like Chicago. Why? I know tons > of people here that would love to see John Zorn play. I always assumed that this was because, although Texas is pretty hip, the surrounding states really aren't. For example, when Television did their reunion tour a few years back, they ended up cancelling the Austin date because they couldn't get gigs in surrounding states. Things do seem to be improving though. When I was in Houston in August, William Parker and his wife were playing there, and evidently it was worth Frisell's while to play there as well. Chris Hamilton Texan-in-Exile ------------------------------------------------------------------------------- From: john shiurba Subject: Re: Bill Frisell in Texas Date: 15 Oct 1997 13:39:12 -0700 > This brings up an interesting question. Why > doesn't anybody come to Texas? When painkiller toured for "execution > ground" they played on the coasts and in like Chicago. Why? well, among other possible reasons, I heard they were asking for an astronomical guarantee on that tour. -- shiurba@sfo.com http://www.sfo.com/~shiurba ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Re: Bill Frisell in Texas Date: 15 Oct 1997 15:37:47 -0500 (CDT) Well, I saw Bungle in Dallas. And during the South-By-Southwest festival in Austin every spring, you can see some pretty cool bands. But, really, I live mainly vicariously, through my NY buds for concerts. On Wed, 15 Oct 1997, Christopher Hamilton wrote: > > > On Wed, 15 Oct 1997, Mark Michael Mathis wrote: > > > This brings up an interesting question. Why > > doesn't anybody come to Texas? When painkiller toured for "execution > > ground" they played on the coasts and in like Chicago. Why? I know tons > > of people here that would love to see John Zorn play. > > I always assumed that this was because, although Texas is pretty hip, the > surrounding states really aren't. For example, when Television did their > reunion tour a few years back, they ended up cancelling the Austin date > because they couldn't get gigs in surrounding states. Things do seem to > be improving though. When I was in Houston in August, William Parker and > his wife were playing there, and evidently it was worth Frisell's while > to play there as well. > > Chris Hamilton > Texan-in-Exile > > > > ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: re: painkiller re-issues Date: 15 Oct 1997 15:52:59 -0400 (EDT) On Wed, 15 Oct 1997, louie wrote: > maybe if we whine enuff they'll release all three plus "rituals" as a > box set. maybe they could call it "pill box" or "you can't find that in > stores anymore (vol.1 -4)" or "the valium years" or... If we are gonna do a group whine, I'd really prefer we go for separate reissues, so that those of us who have some of this material don't have to buy it all over again. Chris Hamilton ------------------------------------------------------------------------------- From: Brian Olewnick Subject: Re: mystery (to me) group Date: 15 Oct 1997 17:06:33 -0700 Anthony Fabio wrote: > > has anyone heard of a band called N.A.D.? i think they are an italian > band. i keep seeing at a used CD store a CD by them in which i have > been tempted to buy several times. zeena parkins, sonny sharrock, elliot > sharp and others play on various cuts. the album is titled something like > "ghosts". > > tony > > > |=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-| Here we go Steelers, here we go! > |Anthony Fabio, MPH, RD, Doctoral Student|=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= > | Department of Epidemiology | E-mail: EPI2110f+@pitt.edu or | > | University of Pittsburgh | AFAST1@vms.cis.pitt.edu | > ******************************************************************************* The entire name is Niu Abdomineaux Dangereux (think I got the spelling right) and it's a pretty fun album. Th guest musicians you mentioned are scattered throughout and are basically in a support role. The band does a few interesting covers: a kinda country version of 'Ghosts', Ornette's 'Broadway Blues' and a wonderful version of 'Bibbidi-Bobbidi-Boo' (possible spelling error once again). I once posted on rmb for further info on this band and received zero responses, so they remain otherwise mysterious to me also! Brian Olewnick ------------------------------------------------------------------------------- From: pm.carey@utoronto.ca (Patrick Carey) Subject: Re: DXT Date: 15 Oct 1997 18:39:13 -0400 >Does anybody know what DXT has been doing in between this recordings >(quite a long time, since "rock-it" was early 80's if I remember well !) >and are there any solo-recordings by him? Don't know what DXT was doing during the 80's, but his latest project is the recent Elixir CD, "Hegalien Zone" on Laswell's ION label. DXT on drums, electronic keyboards, percussion, turntable & voice, Laswell on bass, Sassan on flutes & samples, Sluys on samples, and Umar Bin Hassan providing spoken word on one track. -Patrick np: Praxis - "Live in Poland" ------------------------------------------------------------------------------- From: "Richie Teh" Subject: Mike Patton, Merzbow, KK Null and Michael Sheridan concert Date: 16 Oct 1997 08:11:48 +0000 Hi all, Thot you might be interested. Mike Patton (of Faith No More/Mr Bungle fame) will be performing in a concert with Merbow here in Melbourne, Australia on the 28 Oct 97. Supporting them will be Michael Sheridan (Peril) and KK Null. I'll be there! Regards, Richie Teh IT Specialist Clearview Technologies Pty Ltd Tel : 61-3-9344-9278 Level 3, 207 Bouverie Street Fax : 61-3-9347-9473 Carlton Victoria 3053 Email: richie@clearview.com.au Australia http://www.clearview.com.au/ ------------------------------------------------------------------------------- From: jihad7@juno.com (Nathan M Earixson) Subject: Re: Nov. Koch releases. Date: 15 Oct 1997 16:55:24 -0500 This may be common Knowledge, but Umezu also has an excellent Cd called "eclecticism" with Marc Ribot and others. It's on Knitting Factory works and is, um, Eclectic. ******************************************************** "What could possibly go wrong?" "Melville". ******************************************************** On Wed, 15 Oct 1997 08:36:17 -0700 "Patrice L. Roussel" writes: > >On Wed, 15 Oct 1997 03:00:00 -0400 Steve Smith wrote: >> >> and Takeishi (Henry Threadgill).(Speaking of the "Lunatic Fringe," I >saw >> several NEW boxes of Bible Launcher CDs today at the office of the >> company that oversees production of Tzadik releases, so I guess it's >> time to uncork THAT bottle again...) > >Hum... > >> > SHAKUSHAIN - DESERT IN HAND >> > Knitting Factory Works 215 >> >> Dr. Umezu is swell. Wasn't there a small band release by him this >month >> on KFW, featuring Ribot and Horvitz among others? > >Yep and it seems to be out: > >------------------------------------------------------------------------------ > >092 - FIRST DESERTER: Umezu Kazutoki > > Umezu Kazutoki: soprano, saxcello, alto, baritone saxophone, >clarinet, bass > clarinet, penny whistle, kojok, kehn; Marc Ribot: guitars, alto >trumpet; > Wayne Horvitz: piano, organ, keyboards, kehn; Tom Cora: cello, kehn; >Sam > Bennett, drums, percussion, samples, loops, kehn. > > 1995 - Off Note (Japan), ON-7 (CD) > 1997 - Knitting Factory Works (USA), KFW 214 (CD) > >------------------------------------------------------------------------------ > >really looking for it! > > Patrice. > > ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Bill Frisell in Texas Date: 15 Oct 1997 18:23:44 -0400 Mark Michael Mathis wrote: > I saw Bill Frisell (quartet) about a week ago in Austin. The show was > > absolutely amazing, in my opinion. At the beginning he said, "We've > never > been here before. So this is Texas? Sure doesn't seem like it." > Later, > after much applause and a couple encores, he said, "We should have > come > here a long time ago." Frisell is forgetting that he played solo in Austin in April 1993. A friend and I found out about that show via a little bin card stuck in his section at Tower Records (the only Tower in all of Texas). We had driven to Austin from Houston (no small hike) to see the Willem Breuker Kollekief and sadly could not make the trip again the next week to see Frisell. To the best of my knowledge that was his only previous visit. > This brings up an interesting question. Why > doesn't anybody come to Texas? When painkiller toured for "execution > ground" they played on the coasts and in like Chicago. Why? I know > tons > of people here that would love to see John Zorn play. Usually it's a matter of tour economics... there are not enough venues established in Texas and surrounding states to make it feasible for most tours to swing through the South, although that's hopefully changing with the recent upswing in grassroots level presenting agencies prevalent in the Southeast and Midwest -- the idea being that if you want something to come to you, make it happen yourself, which is what the friend I mentioned earlier is now doing in Washington, DC with great results. He gained a lot of experience bringing the likes of Tim Berne and ROVA to Rice University in the '80s. You can get a list of these presenters from Joe Germuska at the WNUR Jazzweb if you want to do a little research into the logistics of DIY concert producing, but be prepared for a LOT of work. The perception of the potential audience is pretty lackluster when it comes to the established clubs... I once attended a burning Ronald Shannon Jackson set in Austin that was attended by about 12 people. And Kenny Wheeler gave an amazing large ensemble concert at a club in Houston which drew perhaps 50 people in February of 1993. The same club sold out a long weekend of shows by Branford Marsalis, so naturally the club is going to follow the money. I did hear plenty of great music while in Houston thanks to the International Festival (World Sax Quartet, David Murray Trio with Phillip Wilson, Milton Nascimento, Thomas Mapfumo, Dennis Gonzalez with a band that featured Louis Moholo and Carlos Ward) and the Houston Jazz Festival (Charles Gayle, who emptied an audience of several hundred down to about 40 with his first piece, Billy Harper, Dennis Gonzalez again, this time with Frank Lowe, and others). But the cool people who ran those two festivals are both gone now. And for a while there was great stuff happening at the Caravan of Dreams in Ft. Worth, where I heard Ulmer once and Sun Ra twice, but that place petered out sometime after presenting a show by Cecil Taylor's great Feel Trio, which I didn't hear about until afterwards. While in school in San Antonio I also heard many good things like two amazing sets by the Art Ensemble of Chicago thanks to the Carver Center. Dallas has always been pretty lame for creative music, a surprise given the presence nearby of the powerful music school at the University of North Texas. But typically I'd hear more great stuff in a week visiting my sister in New York than I'd hear all year in Houston, and now that I'm living in NYC myself I've heard more in the last four years than I'd heard in my entire life in Texas. But I'm certainly sympathetic and felt the same way not so long ago. Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Re: Praxis Date: 15 Oct 1997 15:12:24 PDT >Is this title being given to the original _Praxis_ EP (home of the track >"1984") or is this something else/more? > >Chris Hamilton That was all the info they had, save for it being $8.99 for the CD. I assumed that it's the original EP, but I could be wrong. Dave Brunelle ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: mystery (to me) group Date: 15 Oct 1997 18:34:02 -0400 Brian Olewnick wrote: > Anthony Fabio wrote: > > > > has anyone heard of a band called N.A.D.? > The entire name is Niu Abdomineaux Dangereux (think I got the spelling > > right) and it's a pretty fun album. Th guest musicians you mentioned > are > scattered throughout and are basically in a support role. The band > does > a few interesting covers: a kinda country version of 'Ghosts', > Ornette's > 'Broadway Blues' and a wonderful version of 'Bibbidi-Bobbidi-Boo' > (possible spelling error once again). The band was a project led by Italian guitarist Roberto Zorzi, the same guy who led the band that recorded the album "Omonimo" under the name The Bang. That band featured Tim Berne, Herb Robertson, Mark Feldman, Percy Jones, Bobby Previte and Italian keyboardist Matteo Ederle. Despite that stellar lineup it's not an especially good album. There's also a tape floating around in trader's circles featuring the same band minus Ederle and plus Elliott Sharp, billed as the New Traditionalists. Both the tape and the disc feature a loose cover version of Led Zeppelin's "Dazed and Confused," and the tape also features a bent cover of "Ladies of the Road" by King Crimson. I haven't heard anything else about Zorzi or N.A.D. since that first album, but if it's cheap it's worth hearing. The Bang, on the other hand, is very hard to find but not nearly as worthwhile. Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Tom Pratt Subject: Re: mystery (to me) group Date: 15 Oct 1997 19:36:12 -0400 > The band was a project led by Italian guitarist Roberto Zorzi, the same > guy who led the band that recorded the album "Omonimo" under the name > The Bang. That band featured Tim Berne, Herb Robertson, Mark Feldman, > Percy Jones, Bobby Previte and Italian keyboardist Matteo Ederle. > Despite that stellar lineup it's not an especially good album. I don't know about that. I have this and I really like it quite a bit. Aside from Matteo Ederle, who I really don't like on this album, the others pretty much tear it up. The Zorzi/Ederle composition seemed out of place due to it's lack of energy but "Dartman" and "Rose In The Beer" are great. I like the live tape of New Traditionalists much more though. Matteo Ederle doesn't play on it and Elliott Sharp is with them. Herb Robertson has some crazy vocal things at the end of some tune. Percy Jones rips it up throughout. I don't know why you didn't like it but oh well... just a different opinion. The live tape beats out the album for sure though. Anybody know anything else Roberto Zorzi's done? -Tom Pratt ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Praxis Date: 15 Oct 1997 17:15:17 -0700 At 08:48 AM 10/15/97 PDT, David Brunelle wrote: >While looking through CDNow, I noticed that Subharmonic is preparing to >issue "1984" on CD the beginning of November. I assume this is part of >their plan to make money off of Laswell, since he stopped putting stuff >out on the label. They can do whatever they want with what they own the rights to. The musicians don't get paid for additional sales in that case. >I also saw "Transmutations Live" listed at $12.99. >Does this mean that Douglas finally found US distribution? Not yet, but maybe someone has decided to jump the gun. By the way, Douglas is a US-based label (out of LA). A little strange that people have had to buy stuff through a circuitous route. