From: "Otto" Subject: (exotica) new Tiki News Date: 01 Mar 2000 00:10:44 -0800 I am working on a new issue of Tiki News if you'd like to advertise please contact me immediately Otto otto@tikinews.com * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * This mailing list is brought to you by Slick.ORG at http://www.slick.org to remove yourself from the list, send e-mail to majordomo@slick.org and include the words "unsubscribe tikievents" in the message (not in the subject). For web-based help, go to: http://www.slick.org/cgi-bin/majordomo * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Brad Bigelow Subject: (exotica) Re: Exotica Kindergarten Date: 01 Mar 2000 06:59:37 I will chime in on this stream: we have 7 year-old twin boys, Sam and Ben, and a 3 year-old girl, Alice. The boys have already been peer-group programmed and can't stand Dad's taste in music--it's Back Street Boys and N'Sync for them, with an occasional dip into a disco sampler. Alice likes everything, sings almost everything. Right now her favorite to sing is "The Brady Bunch Theme." Brad (AKA "Mr. Record Brain" by the boys) # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: chuck Subject: Re: (exotica) ExotiKid Date: 01 Mar 2000 10:50:52 -0800 (PST) http://www.lobue-art.com/Mirahome.html Nice pictures Keith and she looks just like you. Watch out though for spouses that hate your music. Its best to get them to like it before its too late or at least get yourself a private listening area. In my last house I had a private room for listening. I had 2 Klipsch Cornwall speakers mounted near the cealing. Also your site is at the address above. Easy listening in the Big easy Chuck __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Rajnai, Charles, NNAD" Subject: (exotica) Carol Channing Date: 01 Mar 2000 13:53:10 -0500 What ever happened to Carol Channing? I have only one record of here = and have never seen any others. Pardon the Hollywood Squares flashbacks. visit=20 THE BRIMSTONES Eternal Surf and Garage Damnation=20 at http://www.brimstones.com =A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=BA=B0`=B0=BA=A4=BA=B0`=B0=BA=A4=F8,= =B8=B8,=F8=A4=BA=B0`=B0=BA=A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4 surfing the chaos, Charlieman cdr@brimstones.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: (exotica) New additions and updates to site Date: 01 Mar 2000 11:50:15 -0800 Updates and new additions as of 2/18: --A&M import LP (German) back cover difference pictured for "When It Was Done"--Page 4. --3 More Isaura Garcia Odeon Brasil LPs which WW plays on pictured and listed on Page 1. Also "Documento Inedito" LP cover image containing Isaura interview (of how she met Walter) added to Page 6. --Brazilian release of WW's "The Return of the Original" LP found and listed--Page 4 --Confirmation from Brazil that Walter Wanderley is not the "Wanderley" [single name] pianist on The Milton Banana Trio LPs of the early to mid-1960s. Subsequent removal of all Milton Banana Trio images formerly on the WW site, along with text that credited Walter Wanderley for playing on these LPs. --New "Who Is Walter Menderley???" section on Page 3 added after a CD with a different title but containing the same track list as WW's "Brazil's Greatest Hits" was found in the U.S. but made in Mexico! Could this be one of WW's many Mexican imitators or just a bootleg? The new addition gives the definitive answer! --Mirror WW Site added to Xoom.com URL due to the frequent downtime of Freeservers. The site now exists in both locations in its entirety. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Bump Subject: Re: (exotica) Carol Channing Date: 01 Mar 2000 15:08:25 -0500 what a freak of nature she is/was? she scares me and i love her for it. i find her frighteningly appealing in the film SKIDOO, a pro LSD movie with Jackie Gleason, Carol, John Philip Law and GROUCHO MARX (his last film) among many others. it is the only record i own with her on it, singing the title track. the only good "bad" song on it. bump out >What ever happened to Carol Channing? I have only one record of here and >have never seen any others. > >Pardon the Hollywood Squares flashbacks. ******************************** Bump Universal DJ Defective Records bumpy@megsinet.net http://www.defectiverecords.com "Music, Non-Stop" -- Ralf + Florian # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: dymaxia@ripco.com Subject: Re: (exotica) Carol Channing Date: 01 Mar 2000 15:23:38 -0600 "Rajnai, Charles, NNAD" wrote: > > What ever happened to Carol Channing? I have only one record of here and > have never seen any others. > > Pardon the Hollywood Squares flashbacks. I can't answer that, recording-wise, but there is an interview with her (conducted by Dame Darcy) in the current issue of _Index_. It's pretty amusing - DD keeps asking her about "Skidoo", saying that it's popular with young folks, much to the bafflement of CC. -- Kerry # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Peter Risser Subject: (exotica) Portugese Date: 01 Mar 2000 13:30:57 -0800 (PST) Does anyone here know Portugese? I'm doing a mix CD and I thought it'd be cool to translate the liner notes and song titles into Portugese. I don't know why, I just did. Anyone up for that? And, no, www.babelfish.com ain't gonna cut it. Let me know if you are interested. Peter __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Mark Renwick Subject: Re: (exotica) Soundproof vs. Soundblast Date: 01 Mar 2000 21:02:36 -0500 > Mono Soundblast (promo) (WP 6041) and stereo Soundproof (WST 15011) list > these tracks: > > Peg-leg Meringue > Brazil > Poinciana > Mama yo Quero > Orchids in the Moonlight > Cumana > Tico-Tico > Frenesi > Mexican Hat Dance > Siboney > Loose Ends Meringue > La Cucaracha > And to make matters more interesting, the Sonotape Corporation (affiliated with Westminster Record) released a stereo reel-to-reel tape called "Latin American Adventure" containing most of the tracks on stereo "Soundproof." --Mark Renwick Jacksonville, Florida, USA tibia@att.net http://home.att.net/~tibia # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: (exotica) U.S./English vers. of "Chega de Saudade" book Date: 01 Mar 2000 21:26:42 -0800 For those who may be interested: I just got word today that Ruy Castro's History of the Bossa Nova book "Chega de Saudade" will be published in the U.S. and in English within the next few months. This is great news for someone like myself who doesn't read Portugese and has had to rely on bits and pieces of the book being translated by others (I have enjoyed the photos, though)! Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Subject: (exotica) Recent finds / questions Date: 02 Mar 2000 11:34:10 +0000 I just got a couple of records of interest to the list: Seven Golden Men soundtrack - Armando Travajoli - only $4 on Ebay and mint, very jazzy and lots of wordless vocals including some frantic ba ba da daas. Slightly too noodling for my liking but nice anyway. Area Code 615 - A trip in the Country. Whats this? Acid country rock with tom toms? Or country funk? Harmonica and good grooves including Stone Fox Chase - the theme to The Old Grey Whistle Test (UK relevance only). Although I have a 12" somewhere of Stone Fox Chase which is a much better version and comes with a Lenny Dee (or is it Frankie Bones?) mix on the other side. And I just got Lee Hazelwood's 13 (my first taste of Lee). I really like the arrangements but I'm pretty sure he wouldn't be my cup of tea in other circumstances. Doris' LP Did You Give the World Some Love Today Baby is similar - funky groovers with poppy vocals and nice horns. And whoever mentioned that the Duke of Burlington was a ripoff. Was it of the Earl of Westminster? And the name of the track please? Thanks Charlie charles_moseley@mckinsey.com +-------------------------------------------------------------+ | This message may contain confidential and/or privileged | | information. If you are not the addressee or authorized to | | receive this for the addressee, you must not use, copy, | | disclose or take any action based on this message or any | | information herein. If you have received this message in | | error, please advise the sender immediately by reply e-mail | | and delete this message. Thank you for your cooperation. | +-------------------------------------------------------------+ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Keith E. Lo Bue" Subject: (exotica) Tradelist up n running.... Date: 03 Mar 2000 00:07:10 +1100 Hi all! Just wanted to drop my tradelist of recordings on ya. If any of you have lists of stuff you'd like to trade on CDR, email it to me and we'll dance! http://www.lobue-art.com/trade.html The list is long but incomplete, and will grow bigger, more unwieldy, nightmarishly diverse, crawling into your homes to snuff your Michael Boloton recordings from your boomboxes! Keith **************************** http://www.lobue-art.com A virtual gallery and info site for the artwork and workshops of KEITH E. LO BUE **************************** # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: mimim@texas.net (Mimi Mayer) Subject: (exotica) VAT for Net music? Date: 02 Mar 2000 09:36:18 -0500 =46rom a credible e-newsletter I get. Mimi EUROPE TO TAX SOME INTERNET TRANSACTIONS The European Commission in Brussels plans to impose sales taxes on music and software delivered over the Internet, requiring companies to collect a "value-added" tax on such products. European merchants are hoping to end what they consider an unfair advantage enjoyed by their American competitors. The head of the Electronic Forum in Cologne, Germany, says: "Without any changes, American companies would unquestionably have an unfair advantage. This is the right direction, toward a global framework for electronic commerce." (New York Times 2 Mar 2000) http://www.nytimes.com/library/tech/00/03/biztech/articles/02tax.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: nytab@pipeline.com Subject: (exotica) [OBITS] Mary Bodne,Dennis Danell, Baron Enrico di Portanova,George Duning,Louis Pelletier,Otello Martelli, Date: 02 Mar 2000 10:43:18 -0500 NEW YORK (AP) -- Mary Bodne, an owner of New York's Algonquin Hotel for 41 years, died Monday. She was 93. Bodne lived at the elegant hotel, the literary hangout of the Jazz age, from 1946 until her death. Along with her husband, Ben, she purchased the 200-room hotel in 1946 for about $1 million from Frank Case, who had catered to writers and editors including Dorothy Parker, Robert Benchley, Franklin O, Adams, Edna Ferber and Alexander Woollcott. The Bodnes owned the hotel until 1987, when it was sold to the Aoki Corp. A decade later, it was sold to the Camberley Hotel Company. Both sales brought renovations, including the installation of self-service elevators in 1991. Bodne, whose family had immigrated to South Carolina from Ukraine when she was a child, spent most afternoons greeting regular guests from an armchair in the lobby of the French Renaissance style hotel built in 1902. Ben Bodne died in 1992. *Dennis Danell NEWPORT BEACH, Calif. (AP) -- Dennis Danell, a guitarist for the punk rock band Social Distortion, died Tuesday of an apparent brain aneurysm. He was 38. Danell teamed with frontman Mike Ness who formed Social Distortion in Orange County, Calif., in 1979. The band has been on hiatus since it released its live album, ``Live at the Roxy,'' in 1998. Ness composed most of the band's songs, and Danell co-wrote with him periodically. Danell and the group's bassist also played in their own band, Fuel, in 1994 while Ness was working on material for a new album for Social Distortion. Danell's discs with Social Distortion include: ``Mainliner'' (1981); ``Mommy's Little