June 2002 - zorn-list - mailman.xmission.com

Charles Hayward, Charlemagne Palestine interviews
by Perfect Sound Forever 30 Jun '02

30 Jun '02

Greetings, In the latest issue of Perfect Sound Forever online music magazine <http://www.furious.com/perfect> , you'll find among other things: CHARLES HAYWARD This Heated interrogation: After cavorting with Phil Manzanera before (and during) Roxy Music and forming enigmatic post-punk ensembles, This Heat and Camberwell Now, the restless Hayward joins the power-trio/supergroup Massacre and orchestrates local art projects with non-musicians. All this and his philosophy of love and love of Abba in an extensive interview by Gary Gomes. CHARLEMAGNE PALESTINE Visceral music trance: Daniel Varela interviews this "driving force in experimental music scene" to find out about his love of ritual and teddy bears. Just don't call him a 'minimalist.' We're always looking for new material and good writers to work with so let us know if you have any ideas. See you online, Jason Perfect Sound Forever online music magazine perfect-sound(a)furious.com http://www.perfectsoundforever.com

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Worst record by otherwise favorite
by Arthur Gadney 30 Jun '02

30 Jun '02

I'm sure there's tons, but I just have to mention at least one: "Heart Attack And Wine" by Tom Waits. I have no idea what's going on here! _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com

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Worst Record Ever Made?
by Michael Brooker 30 Jun '02

30 Jun '02

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=889989477 __________________________________________________ Do You Yahoo!? Yahoo! - Official partner of 2002 FIFA World Cup http://fifaworldcup.yahoo.com

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Fwd: RE: Worst Record ever Made (by someone you normally admire)
by Efrén del Valle 30 Jun '02

30 Jun '02

Hi again, > > >Actually in a trainspotting type of situation it > should be the worst > >record ever made by someone you admire. > > Sonic Youth- "NYC Ghosts and Flowers." You gotta be joking... _______________________________________________________________ Copa del Mundo de la FIFA 2002 El Ãºnico lugar de Internet con vÃdeos de los 64 partidos. Â¡ApÃºntante ya! en http://fifaworldcup.yahoo.com/fc/es/

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RE: Worst Record ever Made (by someone you normally admire)
by ahorton 30 Jun '02

30 Jun '02

>Actually in a trainspotting type of situation it should be the worst >record ever made by someone you admire. Sonic Youth- "NYC Ghosts and Flowers." The members of SY have always loved concrete, 20th cen classical, and free jazz. On "Nyc Ghosts and Flowers", they decided to DO it. On "Goodbye 20th Century", they were doing covers (and those were excellent). Well, they simply suck at it. Lee Ranaldo's poetry has always sucked, but this album gave him a chance to orally shit it overtop of horribly uninteresting music. The songs go NOWHERE, Jim O'rouroke adds little more than a few pointless electronic bloops to the record, and the songs that are more like traditional SY ("nevermind, what was it anyway?") aren't even fit for a B-sides collection.

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RE: minority report & pkd
by Ryan Novak 30 Jun '02

30 Jun '02

------------------------------------------------ I love "Breakfast of Champions," one of the first literary books I read as a teen, but I can't imagine it translating well to the screen. "Cat's Cradle" would be better, assuming no one is going to tell me it's been done. ------------------------------------------------ The film Breakfast of Champions is damn near incomprehensible, even to someone who read the book a couple of times like me. It also leaves out some of the best parts imo. The best Vonnegut film adaptation I've seen is Mother Night, also with Nick Nolte but way better. ----Ryan Novak __________________________________________________ Do You Yahoo!? Yahoo! - Official partner of 2002 FIFA World Cup http://fifaworldcup.yahoo.com

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cage: child of tree (nzc)
by Tim Blechmann 30 Jun '02

30 Jun '02

i am looking for a cd with john cage's composition "child of tree" for a customer. is there any recording of this piece, that someone of you can recommend)? Tim mailto:TimBlechmann@gmx.net ICQ: 96771783 http://www.nyds-exp-discogs.tk -- The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn, like fabulous yellow roman candles exploding like spiders across the stars and in the middle you see the blue centerlight pop and everybody goes "Awww!" Jack Kerouac

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Subject: Re: style,cliche & repetition
by ROBERTO J. LOPEZ 29 Jun '02

