Sorry to see that Ikue-bashing is in vogue now.
I've seen her live solo and with Kim Gordon and Jim O'Rourke and others.
I'm always impressed with the range of sounds and noises she comes up
with in the space of a song. Garden (on Tzadik) is my favorite of her
albums. Anyone who's off-put that her work is too 'weird' might want to
start with 'Painted Desert' (with Robert Quine and Marc Ribot) as a good
intro to her work.
Best,
Jason
--
Perfect Sound Forever
online music magazine
perfect-sound(a)furious.com
http://www.perfectsoundforever.com
Aiko Shimada's "Blue Marble" ought to fill the bill. Be
sure to have some extra copies in the store before you
play this one though. You'll sell 'em!
Dave
NP: Hugh Cornwell "Gingerbread Girl"
> Hi group,
>
> i need some recommendations! i am sometimes working for a record store
> and i need some recommendations which tzadik cds i can play in the
> store. some kind of easy listening tzadik.
> i figured out that you can play zorn's "the gift", steven bernstein's
> "diaspora soul" and all the tim sparks recordings.
> i need music that isn't too difficult to listen to...
>
> if you know any further "tzadik for lovers" discs, please let me
> know...
>
> 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
>
>
>
> _______________________________________________
> zorn-list mailing list
> zorn-list(a)mailman.xmission.com
> To UNSUBSCRIBE or Change Your Subscription Options, go to the webpage below
> http://mailman.xmission.com/cgi-bin/mailman/listinfo/zorn-list
you're crazy. you're all crazy.
> I agree, Ikue Mori is way, way overrated. I've
>seen her live and she's still a bore.
>
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Neues Kabarett presents
YUKO FUJIYAMA QUARTET WITH ROY CAMPBELL, MARK DRESSER
AND REGGIE NICHOLSON
For immediate release
Please include in listings/announce
Contact:
Barbara Burch -- 718-398-2810
burch4(a)yahoo.com OR neues_kabarett(a)hotmail.com
On Saturday, July 27 Neues Kabarett music series will
present Yuko Fujiyama (piano), Roy Campbell (trumpet),
Mark Dresser (bass) and Reggie Nicholson (drums).
Saturday, July 27 at 9 pm
at The Brecht Forum - 122 West 27th Street, 10th Floor
Admission is $8
C/E or F to 23rd Street or 1/2 to 28th Street
Yuko Fujiyama is a pianist who regularly performs and
records with such artists such as William Parker,
Wilber Morris, Sabir Mateen and Susie Ibarra. Her
debut album as a leader, TAG (CIMP) received excellent
reviews that praised her unique and personal sound.
Her second recording, RE-ENTRY, was released in 2001,
also on CIMP.
Neues Kabarett has presented a monthly series of
avant-garde/free-jazz and experimental music concerts
for more than 3 ½ years. We seek to create performing
opportunities for established and emerging artists
(sometimes involving visual artists, dancers and poets
as well as musicians) and develop the viability and
visibility of new performance spaces. NK is a
volunteer-run collective.
The Brecht Forum is a place for people who are working
for fundamental social change and a new culture that
puts human needs first. Within its loft in central
Manhattan, the BF offers a year-round program of
classes, lectures and seminars, art exhibitions,
performances, popular education workshops and language
classes.
Planned upcoming Neues Kabarett events:
August 2002 -- Ursel Schlicht
September 2002 - Ras Moshe & Matt Lavelle
October 2002 - Joe Morris & Rob Brown
November 2002 - Illegal Art
-30-
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Mikhail Abraham wrote:
"Nazi's claimed that there was some sort of zionist plot to corrupt the
German gene pool with Jew blood, yet Jew's where a minority and Jewish
culture was not the dominant culture.
Japan however, has actually been "invaded" and taken over by a dominant
foreign power who stripped Japan of it's government and the religious
beliefs tied up in that government. Seen in the light of emperialist artists
like Yukio Mishima, Keiji's supposed remarks seem more understandable, if
more marginal. But it definitely sounds racist."
