March 2003 - zorn-list - mailman.xmission.com

Attn! ICP Orch. - Wed. 3/19 - in Seattle!!!
by the squeegee 18 Mar '03

18 Mar '03

Hi! I thought a last-minute heads-up about this incredible can't-miss show would be welcome by all of the Northwesterners who do not know that: Amsterdam's amazing ICP (Instant Composers Pool) ORCHESTRA returns to Seattle! [Wed, March 19th!] "After seeing ICP tear down your perception of live jazz, you might just walk away forever changed in your opinion of live music. Seriously folks, they're that good." - Jason Verlinde, Seattle Weekly The ICP ORCHESTRA Wednesday, March 19, 2003 8pm - Seattle Asian Art Museum* *at Volunteer Park on Seattle's Capitol Hill (admission/ticket/venue information located below) Founded by pianist Misha Mengelberg, drummer Hans Bennink, and reed player Willem Breuker (three of avant-jazz's most accomplished giants) in the late '60's, the Dutch ICP ORCHESTRA collective has for more than 30 years showcased the work of groundbreaking musicians. Combining swing and bebop by Ellington and Monk with the music of Kurt Weill and Charles Ives, European dance-band music, African-influenced rhythms, ingenious free improvisations, astounding on-the-spot compositions, and whatever new influences might be coarsing through their relentlessly creative veins, ICP's irreverent approach to "jazz" is laden with keen artistic intelligence, loads of hard-earned experience, and topped off by a modus operandi characterized by an open-minded playfulness that has become nearly extinct among musicians of the ICP ORCHESTRA's caliber. The ICP ORCHESTRA is an always unforgettably entertaining big band, and one that's capable, on any given night, of putting on the best live music concert you'll ever see. Current Personnel: Pianist Misha Mengleberg, percussionist Han Bennink, Saxophonist Tobias Delius, cellist Tristan Honsinger, violinist Mary Oliver, bassist Ernst Glarum, trombonist Walter Wierbos, trumpeter Thomas Heberer, and reed- players Ab Baars and Michael Moore. This concert is presented by Earshot Jazz, Seattle's non- profit jazz support and presenting organization. Tickets are $14 general, with a discount for Seniors, students, Earshot Jazz and Seattle Art Museum Members. Tickets are available at Wall of Sound (2nd & Bell), Bud's Jazz Records (1st and Jackson), and Earshot Jazz - by phone at 206-547-6763 or online at http://www.earshot.org. Venue website: http://www.seattleartmuseum.org/visit/visitSAAM.asp

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Re: Re: Critics (was: Re: Freak In)
by Perfect Sound Forever 18 Mar '03

18 Mar '03

At 05:10 PM 3/18/2003 -0500, Steve Smith wrote: >There are actually quite a large number of grassroots jazz tabloids, from >New York's All About Jazz to similar efforts from Vermont to Los Angeles. >Those strike me as being far closer to zine culture than to mainstream press. Names! We need more names! >All I know is that when I was fresh out of college and back in Houston, I >wanted to start such a zine myself, but lacked the manhours in which to do >it. Story of my life. We're all the poorer for this. Rekindle this dream again some day, young man... At 03:46 PM 3/18/2003 -0800, skip Heller wrote: > > Thinking about this myself, I just wonder if the whole DIY ethic > of >punk music carried over easily to writing/publishing angle of it. > >I don't think it did if you mean in terms of jazz writing. Jazz reportage >is measurably older than rock journalism, so the recipe >was more firmly in place. The style was more firmly establish. True. I was talking in terms of rock only here. I do wonder why some indie label jazz didn't inspire more zines though. > > Even to this day, how many print jazz zines are there out there besides > > Signal To Noise? I'm sure I'm forgetting some but I don't think that > > there's many. Hope I'm wrong though. > >There are a few, but just try finding 'em. WIRE & DOWNBEAT still rule, >largely because they're not hard to find. It might be semantics but can we really call these 'zines'? I think of more homegrown efforts like STN as being zines. Wire and Downbeat happen to be very good, important publications but circulation-wise, ad-wise, etc., they're not on the same level as STN. > > Pop is youth-orientated/driven so I think editors are > > conscious that their writers don't make the publication seem > > old-fashioned (unless of course you're publishing a garage zine for > > instance). > >I think that's true with anything dominated by young people. I wonder how that relates to jazz and its audience then. If we're going to assume that it's usually an older audience, then this isn't an issue. Can we also assume that the younger audience that is there respects history enough not to be automatically woo'd by the newest stars/flavor-of-the-month? > >... if editors would > > think that it'd be more important to devote the space to more reviews > > rather than multiple perspectives on a few controversial releases. > >They might do it for Krall or Norah. But for Matthew Shipp, I don't think so. Agreed but I do think that, nowadays esp., it's more important to cram reviews into an ever-shrinking space than to consider multiple-perspectives (hence why we see them rarely, if at all). Best, Jason Perfect Sound Forever online music magazine with warped perspectives perfect-sound(a)furious.com http://www.perfectsoundforever.com