29 Jun '02

Hi skip h: I'm very moved with your feelings about the music in your childhood! I'm very identified with your points of view... Cheers Roberto > Message: 4 > Date: Sat, 29 Jun 2002 10:06:49 -0700 > Subject: Re: style,cliche & repetition > From: skip Heller <velaires(a)earthlink.net> > To: Herb Levy <herb(a)eskimo.com>, > <zorn-list(a)mailman.xmission.com> > > Herb makes a great number of interesting points. > > Peronsally, I think performers are doomed to repeating themselves > (ourselves). We're limited by all sorts of things -- personnel, equipment, > our own technical limitations, the fact that you've basically got twelve > primary notes to manipulate. And the community becomes limited by how many > performers it is possible for them to hear, the conditions under which they > hear music, and so forth. You go in knowing that. > > The sensitivity of audiences and musicians is subject to similar problems. > Made even more pronounced by the fact that audiences generally like musical > comfort food and musicians like to do things they know their audience will > enjoy. After awhile, the process gets kind of cynical. The performers know > how to push buttons, the audience knows where to get their candy. Fair > enough. I spend 16 bucks on a record, I want a certain level of quality. > > But there's another imperative there, too. When an artist really does > what's in his heart, without either trying break free of the stylistic > limitations he has, and at the same time pushing that style someplace else, > the effect is often magical. The example of this I like to trot out is Mose > Allison. He's eveolved from a quirky blues singer into a guy whose piano > style includes blues, Ives, and Bartok. Sadly, no record company will let > him make an instrumental record. So he's found a way to take these insane > solos on vocal tunes, and, at age 76 (or thereabouts), he's become a more > challenging performer than he ever was at 35. > > There are very few few musicians who can move through different styles and > transform their playing totally in the face of each context. Those who can > are generally journeymen who never had much of a personal voice. > > But there is definitely such a thing as guys who crank it out for money and > glory. Obviously, Cecil Taylor is not one of these. It's fair to say King > Crimson have, at ceratin times, have been. And, as for the Rolling Stones, > let's just say their appearance on BEVERLY HILLS 90210 spoke volumes. > > In the case of bands like the Stones, who have come to embody something less > than artistic, one has a right to get pissed off at $125 concert tickets. > > As for the naive romance of wanting something fresh every time you open the > box, I agree. It's almost childlike to wish that. > > But, as long as the cause of music is to fascinate, excite, and provoke, the > audience should be allowed the right to that feeling of anticipation every > time he/she opens a new record and gets ready to hear it. > > When I was a kid, LP's were a serious consideration. At $6 a throw, which > was two wks pay in my neighborhood, you were hanging a lot on that purchase. > I remember buying a record, having the shrink-wrap off it before I even got > out of the shopping center, and studying the cover all the way home (props > to Cal Schenkel, for cramming about three hours worth of graphics into the > avg Zappa pkg). Then, after you'd read the lyric sheet, studied the > personnel, checked out the clothes and haircuts, took note as to who was > thanked, you finally got the thing home, and you made sure your shakedown > listen was not going to be interrupted. Then the music would come on, and > you'd go on that journey with Joni, Frank, Waler & Donald, or whomever. And > it was a vital, magic thing. Because you knew -- of certain artists -- that > yes, their style was personal to them, but you also knew they were trying to > push it to the next place, and that was as germane to the $6 purchase as the > songs themselves. You wanted to know where "next" was. > > As I've gotten older, I've really clung to those notions. The punk rock > days only deepened my feelings that records should do that (anyone else > remember hearing FLOWERS OF ROMANCE the first time? Or "Christine" by > Siouxsie?). In this world, I feel that way whenever Dave Douglas, Ellery > Eskelin, Arto, or Don byron make new records (although Don hasn't made > anything I've been crazy for in some time -- maybe he's the Dylan figure). > I used to feel that way about Frisell (maybe he's Hendrix and the group with > Joey was the Experience and he's at Band Of Gypsies). > > This seems to be going all over the place, but I think that if an artist is > really doing his job for his audience -- and the minute you take money to do > a job, you have an obligation to service your clientele --he's gotta really > do it because he's really got something worth selling. You can't do it just > for the money, the visibility, or the "well, I've got to have a record out > this year". The audience already cares about certain artists. I think if > an artist really cares -- not just to the point of trying to keep them > pleased, but really keeping them nourished -- he'll be compelling every time > out, even if the record misses the mark, because there's some blood up in > the music. > > Yes, it's romantic to think that. But this is coming from the kid who saved > up a whole month to buy DON JUAN'S WRECKLESS DAUGHTER, who mowed two lawns > to buy MINGUS, and who spent all his brithday money on BEFORE THE FLOOD. I > still haven't forgotten the power of feeling like part of the audience for > those records. > > skip h > > >

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Worst Record ever Made (by someone you normally admire)
by Tosh 29 Jun '02

29 Jun '02

Actually in a trainspotting type of situation it should be the worst record ever made by someone you admire. Now that will be interesting conversation (I think) on this list. -- Tosh Berman TamTam Books http://www.tamtambooks.com

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Re: SY:murraystreet
by Perfect Sound Forever 29 Jun '02

29 Jun '02

> Date: Fri, 28 Jun 2002 11:22:36 -0500 > From: Robert Pleshar <rpleshar(a)midway.uchicago.edu> > > Is any musician / composer ever creatively relevant (or whatever we want to > call it) for their whole career? (Excepting those who quit or die young) > > Should we expect Brotzmann, Parker, et al to do anything different really? Why? > It's true that when they started they were breaking new ground and that > "free-jazz" is as solidified of a genre as hard-bop or trad or whatever, but so > what? Dizzy Gillespie did his thing his whole life, why should it be different > for Evan Parker or Mick Jagger? Can't we just say Brotzmann is a great > free-jazz stylist and his style is popular? This is one big difference. Jagger and the Stones have been on autopilot for decades now and they'll always have a huge fanbase who doesn't care whether they crank out the same, forgettable records each time. Someone like Cecil Taylor (minus the huge fanbase of course) doesn't work the same way. He's always challenged his audience and he always will. If that in itself is being repitious, so be it- that still means that whatever he releases nowadays will still be more interesting than whatever next Stones record sounds like. Of course, that won't stop me from seeing this Stones during their tour this fall, cranking out the same old hits. I respect innovation but I also dig history! Best, Jason -- Perfect Sound Forever online music magazine perfect-sound(a)furious.com http://www.perfectsoundforever.com

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