Um, pardon me, but the Jews of Europe were (not "where") stripped of their
human dignity and their religious beliefs by a dominant power, and then
systematically exterminated by that power. That is imperialism (not
"emperialist") taken to the extreme, not unlike the European "invasion" of
the Americas.
"I, myself, may buy music by Nazi's, if their melodys where "pretty" (or
whatever I look for), as long as there weren't political lyrics. I like the
melody to "These Boots Are Made For Walking," but if you change the words
to, "One of these days there gonna stomp all over Jews," (as I've heard) it
kindof ruins it (I only listen to "Only A Lad" by Oingo Boingo about twice a
year, only because of the lyrics).
I still watch movies that are only about straight people, I guess I can
listen to Nazis."
I hope you are kidding. If you know they are Nazis then they have already
made their politics known. Duh. Hey, if Osama puts out a really cool CD
maybe you ought to buy that one, too.
I feel ashamed that I have even taken my time, and the list, to reply to
your statements.
Alan Kayser
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Hello.
>Anyone who's off-put that her work is too 'weird' might want to start with
>'Painted Desert' (with Robert Quine and Marc Ribot) as a good intro to her
>work.
Oh God, no. In my opinion this is the worst possible introduction. Like
Patrice said, this project totally got out of Ikue's controll and she
doesn't fit in at all. This is really straight drummachine rhytms. An
exeptioanlly boring performance from her.
Having said that, I generally think Ikue rules. Try the second Death Ambient
CD on tzadik for a good intruduction.
However, if you are a Ribot or Quine fan, "Painted Desert" is a must! Had it
been Cyro Baptista or perhaps Joey Baron on percussion this would be one of
the coolest albums of all time.
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Tosh wrote:
> Tokyo Drifter is great as well as Branded to Kill.
> I think both has
> interviews with its director Seijun Suzuki. One
> (Branded to Kill)
> has film posters collected by Zorn.
In case this hasn't been mentione dyet, here is John
Zorn's essay on Suzuki's BRANDED TO KILL, from the DVD
liners:
http://www.criterionco.com/asp/release.asp?id=38&eid=55§ion=essay
-----s
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Are there (jazz-) clubs in Seoul (South Corea) which could be interested to
book a German trio for little or no money in early november? We are on tour
with the Thalia Theatre (Hamburg) as stage musicians, and since we're over
there anyway, why not play a gig?
We could do some of our "Wurzelbehandlung" stuff. (Classical composers,
film directors or other heroes of our youth treated like they deserve
it...) For an example, listen to the Wurzelbehandlung Franz Schubert MP3s
at http://www.fritzfeger.de/mp3.html.
Thank you and all the best;
Fritz
##############################################
Fritz Feger
mail(a)fritzfeger.de www.fritzfeger.de
##############################################
Scott:
>Reliable? Who wants music that is "reliably"
>"precise", in just about _any_ sense of that word?
[...]
>I'm bothered by your view (as I
>received it) that in order to appreciate something's
>"precision", "reliability",and quality, in the context
>of it's technique, then something NEEDS to be
>codified from the get go. There is plenty of music
>that is interesting to listeners, esp. critical
>listeners, BECAUSE of its total lack of constancy in
>precision and unreliability in terms of cleanness.
This, to me, needs to be qualified. Of course it does not make any sense to
make an "aesthetic" evaluation by comparing how good someone is at coming
possibly close to a "gymnastic" optimum. But there is a meaning of the word
"precision" which I think is a very good parameter of aesthetic evaluation,
though never the only one. "Artistic Precision" could refer to the extent
to which someone is capable to realize his ideas, to make his musical
imagination become audible for someone else. The opposite term would be
contingency. Someone whose audible outcomes are a result of anything but
his very ideas cannot really be credited for what he sounds like.
This is of course not to deny that the inexpectable, the accident, plays an
eminent role. But if someone doesn't have control at least in REACTING upon
the accident, it is a real punishment to be in the situation to play with him.
By the way, this reminds me of a notion by Robert Musil. He speaks of
"utopic exactness" as opposed to "pedantic exactness", and the former is,
needless to say, a high ideal for his view of good artistic expression..
Fritz
##############################################
Fritz Feger
mail(a)fritzfeger.de www.fritzfeger.de
##############################################
