- zorn-list - mailman.xmission.com

LOUD/QUIET on BOXmedia
by Patrice L. Roussel 13 Jan '03

13 Jan '03

I never heard about the initial release of LOUD/QUIET (BOXmedia). For that reason I was surprised when I learnt recently that this record was reissued. ------------------------------------------------------------------------------ *** - LOUD/QUIET: various artists This record features MSBR, Voice Crack, TV POW, Otomo Yoshihide, Shifts, Pita, Plotkin/Gutzeit, Kazumoto Endo, Akiyama/Sugimoto, Kevin Drumm, Kapotte Muziek, Wheaton Research : Lasse Marhaug. 1999 - BOXmedia (USA), 009 (2xCD) 2002 - BOXmedia (USA), 009 (2xCD) ------------------------------------------------------------------------------ Was the record really released in 1999 as initially planned? Could it have been a limited edition release (which might explain why it got such low publicity). In short, any info explaining why the 1999 release was so confi- dential is welcome. Patrice (who might have slept during the week of its release).

1 0

Sale update
by Samerivertwice＠aol.com 13 Jan '03

13 Jan '03

Just wanted to let you know that a bunch of the discs I listed for sale yesterday have been sold. Below is a list of the discs still available. Not surprisingly, no one has enquired about the books. Cheers, Tom As for prices, please send me an offer off-list and I'll respond with either an acceptance or a counter-offer. Peter Case -- Six-Pack of Love Johnny Society -- Clairvoyance Johnny Society -- Wood Johnny Society -- It Don't Matter Red Hot Chili Peppers -- Californication Red Hot Chili Peppers -- By The Way Beastie Boys -- Root Down ep (sealed) Elvis Costello -- Spike (Warner Bros.) Elvis Costello -- All This Useless Beauty (Warner Bros.) Eric Clapton -- From The Cradle Bob Dylan -- Desire Bruce Springsteen -- Greetings From Asbury Park (sealed) Johnny Cash -- Live at Folsom Prison and San Quentin Phil Lee -- You Shouldn't Have Known Me Then Marc Ribot -- Shoe String Symphonettes Bruce Robison -- Country Sunshine Milt Jackson & John Coltrane -- Bags & Trane Steve Lacy Double Sextet -- Clangs (Hatart) Kazuo Fukushima -- Works for Flute and Piano (Hatart) Steffen Schleiermacher -- Soviet Avant-Garde (Hatart) Paul Motian -- Flight of the Bluejay (W&W) Ensemble Modern/Fred Frith -- Traffic Continues (W&W) David Shea -- An Eastern Western Collected Works (w/Dave Douglas) David Shea -- Hsi-Yu Chi (Tzadik) Whit Dickey Trio -- Transonic (AUM) Ehran Elisha/Roy Campbell/Wilber Morris -- Suite Empathy Dominic Duval's String Ensemble -- State of the Art (CIMP) L. Grassi/T. Varner/R. Horton/T. Ulrich -- Neo Neo (CIMP) Ehran Elisha Ensemble -- The Lowdown (CIMP) Juhn Gunther's Axis Mundi -- Gone Fishin' (CIMP) Oh, and here are a few books that I have doubles of or have read and probably won't read again: Stephen Jay Gould -- The Lying Stones of Marrakech Daniel J. Boorstin -- The Seekers Thomas Keneally -- Schindler's List The Letters of John Keats John Steinbeck -- The Pearl John Steinbeck -- Of Mice and Men John Casey -- Spartina Thomas Pynchon -- V. Will Kymlicka -- Contemporary Political Philosophy Cheers, Tom ______________________________________________________ Discs I'm listening to at work: Jason Moran -- Modernistic John Coltrane -- A Love Supreme (Delux Edition) Wayne Shorter -- Footprints Live! Elvis Costello -- Breaking Radio Silence