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: mystery (to me) group Date: 16 Oct 1997 00:03:26 -0400 Tom Pratt wrote: > > Despite that stellar lineup it's not an especially good album. > > I don't know about that. I have this and I really like it quite a bit. > > [snip] I don't know why you didn't like it but oh > well... just a different opinion. Well, I wouldn't go so far to say that I don't like it! I haven't been in any rush to part with it. I think there's some fine, energetic playing on the part of most everybody concerned, and further think that Herb Robertson has gotten so little exposure in recent years that just about anything you can find with him is worth having. It's also the only place you'll find Berne's tune "Dartman," so ain't no way I'm giving it up. I think what I *should* have said is that it's *okay* but isn't really as amazing as you might expect it to be given the lineup. And you're right, the tape is stronger than the CD (which is also a live recording) for all the reasons you mentioned. > Anybody know anything else Roberto Zorzi's done? He's got a website at http://rcvr.univr.it/spettaco/musica/zorzi/, but the server there is not repsonding at present so I can't answer your question although I do know that there's more than just NAD and the Bang. The site is completely in Italian, but if you poke around enough you may find something of interest. Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: "Tim Schelfhout" Subject: Re: mystery (to me) group Date: 16 Oct 1997 00:38:21 PDT Buy it!!! It's awesome. I mean Parkins, Sharrock, Frith ... should I go on! If you see these names on a CD all you can do is BUY. They don't play along the whole ride though nevertheless it's worth it. I recall that when I saw this particular CD I bought it immediately and I have to say the music kinda has to grow on ya but once it has it boggles the mind. The music is kinda weird since they use samples in between straightforward jazz tunes. Close you're eyes and enjoy the movie... coz' basically that's what it is. Drawing pictures in the mind. TIMPY ----Original Message Follows---- has anyone heard of a band called N.A.D.? i think they are an italian band. i keep seeing at a used CD store a CD by them in which i have been tempted to buy several times. zeena parkins, sonny sharrock, elliot sharp and others play on various cuts. the album is titled something like "ghosts". tony |=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-| Here we go Steelers, here we go! |Anthony Fabio, MPH, RD, Doctoral Student|=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= | Department of Epidemiology | E-mail: EPI2110f+@pitt.edu or | | University of Pittsburgh | AFAST1@vms.cis.pitt.edu | ******************************************************************************* ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: Dgasque@aol.com Subject: Re: Nov. Koch releases. Date: 16 Oct 1997 04:55:53 -0400 (EDT) In a message dated 97-10-15 18:37:40 EDT, it was written: << This may be common Knowledge, but Umezu also has an excellent Cd called "eclecticism" with Marc Ribot and others. It's on Knitting Factory works >> Hope this isn't repeat information, but he also has a few LPs out on the Swiss label Hat Hut/Hat Art. Not sure if they are still in print. spinning: Creedle- When the Wind Blows ------------------------------------------------------------------------------- From: cdeupree@interagp.com (Caleb Deupree) Subject: Re: painkiller re-issues Date: 16 Oct 1997 08:43:12 -0400 >>>>> "louie" == louie writes: >> Someone in the chat section of the Dub Terrorist's pages said >> that Tzadik would be re-issuing "Guts of a Virgin", "Buried >> Secrets" and the 3 disc "Execution Ground" later this year. Of >> course, he didn't say how he came by this information. louie> i read the same thing, if anyone in the know has any info louie> i'm sure there are many zorn-list folks who would love to louie> find out if this is true.(these albums are slowly becoming louie> larger than life, hopefully when the day comes that i hear louie> them (i have execution ground) i'm not disappointed!);\ You should know that Buried Secrets is very short, only about 20 minutes if I remember correctly. One track is only three seconds long. --- Caleb T. Deupree ;; Opinions do not reflect on management Computers are useless. They can only give you answers. (Pablo Picasso) ------------------------------------------------------------------------------- From: dmcrump@sunset.backbone.olemiss.edu (Rusty Crump) Subject: Re: Bill Frisell in Texas Date: 16 Oct 1997 08:49:45 -0500 >On Wed, 15 Oct 1997, Mark Michael Mathis wrote: > >> This brings up an interesting question. Why >> doesn't anybody come to Texas? When painkiller toured for "execution >> ground" they played on the coasts and in like Chicago. Why? I know tons >> of people here that would love to see John Zorn play. > >I always assumed that this was because, although Texas is pretty hip, the >surrounding states really aren't. For example, when Television did their >reunion tour a few years back, they ended up cancelling the Austin date >because they couldn't get gigs in surrounding states. Things do seem to >be improving though. When I was in Houston in August, William Parker and >his wife were playing there, and evidently it was worth Frisell's while >to play there as well. > >Chris Hamilton >Texan-in-Exile I thank my lucky stars that JZ included Memphis in Masada's 10-city tourlet last year. I'm not sure what prompted (heh... a little Cobra humor...) him to start with a southern swing, but it sure was appreciated. The problem is that Memphis is seen, to a degree, as a blues town only. Chris Walker at Barrister's has done what he can to bring in alternatives (Masada, Zeni Geva, Tortoise, Test Dept., etc.) to the same old hamhocks bluesin' it up on stage, but it's an uphill struggle. I've seen way too many bands doing southern swings and going from Texas to New Orleans to Atlanta without stopping in Memphis. Or never going souther of Chicago in the first place. Hmf. Rusty Crump ------------------------------------------------------------------------------- From: Brent Burton Subject: the grassroots Date: 16 Oct 1997 09:57:19 -0400 (EDT) On Wed, 15 Oct 1997, Steve Smith wrote: > the idea being that if you want something to come to you, make it > happen yourself, which is what the friend I mentioned earlier is now > doing in Washington, DC with great results. if yr talking about transparent productions then i just gotta say that they're doing an amazing job of bringing jazz to dee cee. ever since dc space closed in the early 90's, this area has been kind of a wasteland for indie/underground jazz, but since this summer transparent has sponsored shows by the likes of joe mcphee, ellery eskelin trio, david s. ware quartet, joe morris trio and william parker (the wm. parker show evidently made $1000). plus they have shows lined up for leo smith and fred ho as well as a possible dave douglas show next month. b ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: mystery (to me) group Date: 16 Oct 1997 08:28:48 -0700 On Thu, 16 Oct 1997 00:38:21 PDT "Tim Schelfhout" wrote: > > Buy it!!! It's awesome. > I mean Parkins, Sharrock, Frith ... should I go on! If you see these ^^^^^^^^^^^^^^^^^^^^^^^ From my memory, their appearance is more obvious on the sleeve of the record than in the music :-). Patrice. > names on a CD all you can do is BUY. They don't play along the whole > ride though nevertheless it's worth it. > I recall that when I saw this particular CD I bought it immediately and > I have to say the music kinda has to grow on ya but once it has it > boggles the mind. > The music is kinda weird since they use samples in between > straightforward jazz tunes. Close you're eyes and enjoy the movie... > coz' basically that's what it is. Drawing pictures in the mind. > > TIMPY > > ----Original Message Follows---- > Date: Wed, 15 Oct 1997 11:11:28 -0400 (EDT) > From: Anthony Fabio > To: zorn-list@xmission.com > Subject: mystery (to me) group > > > has anyone heard of a band called N.A.D.? i think they are an italian > band. i keep seeing at a used CD store a CD by them in which i have > been tempted to buy several times. zeena parkins, sonny sharrock, elliot > sharp and others play on various cuts. the album is titled something > like > "ghosts". > > tony > > > |=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-| Here we go Steelers, here we > go! > |Anthony Fabio, MPH, RD, Doctoral > Student|=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-= > | Department of Epidemiology | E-mail: EPI2110f+@pitt.edu > or | > | University of Pittsburgh | > AFAST1@vms.cis.pitt.edu | > ******************************************************************************* > > > > > > > ______________________________________________________ > Get Your Private, Free Email at http://www.hotmail.com > > ------------------------------------------------------------------------------- From: tricky88@earthlink.net Subject: Nov. Koch Releases Date: 16 Oct 1997 08:39:45 -0700 Fushitsusha - Allegorical Misunderstanding Avant008 Haaino Keiji, Ozawa Yasushi, Kosugi Jun. Influenced by everything from Scarlatti to Partch, Blood Ulmer to Django, Munir Bachir to Vassilis Tsitsanis, Haino's music is intense, visceral and brutally honest.This is also Haino's first studio recording ever. Produced by John Zorn and recorded by Martin Bisi, this is a special one of a kind listening experience. Haino plays for lovers only. PIGPEN - V AS IN VICTIM Avant027 Wayne Hortitz, Fred Chalenor, Briggan Krauss, Mike Stone. HOrvitz is a master of many styles, but few have been as exciting as Pigpen. Featuring the talented young alto saxophonist Briggan Krauss, Victim takes traditional instrumentation of sax, keyboard, bass and drums into new places. From Jazz to hardcore to moody soundpieces, with a good dose of Booker T and Frank Zappa thrown in for good measure, Wayne's various obsessions come together brilliantly in this 1993 recording. MARK DRESSER - BANQUET Tzadik7027 - Composer SEries W/ Matthias Ziegler, Mark Feldman, Erik Friedlander, Chris Speed and others. One of the world's greatest virtuoso bass players, Mark Dresser has worked with Anthony Davis, Diamanda Galas, Bob Osterag and Anthony Braxton. He has created soundtracks for the Cabinet of Dr. Caligari and Un Chien Andalou. This CD features two of Mark's most important recent works. "Banquet" is a double concerto for flute, bass and string quartet. "Loss of the Innocents," written for tuba, cello and clarinet is a kaddish for the victims of TWA Flight 800; a memorial to two members of the Wayne SHorter family who dies in the crash. NAFTULE'S DREAM - SEARCH FOR THE GOLDEN DREYDL Tzadik 7118 - Radical Jewish Culture Adventuropus originals and surprising re-interpretations of traditional Jewish classics, Boston-based Naftule's Dream has created an instrumental music of passion and intensity. Fiery improv weaves in and out of complex arrangements in a style reminiscent of Mingus at his best. Finally CRI is releasing "The Harry Partch Collection." CRI751 (Vol. 1) 11 Intrusions (1949-50) Plectra & Percussion Dances (1952) Ulysses at the Edge (1955) CRI 752 (Vol.2) The Wayward: U.S. Highball (1943, rev.1955) San Francisco (1943, rev. 1955) The Letter (1943, rev. 1972) Barstow (1941, rev. 1968) And On The Seventh Day Petals Fell in Petaluma (1963-64, rev. 1966) CRI753 (Vol. 3) The Dreamer That Remains - A Study in Living (1972) Rotate That Body in All Its Planes - Ballad For Gymnasts (1961) Windsong (1958) Water! Water! (1961) CRI754 (Vol. 4) The Bewitched - A Dance Satire (1954) ------------------------------------------------------------------------------- From: Scott Russell Subject: Andy Haas Date: 16 Oct 1997 16:44:07 +0000 --MimeMultipartBoundary Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Has anyone heard the Andy Haas digeridoo duets disc on Avant? I've seen it in a local shop but at the usual not-so-cheap price so I'd like some opinions. Scott Russell -- Without theory all we have is opinion and shopping. Chris Cutler --MimeMultipartBoundary-- ------------------------------------------------------------------------------- From: "Schwitterz" Subject: ATTN: TOM PRATT Date: 16 Oct 1997 08:37:37 -0700 >Finally CRI is releasing "The Harry Partch Collection." >CRI751 (Vol. 1) > 11 Intrusions (1949-50) > Plectra & Percussion Dances (1952) > Ulysses at the Edge (1955) > >CRI 752 (Vol.2) > The Wayward: > U.S. Highball (1943, rev.1955) > San Francisco (1943, rev. 1955) > The Letter (1943, rev. 1972) > Barstow (1941, rev. 1968) > And On The Seventh Day Petals Fell in Petaluma (1963-64, rev. 1966) > >CRI753 (Vol. 3) > The Dreamer That Remains - A Study in Living (1972) > Rotate That Body in All Its Planes - Ballad For Gymnasts (1961) > Windsong (1958) > Water! Water! (1961) > >CRI754 (Vol. 4) > The Bewitched - A Dance Satire (1954) > > ------------------------------------------------------------------------------- From: tricky88@earthlink.net Subject: Re: Nov. Koch releases. Date: 16 Oct 1997 08:59:05 -0700 Patrice L. Roussel wrote: > > On Tue, 14 Oct 1997 22:44:10 -0700 tricky88@earthlink.net wrote: > > > > New Koch book is here! Here are the goodies we save our nickels for... > > KEN BUTLER: VOICES OF ANXIOUS OBJECTS > > Tzadik7402 Lunatic Fringe (DDD) > ^^^^^^^^^^ > > Really? I thought 7402 was the catalog number of BIBLE LAUNCHER. > > Patrice. I just re-checked the book, and it looks like they are re-cycling the the 7402 number. I guess that if there ARE boxes of Bible Launcher CDs sitting around somewhere, I'd appreciate it someone would offer to sell me one! They even have the bar-code under the art of the Ken Butler CD. ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Andy Haas Date: 16 Oct 1997 09:07:22 -0700 On Thu, 16 Oct 1997 16:44:07 +0000 Scott Russell wrote: > > --MimeMultipartBoundary > > Has anyone heard the Andy Haas digeridoo duets disc on Avant? I've seen > it in a local shop but at the usual not-so-cheap price so I'd like some > opinions. If you can stand one hour of didjeridu, it is worth buying. Patrice. ------------------------------------------------------------------------------- From: JonAbbey2@aol.com Subject: Re: Andy Haas Date: 16 Oct 1997 12:39:33 -0400 (EDT) <> I heard it once through. I was very interested in it because some of my favorite musicians (Makigami Koichi, Keiji Haino) are prominently featured. I must say that I was underwhelmed, however. I love the sound of the didgeridoo but about halfway through the album, I had heard enough didgeridoo to last me for months. All in all, I would say it was less than the sum of its parts but your mileage may vary. Jon ------------------------------------------------------------------------------- From: chasinthetrane@juno.com (James T Graves) Subject: Wasserman, Wallerman? Date: 16 Oct 1997 13:10:02 EDT I stumbled upon one of JZ's upcoming gigs at the Knitting Factory home page a few days ago. I'm sure you're all familiar with it, Zorn will be playing next Wednesday with John Medeski, Marc Ribot, and some guy named Wasserman. A friend of mine said he had a few CD's with this guy on it, but he couldn't remember which ones. So, I have three questions. First, who is this guy, is he just another downtown drummer whose played with everyone, or should I be stumbling all over myself to see him. Second, does anyone know what the group will be playing? I assume they'll be playing Zorn stuff (which only narrows it down to a few dozen genres...) Perhaps Bar Kokhaba stuff? Unfortunately I have not gotten around to purchasing that album yet, but I know Medeski and Ribot are on it, does Wasserman (Wallerman?) play on it too? Jamie ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Wasserman, Wallerman? Date: 16 Oct 1997 10:46:10 -0700 On Thu, 16 Oct 1997 13:10:02 EDT James T Graves wrote: > > I stumbled upon one of JZ's upcoming gigs at the Knitting Factory home > page a few days ago. I'm sure you're all familiar with it, Zorn will be > playing next Wednesday with John Medeski, Marc Ribot, and some guy named > Wasserman. A friend of mine said he had a few CD's with this guy on it, > but he couldn't remember which ones. > > So, I have three questions. First, who is this guy, is he just another > downtown drummer whose played with everyone, or should I be stumbling all ^^^^^^^^^^^^ Drummer? I know of a Rob Wasserman, but he is a bass player. He has appeared on few records along with Marc Ribot, hence my guess that it could be the same person: *** - THE LION FOR REAL: Allen Ginsberg 1989 - Great Jones, GJ6004 (LP) 1989 - Great Jones, CCD6004 (CD) ???? - Antilles, AN8750 (LP) 1997 - Mercury (USA), 314 534 908-2 (CD) *** - MIGHTY LIKE A ROSE: Elvis Costello 1991 - Warner Bros. (USA), 9 26575-2 (CD) 1991 - Warner Bros. (USA), W2 26575 (CD) Patrice. ------------------------------------------------------------------------------- From: Jesse Simon Subject: Re: Nov. Koch Releases Date: 17 Oct 1997 13:09:27 >Fushitsusha - Allegorical Misunderstanding >Avant008 >Haino Keiji, Ozawa Yasushi, Kosugi Jun. >Influenced by everything from Scarlatti to Partch, Blood Ulmer to >Django, Munir Bachir to Vassilis Tsitsanis, Haino's music is intense, >visceral and brutally honest.This is also Haino's first studio recording >ever. Produced by John Zorn and recorded by Martin Bisi, this is a >special one of a kind listening experience. Haino plays for lovers >only. I can't recommend this album highly enough. Track number 9 is a fourteen minute guitar assault propelled by a dark and driving bass line and some brilliantly abstract drumming. This album contains some of Keiji Haino's most melodic guitar playing and yet it still manages to maintain the hard edge and uncompromising darkness that we've come to expect from Fushitsusha. >Finally CRI is releasing "The Harry Partch Collection." And none to soon either. ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Re: Wasserman, Wallerman? Date: 16 Oct 1997 13:12:41 -0500 (CDT) If it's John Wasserman, he's a bass player of some esteem. He's put out atleast a couple of albums, "Duos" and "Trios." On Thu, 16 Oct 1997, James T Graves wrote: > I stumbled upon one of JZ's upcoming gigs at the Knitting Factory home > page a few days ago. I'm sure you're all familiar with it, Zorn will be > playing next Wednesday with John Medeski, Marc Ribot, and some guy named > Wasserman. A friend of mine said he had a few CD's with this guy on it, > but he couldn't remember which ones. > > So, I have three questions. First, who is this guy, is he just another > downtown drummer whose played with everyone, or should I be stumbling all > over myself to see him. Second, does anyone know what the group will be > playing? I assume they'll be playing Zorn stuff (which only narrows it > down to a few dozen genres...) Perhaps Bar Kokhaba stuff? Unfortunately I > have not gotten around to purchasing that album yet, but I know Medeski > and Ribot are on it, does Wasserman (Wallerman?) play on it too? > > Jamie > > ------------------------------------------------------------------------------- From: Brian & Sharon Beuchaw Subject: Re: Allegorical Fushitsusha Date: 16 Oct 1997 21:11:13 -0500 (CDT) On Fri, 17 Oct 1997, Jesse Simon wrote: > >Fushitsusha - Allegorical Misunderstanding > >Avant008 > >Haino Keiji, Ozawa Yasushi, Kosugi Jun. > >Influenced by everything from Scarlatti to Partch, Blood Ulmer to > >Django, Munir Bachir to Vassilis Tsitsanis, Haino's music is intense, > >visceral and brutally honest.This is also Haino's first studio recording > >ever. Produced by John Zorn and recorded by Martin Bisi, this is a > >special one of a kind listening experience. Haino plays for lovers > >only. > > I can't recommend this album highly enough. Track number 9 is a fourteen > minute guitar assault propelled by a dark and driving bass line and some > brilliantly abstract drumming. This album contains some of Keiji Haino's > most melodic guitar playing and yet it still manages to maintain the hard > edge and uncompromising darkness that we've come to expect from Fushitsusha. Hmmm, I was not very impressed with this one. It was the 3rd or 4th of theirs that I bought and it just didn't do too much for me. To kinda paraphrase one reviewer - the sound seemed contained in a kind of crystal field and was never really able to let loose (actually I think this was said about a Haino solo release, but it applies here). To my ears, it doesn't really represent what Fushitsusha *really* sounds like (live *and* fully unleashed in the studio), but your mileage may vary..... cya brian ------------------------------------------------------------------------------- From: clockwise Subject: Re: painkiller re-issues Date: 16 Oct 1997 22:12:03 -0500 At 08:43 AM 10/16/97 -0400, Caleb Deupree wrote: >You should know that Buried Secrets is very short, only about 20 >minutes if I remember correctly. One track is only three seconds >long. I believe you're thinking of 'Guts of a Virgin'. 'Buried Secrets' is the album with two amazing tracks featuring the Godflesh boys (tracks on which, Justin Broadrick told me, Mick Harris is not playing). ------------------------------------------------------------------------------- From: matthew.colonnese@yale.edu (Matthew Colonnese) Subject: Re: Allegorical Fushitsusha Date: 16 Oct 1997 23:18:21 -0400 (EDT) While _Allegorical Misunderstanding_ is for me not the best and deffinately not the most representative Fushitsusha album it played an intrumental role in my comprehension of what they were doing. I like full on stuff quite alot, but after hearing this new worlds in the louder stuff opened up. I still like the album quite a bit though in its own right. Sure they don't "let loose" but there's more to life (and music, even free music) than "the wailing ultimate" (to quote sst). Crytalized and delicate are wonderfull descriptions for this album which I would use as complements. I would recomend the album, and deffinately say pick it up for anyone looking for an "in" to Haino's world (and it makes a nice antithical pair with _A Caution Appears_). The Tzadik album is, IMHO, less completely successfull but was also critical in enhacing my appreciation of Haino's louder work. Specificially the way he holds notes and tones and manipulates the overtones most of all. >On Fri, 17 Oct 1997, Jesse Simon wrote: > >> >Fushitsusha - Allegorical Misunderstanding >> >Avant008 >> >Haino Keiji, Ozawa Yasushi, Kosugi Jun. >> >Influenced by everything from Scarlatti to Partch, Blood Ulmer to >> >Django, Munir Bachir to Vassilis Tsitsanis, Haino's music is intense, >> >visceral and brutally honest.This is also Haino's first studio recording >> >ever. Produced by John Zorn and recorded by Martin Bisi, this is a >> >special one of a kind listening experience. Haino plays for lovers >> >only. >> >> I can't recommend this album highly enough. Track number 9 is a fourteen >> minute guitar assault propelled by a dark and driving bass line and some >> brilliantly abstract drumming. This album contains some of Keiji Haino's >> most melodic guitar playing and yet it still manages to maintain the hard >> edge and uncompromising darkness that we've come to expect from Fushitsusha. > >Hmmm, I was not very impressed with this one. It was the 3rd or 4th of >theirs that I bought and it just didn't do too much for me. To kinda >paraphrase one reviewer - the sound seemed contained in a kind of crystal >field and was never really able to let loose (actually I think this was >said about a Haino solo release, but it applies here). To my ears, it >doesn't really represent what Fushitsusha *really* sounds like (live *and* >fully unleashed in the studio), but your mileage may vary..... > >cya >brian ------ "Finally, a thing-a-ma-giggy that would bring people together...even if it kept them apart, spatially." ------------------------------------------------------------------------------- From: WINRECORDS@aol.com Subject: Re: zorn-list Digest V2 #135 Date: 17 Oct 1997 00:32:33 -0400 (EDT) Does anyone have info. on Ribot's new project "Los Cubanos?" Line-up? Recording plans? Is it true they are on Atlantic? ------------------------------------------------------------------------------- From: Dgasque@aol.com Subject: FS: Creedle- When the Wind Blows CD Date: 17 Oct 1997 02:16:27 -0400 (EDT) I've got a copy of this great CD for $5 plus $2 p/h. For those not familiar with the group, Creedle is very much in the mold of Naked City/Painkiller- era Zorn. On this, their third CD, they have taken on more of a _Spillaine_ -era sound...avant/bop with plenty of suprises. I'm sure there are many Zorn fans out there that will flip over this. Email me privately if interested, or if you wish for more details. =dgasque= ------------------------------------------------------------------------------- From: "Tim Schelfhout" Subject: Re: mystery (to me) group Date: 17 Oct 1997 02:13:44 PDT You should listen more carefully! For one I can hear Sharrock and Parkins easily. It's true however that it's not their usual musical behaviour. Take care TIMPY ----Original Message Follows---- cc: epidaf+@pitt.edu, zorn-list@xmission.com, proussel@ichips.intel.com On Thu, 16 Oct 1997 00:38:21 PDT "Tim Schelfhout" wrote: > > Buy it!!! It's awesome. > I mean Parkins, Sharrock, Frith ... should I go on! If you see these ^^^^^^^^^^^^^^^^^^^^^^^ From my memory, their appearance is more obvious on the sleeve of the record than in the music :-). Patrice. ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: "Anthony 'Twizzler' Saunders" Subject: Re: painkiller re-issues Date: 17 Oct 1997 11:13:48 -0400 (EDT) On Thu, 16 Oct 1997, clockwise wrote: > At 08:43 AM 10/16/97 -0400, Caleb Deupree wrote: > >You should know that Buried Secrets is very short, only about 20 > >minutes if I remember correctly. One track is only three seconds > >long. Well, buried secrets does have the song trailmarker, which is only three seconds. But it also has two 6+ minute pieces. The rest of the album is short songs. I think it clocks in at 30 minutes. "Guts of a virgin" is also very short, very very good. anthony "You know, Arthur, when evil is afoot, and you don't have any arms, you've gotta use your head. And when evil is ahead and you're behind, you've gotta do the legwork. But, (dramatic pause) when you can't get a leg up, you gotta be hip. You gotta keep your chin up, and kick some..." "Tick, we get the idea." - "Armless not harmless" espisode of The Tick ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: happy New Yorkers Date: 17 Oct 1997 08:25:23 -0700 Got the following flyer in my mail box yesterday. For a couple of seconds, I thought it was happening in Porltland... Patrice. Millennium Film Workshop presents: HENRY HILLS in person with the New York premiere of MECHANICS OF THE BRAIN a film by Henry Hills & Sally Silvers plus HERETIC, MONEY, & LITTLE LIEUTENANT ANTHOLOGY FILM ARCHIVES East 2nd Street and 2nd Avenue Saturday, October 25, 8:00pm ------------------------------------------------------------------------------- From: "Schwitterz" Subject: Eugene Chadbourne Date: 17 Oct 1997 11:32:35 -0700 Eugene Chadbourne is in Californee this week. Friday, Saturday, and Sunday in the SF Bay area. Monday Night at the Alligator Lounge in Santa Monica. Tuesday Night at the Mercury Lounge in Goleta. Wednesday Night at the Daily Grind in Ventura. If you want more details, e-mail me. Keith McMullen mcmullenm@vcss.k12.ca.us Sz ------------------------------------------------------------------------------- From: "Schwitterz" Subject: Ventura CA New Music Series & Newsletter Date: 17 Oct 1997 16:12:10 -0700 I am in the process of sending out the first mailing of the newsletter (pfMENTUM) introducing the Ventura New Music Series. If you are interested in a free subscription and are not already on the mailing list, please e-mail me with your snail-mail address. Keith McMullen mcmullenm@vcss.k12.ca.us ------------------------------------------------------------------------------- From: louie Subject: goin' to japan Date: 18 Oct 1997 07:18:53 -0600 a friend of mine is going to japan next week. do any of you zornothologists know a cd store where he might find painkiller or other zorn stuff? he'll be spending most of his time in tokyo i think. -louie ------------------------------------------------------------------------------- From: Karim Ratib Subject: Tzadik Website Up Date: 18 Oct 1997 16:53:33 +0100 Hi, I haven't seen a post for the this so I'm posting this. I checked on www.tzadik.com and it worked. It is created by the people the at the knit. It's not fully up, there is a section for Zorn called "Zorn's corner" and "Zorn's top 10", but they're not up yet. I apologize if you already know. Jeremy ------------------------------------------------------------------------------- From: DMB5561719@aol.com Subject: A Benefit for La Monte Young and Marian Zazeela Date: 18 Oct 1997 12:09:17 -0400 (EDT) A Benefit for La Monte Young and Marian Zazeela Vocal concert of North Indian Ragas with Terry Riley Disciple of Faquir Pran Nath Accompanied by Michael Harrison - Voice and Tamboura Lee Torchia - Tamboura Rose Okada - Sarangi Rik Masterson - Tabla Saturday, October 25th - 8pm The Tribe Dance Studio 137 Duane Street, Buzzer 203, NYC between West Broadway & Church Street 2 blocks north of Chambers Subway: 1, 2, 3, 9, A, E