Monster'' (1982); ``Prison Bound'' (1985); ``Social Distortion'' (1990); ``Somewhere Between Heaven and Hell'' (1992); ``White Light, White Heat, White Trash'' (1996); and ``Live at the Roxy'' (1998). Social Distortion appeared in the 1983 movie ``Another State of Mind,'' which documented the group's low-budget cross-country tour. *Baron Enrico di Portanova HOUSTON (AP) -- Baron Enrico di Portanova, a jet-setter and grandson of Texas oil magnate Hugh Roy Cullen, died Monday of throat cancer. He was 66. Di Portanova's life included high-profile legal wrangling over the immense Cullen family estate, elaborate parties attended by the rich and famous, and lavish homes in Acapulco, Italy and Houston. By the mid-1980s, di Portanova was said to have a net worth of more than $50 million. He and his wife, Alessandra di Portanova, regularly entertained such guests as Sylvester Stallone, Barbara Walters, Henry Kissinger and Beverly Sills. Their Acapulco mansion served as a backdrop for the James Bond movie ``License to Kill.'' *George Duning SAN DIEGO (AP) -- George Duning, whose musical scores for movies such as ``Picnic'' and ``From Here to Eternity'' earned him Academy Award nominations, died Tuesday of heart disease. He was 92. Duning was hired in the 1930s as musical director of the NBC radio show ``Kay Kyser's Kollege of Musical Knowledge.'' When he returned from the Navy after World War II, he joined Columbia Pictures, where he scored the movies ``Let No Man Write My Epitaph,'' ``My Sister Eileen,'' ``Houseboat,'' ``That Touch of Mink'' and ``Bell, Book and Candle.'' He also wrote the music for such television series as ``The Big Valley'' and ``Naked City.'' ====== >From Variety: Louis Pelletier Screenwriter Louis Pelletier, who wrote such Disney family films as “Horse in the Gray Flannel Suit” as well as TV shows and more than 500 episodes of the radio show “The FBI in Peace and War,” died Feb. 11 in his sleep at his home near Santa Monica. He was 93. Pelletier wrote television shows for Disney and screenplays for the films “Big Red,” “Those Calloways,” “Follow Me Boys” and “Smith.” While in the U.S. Army during World War II, he met radio writer Jack Finke and the two spent their off-duty hours writing scripts for CBS. They hit paydirt with “The FBI in Peace and War,” adapted from the book of that title by Frederick L. Collins. Pelletier and Finke wrote the show for more than 10 years, contributing more than 500 scripts. The program ran from 1944 until 1958, dramatizing cases as seen through criminals’ eyes, with field agent Adam Sheppard (voiced by actor Martin Blaine) closing in for the arrests. Pelletier is survived by his wife, Mary; a daughter from an earlier marriage; two granddaughters and three great-grandchildren. ---- >From the Guardian -- Otello Martelli, cinematographer, born May 19 1903; died February 20 2000 Master of cinematography behind great Italian movies John Francis Lane Tuesday February 29, 2000 One of the great craftsmen of Italian cinematography, Otello Martelli, who has died aged 96, photographed some of the most famous postwar films, from Rossellini's Paisà to De Santis's Bitter Rice. He worked on seven Fellini films, most notably La Strada and La Dolce Vita. Born in Rome, he became an assistant cameraman at 14, and worked on silent films. He was signed up as a cameraman by the state newsreel company Istituto Luce, and in 1928 was sent to film the tragic airship expedition to the North Pole by Umberto Nobile. After working as assistant cameraman, his first important credit was in 1934, for Alessandro Blasetti's Vecchia Guardia (Old Guard), a blatantly fascist film which, however, was "saved" for its plastic values even by leftwing critics of post-fascist Italy. After the war, Martelli was chosen by Rossellini to join him on the adventurous journey up the Italian peninsula that resulted in Paisà. His experience as a newsreel cameraman helped to give the film a feeling of authenticity in this reconstruction of the struggles for the liberation from the Nazi-Fascists, even in sequences that were not always filmed on the real locations (such as the opening episode in Sicily). During the shooting in Florence, Martelli was a first-person witness to the debut of the future director with whom he would later work, Federico Fellini, who was then Rossellini's assistant and co-scriptwriter. One day, Rossellini was sick, and Fellini was instructed to shoot the scene in a country lane, where a wine cart trundles by under fire from snipers. "Sor Otello", as Martelli was known (Sor being a respectful Roman term of address), had planned to shoot the scene from as high an angle as possible, but the brazen young assistant gave orders for the action to be filmed from ground level, which Martelli contemptuously called "a mouse's point of view". Fellini got his way, and was congratulated warmly by Rossellini when the rushes were seen. Martelli photographed two of Rossellini's most famous films, the equally adventurous Stromboli, with Ingrid Bergman, and the film that François Truffaut once described as "the most beautiful film ever seen", Francis, God's Juggler - its exquisite visual aspect being very much to the credit of the cinematographer. When, in 1950, Alberto Lattuada and Federico Fellini decided to produce, write and co-direct a film about Italian provincial music-halls, Luci del varietà (Variety Lights), it was Fellini who suggested Martelli as cinematographer. And three years later, Fellini chose him to photograph his second feature, I Vitelloni. The two men continued to bicker affectionately, but when the first choice for cinematographer of La Strada had to pull out, it was Sor Otello who took over - and the world was to acclaim him as well as the director. He worked again with Fellini on Il Bidone (1955), and, though uncredited, took over from Aldo Tonti to finish Le Notti di Cabiria in 1956. With