1 0

Faves 2002
by K. Scott Handley 13 Jan '03

13 Jan '03

I have actually been postponing this into irrelevancer, hoping to assemble some halfway comprehensive list of everything that has knocked me down over the past year-plus. I can't do it. I needed a headstart in early December and I slipped up. The profusion of remarkable listening experiences this past year has been staggering. So... A noncomprehensive small clutch of favorites from 2002 or thereabouts: 1. Jack Rose: RED HORSE, WHITE MULE (Eclipse) (gorgeous fingerstyle guitar stylings) 2. Andrea Neumann and B. Beins: LIDINGO (Erstwhile) (after the slight disappointement, for me, of the Fennesz/Polwechsel, this actually knocked me out...it might not be either's best work, but it's a doozy) 3. Cee Lo: CEE LO GREEN AND HIS PERFECT IMPERFECTIONS (a real freak, assured me that my dislike of Missy Elliott's music is probably a dislike of the styles she's mining and working with; Cee Lo's appearance on Letterman [?] in 2002 was unreal: gritty, freaky, gospel) 4. Hate Eternal: KING OF ALL KINGS ("no editing"? huh? powerful, intense, and perhaps unfortunately, militaristically sympathetic...but fucking bad) 5. Steffen Basho-Junghans: WATERS IN AZURE (Strange Audio Attractors) (see #1, albeit completely different; universes inside an acoustic guitar) 6. Luc Ferrari: CYCLE DES SOUVENIRS (Blue Chopsticks/Drag City) 7. El-P: FANTASTIC DAMAGE (Definitive Jux) 8. Micheline Coulombe Saint-Marcoux, IMPULSION (Empreintes Digitales) (more intensely great concret; MCSM does a track or two here that almost sound like cutups of some of the new school of improvising trumpeters---Doerner, Kelley, Hautinger, etc., by way of Dixon and McPhee of course---totally cut-up and multitracked. That isn't wholly accurate, but it's remarkable, esp. considering these pieces are from '70-'81) 9. Darkane: EXPANDING SENSES (the fucking baddest; intense and churning) Shaken, not stirred: DJ/Rupture: GOLD TEETH THIEF (Violent Turd, reissue) Madlib: BLUNTED IN THE BOMB SHELTER 2 Many DJs: AS HEARD ON RADIO SOULWAX, PT. 2 Reissue heaven: Sam Cooke with the Soul Stirrers: THE COMPLETE SPECIALTY RECORDINGS (Specialty) Trevor Wishart: JOURNEY INTO SPACE (Paradigm) SMAK 1 + 2 (Skam) Nagisa Ni Te, ON THE LOVE BEACH (JagJaguwar) Fennesz: FIELD RECORDINGS (Touch) Charley Patton: SCREAMIN' AND HOLLERIN' THE BLUES (Revenant, 2001) Giacinto Scelsi: STRING QUARTETS and other pieces (Naive-Montaigne) H.N.A.S. reissues on Dom-America, esp. IM SCATTEN DER MOEHRE THU20: NANCY/HET ARCHIEF (Alluvial, cdr reissue) Disappointments: Flaming Lips: YOSHIMI BATTLES THE PINK ROBOTS (Warner) Missy Elliott: UNDER CONSTRUCTION Primal Scream: EVIL HEAT Ekkehard Ehlers: PLAYS Late to the punch: Alfred Schnittke's String Quartets Lou Reed: METAL MACHINE MUSIC High Rise: LIVE Helmut Lachenmann Kaffe Matthews Yes, I did: Finally dropped load of cash at Stockhausen-Verlag. Hoping for that "Om" moment. God! This list has nothing to do with me. I have skiploads of lists. I need to make another lists. I'll make three more lists. Dammit! I would really enjoy seeing others' lists, if you haven't posted yet. One last gasp of OCD listmaking, please? -----s np: Luc Ferrari nr: Mary Ann Doane, THE EMERGENCE OF CINEMATIC TIME

1 0

Merzbow redux: A DAY OF SEALS, plus Prins plus J.Schuller
by K. Scott Handley 13 Jan '03