or C to Chambers 4, 5 or 6 to Brooklyn Bridge N or R to City Hall Admission - $15 Please call: Zarifah Sander Manzella @ 212-265-5199 for information MELA Foundation web site: http://www.virtulink.com/mela/main.htm Also from Mark Weber: >thought you might like to know about the benefit >concert i have organised for la monte young and >marian zazeela. i don't know if you're aware, but >marian has been quite ill recently & doctor's haven't >yet made a satisfactory diagnosis. she spent about 60 >days incapacitated in bed with severe back pains and >general numbness. this of course meant they were >unable to continue with their work and made their >financial problems very obvious. the concert is on >october 31st at the barbican centre in london and will >feature special performances by pulp, spiritualized, >gavin bryars ensemble and the english chamber orchestra >performing steve martland. there will also be exclusive >tape contributions from terry riley and spring heel >jack. we will be showing video excerpts of la monte >performing the well-tuned piano and with the blues band. >please let anyone you know in the uk know about the >concert, which will be officially announced on friday >17th with la monte on the front cover of the guardian >newspaper's arts supplement. >best wishes, >mark webber * David Beardsley * DMB5561719@aol.com * * virtual dream house monitor * for * the MELA Foundation * * http://www.virtulink.com/mela/main.htm ------------------------------------------------------------------------------- From: Tom Benton Subject: Re: Wasserman, Wallerman? Date: 18 Oct 1997 11:30:25 -0500 (CDT) James T Graves had this to say... >I stumbled upon one of JZ's upcoming gigs at the Knitting Factory home >page a few days ago. I'm sure you're all familiar with it, Zorn will be >playing next Wednesday with John Medeski, Marc Ribot, and some guy named >Wasserman. > >So, I have three questions. First, who is this guy, is he just another >downtown drummer whose played with everyone, or should I be stumbling all >over myself to see him. Second, does anyone know what the group will be >playing? I assume they'll be playing Zorn stuff (which only narrows it >down to a few dozen genres...) Perhaps Bar Kokhaba stuff? Unfortunately I >have not gotten around to purchasing that album yet, but I know Medeski >and Ribot are on it, does Wasserman (Wallerman?) play on it too? The mystery man in question is Kenny Wollesen, a downtown drummer who has indeed played with just about everyone. They're going to be playing the music of organ great Larry Young. Should be fun. Go check it out. -Tom ------------------------------------------------------------------------------- From: "allen huotari" Subject: RE: goin' to japan Date: 18 Oct 1997 08:40:41 UT I'd highly recommend Disk Union (multiple locations) one is at 3-31-4 Shinjuku, Shinjuku-ku, Tokyo 160 another is at 2-13-1 Iidabashi Chiyoda-Ku Tokyo 102 another good shop is World Disque at 404 SY Bldg 3-15-18 Shimo-Ochiai, Shinjuku-ku Tokyo 161 there is also a small shop in Shinjuku called Like A Edison which specializes in music of the more extreme variety (unfortunately I've misplaced the address) if my memory serves, there is also another good shop called Xephyr Collectors Ltd. (also in Shinjuku) and while I 've never been to these shops, my friends/contacts in Japan have also recommended the following shops: Opus Avantra (Tokyo 104) Parallax Records (Tokyo 600) Locus Solus aka ReR Japan (Tokyo 180) (no other address info given to me...sorry...) but there are dozens of obscure little shops all within easy walking distance of each other in Shinjuku one could easily spend all day and most of an evening wandering through these and if all else fails, Virgin Records and Tower Records in Tokyo are surprisingly good ---------- Sent: Saturday, October 18, 1997 2:18 PM a friend of mine is going to japan next week. do any of you zornothologists know a cd store where he might find painkiller or other zorn stuff? he'll be spending most of his time in tokyo i think. -louie ------------------------------------------------------------------------------- From: gsg@juno.com (Geoff S Gersh) Subject: ???? Date: 19 Oct 1997 00:42:34 -0400 I thought that Kenny Wolleson is on that gig Wed. Oct. 22?? ------------------------------------------------------------------------------- From: Dgasque@aol.com Subject: AMM LPs Date: 19 Oct 1997 01:48:46 -0400 (EDT) FYI- Somebody is selling some early AMM LPs on the rec.music.ambient group- at premium prices. >>Combine & Laminates Pogus Productions P201-4 Mint $25 >>The Inexhaustible Document w/booklet Matchless MR13 Mint $35 >>Generative Themes Matchless MR6 Mint $40 Reply to oldschrec@aol.com (OLDSCHREC) for info. =dgasque= ------------------------------------------------------------------------------- From: katsuhiro hayasaka Subject: Lois V Vierk Date: 19 Oct 1997 23:06:09 +0900 I found this passage in "http://www.webcom.com/jimp/vierk.html" #Spring 1998 - TZADIK to release Vierk CD # #CD with "River Beneath the River" and "Into the Brightening Air" for string quartet, "Red #Shift" for cello, electric guitar, percussion, synthesizer, "Jagged Mesa" for 2 brass choirs. #Features SIRIUS STRING QUARTET; also Ted Mook, cello; David Seidel, elec. guitar; Gary #Trosclair, trumpet; Bruce Eidem, trombone; Christopher Banks, bass trombone. and #1998 -- Book "Arcana: Musicians on Music" edited by John Zorn # #Includes Vierk's article "Studying Gagaku" about her 12-year study of Japanese Court Music, #in Los Angeles and Tokyo. To be published by Sun and Moon Press in 1998. Info via fax: #510-704-8350. Does anyone know who is she ? ------------------------- Katsuhiro Hayasaka c9609238@mn.waseda.ac.jp ------------------------- ------------------------------------------------------------------------------- From: "K.O" Subject: Re: goin' to japan Date: 19 Oct 1997 23:39:08 +0000 Try "Disk Union" at Shinjuku. Kotaro Otake Yokohama, Japan ------------------------------------------------------------------------------- From: ia zha nah er vesen Subject: Re: goin' to japan Date: 19 Oct 1997 16:20:05 -0400 (EDT) there's a store called "The Wave" (i think) in one of the more southerly downtowns in tokyo (there are about 7 downtowns in tokyo....). i also found disk union there...address inside many of jz's cds. On Sat, 18 Oct 1997, louie wrote: > a friend of mine is going to japan next week. do any of you > zornothologists know a cd store where he might find painkiller or other > zorn stuff? he'll be spending most of his time in tokyo i think. > -louie > > ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: the grassroots Date: 20 Oct 1997 00:21:06 -0400 Brent Burton wrote: > On Wed, 15 Oct 1997, Steve Smith wrote: > > > the idea being that if you want something to come to you, make it > > happen yourself, which is what the friend I mentioned earlier is now > > > doing in Washington, DC with great results. > > if yr talking about transparent productions then i just gotta say that > > they're doing an amazing job of bringing jazz to dee cee. That's exactly who I'm talking about. That group was started by my friend from Houston and a bunch of like-minded folks he met in DC. And there appear to be groups like that popping up all over the place now. Vive la difference. Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: zorn-list Digest V2 #135 Date: 20 Oct 1997 00:32:32 -0400 WINRECORDS@aol.com wrote: > Does anyone have info. on Ribot's new project "Los Cubanos?" Line-up? > Recording plans? Is it true they are on Atlantic? It is true they are on Atlantic. As are Moondog, Olu Dara, the Art Ensemble of Chicago and Lester Bowie's Brass Fantasy. Will miracles never cease? Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Lois V Vierk Date: 20 Oct 1997 01:16:19 -0400 katsuhiro hayasaka wrote: > I found this passage in "http://www.webcom.com/jimp/vierk.html" > > #Spring 1998 - TZADIK to release Vierk CD > > Does anyone know who is she ? She's a quite wonderful young American composer who has written some very effective pieces for the Kronos Quartet and others. I find her to be one of the best composers to emerge from post-minimalism. There was a PBS special on New York composers that showed her working with an ensemble of Japanese traditional instrumentalists. It's great news to hear that Zorn's giving her props... I hope she meets with fabulous success. Thanks for the lead to her page. Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Brian Whitman Subject: Broadcast of free-improv thing Date: 20 Oct 1997 12:06:10 -0400 (EDT) Thursday, October 23rd, at 8:30pm, the 'Blitter vs. Gimcrak' concert will be broadcasted live over a RealAudio stream from WXJM studios in Harrisonburg, VA. Both Blitter and Gimcrak are from Alfred Bizarro to be Exactly / perfusely. You'll need the free RealPlayer (www.real.com) and a internet connection with a soundcard / speakers. The performance is a duet; elec- tronic and tric textures... Gimcrak (Chris Moutenot): guitars, effects, speakers Blitter (Brian Whitman): sampler, analog synth, function generator, bass Tune in to http://www.netspace.org/users/bwhitman/blitcrak Thanks! Any questions drop them my way. Brian Whitman bwhitman@wpi.edu ------------------------------------------------------------------------------- From: "The Penguin" Subject: Bible Launcher? Date: 20 Oct 1997 09:20:02 PDT I am curious about this Bible Launcher CD I have seen mentioned. What is it, and how do I get it? Thanks Much... ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: Yves Dewulf Subject: Re: Bible Launcher? Date: 20 Oct 1997 18:42:01 +0200 > I am curious about this Bible Launcher CD I have seen mentioned. What is > it, and how do I get it? > Thanks Much... Bible Launcher is drums/guitar/bass/sax - quartet that plays noise-funk-speedmetal, (sometimes they sound a bit like the more noisy Naked-City -stuff). There are 32 songs on the CD and most of them are build around samples of television - evangelists and priests (recently I saw the record most of the samples come from, but I don't have it over here), sometimes in combination with samples of porn movies. I like the record very much (some of it reminds me of the Jezebel-Spirit track of Eno/Byrne), although I must admit it becomes a bit boring after half an hour. Now the sad part of the story : it seem's that the record was deleted after complaints of the religious son of a bitch. (well, after all they are the fifth member of the band.) Regards, yves ------------------------------------------------------------------------------- From: Scott Russell Subject: Bible Launcher Date: 20 Oct 1997 18:18:49 +0000 --MimeMultipartBoundary Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit As we seem to be reviving the Bible Launcher thread, has anyone out there got a spare copy to trade or sell? I've never seen it at all in the UK and would really like to get a copy. Thanks in advance. Scott Russell (apologies to Yves whom I sent this to already!) -- Without theory all we have is opinion and shopping. Chris Cutler --MimeMultipartBoundary-- ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: K.Haino Date: 20 Oct 1997 15:06:57 -0500 (CDT) WHo can tell me the best Keiji Haino recordings to check out? I've heard some of his stuff with a group called something like Fush...something. I've always head what a great guitarist and musician he is, but this sounded a little like a Sonic Youth jam. And I'm not looking for that stuff. ------------------------------------------------------------------------------- From: Valkwitch Subject: Re: K.Haino Date: 20 Oct 1997 23:50:13 -0400 y9d62@TTACS.TTU.EDU wrote: > > WHo can tell me the best Keiji Haino recordings to check out? I've heard > some of his stuff with a group called something like Fush...something. > I've always head what a great guitarist and musician he is, but this > sounded a little like a Sonic Youth jam. And I'm not looking for that > stuff. i've heard a keiji haino/fushitishi? track and it sounded much like sonic youth guitarism. but that was only one track. i have the haino album on tzadik "no tenshi..." and it has no guitars, just interesting percussive beats, bell sounds and vocals... ------------------------------------------------------------------------------- From: katsuhiro hayasaka Subject: Tzadik Upcoming Releases (re:Tzadik releases) Date: 21 Oct 1997 19:06:00 +0900 I have Tzadik catalog. This catalog contains "Upcoming Releases". I got this 6 months ago. So, some are already released. Sorry if you already know. Composers Series Eyvind Kang vol.2 Mamoru Fujieda vol.2 <-----Patterns of Plants Mark Dresser John Zorn Norman Yamada Mark Degliantoni Lois Vierk Anthony Coleman Bob Ostertag Fred Frith Radical Jewish Culture Gary Lucas Serge Gainsbourg:Great Jewish Music Frank London Selfhaters New Japan Series Yasunao Tone <-----Solo for Wounded CD Tenko and Otomo Tetsu Inoue Yuka Honda Toshinori Kondo Archival Series Cynical Hysterie Hour Duras Godard Aporias:Requia for Piano and Orchestra The Parachute Years(3CD) Painkiller-Guts of a Virgin Painkiller-Buried Secrets Painkiller-Execution Ground(3CD) Filmworks 1 , 7 Film Music Nana Vasconcelos Ikue Mori P.S. In "Lunatic Fringe", Bible Launcher CD (TZ 7402) is deleted. ------------------------- Katsuhiro Hayasaka c9609238@mn.waseda.ac.jp ------------------------- ------------------------------------------------------------------------------- From: ia zha nah er vesen Subject: trade? Date: 21 Oct 1997 07:07:19 -0400 (EDT) I own copies of the Zorn/Eye CDs 'Nani Nani' and 'Zohar'. Although i'm sort of a zorn completist, i really don't listen to these discs very often. If anyone has something cool to trade me for either/both of these, do let me know. cha, jascha ------------------------------------------------------------------------------- From: matthew.colonnese@yale.edu (Matthew Colonnese) Subject: Re: K.Haino Date: 21 Oct 1997 10:54:59 -0400 (EDT) >y9d62@TTACS.TTU.EDU wrote: >> >> WHo can tell me the best Keiji Haino recordings to check out? I've heard >> some of his stuff with a group called something like Fush...something. >> I've always head what a great guitarist and musician he is, but this >> sounded a little like a Sonic Youth jam. And I'm not looking for that >> stuff. > >i've heard a keiji haino/fushitishi? track and it sounded much like >sonic youth guitarism. but that was only one track. i have the haino >album on tzadik "no tenshi..." and it has no guitars, just interesting >percussive beats, bell sounds and vocals... Fushitsusha, and I don't know what albums y'all have heard but they sound very little like Sonic Youth. Sure they both turn their amps to '11' (sonic youth much less recently) and arange the detrius into musical forms, but SY use lots of Branca harmonic strum and nimble (not that nimble) rythmn, while Fushitsusha work in degraded Blue Cheer inspired sludge/drone, K. Haino working his guitar like an exploding hurdy gurdy. Anyone who works with feedback does not sound like SY. In anycase if you don't like this kinda thing (noisy guitars) you should probably avoid K. Haino. Sure their are a number of items in his catalogue, but you'll spend alot of time trying to cherry pick the non-noisy, atypical items. That said, give Fushisusha's _Allegorical Misunderstanding_(just discussed here) a shot (which actually sounds the MOST like recent SY to me), or the Tzadik album above, or the Hurdy Gurdy album on PSF, or perhaps the best choice is Ninjimu (Nijimu? sp? help me out here) _Era of Sad Wings_ on PSF which is electro-acoutic medival music, or for quieter but more 'typical' Haino, the _Ninjimu_ album under his own name on PSF (is this still in print). matt ------ "Finally, a thing-a-ma-giggy that would bring people together...even if it kept them apart, spatially." ------------------------------------------------------------------------------- From: Craig Rath Subject: Haino Date: 21 Oct 1997 12:35:06 -0500 >> WHo can tell me the best Keiji Haino recordings to check out? I've heard >> some of his stuff with a group called something like Fush...something. >> I've always head what a great guitarist and musician he is, but this >> sounded a little like a Sonic Youth jam. And I'm not looking for that >> stuff. If you're looking for a good mixture of his different styles, try "A Challenge to Fate". Everything from his harsh noise to his more melodic side. There are many others that I would recommend, my current favorite being "I Said, This is the Son of Nihilism" on Table of the Elements. For a very different take on his non-guitar work, try "Gerry Miles" where he teams up with Alan Licht recording with Organ, Clarinet, Vocals and Percussion, recorded in a cathedral. Very different sound. Or his various recent collaborations, including Derek Bailey, Peter Brotzmann, Barre Phillips, etc. The list goes on. For a very good, rather complete listing of his various works, check out the Unofficial Keiji Haino Homepage at http://www.cems.umn.edu/~keffer/ - probably the most complete listing of his available catalog you'll ever find, up to about 75 items at last count. ------------------------------------------------------------------------------- From: Jesse Simon Subject: Re: K.Haino Date: 22 Oct 1997 13:19:10 >WHo can tell me the best Keiji Haino recordings to check out? I've heard >some of his stuff with a group called something like Fush...something. >I've always head what a great guitarist and musician he is, but this >sounded a little like a Sonic Youth jam. And I'm not looking for that >stuff. Keiji Haino on his own can be pretty unpredictable. On the very recent "So, Black is Myself" he sings along to an electronic drone generator and plays some unspecified eastern-sounding stringed instrument. It's quite hypnotic in it's own way. But as far as straight ahead guitar (and the occasional vocal) is concerned I would recommend the two Forced Exposure releases "Execration That Accept to Acknowledge" and "Book of Eternity Set Aflame" or the Table of the Elements release "I said this is the son of nihilism". I would recommend these because not only are they excellent albums that will give you a feel for the scope of Keiji Haino's playing but they are also domestic releases and therefore don't cost $28 a pop. But they're all good in their own way, Jesse ------------------------------------------------------------------------------- From: matthew.colonnese@yale.edu (Matthew Colonnese) Subject: Re: K.Haino/ground zero Date: 21 Oct 1997 23:48:40 -0400 (EDT) >But as far as straight ahead guitar (and the occasional vocal) is concerned >I would recommend the two Forced Exposure releases "Execration That Accept >to Acknowledge" and "Book of Eternity Set Aflame" or the Table of the >Elements release "I said this is the son of nihilism". I can't speak for the TOTE release, but to me both Forced Exposure titles were pretty lackluster Haino releases, espessially _Book of Eternity..._ which contains a simply ENDLESS very monodynamic drone for some (if I'm remembering right) 30odd minutes. Really nothing happens (and this is comming from someone who listens to alot of drone music) until the end (which is kinda nice actually). _Execration..._ is not bad but sort of unfocused; I never play it, but that may be because many of the "riffs" sound similar to the dbllive Fushitsusha cd. I would suggest bumping up a couple bucks for the Japanese or French imports, its worth the cash. (only the recent major label stuff is $28). I forgot about the Gerry Miles cd with Alan Licht, that would be a great title to get if one wanted to avoid the guitar histronics (though not the vocal ones). onto Ground Zero. _plays standards_ is a pretty great album. Deffinately their most "fun" and less conceptual. The pattern: take an old tune (preferably nice and cheasy) with personal meaning, add another, play samples while the band goes town with that crazy punked up noise they do so well. This is really a rocking album, much nimbler than previous ones which could vear more tward the pounding and metalic. One highlight is the closer,using Roland Kirk's version of Bacharach tune which the Ground Zero plays along too. Zorn coulda used this to liven up the _Great Jewish Music_ cds cause it's just crazed. ------ "Finally, a thing-a-ma-giggy that would bring people together...even if it kept them apart, spatially." ------------------------------------------------------------------------------- From: Steve Smith Subject: Zorn at the Knit 10/22 - new lineup Date: 22 Oct 1997 00:08:07 -0400 Yes, it's still Zorn, Medeski, and Ribot. But Bobby Previte is now the drummer tomorrow night. And it's most likely not going to be an all-Larry Young program anymore, but Bobby refused to say what it would be instead. Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: WINRECORDS@aol.com Subject: Haino/Z'ev Date: 22 Oct 1997 00:23:19 -0400 (EDT) I understand Keiji Haino & Z'ev just did a series of duet shows together in Japan which all were recorded & possibly might see the light of day at some point! Let's hope!! A devastating duo to be sure! I've heard little about the Z'ev/Avant release mentioned here. Any comments? ------------------------------------------------------------------------------- From: DR S WILKIE Subject: Re: the music of Larry Young Date: 22 Oct 1997 09:48:54 GMT0BST Does anybody out there have any of the Larry Young/Grant Green/Elvin Jones albums? (I Want To Hold Your Hand is about to be reissued) I'm sure I can provide an interesting "trade" of cassettes if anybody gets in touch ... Dr. Sean Wilkie "Music is the pleasure the mind takes from numbers when it knows not that it is counting" (approx.) - Leibniz ------------------------------------------------------------------------------- From: Mmottel@aol.com Subject: Books on Downtown Jazz scene Date: 22 Oct 1997 06:31:43 -0400 (EDT) For one of my school courses we have to analyze a 10 year period in history with a certain topic so I thought I would do the knitting factory and the downtown music scene. The problem though is I need 10 sources. Anyone know any books or articles relevant to either the knit or Zorn, frisell etc. Thanks Matt ------------------------------------------------------------------------------- From: Tom Pratt Subject: new releases Date: 22 Oct 1997 07:54:53 -0400 There is a new Buckethead/Brain duo album on Avant (they call themselves "Pieces"), plus an album by the Music Revelation Ensemble called "Cross Fire" (w/Blood Ulmer, Brad Jones, Cornell Rochester, Pharoah Sanders, and John Zorn) on DIW. I don't know if these are released yet or when they will be released but I thought you might be interested. -Tom Pratt ------------------------------------------------------------------------------- From: cdeupree@interagp.com (Caleb Deupree) Subject: Re: Z'ev Date: 22 Oct 1997 08:54:25 -0400 >>>>> "WINRECORDS" == WINRECORDS writes: WINRECORDS> I've heard little about the Z'ev/Avant release WINRECORDS> mentioned here. Any comments? Please bear in mind that I haven't heard any other Z'ev release besides this one, and this description is from memory. There are alternating sections of drums/percussion and sampled voices. There are no silences between the tracks, so the whole album flows together without a break. The percussive parts are all measured in BPM, most of them fairly quick. I typically associate BPM with dance music, but I wouldn't call any of this danceable by any stretch. It is driving and fairly intense for drum music. I think I also remember that there are some subtle electronic treatments, but not enough to disguise what's going on, nor enough to move it to Muslimgauze territory (and there's much less ethnic percussion than the Muslimgauze that I've heard). The vocal parts are relatively short and provide some much needed breathing space from the drum solos. Every time I play this album it sounds incomplete, like it should be included in some greater mix. All of the individual tracks seem static, not really going anywhere. Maybe I just haven't listened closely enough. --- Caleb T. Deupree ;; Opinions do not reflect on management Computers are useless. They can only give you answers. (Pablo Picasso) ------------------------------------------------------------------------------- From: "Schwitterz" Subject: Chadbourne Date: 22 Oct 1997 07:27:18 -0700 Last night Eugene Chadbourne said he may be bringing Leo Smith with him to his performance tonight in Ventura. Sz ------------------------------------------------------------------------------- From: matthew.colonnese@yale.edu (Matthew Colonnese) Subject: Re: Ground Zero\Plays Standards Date: 22 Oct 1997 11:25:22 -0400 (EDT) >> onto Ground Zero. _plays standards_ is a pretty great album. Deffinately > >Where did you pick this up at? I have been trying to get one for quite a >while. You might consider posting to the zorn-list as I'm sure others >would be interested as well. I got it at the Downtown Music Gallery dmg@panix.com happy hunting. matt ------ "Finally, a thing-a-ma-giggy that would bring people together...even if it kept them apart, spatially." ------------------------------------------------------------------------------- From: Tony Reif Subject: new releases/lost email Date: 22 Oct 1997 13:57:28 -0700 (PDT) =46irst the new releases: Brad Shepik and the Commuters, The Loan (SGL 1518-2) Released Oct. 1 Debut of BABKAS and Pachora co-leader (and member of Dave Douglas's Tiny Bell Trio and the Paradox Trio) features his compositions arranged for a Balkan/Turkish/Persian (and occasionally Afro/Celtic) flavored quintet. Supercharged world jazz. Shepik, guitars, electric saz, banjo, cumbus, with Peter Epstein (alto and soprano sax), Tony Scherr (electric bass), Kenny Wollesen (drums) and Seido Salifoski (dumbek). "Virtuoso rootless-cosmopolitan groovesmanship at its finest..." Richard Gehr, Village Voice =46ran=E7ois Houle and Beno=EEt Delbecq, Nancali (SGL 1519-2) Release date Nov. 1 =46rench pianist/prepared pianist Delbecq (Paintings, Kartet, The Recyclers) meets Canadian clarinettist Houle (whose septet Et Cetera was the first Songlines release back in '92). Their program of improvisations and compositions draws on contemporary classical (Ligeti, Nancarrow), jazz/improv, and non-western (Aka pygmy) traditions. Probing and highly empathetic. "First-rate performance of rigorously melodic jazz improvisation by an under-recognized clarinetist." Ben Ratliff, New York Times "One of the most fascinating pianists of the new generation." Michel Contat, T=E9l=E9rama =46or ordering informaton or a catalogue: Tony Reif, Songlines Recordings 1003 - 2323 W. 2nd Ave. Vancouver V6K 1J4, Canada (604) 737-1632 * fax 737-1678 e-mail treif@songlines.com Distributors: Allegro (US and Canada, also mail order: 1 800 288 2007), 99 Records (Germany), I.R.D. (Italy), Plainisphare (Switzerland), Challenge (Benelux), Distribution DAM (France), Anabasis (Australia) And now a request: In late September I lost all my email files back to the end of January in a computer crash. There are many people who I was in correspondence with during that time who I have no other record of and of course no email address for now. So please get in touch again if you haven't heard from me, and if possible please send me any still relevant/useful correspondence we had during that period. I'd also be really grateful, if you've kept any of my posts to the list that still seem interesting enough to bother about, if you could send them back to me as well. Many thanks. Tony Tony Reif (Songlines Recordings) ------------------------------------------------------------------------------- From: pm.carey@utoronto.ca (Patrick Carey) Subject: Trying To Contact SAI KONG ... Date: 23 Oct 1997 04:12:51 -0400 Hello, Please pardon the non-musical use of bandwidth & the cross-posting ... I urgently need to get in contact with SAI KONG, who used to be at U. Stony Brook, NY , but has now changed email addresses ... Sai, if you see this, please contact me. Thanks -Patrick ------------------------------------------------------------------------------- From: katsuhiro hayasaka Subject: Tzadik.com Date: 24 Oct 1997 01:16:31 +0900 Tzadik.com was updated !! Please see "Tzadik Gossip" and "Zorn`s Top 10" ! ------------------------- Katsuhiro Hayasaka c9609238@mn.waseda.ac.jp ------------------------- ------------------------------------------------------------------------------- From: Brian Olewnick Subject: Bailey at KF Date: 23 Oct 1997 20:33:03 -0700 Does anyone have a complete list of the people to be performing with DB next week? I take it JZ and Mori are doing at least the first evening and Ruins is with him on Wednesday. How about Thursday? Thanks Brian Olewnick ------------------------------------------------------------------------------- From: rbisson@courrier.usherb.ca ( =?iso-8859-1?Q?R=E9mi?