Tonti, he went round the world scouting locations for René Clement's The Sea Wall (1958), for which, in the end, he, rather than Tonti, was cinema- tographer. He photographed many of the great cinematic beauties of those years, among them Silvana Mangano, Sophia Loren and Melina Mercouri, but Martelli himself said that the most photogenic of all was Anita Ekberg, immortalised by Fellini (with Martelli's help) in La Dolce Vita. Martelli's contribution to this film was his most creative achievement in later life. In spite of continuing disagreements with Fellini over camera angles, there was great mutual respect. Martelli maintained that "it was not true that Federico knew nothing about camera technique. He just had his own ideas. For example, he wanted to use a lens for panoramic shots which is normally used only for close-ups. I told him there was a risk of flickering, but he said it didn't matter. He was absolutely right." But after Fellini's episode of Boccaccio '70 (1962), The Temptations Of Dr Antonio, the director said he was tired of hearing Sor Otello continuously complain, "It can't be done." For the film 8, he entrusted the cinematography to a new emerging master of lighting, Gianni Di Venanzo. But Di Venanzo, like many other emerging cinematographers, admitted that Sor Otello had been their maestro. The chore which induced Martelli into retirement was working on one of the episodes of The Three Faces (1965), the film directed by Antonioni and others which producer Dino De Laurentiis had hoped would launch the then Empress Soraya of Iran as an actress. He is survived by two daughters and a son, Luigi, who is a television director. --- >From the L.A. Times -- Joseph V. Perry; Played Mobsters on TV Joseph V. Perry, 69, character actor best known for playing mobsters in such series as "Barney Miller" and "Night Court." A gifted comic and master of dialects, Perry received the 1949 Glenn Ford Award at Santa Monica High School and a UCLA Best Actor award in 1952. The actor worked steadily in such films as the 1965 epic "The Greatest Story Ever Told" and Don Knotts' 1968 "The Shakiest Gun in the West." Perry remained in demand over four decades for television roles. In addition to his colorful mobsters on police and detective series that included "Quincy," Perry had roles in the series "Outer Limits," "The Monkees," "MASH," "Cheers" and "Seinfeld." Most recently, he was cast in the recurring role of Nemo in the popular "Everybody Loves Raymond." Perry was also memorable in television commercials including portraying a rotund baseball player mimicking swimsuit model poses for Slim-Fast diet products. On Feb. 23 in Burbank. ------------- >From the Guardian -- Ross Russell At one time or another Charlie Parker's record producer, manager and biographer by Ronald Atkins Thursday March 2, 2000 During a crucial period in the late 1940s, the author and jazz critic Ross Russell, who has died aged 90, produced many of Charlie Parker's finest recordings, and issued them on his own Dial label. He briefly became Parker's manager and, after his death, wrote the definitive Parker biography. Born and raised in Los Angeles, Russell had two spells at the University of California, earning money in between by delivering telegrams. He became interested in jazz and collected records avidly. In the 1930s he spent time with a black swing band, experiencing the way such bands were treated on nationwide tours. He became involved with the contemporary jazz scene in 1945, after wartime service as a merchant navy radio officer. Having saved some of his wages, he used them to open the Tempo Music Shop in Hollywood Boulevard, selling jazz records at a time when the scene was splitting between traditionalists and the supporters of a new style, bebop. The beboppers soon took over the store - driving the opposition to the rival shop across town - and more than justified Russell's initial gamble in ordering, unheard, the latest New York 78s - the first consignment sold out in hours. The alto saxophonist Charlie Parker came to Los Angeles in 1946 with Dizzy Gillespie and hung around after the band returned to New York, finding work in a club. By now a convert to Parker's genius, Russell not only agreed to record him for Dial, but relocated the label to New York shortly after Parker returned there. Once a budding author, whose work included detective stories that were published in the same magazines as Raymond Chandler's early efforts - he knew Chandler and wrote an unpublished biography of him - Russell wrote about bebop for the Record Changer magazine and later, in 1961, published a picaresque novel, The Sound, whose main character is based on Parker. Researching Parker's origins in Kansas City, Russell produced his Jazz Style In Kansas City And The South West in 1971, followed in 1973 by the Parker biography, Bird Lives, the essential work about a man whose musical genius and disorganised lifestyle turned him into a 20th-century icon. Writing occasional articles and running courses on African-American studies at the University of California and Palomar college, Russell kept control of the Dial catalogue, which was released most notably on the British Spotlite label, to whom he eventually sold the rights in 1990. For the past 20 years he was living in mobile homes, most recently in Palm Springs, though he often contemplated leaving the US. Described by a friend as paranoid about money, he moved an account estimated at $150,000 around offshore banks before settling on Austria, from which he would draw enough to finance his many European trips. He often came to Britain, notably in 1994 when he attended the September auction at Christie's of Parker's saxophone. A few weeks earlier, he had given a recital of Parker's Dial recordings to a meeting of the International Association of Jazz Record Collectors held in London's