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Re: Critics (was: Re: Freak In)
by Jim Flannery 18 Mar '03

18 Mar '03

skip Heller <velaires(a)earthlink.net> wrote: > Also, the technology of the time made it > harder for fans to just start printing their > own zines. Er, no. There were APA's (Amateur Press Associations) going back into the 1920s, and a distinct "zine culture" in the Science Fiction fan community from the late 30s/early 40s onward. Mimeographs, spirit duplicators, etc. ... music zines were a relatively late development, but you can't really blame it on the technology (and the earliest music "zines" shared the technology). -- Jim Flannery newgrange(a)talmanassociates.com In this land Right now Some are insane And they're in charge -- Gang of Four

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Speaking of Critics
by Dan Frank Kuehn 18 Mar '03

18 Mar '03

Has anyone congratulated Skip H on his four-star review in DownBeat for the Skip Heller Quartet's Homegoing? Haven't heard it, and have never been able to reconcile DB's stars with my own, but still... Great to see any Z-listers get ahead. It oughta sell some CDs, anyway. Dan On the side, I got a note from the much-maligned Michael Dorf about his new project, artexchange in lower Manhattan - http://www.artx.info/ - he says he'll be live webcasting again soon. For one like myself, so far from NYC, it was the best and most missed part of the Knit. He calls it "A downtown Carnegie Hall with a great wine list"... Hope he can make up with some of the artists that used to appear at the KF.

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Speaking of Critics
by Dan Frank Kuehn 18 Mar '03

18 Mar '03

Has anyone congratulated Skip H on his four-star review in DownBeat for the Skip Heller Quartet's Homegoing? Haven't heard it, and have never been able to reconcile DB's stars with my own, but still... Great to see any Z-listers get ahead. It oughta sell some CDs, anyway. Dan On the side, I got a note from the much-maligned Michael Dorf about his new project, artexchange in lower Manhattan - http://www.artx.info/ - he says he'll be live webcasting again soon. For one so far from NYC, it was the best and most missed part of the Knit. He calls it "A downtown Carnegie Hall with a great wine list"... Hope he can make up with some of the artists that used to appear at the KF.