= Bissonnette) Subject: Keiji Haino/Caspar Brotzmann Date: 23 Oct 1997 22:38:56 -0400 With all this recent talk about Keiji Haino, I'm wondering if anybody has heard the Keiji Haino/Derek Bailey duet "Drawing Close, Attuning -- The Respective Signs of Order and Chaos"? I think it was released last June or something. If somebody has it please post a short review or comments. And speaking of guitar duets, does anybody know what Caspar Brotzmann (the son of Last Exit saxophonist Peter Brotzmann) has been doing since the release of the "Zulutime" CD with Page Hamilton? A new Massaker disc in the works, perhaps? Bruno Bissonnette R=E9mi Bissonnette Ph.D. Professeur titulaire =46acult=E9 d'=C9ducation physique et sportive Universit=E9 de Sherbrooke Sherbrooke, Qu=E9bec J1K 2R1 =20 ------------------------------------------------------------------------------- From: Scott Chamberlin Subject: Elysian Fields Date: 24 Oct 1997 00:26:51 -0500 The band playing the first track on the tribute to Serge Gainsbourg disc is listed as Elysian Fields. I was looking for some stuff about this band on the web becuase I really liked the woman's "Jennifer Charles" voice. I found a band called Elysian Fields but they are some death/dark metal band, and the band members are not the same ones that are listed in the album. Does amyone know about who the "Elysian Fields" is that the Serge Gainsbourg disc is featuring, or do you know anything about the individual works of Jennifer Charles? -Scott chambest@cs.purdue.edu ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Keiji Haino/Caspar Brotzmann Date: 24 Oct 1997 02:09:02 -0400 (EDT) On Thu, 23 Oct 1997, [iso-8859-1] R=E9mi Bissonnette wrote: > With all this recent talk about Keiji Haino, I'm wondering if anybody has > heard the Keiji Haino/Derek Bailey duet "Drawing Close, Attuning -- The > Respective Signs of Order and Chaos"? I think it was released last June = or > something. If somebody has it please post a short review or comments. Bailey in his skronky electric mode. Haino sounding very similar to Bailey. It's fine, but not a spectacular addition to Bailey's discography. I lack the background to contextualize it with respect to Haino's work. Chris Hamilton ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Elysian Fields Date: 24 Oct 1997 02:13:48 -0400 (EDT) On Fri, 24 Oct 1997, Scott Chamberlin wrote: > Does amyone know about who the "Elysian > Fields" is that the Serge Gainsbourg disc is featuring, or do you know > anything about the individual works of Jennifer Charles? Charles is new to me as well, but Oren Bloedow (credited with guitar/bass/drums) released a fine solo album of slightly twisted pop on Knitting Factory Works about five years ago. I seem to recall that he was briefly associated with the Lounge Lizards as well, but I'm less sure about that. Chris Hamilton ------------------------------------------------------------------------------- From: peter_risser@cinfin.com Subject: ReR records Date: 24 Oct 1997 13:28:25 UT Anyone know where I can buy ReR records on the net? Or where the Wayside catalog and Dr. Nerve's site went? I appreciate the help. Thanks, Peter ------------------------------------------------------------------------------- From: louie Subject: filmworks II Date: 23 Oct 1997 22:33:13 -0600 i happened to catch a movie on the tube the other nite called "trespass". during one of the first scenes i thought i recognized some music. right after that i noticed the director was Walter Hill. then it hit me, "filmworks II, music for an untitled film by Walter Hill". sure enough, all the names of the tunes on the disk related to the movie exactly. but no other music from the disk was used other than that part at the beginning. (of all people to do the film's music - ry cooder). zorn did get a thank you at the absolute end of the film (i think it was the fourth or fifth from the last name). it would be interesting to know why they chose not to use zorn's music. oh well, just thought i'd pass that along. any other movies at the "local video store" anyone could recommend that has a zorn score? ------------------------------------------------------------------------------- From: cdeupree@interagp.com (Caleb Deupree) Subject: Re: ReR records Date: 24 Oct 1997 09:00:35 -0400 >>>>> "peter" == peter risser writes: peter> Anyone know where I can buy ReR records on the net? Or peter> where the Wayside catalog and Dr. Nerve's site went? I peter> appreciate the help. Wayside's still at http://members.aol.com/Cuneiform2/cuneiform.html. --- Caleb T. Deupree ;; Opinions do not reflect on management Computers are useless. They can only give you answers. (Pablo Picasso) ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: filmworks II Date: 24 Oct 1997 14:11:00 -0700 At 10:33 PM 10/23/97 -0600, louie wrote: >i happened to catch a movie on the tube the other nite called >"trespass". during one of the first scenes i thought i recognized some >music. right after that i noticed the director was Walter Hill. >then it hit me, "filmworks II, music for an untitled film by Walter >Hill". sure enough, all the names of the tunes on the disk related to >the movie exactly. but no other music from the disk was used other than >that part at the beginning. >(of all people to do the film's music - ry cooder). ... Well we had a big discussion of this last year. However...the last comment is irritating. What is the dig at Cooder supposed to mean? And it is quite expected, since Walter Hill has used Ry Cooder for scores to almost all of his movies (The Long Riders, Trespass, Johny Handsome, Blue City, Crossroads, Geronimo,...) and I thought the score to this one quite good, especially with the combination of Cooder's use of a floor slide and Jon Hassel's trippy horn. It isn't necessary to knock something in order to like something else. Buy the score (although it has been unavailable for a while) and listen to it as something independent. You might find it good enough to like. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Mark Turner Subject: Re: filmworks II Date: 24 Oct 1997 07:54:53 -0700 (PDT) Jeff Spirer on Ry Cooder's "Trespass" score: > It isn't necessary to knock something in order to like something else. Buy > the score (although it has been unavailable for a while) and listen to it > as something independent. You might find it good enough to like. EAR/Rational Music has a copy of this CD on their sale page: http://www.xmission.com/~ear/. -- Mark Turner mturner@netcom.com ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: filmworks II Date: 24 Oct 1997 08:38:23 -0700 On Thu, 23 Oct 1997 22:33:13 -0600 louie wrote: > > i happened to catch a movie on the tube the other nite called > "trespass". during one of the first scenes i thought i recognized some > music. right after that i noticed the director was Walter Hill. Talking about Hill, and for the New Yorkers: Millennium Film Workshop presents: HENRY HILLS in person with the New York premiere of MECHANICS OF THE BRAIN a film by Henry Hills & Sally Silvers plus HERETIC, MONEY, & LITTLE LIEUTENANT ANTHOLOGY FILM ARCHIVES East 2nd Street and 2nd Avenue Saturday, October 25, 8:00pm Patrice. ------------------------------------------------------------------------------- From: Matthew Moran Subject: Re: Elysian Fields Date: 24 Oct 1997 14:29:59 -0400 (EDT) I can tell you that together, Oren and Jennifer have a band called Elysian Fields, with two or three albums out. The band includes Ben Perowsky (sp?) on drums, James Genus on bass, and Uri Caine on keyboard. -matt On Fri, 24 Oct 1997, Christopher Hamilton wrote: > > > On Fri, 24 Oct 1997, Scott Chamberlin wrote: > > > Does amyone know about who the "Elysian > > Fields" is that the Serge Gainsbourg disc is featuring, or do you know > > anything about the individual works of Jennifer Charles? > > Charles is new to me as well, but Oren Bloedow (credited with > guitar/bass/drums) released a fine solo album of slightly twisted pop on > Knitting Factory Works about five years ago. I seem to recall that he > was briefly associated with the Lounge Lizards as well, but I'm less sure > about that. > > Chris Hamilton > > > ------------------------------------------------------------------------------- From: "Carlos Murat" Subject: Re: Chadbourne Date: 24 Oct 1997 19:22:14 -0300 Can anybody tell me the adress of Chadbourne´s site Thanks ---------- > From: Schwitterz > To: zorn-list@xmission.com > Subject: Chadbourne > Date: miércoles 22 de octubre de 1997 11:27 > > Last night Eugene Chadbourne said he may be bringing Leo Smith with him to > his performance tonight in Ventura. > > Sz > > > ------------------------------------------------------------------------------- From: "Schwitterz" Subject: Re: Chadbourne Date: 24 Oct 1997 15:45:48 -0700 Did you say some Eugene Chadbourne sites? http://wymple.gs.net/~aaswell/eugene.html http://www.duke.edu/~pbr/chadbourne/chadsolo1.html http://www.shmooze.net/exclaim/9612/nf/reviews/cbk/cbk01.htm http://cdnow.com/cgi-bin/mserver/SID=1298229893/pagename=/RP/CDN/FIND/album. html/ArtistID=FRN-Chadbourne*Eugene/ddcn=SD-78876+4+2 Sz ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Bailey at KF Date: 25 Oct 1997 03:08:02 -0400 Brian Olewnick wrote: > Does anyone have a complete list of the people to be performing with > DB > next week? I take it JZ and Mori are doing at least the first evening > and Ruins is with him on Wednesday. How about Thursday? Actually, this is how the latest ad reads: Monday: 8 pm - Bailey solo; 9 pm - Bailey with Zorn and (Mark) Kramer; 10 pm - Bailey with Zorn and Ikue Mori Tuesday: Improv Evening with John Zorn (no specific players listed) Wednseday: Ruins, Akaten, Zubizuva-X (no mention of Bailey whatsoever) Thursday: 8 pm - Bailey and Min-Xiao Fen; 9 pm - Tsuyama Atsushi solo; 10 pm - Derek and the Ruins The obvious highlights for me are the solo set, the rather unpredictable meeting with Kramer, the Improv Evening (I'd bet money that the fabulous Jim Staley will be in the house, and Shelley Hirsch wouldn't half surprise me either - but I still wish some non-Zorn circle members like Ted Reichman, Matt Moran and John Hollenback would be invited), Bailey and Min-Xiao Fen (amazing pipa player - they recorded last winter and witnesses say its just amazing), and of course Derek and the Ruins. I get the feeling my wife won't be seeing much of me next week... Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Brian Olewnick Subject: Sugarbullet? Date: 25 Oct 1997 12:24:47 -0700 Several years ago, JZ was hosting a broadcast on WKCR, playing his usual variety of unusual, impossible-to-find music. One cut was a very impressive piece by a, I think, British band named (again, as best as I can recall) Sugarbullet. It was a very loud and fast noisecore piece overlaid with a hardcore rap vocal line, as I remember. I've seen occasional vague references to this group here and there, but have never seen a recording or heard them since. Anyone know? Brian O. ------------------------------------------------------------------------------- From: Tom Pratt Subject: Fujieda, Ostertag Date: 25 Oct 1997 19:15:32 -0400 I got two CD's the other day. One was Mamoru Fujieda's 'Patterns of Plants' on Tzadik and the other was Bob Ostertag's 'Verbatim' on Ratascan. 'Patterns of Plants' is mostly played by an instrument called the koto which is a japanese string instrument. It's very hypnotic sort of new-agey even. I was actually dissapointed by this CD a little bit. It was a little sparse and repetitive for my tastes. It's pretty good but didn't do a whole lot for me. This is my first Fujieda disc. How does it compare to his other Tzadik disc? Bob Ostertag's 'Verbatim' is really cool. This is the third part of his 'Say No More' series. Ostertag recorded Mark Dresser, Gerry Hemmingway and Phil Minton doing solo improvisations without interaction with each other. He then using computer manipulations, etc created a collage and released it as 'Say No More'. Then he wrote out the score to this and had the four of them play it live which he recorded and released as 'Say No More In Person'. With the results of that, Ostertag went even further with his computer manipulations and made yet another collage which he released as 'Verbatim', the one I have. Really creppy vocals by Phil Minton!! Anybody have any recommendations of his. I'm looking for either a solo or duo Minton album. Right now, I think I'll get 'Dada Da', the duo with percussionist Roger Turner. -Tom Pratt ------------------------------------------------------------------------------- From: Tom Pratt Subject: Keiji Haino Date: 25 Oct 1997 19:34:48 -0400 At the CD store I found two Haino discs. Lost Aaraaff - Lost Aaraaff Haino Keiji - Tenshi No Gijinka I'm very interested in hearing his stuff so could someone tell me a bit about each so that I can decide which to get!!! Thanks. Listening to: Esquivel!!!!! -Tom Pratt ------------------------------------------------------------------------------- From: "allen huotari" Subject: RE: Fujieda, Ostertag Date: 26 Oct 1997 10:24:12 UT "Voice of America" (on Rec Rec), a live recording of Frith, Minton, Ostertag, is of interest on the Victo label: "Mouthful of Ecstasy" by Phil Minton Quartet (Minton-voice, John Butcher-sax, Veryan Weston-piano, and Roger Turner-drums) is a good starting point and on Rift Records is "A Doughnut In Both Hands" (solo voice) (available from Wayside on lp for a mere $7.50) although not improvised music, Minton's vocal contributions to Lindsay Cooper "Oh Moscow" (also on Victo and including Hugh Hopper and Alfred 23 Harth) are remarkable (this recording also reminds the listener that he's an accomplished trumpeter) Minton has also recorded a disc of Hendrix covers accompanied by a number of other British jazz musicians the title escapes me at the moment (I've only heard a few samples on tape) but I know at least one fellow zornlister can help out here (hey Glenn !) anyway, quite fun to hear Minton gargle, guffaw, and groan his way through "Foxy Lady" and "Purple Haze" ---------- Sent: Saturday, October 25, 1997 11:15 PM I got two CD's the other day. One was Mamoru Fujieda's 'Patterns of Plants' on Tzadik and the other was Bob Ostertag's 'Verbatim' on Ratascan. 