Docklands. White-haired and sounding a bit like the older James Stewart, he spoke about such controversial events as Parker recording Lover Man while suffering from acute alcoholism and malnutrition - Parker announced he could get through the session provided someone gave him a handful of benzedrine tablets. Russell had often been accused of cashing in by releasing everything Parker recorded for Dial, including several rejected versions. He told us that other musicians pressed him to do this because they wanted to hear as much Parker as possible. He did not think much of Miles Davis, the trumpeter on most of the Dial records, and believed that jazz ended with the death of Parker. Russell had nearly finished writing a book on bebop when he died. The only music he was then listening to was opera, preferably in Vienna. He was married four times and is survived by twins - a son and daughter. --------- Haza family silence has hurt anti-AIDS fight By Judy Siegel JERUSALEM (February 29) - The refusal by Ofra Haza's family to reveal that she was infected with HIV "magnified the stigma of AIDS and took us back 20 years by demonizing the disease," said Prof. Zvi Bentwich, head of the AIDS clinic at Kaplan Hospital in Rehovot and an internationally known authority on the disease. Bentwich was abroad when the 41-year-old singer was suddenly brought to Sheba Hospital at Tel Hashomer with unpublicized medical problems. Her bodily systems, including her kidneys and lungs, quickly collapsed, and she died 13 days after admission. The hospital, by order of the family, said she had pneumonia as a complication of the flu, but it never revealed she was infected with the AIDS virus. Only yesterday, Ha'aretz broke the silence by Israeli papers that honored the family's request and reported that Haza "died of AIDS," but without quoting any official source in the hospital or the Health Ministry. Bentwich said he regretted the fact that the Haza family decided to act as it did, keeping secret the cause of her death. "It's a shame, although I could understand them," he said. But he added that he hoped "the tumult created by the revelation of AIDS will somewhat balance out the damage. However, I don't know if this will be effective in clearing the air about AIDS," which is now recognized as a chronic disease that can infect anyone but can be kept under control with a cocktail of drugs. Bentwich said he did not know details of Haza's case, but said that flu could be fatal in an HIV carrier who was not receiving proper treatment and whose immune system was compromised. "It could be that she didn't take the anti-HIV drug cocktail at all; or she may have received it but didn't like the regimen or the virus showed resistance to the drugs. Or she may have gotten it, but it wasn't enough to strengthen her immune system," Bentwich said. The Health Ministry had its "hands tied," he said, because it was not allowed by the Patients' Rights Law to allow doctors to reveal the disease against her or her family's will. However, he did not justify claims in some papers that Sheba staffers who treated her were angry because they hadn't been told Haza had HIV. "Every medical worker is trained to regard every patient as potentially having AIDS and required to protect himself," he said. Meanwhile, Haza's former manager Bezalel Aloni, who had repeatedly suggested asking Haza's family, and particularly her husband, about the cause of her death, met Sunday night with Dan Region police chief Lt.-Cmdr. David Kraoza and said his life had been threatened after he made the comments. Police are checking into his claims. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: nytab@pipeline.com Subject: (exotica) allmusic essays Date: 02 Mar 2000 12:03:51 -0500 Building a Space Age Pop Collection by Richie Unterberger http://allmusic.com/cg/x.dll?p=amg&sql=J237 Space Age Pop by Richie Unterberger http://allmusic.com/cg/x.dll?p=amg&sql=J243 ------ About the Author Unterberger covered the greatest cult rock acts of all time for Unknown Legends of Rock (Miller Freeman, 1998) and is Senior Editor of the All Music guides. For Rough Guides, he is the author of the The Mini Rough Guide to Seattle, and contributor to The Rough Guide to Rock and The Rough Guide to San Francisco. He is also the author of The Rough Guide to Music USA, 1st edition. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: HEDCANDY@aol.com Subject: (exotica) Re: Family Picture Date: 02 Mar 2000 16:01:27 EST Bandwagon time also. Here is a link to my recent family portrait! Take a look! I guarantee you will not be disappointed! :) It's me, my wife Geraldine and my son, "Ricky." Chris http://imagehost.auctionwatch.com/preview/he/hedcandy/.mids/rickyfamilypicture .jpg # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "m.ace" Subject: Re: (exotica) Re: Exotica Kindergarten Date: 02 Mar 2000 16:20:06 -0500 >I will chime in on this stream: we have 7 year-old twin boys, Sam and Ben, >and a 3 year-old girl, Alice. The boys have already been peer-group >programmed and can't stand Dad's taste in music--it's Back Street Boys and >N'Sync for them, with an occasional dip into a disco sampler. They're getting their hooks into the kids at that age already, nowadays? sigh... That's really depressing. buying my tickets to gloomville, m.ace ecam@voicenet.com OOK http://www.voicenet.com/~ecam/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "m.ace" Subject: (exotica) Talkin' To Your Heart Date: 02 Mar 2000 16:20:29 -0500 I finally listened to an album that's been waiting around since summer '98 (yeesh!): Jim Reeves - "Talkin' To Your Heart" (RCA, 1961) This is not your typical Jim Reeves album. It's a spoken word album, with Jim reciting homespun sort-of-verse stories over smooth countrypolitan orchestra & wordless chorus backing (production by Chet Atkins). He occasionaly croons a line or two. Titles