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important contacts
by Chad Stockdale 18 Mar '03

18 Mar '03

heres the info again for those of you that wanna tell government how you feel about the war.... Promote peace; protest war. Tell your government what you think about their policies. Congressional Switchboard: (202) 225-3121 Senate Switchboard: (202) 224-3121; White House comment line: (202) 456-1111; president(a)whitehouse.gov; vicepresident(a)whitehouse.gov; firstlady(a)whitehouse.gov ... for other email addresses see www.senate.gov; www.house.gov. ------------------------ Yahoo! Groups Sponsor ---------------------~--> Make Money Online Auctions! Make $500.00 or We Will Give You Thirty Dollars for Trying! http://us.click.yahoo.com/yMx78A/fNtFAA/46VHAA/TgOolB/TM ---------------------------------------------------------------------~-> To unsubscribe from this group, send an email to: sacto_indie-unsubscribe(a)egroups.com Your use of Yahoo! Groups is subject to http://docs.yahoo.com/info/terms/

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Re: Thirsty Ear recordings - Guillermo E. Brown/Blue Series
by Nastifyer＠aol.com 18 Mar '03

18 Mar '03

In a message dated 3/17/2003 6:36:27 AM Eastern Standard Time, river_of_dogs(a)yahoo.com writes: > > Anyone getting into the Thirsty Ear recordings of > the likes of William Parker and Matthew Shipp ought to > check out Guillermo E. Brown's latest effort on > Thirsty Ear called "Soul of the machine." > > This album is stunning. As revolutionary as Miles > Davis Bitches brew - in my opinion... > > This album has all the things "Freak In" was > supposed to have but didn't deliver. To be honest - > It's light years ahead of "Freak In" > > Amazing - check it out! Just curious, how does this compare to Spooky's Optometry (which I like) or Shipp's Nu Bop or Shipp's record with Anti-pop, (both of which I have not bought yet). Thanks, Eric

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Re: Freak In
by Julian 18 Mar '03

18 Mar '03

> > I'm still waiting for you to do a better one than "Free Jazz", Skip. :-) > > I think FREE JAZZ is a bad record. And, frankly, I don't get the feeling > you know my work or a feeling for the aesthetic I represent, otherwise you > would have said you were waiting for me to do a better record than JAMES > BROWN LIVE AT THE APOLLO VOLUME 1. Or THE SOUND OF JOY. I'm still a little unclear on what's the difference between you saying 'Free Jazz' is a bad record, and someone else saying something else (say, 'Freak In') is a bad record. And in that I am not being argumentative, but simply curious on what you're thinking. I mean, your comment about making a 'better' (what the hell does that mean, anyway) record than 'Freak In' was a rather odd one, and your response to the 'Free Jazz' comment similarly puzzling... Julian.

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Love Cry Want
by Richard Gardner 18 Mar '03

18 Mar '03

I did send a message to the list on the 14th but it seems to have disappeared into the pit of a server change. At least it does not appear on a digest. Apologies to members who got this request direct including Dave Trenkel who replied to me. Does anyone know anything about the guitarist Nicholas who appears on the Love Cry Want album? Are there other recordings he features on and is he around and playing today? It would appear that he was involved in the release of that recording in 1997. I can find no information about him anywhere and yet he seems a pretty formidable player. ___ Richard

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Critics (was: Re: Freak In)
by Mark Saleski 17 Mar '03

17 Mar '03

now this is interesting. don't really know how it would work out. with books i sort of mistrust critcs not so much because i think they 'know it all' but because many times it seems like they've read so much that they're only interested in...uh....complexity. for me, the best reviews are ones that show the review to be in love with music. maybe the best example of this (from the past) is Lester Bangs. gees, i just loved his reviews when i was a kid. i didn't always know where he was going with something...but it was a fun ride. and really, i just want to know what the damned recording sounds like....not whether so and so is a 'master'. the reviews i like the least are the snotty ones...where you just know that the reviews hates, say Dave Douglas, and always has. i mean, what's the point? >If music had something like the NEW YORK TIMES REVIEW OF BOOKS, where the >reviews were written by people with actual hands-on experience in the field >the book in question douments, it would likely balance things out a bit >(example: Teller -- the guy from Penn and -- reviewing the latest Houdini >bio). > -- Mark Saleski - marks(a)foliage.com | http://www.foliage.com/~marks "The trouble with the world is that the stupid are cocksure, and the intelligent are full of doubt." - Bertrand Russell

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