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Rare & unusual new music publications at auction
by Herb Levy 06 Dec '02

06 Dec '02

The de-accessioning continues. Lots of issues of Source & Soundings (including scores & writings by Ashley, Bryars, Cage, Crawford, Feldman, Garland, Harrison, Lockwood, Lucier, Nancarrow, Oliveros, Partch, Revueltas, Rudyhar, Rzewski, Wolff, and many, many others; a transparent plexi version of Cage's Not Wanting to Say Anything About Marcel; and some of those great 10-inch Source recordings) with some closing in a couple of days; a rare John Cage publication; La Monte Young's An Anthology of (mostly) Fluxus-related work; the first album release of Einstein on the Beach signed by the composer; scores by Conlon Nancarrow, Malcolm Goldstein & Pauline Oliveros; one of R Murray Schafer's World Soundscape Project publications, and lots of other odds and ends for all y'all new music fans. Check it out. Or not. <http://cgi6.ebay.com/ws/eBayISAPI.dll?ViewSellersOtherItems&userid=hrebll> -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb(a)eskimo.com

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Re: Really Eerie Music (R.E.M.)
by alastair＠pretentious.co.uk 06 Dec '02

06 Dec '02

Labradford "A Stable Reference" -- Personalised email by http://another.com

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Really Eerie Music (R.E.M.)
by Pierre Toussaint 06 Dec '02

06 Dec '02

Olivier Messiaen, Quatuor pour la fin du temps. Written in a concentration camp in Silesie for the only four instruments available on site...

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RE: Really Eerie Music (R.E.M.)
by William York 06 Dec '02

06 Dec '02

<<Iancu Dumitrescu and/or Ana-Maria Avram>> Right, most of the Dumistrecu stuff I have heard but I would say "Pierres Sacrees" tops the list! Also agree on the Xenakis things, although the classical things are not really my ultimate strong point, knowledge-wise. <<Anaal Nathrakh, THE CODEX NECRO (I am really new to metal, but learning; this record scares the bejesus out of me, very noisy and wrong and intense)>> Even scarier, I would say these metal CDs Emperor - Emperor/Wrath of the Tyrant Mayhem - De Mysteriis... And probably several things by Darkthrone, Abruptum, Immortal, Dissection ... so much of that early '90s metal from far up North still sounds legitimately scary to me, despite how many of those musicians have made asses of themselves since and how black metal has gotten cheesy and commercial since then ... A couple of others: Noisegate - The Towers are Burning Sunn 0))) - Flight of the Behemoth (the Merzbow remixed tracks)

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for London listees
by Nick Cain 06 Dec '02

06 Dec '02

Excuse geographical exclusivity. From Mark Wastell at Sound 323: CONCERTS AT RED ROSE THEATRE First of all, hot-off-the-press news that the legendary Peter Brotzmann performs at the Red Rose this Sunday (8th Dec) with John Edwards and Mark Sanders.Â 8.00, entrance price not known.Â RED ROSE THEATRE, SEVEN SISTERS ROAD, FINSBURY PARK, LONDON. __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts http://uk.my.yahoo.com

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re: song rights
by SonataPathetique＠aol.com 05 Dec '02

05 Dec '02

i was wondering about the same thing dan was. I already took a bunch of covers that I redid myself and put them on the internet. However, they are all classical covers and I don't think the Bach family is try to come after me. But let's say I did this with modern music. No one has ever paid for a copy of the songs, yet I put my name on them and list it as a cover of the original artist. Anyone that wants to hear it can download at will. Is there anyway the artists could prevent me from doing this? You might say no because I am not making any money off of it. But what if I did them so well that I became famous? Because of the cover songs, I could make a great deal off of my first original release. Would I owe anyone? Now, could the original artist sell my version of his song without my permission??

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Re: Really Eerie Music (R.E.M.)
by Ryan Novak 05 Dec '02

05 Dec '02

On Thu, 5 Dec 2002 23:00:48 +0100 Kris Visser <sstarkris(a)hotmail.com> wrote: > > I would like to hear some more really eerie > music. Most of Caspar Brotzmann Massaker's music can be quite scary- I find the song "Wiege" from Koksofen especially creepy. I remember I bought that album and Grand Guignol on the same day- some very intense listening. -----Ryan Novak __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com

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beck's ch-ch-ch-changes
by aaron chua 05 Dec '02

05 Dec '02

has anyone else noticed similarities between track 2(?) "paper tiger" frm beck's new album and gainsbourg's "melody de nelson" or is it just me?? great track all the same but so's "melody... __________________________________________________ Do you Yahoo!? Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com

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Fwd: Really Eerie Music (R.E.M.)
by TagYrIt＠aol.com 05 Dec '02

05 Dec '02

In a message dated 12/5/2002 4:52:31 PM Eastern Standard Time, sstarkris(a)hotmail.com writes: > Hey folks, > I would like to hear some more really eerie music. Music that brings you > nightmares, as worse as possible. > There's some stuff from the second side of King Crimson's Lizard album that scared the bejesus out of me the first time I heard it, and still does. Dale.