13 Jan '03

Before all traces of Merzdiscussion evaporate from listmemory, has anyone heard the recent Merzbow release 24 HOURS: A DAY OF SEALS on Dirter Productions? It's a 4-disc set, marketed as a unified whole of sorts, but other than Edwin Pouncey's complimentary words in the January issue of WIRE, I hae onyl been able to find a couple hedgy/iffy/tepid responses to it. I ended up hearing HARD LOVIN' MAN and AMLUX, and really enjoyed both, though with hesitations (the loops). Just wondered where DAY OF SEALS and TASTE OF MERZBOW (Mego) stood in comparison to these two other recent records. Second, thx to Jese for the synth recs, and I'd like to second his recommedation of Gert-Jan Prins. I would recommend PRINS LIVE (Grob) much more ethusiastically than any digital Merzbow I've heard; to me it's warmer, colder, tougher, mroe chaotic, less reigned in, and a worthy descendent of Akita's work. Great noise. Finally, I don't know if anyone's done this already, but congrats to list member John Schuller on a FULL-PAGE feature review of his latest (?) album in the January WIRE. ----s

3 3

Stanley and Sam
by Parry Gettelman 13 Jan '03

13 Jan '03

I heard that story of Sam Rivers decking Stanley Crouch was true, not from Sam but from an associate of his in Orlando. They must've made up eventually -- Stanley was having a grand old time hanging out at one of Sam's 75th birthday shows at Sweet Basil's a few years ago. He was a lot more amusing than his writing. Has anyone else heard the story of Stanley, back in the day, announcing that as a writer, he could make a star out of anyone, and selecting the young David Murray for this display of potency? Parry

3 2

RE: Naked City 2003
by Andreas Dietz 13 Jan '03

13 Jan '03

I wonÂ´t believe this until itÂ´s over and someone attended and swears he hadnÂ´t suffered a delusion after misuse of something unhealthy... -:) Andreas np: Vladimir Tarasov - Baltic Art Orchestra > > Yes, apparantly its now official: Naked City will play in the > > original line > > up at the Warsaw Jazz Festival later this year. Either Patton or Eye on > > vocals. > > > > Will somebody please ask somebody who should know, so we can get this > > cleared up?? > >I did. the WSJD people say it's agreed with the band and official. _________________________________________________________________ FotosÂ - Â MSN Fotos das virtuelle Fotoalbum. Allen Freunden zeigen oder einfach ausdrucken: http://photos.msn.de/support/worldwide.aspx

2 1

Musique Actuelle Article at The Squid's Ear
by zampino 13 Jan '03

13 Jan '03

A note to mention that we've updated Mike Chamberlain's interesting article on the Canadian Musique Actuelle scene (Jean Derome, Joane Hetu, Rene Lussier, Diane Labrosse, Michael F Cote, etc) at our online magazine, The Squid's Ear: Separatism and Sound in French Quebec <http://www.squidsear.com/cgi-bin/news/newsView.cgi?newsID=24> Also, a quick mention that Squidco's Ambiances Magnetiques $11 sale continues through January: <http://www.squidco.com/sales> philz http://www.squidsear.com/ http://www.squidco.com/