'Patterns of Plants' is mostly played by an instrument called the koto which is a japanese string instrument. It's very hypnotic sort of new-agey even. I was actually dissapointed by this CD a little bit. It was a little sparse and repetitive for my tastes. It's pretty good but didn't do a whole lot for me. This is my first Fujieda disc. How does it compare to his other Tzadik disc? Bob Ostertag's 'Verbatim' is really cool. This is the third part of his 'Say No More' series. Ostertag recorded Mark Dresser, Gerry Hemmingway and Phil Minton doing solo improvisations without interaction with each other. He then using computer manipulations, etc created a collage and released it as 'Say No More'. Then he wrote out the score to this and had the four of them play it live which he recorded and released as 'Say No More In Person'. With the results of that, Ostertag went even further with his computer manipulations and made yet another collage which he released as 'Verbatim', the one I have. Really creppy vocals by Phil Minton!! Anybody have any recommendations of his. I'm looking for either a solo or duo Minton album. Right now, I think I'll get 'Dada Da', the duo with percussionist Roger Turner. -Tom Pratt ------------------------------------------------------------------------------- From: "Schwitterz" Subject: Re: Fujieda, Ostertag Date: 26 Oct 1997 10:48:49 -0800 >although not improvised music, Minton's vocal contributions to Lindsay Cooper >"Oh Moscow" (also on Victo and including Hugh Hopper and Alfred 23 Harth) are >remarkable (this recording also reminds the listener that he's an accomplished >trumpeter) Minton also croons remarkably on STATE OF VOLGOGRAD/TRIO TRABANT A ROMA with Lindsay Cooper and Alfred 23 Harth (FMP 57) and THE ENCHANTED MESSENGER/TONY OXLEY'S CELEBRATION ORCHESTRA (Soul Note 121284-2). On the latter his trumpet sensibilities clearly inform his vocal sparring with the great Bill Dixon. Should we start a thread on which zorn-listers say what number they would choose for a middle name and why? Keith 69 McMullen ------------------------------------------------------------------------------- From: "Glenn Astarita" Subject: Re: Fujieda, Ostertag Date: 26 Oct 1997 13:05:57 -0600 > > Minton has also recorded a disc of Hendrix covers accompanied by a number of > other British jazz musicians > the title escapes me at the moment (I've only heard a few samples on tape) but > I know at least one fellow zornlister can help out here (hey Glenn !) > anyway, quite fun to hear Minton gargle, guffaw, and groan his way through > "Foxy Lady" and "Purple Haze" > > > >..."Plays The Music of Jimi Handrix"...which also features Christy Doran, Django Bates, Freddy Studer and Amin Ali.....Hendrix like you've never imagined.................... glenn ------------------------------------------------------------------------------- From: john shiurba Subject: Molecules on East Coast Date: 26 Oct 1997 12:39:15 -0700 For those of you on the East Coast, My group The Molecules will be on tou= r=20 for the next two weeks. We combine elements of punk, improv, noise and=20 art rock in a gtr/bass/drums (w/ vocals) trio. Should be of interest to=20 those of you interested in Zorn's harder edged projects, as well of fans = of=20 the Boredoms & The Ruins. Say hello if you stop by-- I play bass Wed/29 Knitting Factory, New York with Marc Ribot (Alterknit?) =09 Thu/30 Upstairs at Nick=B9s, Philadelphia Fri/31 The Loft, Baltimore Sat/1 Dad=B9s Garage, Atlanta Sun/2 unk. venue, Louisville Mon/3 Beehive, Pittsburgh Tue/4 Speak in Tongues, Cleveland Wed/5 Chelsea=B9s, Columbus Thu/6 ??Harrisburg Fri/7 As220, Providence Sat/8 ??Boston or Portland Sun/9 2pm --Brass City Records, Connecticut 9pm-- 244 E. Houston, New York --=20 shiurba@sfo.com http://www.sfo.com/~shiurba ------------------------------------------------------------------------------- From: xander@sirius.com Subject: Alva? Date: 26 Oct 1997 11:33:25 -0800 This turned up on the indie-pop list of all places: >> another chocolate usa member, liza wakeman, is now in the quite >> incredible alva, who have a CD out on avant called "fair-haired >> guillotine". sounds like disturbed children writing classical >> music soundtracks for cartoons Surprised at not having seen anything about this on this list - is this really the same Avant? Anybody heard this? Thanks, Alexander .Radio Khartoum. www.algonet.se/~elegans/radiok/ ------------------------------------------------------------------------------- From: QUESOMALO@aol.com Subject: AEOC plays jimi Date: 26 Oct 1997 18:16:34 -0500 (EST) In a message dated 97-10-26 17:58:47 EST, you write: << >..."Plays The Music of Jimi Handrix"...which also features Christy Doran, Django Bates, Freddy Studer and Amin Ali.....Hendrix like you've never imagined.................... >> Speaking of Hendrix like you've never imagined, I remember seeing "Purple Haze" listed on an Art Ensemble of Chicago import, I don't recall which one. Can anyone comment on the nature of this rendition, or on the album as a whole? -Nick ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Alva? Date: 26 Oct 1997 23:31:09 -0500 xander@sirius.com wrote: > This turned up on the indie-pop list of all places: > > >> another chocolate usa member, liza wakeman, is now in the quite > >> incredible alva, who have a CD out on avant called "fair-haired > >> guillotine". sounds like disturbed children writing classical > >> music soundtracks for cartoons > > Surprised at not having seen anything about this on this list - is > this > really the same Avant? Anybody heard this? It's the same Avant... catalog number 072. Haven't listened to it in a while but I'd have to say that the above is a pretty fair description. For some reason I was also put in mind of early (classic) Residents (though it's an all female trio), but like I said, it's been a while. Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: AEOC plays jimi Date: 26 Oct 1997 23:58:14 -0500 QUESOMALO@aol.com wrote: > Speaking of Hendrix like you've never imagined, I remember seeing > "Purple > Haze" listed on an Art Ensemble of Chicago import, I don't recall > which one. > Can anyone comment on the nature of this rendition, or on the album > as a > whole? I'm an Art Ensemble of Chicago completist and lack only a few recordings, so naturally you might expect a positive reaction towards anything they release and you'd be somewhat right. Having said that, I must state that I find _Ancient to the Future_ possibly the most disappointing AE recording I've ever heard. It's not horrible, mind you (though some might say that that's my bias speaking). But while one of the Art Ensemble's strong points has always been the way they've encompassed the entirety of the black music tradition(s), I'm not convinced that literally performing cover versions of Ellington, Otis Redding. Bob Marley, Hendrix and Fela was necessary. Still, the group seemed somewhat adrift in the late '80s-early '90s... _The Alternative Express_ was a strong effort and there are things to like about their South African collaborations, their Coltrane album and their Monk tribute with Cecil Taylor, but there has been no statement nearly as strong as the ECM releases of the early '80s. And it's a shame that Jarman has left, but I'm certainly hopeful that the remaining quartet with find inspiration to make great recordings for their new contract with Atlantic. On the other hand, there's something kind of *fun* about hearing the AEOC covering Ellington, Redding, Marley, Hendrix and Fela... :-) Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: rbisson@courrier.usherb.ca ( =?iso-8859-1?Q?R=E9mi?= Bissonnette) Subject: Keiji Haino/Caspar Brotzmann Date: 27 Oct 1997 00:19:42 -0400 I sent this message a few days ago but for some reasons it doesn't seem to have actually been posted or seen by the people on the list. If it has, sorry for the repetition. Anyway: About Keiji Haino; has anybody out there heard Keiji's collaboration with Derek Bailey, "Drawing Close, Attuning -- The Respective Signs of Order and Chaos" out last June, I believe? If so, please post comments or a brief review if possible. Secondly, speaking of guitar duets, does anybody know what Caspar Brotzmann (son of Last Exit saxophonist Peter Brotzmann) has been doing since the release of "Zulutime", his collaboration with Page Hamilton? A new Massaker recording in the works, perhaps? Bruno R=E9mi Bissonnette Ph.D. Professeur titulaire =46acult=E9 d'=C9ducation physique et sportive Universit=E9 de Sherbrooke Sherbrooke, Qu=E9bec J1K 2R1 =20 ------------------------------------------------------------------------------- From: Tom Pratt Subject: Lost Aaraaff Date: 27 Oct 1997 17:48:27 -0500 I found a self-titled CD called 'Lost Aaraaff' under Keiji Haino at the CD store. Does anybody know anything about this one???? I bought Haino's Tzadik disc yesterday and I think it's pretty good but I wanted to hear some more guitar work. Thanks. -Tom Pratt ------------------------------------------------------------------------------- From: Brian & Sharon Beuchaw Subject: Re: Lost Aaraaff Date: 27 Oct 1997 21:05:37 -0600 (CST) On Mon, 27 Oct 1997, Tom Pratt wrote: > I found a self-titled CD called 'Lost Aaraaff' under Keiji Haino at the > CD store. Does anybody know anything about this one???? I bought Haino's > Tzadik disc yesterday and I think it's pretty good but I wanted to hear > some more guitar work. Thanks. > > -Tom Pratt Then don't buy Lost Aaraaff (or however it's spelled on this disc). This group doesn't have Haino playing guitar, just vocalizing (ain't no way it can be called singing). This was his first group from the early 70s with him, a drummer and a pianist (if I remember right). If you want Haino doing guitar, email me privately and I can recommend stuff (as I'm sure most of us don't wanna go over this again on the list (or maybe that was another list I'm on....)). cya brian BTW, new Arcana is out - got it yesterday, but haven't listened to it yet. ------------------------------------------------------------------------------- From: Dgasque@aol.com Subject: Re: Fujieda, Ostertag Date: 28 Oct 1997 04:58:09 -0500 (EST) In a message dated 97-10-26 13:58:37 EST, you (mcmullenm@vcss.k12.ca.us) write: << Minton also croons remarkably on STATE OF VOLGOGRAD/TRIO TRABANT A ROMA with Lindsay Cooper and Alfred 23 Harth (FMP 57) and THE ENCHANTED MESSENGER/TONY OXLEY'S CELEBRATION ORCHESTRA (Soul Note 121284-2). On the latter his trumpet sensibilities clearly inform his vocal sparring with the great Bill Dixon. >> And if not previously mentioned, Minton is also a regular in Mike Westbrook's many recordings. on now: Fourth Estate- See What I See =dgasque= ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: off-topic Date: 28 Oct 1997 09:20:02 -0600 (CST) Not Zorn related: just want to recommend "Base Of Fiction," a CD by a group of the same name on God Mountain records (Japan). Schoenberg gets a rock band, and plays opera. Great classical-rock synthesis; like a serious Bungle. And I received a Tzadik catalogue when I ordered the CD, so somebody knows about them. ------------------------------------------------------------------------------- From: Steve Smith Subject: Third Rail in NYC Date: 28 Oct 1997 17:36:18 -0500 Hey gang - Don't remember seeing this mentioned before: Third Rail with the Last Poets opening have been booked at the Knitting Factory December 5-6. (Bailey-Zorn-Kramer-Mori last night was amazing...) Steve Smith ssmith36@sprynet.com - ------------------------------------------------------------------------------- From: "Jason J. Tar" Subject: Painkiller _Guts of a Virgin_ Date: 28 Oct 1997 18:39:19 -0500 Hello, I'm new to the list, but have read through some of the digests at the archives. Noticed you'd been mentioning Painkiller's _Guts of a Virgin_. If you go to Earache's website, and find an e-mail link, you'll find they still have copies of this cd for sale. They are out of _Buried Secrets_ though, but said they'd be re-issuing it soon. (Which seems odd as Tzadik is supposedly re-releasing both cds soon as well.) Just thought you may want to know.... JJTar --- Peace Hugs and Unity, Jason J. Tar Vampire Rodent Productions http://pilot.msu.edu/user/tarjason/VRodents.htm Featuring: Vampire Rodents, Ether Bunny, and Dilate. - ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Painkiller _Guts of a Virgin_ Date: 28 Oct 1997 16:12:53 -0800 For anyone (well one someone) looking for the three CD set of _Buried Secrets_, Tower Records in San Mateo (if you don't know where San Mateo is, you aren't close enough) had one copy in the import section as of Friday. Good price too, around $30 I think. At 06:39 PM 10/28/97 -0500, Jason J. Tar wrote: >Hello, >I'm new to the list, but have read through some of the digests at the >archives. Noticed you'd been mentioning Painkiller's _Guts of a Virgin_. >If you go to Earache's website, and find an e-mail link, you'll find they >still have copies of this cd for sale. They are out of _Buried Secrets_ >though, but said they'd be re-issuing it soon. (Which seems odd as Tzadik >is supposedly re-releasing both cds soon as well.) >Just thought you may want to know.... > >JJTar > >--- >Peace Hugs and Unity, >Jason J. Tar > Vampire Rodent Productions > http://pilot.msu.edu/user/tarjason/VRodents.htm >Featuring: Vampire Rodents, Ether Bunny, and Dilate. > >- > > > Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ - ------------------------------------------------------------------------------- From: pm.carey@utoronto.ca (Patrick Carey) Subject: Re: Painkiller _Guts of a Virgin_ Date: 29 Oct 1997 04:59:33 -0500 Mr. Spirer wrote: >For anyone (well one someone) looking for the three CD set of _Buried >Secrets_, Tower Records in San Mateo (if you don't know where San Mateo is, >you aren't close enough) had one copy in the import section as of Friday. >Good price too, around $30 I think. You obviously mean _Execution Ground_, right? ;-) -Patrick - ------------------------------------------------------------------------------- From: Yves Dewulf Subject: 1984 Date: 29 Oct 1997 11:56:16 +0100 Yesterday I saw a subharmonic-CD entitled "Praxis 1984", released in 1997. There was no cover so I don't have more information. Is this a Material-CD or a Praxis -CD (or something else) and who is actually playing on it ? Who has more info on this CD ? Yves - ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Painkiller _Guts of a Virgin_ Date: 29 Oct 1997 06:10:50 -0800 At 04:59 AM 10/29/97 -0500, Patrick Carey wrote: >Mr. Spirer wrote: > >>For anyone (well one someone) looking for the three CD set of _Buried >>Secrets_, Tower Records in San Mateo (if you don't know where San Mateo is, >>you aren't close enough) had one copy in the import section as of Friday. >>Good price too, around $30 I think. > >You obviously mean _Execution Ground_, right? ;-) I don't think I've been sleeping enough since the time change...you're right. Someone should buy this though, given how many people seem to be looking for it. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ - ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: 1984 Date: 29 Oct 1997 06:19:11 -0800 At 11:56 AM 10/29/97 +0100, Yves Dewulf wrote: > > >Yesterday I saw a subharmonic-CD entitled "Praxis 1984", released in 1997. >There was no cover so I don't have more information. >Is this a Material-CD or a Praxis -CD (or something else) and who is >actually playing on it ? >Who has more info on this CD ? This came out in 1984, it's Bill alone as far as I know (never asked him about it.) It's a beats with some synth. It does not sound like any of the recent Praxis lineups but it is definitely interesting. It was also fairly short. I haven't heard the CD - there is no longer a relationship with Subharmonic, so I don't get advance copies - but since Bill stopped giving stuff to them, they have had serious quality problems with both pressings and artwork. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ - ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Re: 1984 Date: 29 Oct 1997 10:09:16 PST >Yesterday I saw a subharmonic-CD entitled "Praxis 1984", released in 1997. >There was no cover so I don't have more information. >Is this a Material-CD or a Praxis -CD (or something else) and who is >actually playing on it ? >Who has more info on this CD ? > Jeff Spirer (I think) said that the owner of Subharmonic was in the process of obtaining some of Laswell's Celluloid recordings, of which I see that Mandingo's first album is being re-released (although not by Subharmonic-I forget the record company name). The point being that Jeff said that the artists were getting no royalties from the releases. Obviously, it's a personal decision, but no matter how much I really want to but some of the hard to find early Laswell releases, I'd rather keep searching 2nd hand shops than put money in the pocket of a typical music business sleaze as this person appears to be. Dave B. ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com - ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: 1984 Date: 29 Oct 1997 10:25:02 -0800 On Wed, 29 Oct 1997 10:09:16 PST "David Brunelle" wrote: > > > >Yesterday I saw a subharmonic-CD entitled "Praxis 1984", released in > 1997. > >There was no cover so I don't have more information. > >Is this a Material-CD or a Praxis -CD (or something else) and who is > >actually playing on it ? > >Who has more info on this CD ? > > > Jeff Spirer (I think) said that the owner of Subharmonic was in the > process of obtaining some of Laswell's Celluloid recordings, of which I > see that Mandingo's first album is being re-released (although not by > Subharmonic-I forget the record company name). The point being that Jeff > said that the artists were getting no royalties from the releases. > Obviously, it's a personal decision, but no matter how much I really > want to but some of the hard to find early Laswell releases, I'd rather > keep searching 2nd hand shops than put money in the pocket of a typical > music business sleaze as this person appears to be. If you really want to go this way, you might even have to stop buying vinyls... There are more than one label with such stories floating around. I have seen recently many Laswell reissues from the '80s coming from Germany... Patrice. - ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: 1984 Date: 29 Oct 1997 10:44:26 -0800 At 10:09 AM 10/29/97 PST, David Brunelle wrote: > >>Yesterday I saw a subharmonic-CD entitled "Praxis 1984", released in >1997. >>There was no cover so I don't have more information. >>Is this a Material-CD or a Praxis -CD (or something else) and who is >>actually playing on it ? >>Who has more info on this CD ? >> >Jeff Spirer (I think) said that the owner of Subharmonic was in the >process of obtaining some of Laswell's Celluloid recordings, of which I >see that Mandingo's first album is being re-released (although not by >Subharmonic-I forget the record company name). The point being that Jeff >said that the artists were getting no royalties from the releases. >Obviously, it's a personal decision, but no matter how much I really >want to but some of the hard to find early Laswell releases, I'd rather >keep searching 2nd hand shops than put money in the pocket of a typical >music business sleaze as this person appears to be. I did say something like this, but I believe that he has complete rights to the entire Celluloid catalog at this time. He is certainly responsible for the fact that there are numerous overlapping Golden Palominos compilations on a variety of labels. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ - ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: 1984 Date: 29 Oct 1997 10:50:13 -0800 At 10:25 AM 10/29/97 -0800, Patrice L. Roussel wrote: > >On Wed, 29 Oct 1997 10:09:16 PST "David Brunelle" wrote: >> >> >> >Yesterday I saw a subharmonic-CD entitled "Praxis 1984", released in >> 1997. >> >There was no cover so I don't have more information. >> >Is this a Material-CD or a Praxis -CD (or something else) and who is >> >actually playing on it ? >> >Who has more info on this CD ? >> > >> Jeff Spirer (I think) said that the owner of Subharmonic was in the >> process of obtaining some of Laswell's Celluloid recordings, of which I >> see that Mandingo's first album is being re-released (although not by >> Subharmonic-I forget the record company name). The point being that Jeff >> said that the artists were getting no royalties from the releases. >> Obviously, it's a personal decision, but no matter how much I really >> want to but some of the hard to find early Laswell releases, I'd rather >> keep searching 2nd hand shops than put money in the pocket of a typical >> music business sleaze as this person appears to be. > >If you really want to go this way, you might even have to stop buying >vinyls... There are more than one label with such stories floating >around. I have seen recently many Laswell reissues from the '80s coming >from Germany... Comes from the same place... Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ - ------------------------------------------------------------------------------- From: Joe Weil Subject: Small Sale Date: 29 Oct 1997 16:44:33 -0500 (EST) Fellow Zornites, I have duplicates of the following CDs and wish to pass them on to people who would appreciate them. All CDs are still wrapped and will sell for 13$ a piece. First to claim will get it. Thanks Joe Weil 1. Tim Berne - Bloodcount - Discretion 2. Tim Berne - Paraphrase - Visitation Rites 3. Mamoru Fujieda - Patterns of Plants 4. Brian Ferneyhough - 1 (Arditti String Quartet) - ------------------------------------------------------------------------------- From: clockwise Subject: Re: 1984 Date: 29 Oct 1997 18:24:12 -0600 I have the original 12", and for some reason (probably the extreme difference in sound) I always assumed that this was a Material 12" entitled "Praxis" (especially since it says '...Material Productions' or sume such thing on the back). It's very reminiscent of Herbie Hancock's "Rockit". Worth it if you're into that early NY club sound, but it doesn't sound anything like Praxis, and only slightly like very early Material. >At 11:56 AM 10/29/97 +0100, Yves Dewulf wrote: >> >> >>Yesterday I saw a subharmonic-CD entitled "Praxis 1984", released in 1997. >>There was no cover so I don't have more information. >>Is this a Material-CD or a Praxis -CD (or something else) and who is >>actually playing on it ? >>Who has more info on this CD ? > >This came out in 1984, it's Bill alone as far as I know (never asked him >about it.) It's a beats with some synth. It does not sound like any of >the recent Praxis lineups but it is definitely interesting. > >It was also fairly short. > >I haven't heard the CD - there is no longer a relationship with >Subharmonic, so I don't get advance copies - but since Bill stopped giving >stuff to them, they have had serious quality problems with both pressings >and artwork. > > >Jeff Spirer >Axiom/Material >http://www.hyperreal.org/axiom/ > >- > > - ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: 1984 Date: 29 Oct 1997 17:05:09 -0800 At 06:24 PM 10/29/97 -0600, clockwise wrote: >I have the original 12", and for some reason (probably the extreme >difference in sound) I always assumed that this was a Material 12" entitled >"Praxis" (especially since it says '...Material Productions' or sume such >thing on the back). It's very reminiscent of Herbie Hancock's "Rockit". >Worth it if you're into that early NY club sound, but it doesn't sound >anything like Praxis, and only slightly like very early Material. I think the only reason that the person who owns the rights to Subharmonic is putting it out is the opportunistic use of the Praxis name. Although most of Bill's groups are floating ensembles with no common elements from one to the next, the more recent Praxis (as opposed to 1984) always has Buckethead, and probably would not exist without him. I am wondering how much more stuff is on the CD, or is it just the original 12" stuff? Anyone bought the CD? Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ - ------------------------------------------------------------------------------- From: clockwise Subject: Re: 1984 Date: 29 Oct 1997 19:49:35 -0600 >I am wondering how much more stuff is on the CD, or is it just the original >12" stuff? Anyone bought the CD? > > >Jeff Spirer >Axiom/Material >http://www.hyperreal.org/axiom/ > according to the ad in Caroline Distribution's mailer, its the same track listing, nothing extra. - ------------------------------------------------------------------------------- From: Ted Reichman Subject: PROMO: alt.coffee music schedule Date: 29 Oct 1997 21:07:53 -0500 (EST) apologies to those who received this more than once. Since there seemed to be interest on the zorn-list the last time I posted the schedule.... Music at alt.coffee November-December Schedule 11/3 Cuong Vu Stomu Takeishi-elec.bass, Cuong Vu-trmpt, Kenny Wollesen-drums, Tim Ziesmer-guitar 11/10 The Mellow Edwards Curtis Hasselbring-trmbn, Matt Moran-vibes, Oscar Noriega-winds, Stomu Takeishi-el.bass, Cuong Vu-trumpet, Kenny Wollesen-drums 11/17 Barry Mitterhoff-mandolin, Peter Stan-accordion 11/24 The Claudia Quintet Drew Gress-bass, John Hollenbeck-percussion, compositions, Matt Moran-vibes, Ted Reichman-accordion, Chris Speed-clarinet, tenor sax 12/1 Dan Willis Quartet Drew Gress-bass,John Hollenbeck-percussion, Ben Monder-guitar, Dan Willis-winds 12/8 Andy Laster's Lessness Erik Friedlander-cello, Andy Laster-winds, Cuong Vu-trumpet, Kenny Wollesen-drums 12/15 Polygraph Lounge Rob Schwimmer-keyboards, theremin, etc; Mark Stewart-guitar, cello, mandocello, voice, etc. (please note: this is Mark Stewart of Bang On a Can, Fred Frith Guitar Quartet, Steve Reich Ensemble, etc. People were confused last time...) 12/22 The Claudia Quintet Drew Gress-bass, John Hollenbeck-percussion, compositions, Matt Moran-vibes, Ted Reichman-accordion, Chris Speed-clarinet, tenor sax 12/29 Andrew D'Angelo's In Hear Andrew D'Angelo-winds, Adam Good-elec.guitar, Matt Moran-vibes, Jamie Moore-drums all shows are at 9:00 pm and include two sets. no cover. donations accepted. alt.coffee 139 Avenue A (between St. Mark's & 9th) 212-529-CAFE There is a lot going on in alt.coffee-land. More info soon.... -Ted - ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: 1984 Date: 29 Oct 1997 22:22:04 -0500 (EST) On Wed, 29 Oct 1997, clockwise wrote: > It's very reminiscent of Herbie Hancock's "Rockit". > Worth it if you're into that early NY club sound, but it doesn't sound > anything like Praxis, and only slightly like very early Material. I agree with the "Rockit" comparison, although _Praxis_ is a bit less accessible as it doesn't really have any strong melodies. Personally, it's one of my favorite Laswell projects, although I wouldn't swear that's not just the result of some evil record-collector love of obscurity. Does anyone know of other similarly quirky instrumental electro-funk? Chris Hamilton - ------------------------------------------------------------------------------- From: clockwise Subject: Re: 1984 Date: 29 Oct 1997 21:52:49 -0600 Yes, DJ Qbert is doing stuff today that sounds straight out of the early 80's NY club scene. He did the scratching for the Dr. Octagon project, and I'm not sure what it was off of, but I dl'ed an mp3 under his name off of ww.rap.org (back when you could) and I was amazed that someone was taking Dj'ing back to the old school (captures the period without sounding dated). At 10:22 PM 10/29/97 -0500, you wrote: > > >On Wed, 29 Oct 1997, clockwise wrote: > >> It's very reminiscent of Herbie Hancock's "Rockit". >> Worth it if you're into that early NY club sound, but it doesn't sound >> anything like Praxis, and only slightly like very early Material. > >I agree with the "Rockit" comparison, although _Praxis_ is a bit less >accessible as it doesn't really have any strong melodies. Personally, >it's one of my favorite Laswell projects, although I wouldn't swear that's >not just the result of some evil record-collector love of obscurity. Does >anyone know of other similarly quirky instrumental electro-funk? > >Chris Hamilton > > > >- > > - ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: PROMO: alt.coffee music schedule Date: 30 Oct 1997 01:48:58 -0500 Ted Reichman wrote: > 11/24 The Claudia Quintet > Drew Gress-bass, John Hollenbeck-percussion, compositions, > Matt > Moran-vibes, Ted Reichman-accordion, Chris Speed-clarinet, > tenor sax I am only going to say this once... if you are in New York and at all interested in jazz you should see this band. Not only does it feature five incredibly strong improvisers (as you may recall from the last time I ranted about Moran & Hollenbeck) but when I saw this band not too long ago I was also blown away by Hollenbeck's writing. Not just free improv splat (which can be very, very fine at times of course), this guy can also write really well... in a range from avant garde to neo-classical to quite lovely modern mainstream a la Marty Ehrlich or Dave Douglas's sextet records. There are a lot of things to appreciate about the band: Chris Speed's understated clarinet, Ted's own ability to jump from subtle comping to tongue-in-cheek, grandiose "Lady of Spain" bravura in a heartbeat, and Moran and Hollenbeck's exceptional playing as well as their uncanny ability to make goofy noises with cheap plastic toys while maintaining perfectly straight faces. I haven't heard Gress in this particular band but judging from his work elsewhere it should be quite in keeping with the high level of play the others display. Look, maybe I'm being a little over the top. I admit it. But it's been a long time since I've heard a new band that I've enjoyed so much. Jeez... it's free. Just go and I'll stop gushing. > 12/8 Andy Laster's Lessness > Erik Friedlander-cello, Andy Laster-winds, Cuong Vu-trumpet, > Kenny Wollesen-drums This band made Laster's best album to date, "Impressions of Lessness." > 12/22 The Claudia Quintet > Drew Gress-bass, John Hollenbeck-percussion, compositions, > Matt > Moran-vibes, Ted Reichman-accordion, Chris Speed-clarinet, > tenor sax Okay, maybe I'll say it more than just once... > 12/29 Andrew D'Angelo's In Hear > Andrew D'Angelo-winds, Adam Good-elec.guitar, Matt > Moran-vibes, > Jamie Moore-drums More good, nice room, all free, let's go. Steve Smith ssmith36@sprynet.com - ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: help with KF tape Date: 17 Oct 1997 10:50:09 -0700 Does anybody have a copy of the following? *** - SAMPLER A.V. ARTS VOL. 1 (KNITTING FACTORY - MUWORKS): various artists This record features excerpts from Improvised Music New York 1981. 1992 - Musiche (Italy), No 13 (CT) I know that Fred Frith appears on but I am curious of who else does also... Any info about this is welcome, Patrice. -