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Radical Jewish Culture was Re: Zorn and "An Open Letter of American Jews to Our Government"?
by Herb Levy 05 Dec '02

05 Dec '02

Efrén del Valle <efrendv(a)yahoo.es> wrote: responding to Arthur Gadney's: > >As far as I remember, Anthony Coleman mentions in > >the "Sabbath In > >Paradise" > >documentary, that part of Jewish character is "asking > >questions without > >expecting answers". Perhaps the whole RJC has to be > >seen in that light. > >Could be, but I really think that when you're >promoting a movement that carries the word "Radical" >you should be really clear about what that exactly >means, specially considering how easy it seems to >cross the line between coherence and dumb >fundamentalism. > >Moreover, perhaps painting, cinema, music and any >other art forms do not really need explanations and >should be perceived in a more physical way as opposed >to more cerebral conceptions. But when referring to a >movement that's supposed to be representing a whole >generation or an ethnic group like in this case, using >that sounds to me more as an excuse. > >If you start >something like the RJC you should be ready to give >clear explanations if it really has some solid >foundations. What includes you in that group? Which >are the features that bring all those people and their >artistic expression together besides the fact of being >born as Jews? Efrén, What have you seen that makes you think that RJC is "supposed to be representing a whole generation or an ethnic group"? When I see someone writing about "radical black poetry" or "radical gay theater" I know by the very use of the modifier "radical" that the person using the phrase recognizes that there is indeed other black poetry or gay theater that is not radical. I assume the same about the phrase "Radical Jewish Culture". To posit something called "Radical Jewish Culture" by definition means the coiner of the phrase realizes there is some Jewish culture which is NOT radical, otherwise the first word of the term would be redundant. & to respond to your later post on this thread, in English "radical" does NOT necessarily bring with it a sense of "purity" with or without ethnic/racial overtones. For that matter, what have you seen from Zorn himself, rather than from someone else interpreting or criticizing the series of CDs, that the sense of the term is even mainly political, rather than primarily a marketing strategy, distinguishing a particular series of CDs from those that are part of the Composer Series, of film music, of "New Japan" etc? Looking at the overall releases put out by Tzadik as a whole, it's very clear that Zorn does NOT think the rubric "Radical Jewish Culture" applies to the output of the entire ethnic group (or even of some specific subset of that group). Zorn has released many discs by Jewish composers and performers, which are NOT included in the RJC series, but instead has released under the composer series, the film music series, etc. (He's also made similar distinctions for discs by Japanese composer/performers, not all of which have been released as part of the New Japan series.) Based on the fact that he's making some kind of distinction between recordings by Jewish composers & performers that he has included in RJC & those which he has included in some other series that Tzadik has released, it seems obvious that he has something more specific in mind when he uses the term than simply "music by Jewish musicians." The CDs that Zorn HAS released as RJC, seem to fall into a three categories: the largest category (I think) is the various groups who do non-traditional forms of klezmer; there are discs in which the composer/performers are using some kind of non-klezmer, often non-musical, & sometimes autobiographical, thematic material with roots in Jewish culture as the basis of their work (like the Richard Teitelbaum Golem disc, Shelley Hirsch's O Little Town of East New York; Zeena Parkins Maul-Mouth-Betrayer, etc); and the 3-4 discs of "Great Jewish Music" - "radical" re-interpretations of music by pop musicians of Jewish descent. To my ears, the first two of these categories are all some kind of re-examination of Jewish culture through the means of new music. Exactly how radical any of those transformations may be is a matter of taste and prior knowledge of the cultural tradition in question, but from a musical standpoint many of the approaches taken are in line with music which in other contexts has been called "radical." By the early part of the 21st century, all of these approaches may not be musically radical, but again that's a matter of taste as much as anything else. In other words, I'm not sure that the term "radical" in this context necessarily has the political overtones that seem to concern folks in the frequent discussions of RJC. The third category of discs have been somewhat more problematic. People will get a wild hair up their butt because Serge Gainsbourg didn't think of himself as Jewish or whatever, but I think this misses the point in several ways, the most important being that the liner note discussions of Bachrach, Bolan, Gainsbourg, etc. (have there been any others yet?) are funny. Very funny. So much so that the "Great Jewish Music" series has to be seen as at least partly tongue in cheek. And, getting back to the description of the other two types of RJC discs, at least some of the re-workings of the songs by these composers could rightfully be categorized as musically radical. A couple of years ago, I wrote to this list that some sense of what Zorn means by RJC could possibly be determined from the quotes from Gershon Scholem that he's used on some of the Masada discs, combined with the writing quoted in the packaging of Coleman's RJC discs, particularly from the Selfhaters discs. Thinking about it again, I'd add the liner notes to the Great Jewish Music series and add Lenny Bruce's schtick about dividing everything in the world as being either Jewish or Goyish. Using this last as a yardstick, needing to identify a specific political platform for a series of CDs that is both musically and politically all over the map, MAY be very, very Goyish. Bests, Herb -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb(a)eskimo.com

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