1 0

Re: Game Piece Theory
by Herb Levy 13 Jan '03

13 Jan '03

AJDinz1(a)aol.com wrote: >I just recently got hold of the new hatology release of 'Cobra'. This is only >the second ever game piece I have purchased, but my original conclusion was >the same. This music is just not interesting unless you have any idea of the >theory behind the construction of the piece. It does give me the impression >of eavsdropping on bunch of improv musos during a private joke. Does anyone >know why this is kept a secret? Professional secret? or even better, what is >the theory at work here? > >AJ While it's obviously true that Zorn's game pieces aren't like songs, there's a lot of other music, much of which is frequently discussed or at least name-checked on this list, which is no more or less abstract when heard on a recording rather than a live performance. Do you listen to recordings of European free improvisation (Derek Bailey, Instant Composers Pool, Peter Brotzmann, Evan Parker, etc)? Or modern/contemporary avant garde classical music (John Cage, Pauline Oliveros, Helmut Lachenmann, Iannis Xenakis, etc)? Or American avant garde jazz-rooted music (Anthony Braxton, Cecil Taylor, etc)? What about Japanese noise bands or more recent electro-acoustic improvisation? Others on this list could add other genres and categories to this list, but this list may be enough for you to see what I mean. In other words, I guess, do you listen to other abstractly structured music on recordings and you simply have problems listening to Zorn's game pieces? If so, being more specific about what you have trouble with may help. If, on another hand, you haven't heard a lot of recordings of music that's fairly abstract, it may just be a matter of getting a comfort level and/or finding works in this vein that you find immediately attractive (or at least not uninteresting) and moving out from there. That can be a very long term process, but in my experience, any individual's response to works like these is fairly personal. Suggestions can help point you in new directions, but you'll need to find your path of artists and recordings that draw you further into this area of music. Not sure if this will have helped, Herb -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb(a)eskimo.com

1 0

Mephista Southwestern US Tour 2003
by P.G. Moreno 13 Jan '03

13 Jan '03

Mephista Southwestern US Tour 2003 Sylvie Courvoisier - piano Susie Ibarra - drums Ikue Mori - electronics FRIDAY, JANUARY 24, 8 PM Albuquerque, New Mexico OUTPOST PERFORMANCE SPACE (210 Yale SE, Albuquerque; 268-0044; http://www.outpostspace.org) $10 GENERAL, $8 OUTPOST MEMBERS More info: Steve Peters at Nonsequitur: 505-224-9483; nonseq(a)swcp.com Saturday, January 25, 9pm Austin, Texas Ballet Austin 'Studio A' 3001 Guadalupe Street $15 advance, $20 at the door available at 33 Degrees and Sound Exchange for info and to charge tickets call 512-302-5233 Monday. 27. January. 2003 7:00 pm New Orleans, LA Anxious Sound, Spyboy Productions, and the C.A.C. present: the Awake-NU series of jazz & improvised music @the Contemporary Arts Center 900 Camp Street tickets available on ticketweb, at the CAC box office: 504.528.3800, or online at http://www.cacno.org/

1 0

Re: FW: Sam Rivers: The Wire #114 thru #118/119
by Samerivertwice＠aol.com 12 Jan '03

12 Jan '03

In a message dated 1/12/03 9:11:48 PM Eastern Standard Time, sergedautricourt(a)hotmail.com writes: > Could someone share a little something about who Stanley Crouch is? All I > can remember from jazz history class a few years ago is that he was a > mentor > to Wynton Marsalis' traditionalist approach. hmmm, but quick look on > allmusic.com reveals he's written liner notes for a few avant-garde types > as > well. > > curiously, serge > You're correct about his relationship with Marsalis. I'm currently reading Eric Nisenson's "Blue: The Murder of Jazz," which presents Crouch as a very conservative jazz purist who preaches that any jazz post-bebop isn't jazz at all. Here's Nisenson's description of Crouch: "[He] began...as a free jazz drummer whose style was based on that of avant-gardists Sunny Murray and Milford Graves. He also wrote poetry; one of his notable poems was a euology for Albert Ayler, who became famous for playing the sort of white noise on his saxophone that Crouch -- and Marsalis -- now spurn as not really being part of the jazz tradition. In the 1970s he began to write jazz criticism, especially boosting players in the free jazz community. But over the years, Crouch's musical outlook began to change drastically, and that change reflected his slide to the right politically. He gave up playing the drums altogether...[and] eventually Crouch moved so far from his past positions that former close colleagues, like the saxophonist David Murray....would openly wonder what had caused such a sea change in their former associate and booster." Hope this helps, Tom NP: John Coltrane "Ascension" [jazz to the core]

1 0