include: "Trouble In The Amen Corner" -- the church choir objects to old Brother Ira's aged and cracked singing voice. Ira gets sad and dies. "The Gun" -- a jilted man's desire for revenge eventually turns to pity. "Too Many Parties And Too Many Pals" -- you can imagine. "Old Tige" -- a genuine shaggy dog story... and more sadness and death. "Men With Broken Hearts" -- "You'll meet many like me, on life's busy streets..." Think of a wholesome Tom Waits. I guess you can gather that this is not a funtime party album. m.ace ecam@voicenet.com OOK http://www.voicenet.com/~ecam/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: (exotica) Re: Exotica Kindergarten Date: 02 Mar 2000 16:41:52 EST In a message dated 3/2/0 4:18:10 PM, ecam@voicenet.com wrote: >They're getting their hooks into the kids at that age already, nowadays? Oh yeah...Disney's always cultivating a teen act for the l'il gals to sigh over. There's Jonny Lang, the gravel voiced blond with shoulder length locks who appears to be able to play guitar and sing rough-edged rock 'n' roll. He's not too bad. They had a "live" Back Door Boys concert where interspersed between stage performances, they showed snippets of the Boys in NYC shootin' hoops in a 'hood (where the camaraderie and ol' boy bonding was straight outta central casting), buyin' threads at a groovy teenwear shop (where they each 'splained how they do fashion), and a few reflective moments where they each talked 'bout the family "back home" and how much they meant to 'em. It may have been true, but appeared so contrived and Disneyfied that I wallowed in cynicism through the whole thing. And the worst of it is--and you 'rents know what I'm talkin' 'bout!--we videotaped it so the kidz could see it over and over...JB # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: dciccone@inspex.com Subject: (exotica) Kids and other stuff Date: 02 Mar 2000 16:53:00 -0500 My wife told me about this movie that was on AMC yesterday in the afternoon. A Jayne Mansfield flick called "The Girl Can?t Help It". Had Julie London and a terrific looking Abbey Lincoln singing in it. Talking about kids, I can?t seem to get a reaction to the music from my 4 year old daughter Geneva. Although today my wife Carol tried to get Geneva singing to a song on the radio. The song was "Daddy". Julie London and Pat Suzuki have sung it. The girl is singing about wanting jewelry, cars and furs. Well, Geneva would not sing along so she tried to get her to sing about Barbie stuff. Something like "Daddy" I want a Barbie car, jewelry, everything. Still no singing. Just laughing. Ah well. Speaking of kids and music. Found a couple of nearly mint Disney records. Alice in Wonderland with a record cover doubling as a book. Has a die cut out in the front. The Barbi soundtrack, and the Aristocats. I was very excited about the Aristocats. I hadn?t seen the movie it years, since I was a kid, but Carol told me I would like the music in it and she showed me the scene in the movie called "Let?s Get in Line" with the geese getting the cats walking in a line to Paris. The music had a "Baby Elephant Walk" quality to it. Snatched the record when I saw a picture of the scene "Let?s Get in Line" on the back and it?s not in the record! On closer inspection the record is called"The Aristocats and other songs about Cats" or something like that. Still a good record with a cut of Louie Prima doing "That Darn Cat" from the movie I guess. Over the weekend we watched "the Great Mouse Detective" score by Henry Mancini. Domenic # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: the_curator@eat78rpm.freeserve.co.uk Subject: (exotica) Esquivel 4 Sale Date: 03 Mar 2000 00:26:43 +0000 ok, folks here goes the family jewels ;-) http://cgi.ebay.co.uk/aw-cgi/eBayISAPI.dll?ViewItem&item=274436963 Sem Sinatra # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: bag@hubris.net Subject: (exotica) Combustible Edison now on customdisc.com Date: 02 Mar 2000 20:22:00 -0800 Hey, looks like customdisc.com just livened up its offerings with music from Sub-Pop Records. Not sure about their other artists, but this is the label with Combustible Edison. If you don't have all their CDs, you can get a sample at customdisc.com and even include some of the cuts on a CD you build yourself from their available recordings. I sort of like this service, although it is pricey. Cost is usually a dollar a song and you have a 70 minute limit (of course). There is also an additional 6 dollar fee tacked on. If you get a special discount (and they often make them), it can get slightly more reasonable. My main concern is the lack of available artists and selections. However, I just put together my fifth CD of this sort (two on customdisc.com and three on musicmaker.com) thanks to the new available cuts from CE. Les Baxter is also represented with cuts from a couple of albums on customdisc.com. You can find Ferrante and Teicher on musicmaker.com. Byron Byron Caloz Portland, Oregon, USA, Earth, Sol, Milky Way http://www.hubris.net/zolac The Mr. Smooth site: http://www.hubris.net/zolac/smooth # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Kevin Leeeeee" Subject: (exotica) br. cleve's list / shameless plugs Date: 02 Mar 2000 23:15:46 MST in regards to NEW exotica/electronica type fare might i plug another email list that may be of interest: POP NOUVEAU (a feeble attempt at an all-inclusive label for a huge variety of new exotica/easy/etc. music) http://www.egroups.com/group/popnouveau/info.html go to above URL or just email me and i'll hook you up. kevin leeeeee ps sorry, here's yet another shameless plug: look for me on http://www.luxuriamusic.com spinning much of this so called "Pop Nouveau" music. ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Otto" Subject: (exotica) Screamin Tikis live onweb this Tues. Date: 02 Mar 2000 23:07:42 -0800 Huntington Beach Surf/Tiki band The Screamin Tikis will play live Tues. 3/7 Screamin' Tikis Fat Tuesday live Webcast 6:00 Go to www.bexel.com and download the right tools The timing is up in the air but start looking about 6:00 dtucci@hotmail.com * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * This mailing list is brought to you by Slick.ORG at http://www.slick.org to remove yourself from the list, send e-mail to majordomo@slick.org and include the words "unsubscribe tikievents" in the message (not in the subject). For web-based help, go to: http://www.slick.org/cgi-bin/majordomo * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Nathan Miner" Subject: (exotica) Air - Virgin Suicides Date: 03 Mar 2000 08:43:30 -0500 How's this soundtrack? Good???? # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: nytab@pipeline.com Subject: (exotica) [obits] George Duning,Begona Palacios Date: 03 Mar 2000 10:04:30 -0500 L.A. Times -- Thursday, March 2, 2000 George Duning; Prolific Film Composer By MYRNA OLIVER, Times Staff Writer George Duning, a prolific composer of music for television and motion pictures who was nominated for Academy Awards five times, has died at the age of 92. Duning, who scored such classic films as "From Here to Eternity" and "Picnic," died Sunday at Alvarado Hospital in San Diego of cardiovascular disease. The former jazz trumpeter was nominated for Oscars for those two films in 1953 and 1955, respectively. He also was nominated for "Jolson Sings Again" in 1949, two years after he began his contract with Columbia Pictures; for "No Sad Songs for Me" in 1950; and for "The Eddy Duchin Story" in 1956. During his 15 years with Columbia, Duning composed music for about half a dozen motion pictures a year. Among them were "Let No Man Write My Epitaph," "My Sister Eileen," "3:10 to Yuma," "Houseboat," "That Touch of Mink" and "Bell, Book and Candle." Duning also composed extensively for television series, including "The Big Valley," "Alcoa-Goodyear City Theatre," "Naked City" and "Star Trek." He wound up his long career as musical director of Aaron Spelling Productions. Top-quality music in movies and television shows, he often said, helped upgrade the public's taste in music. And he made no secret of his disdain for the rock 'n' roll that emerged during his most productive years. "Rock 'n' roll is a phonied-up, made-to-order fad," Duning told The Times in a 1960 interview. "And disc jockeys do a disservice to the kids by playing it." He admitted at the time that his own teenage daughters played rock 'n' roll records in his home. But he said his hopes that their tastes would change were raised when one daughter heard Duke Ellington on the radio, thought he was a new musician and rated him "great." If Elvis Presley had never earned Duning's musical appreciation, Ellington always did. Duning's own career began with jazz. Born in Richmond, Ind., a center for early jazz recording, Duning grew up hearing music. His father was a conductor and sang in oratorios, and his mother gave organ and piano lessons. He studied music theory at the Cincinnati Conservatory of Music and studied composition with Mario Castelnuovo-Tedesco. Duning started his own band at age 15, and after college joined various jazz bands as a trumpeter. He also played with marching bands and concert bands. In the 1930s, Duning got his initial career boost when he was hired as musical director of the radio game show "Kay Kyser's Kollege of Musical Knowledge." In 1939, when Kyser signed with RKO to do a series of films, Duning went along as musical arranger. The work was interrupted by World War II, which put Duning in the Navy as conductor and arranger for the Armed Forces Radio Service. Throughout his Hollywood career, Duning worked in musicians' organizations. He served on the Board of Directors of the American Society of Composers, Authors and Publishers from 1972 to 1985 and as the organization's vice president from 1978 to 1979. He also served on the board of the Academy of Motion Picture Arts and Sciences. Duning earned a career achievement award from the Society for Preservation of Film Music in 1987, and was named Indiana Composer of the Year in 1993. He also won awards from the Hollywood Foreign Press Assn. and Downbeat magazine. He is survived by his wife, Lois, of Borrego Springs, Calif., and La Jolla; two daughters, Kathleen Frankeberger and Patricia Brayton of Port Townsend, Wash.; a brother, LeRoy Duning of Lebanon, Ohio; five grandchildren; and two stepchildren. -------- *Begona Palacios MEXICO CITY (AP) -- Begona Palacios, an actress who was the wife of the late film maverick Sam Peckinpah, died Wednesday of a liver malfunction. She was 58. Palacios met Peckinpah while starring in B films in Hollywood in the early 1960s. She was best known in Mexico for action movies such as ``The Saint Against the Strangler,'' and ``The Saint Against the Ghost of the Strangler,'' both filmed in 1963. Last year, she starred in the Mexican soap opera, ``La Chacala.'' ------ Leni Riefenstahl The German filmmaker/photographer and perennial "but she died years ago!" case was in a helicopter that crashed while attempting an emergency landing on Tuesday in Sudan,and has now been transported to a hospital in Germany suffering from broken ribs and bronchitis.She is said to be weak but doing well in the circumstances,no idea what the prognosis is. She was born in 1902. ---- # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Subject: (exotica) Amsterdam finds Date: 03 Mar 2000 18:19:55 +0000 Poor record shopping in Amsterdam - markets full of dross, 2nd hand sho= ps full of rock, not impressed. Only one find worthy of attention: Iceberg Slim's Reflections LP - The Berg raps over some middle of the r= oad jazz. Entertaining and culturally significant but not overly exciting i= n my eyes. It was only around =A37 which I think is a good price but I wish = I'd found the racks of European Jazz and soundtracks I'd been dreaming abou= t. Talking of Dutch records, has anybody got Ritual by Nico Gomez and his African Percussion? Its been out for a while as a bootleg. What a recor= d! Charlie +-------------------------------------------------------------+ | This message may contain confidential and/or privileged | | information. If you are not the addressee or authorized to | | receive this for the addressee, you must not use, copy, | | disclose or take any action based on this message or any | | information herein. If you have received this message in | | error, please advise the sender immediately by reply e-mail | | and delete this message. Thank you for your cooperation. | +-------------------------------------------------------------+ = # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: byost Subject: (exotica) Robert Moog on "Fresh Air" Date: 03 Mar 2000 12:41:24 -0600 As someone pointed out last week, Robert Moog was recently interviewed and demonstrated some of his synths on the NPR program Fresh Air. If you want to hear it in Real Audio, go to: http://whyy.org/cgi-bin/FAshowretrieve.cgi?2825 I really enjoyed it myself. promo copy: <> -- Brad # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: the_curator@eat78rpm.freeserve.co.uk Subject: (exotica) MP3 for Mac - a little extra help Date: 03 Mar 2000 16:19:20 +0000 folks i know it's taken some time to get back on this but i doubt any of the Mac owners will have sold theirs since the last posts >To Keith and other Mac users on this list: to play existing MP3 files on >a Mac you will need either the new Quicktime 4.1 app from Apple or >MacCAST i still use the free and elegant SoundApp, easily findable (try macdownload or tucows) >To create MP3s on a Mac, you will need Toast Audio Extractor software >which makes AIFF files from ripping the redbook audio tracks on your CDs. or movieplayer will do this too (File:import) though it won't do all the tracks on a CD at once, which Toast Extractor will >You then need to drag and drop the >individual AIFF files onto an application called "MP3 Encoder" which is >freeware try http://www.dtek.chalmers.se/~d2linjo/mp3/ and to use this you'll need to put SWA Export Xtra (226k) in the same folder ... available from http://www.macromedia.com/support/soundedit/how/shock/ i've also been using macster from http://www.macster.com recently, which works like the dreaded (by industry) napster programme ... i know it can find 40 different versions of the Mission Impossible theme, should you so require happy huntin' Sem Sinatra # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "paul thomas" Subject: (exotica) Alvino Rey Date: 03 Mar 2000 10:03:36 -0800 Hello, hello! I've been grooving on Alvino Rey via the tracks featured on the Ultra Lounge and Cocktail Mix anthologies. I'm interested in acquiring a cd of his music but I understand he was also with a rather cheesy big band ~~ does any have any tips on what to get and what to avoid? Thanks! ~~ Paul ~~ MailCity. Secure Email Anywhere, Anytime! http://www.mailcity.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: nytab@pipeline.com Subject: (exotica) fwd: Mardi Gras on-line Date: 03 Mar 2000 17:05:11 -0500 Webcam network aggregator Cammunity.com is ready for the climax of Mardi Gras celebrations in New Orleans with feeds from 15 remote cameras positioned to record one of the world's largest extended parties. From the famed Tipitina's, where live concerts still on tap include those of Better Than Ezra and The Radiators, to vantage points over the colorful parades which continue this weekend, the Mardi Gras Webcams are well-positioned for fun. Seven cams are placed along the parade routes, beginning at the corner of Napoleon and St. Charles and including the media stand in Gallier Hall where the parades salute the Mayor. Meanwhile, in the French Quarter, cams are strategically placed to catch the festivities on Bourbon Street. Mardi Gras Webcams will be recording until Mar. 7. World Wide Web: http://www.avcammunity.com/mardigras/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "jonathan richardson" Subject: Re: (exotica) Alvino Rey Date: 03 Mar 2000 18:17:25 PST > > I've been grooving on Alvino Rey via the tracks featured on the Ultra >Lounge and Cocktail Mix anthologies. I'm interested in acquiring a cd of >his music but I understand he was also with a rather cheesy big band ~~ >does any have any tips on what to get and what to avoid? i have his greatest hits LP on Dot records and it is probably one of my favorite LPs of the last year or so. Great rendition of Bloop Bleep and the Slim Gailiard tune Cement Mixer. Lots of fun female chorus-y vocals and of course the great Alvino on the pedal steel. ZZZZZZing -jonny yuma ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Bradford Ross-MacLeod" Subject: (exotica) New Member Date: 04 Mar 2000 00:25:43 -0500 Greetings folks, I just subscribed and wanted to introduce myself. My name's Brad Ross-MacLeod. I'm 34, married (with my first baby due next week), living in the very un-cool central Pennsylvania (a Philly transplant). I used to teach college (communication), among other pursuits. I will in the near future be a stay-at-home dad which I'm really looking forward to. As for music, lounge/exotica/etc. is part of my musical interest. I have way too many cds to mention and I'm sure my tastes will filter out as you get to know me.... My real introduction to lounge was the Hollyridge Strings Christmas album which my parents had when we were kids. It worked its way into my subconscious over the years. (I still have it, and as it's impossible to find I transferred it to CD-R this year and am now happy as can be...). A few years ago I mentioned in passing on another (unrelated) music list that I was getting into lounge. Well, a friend of mine on the list who worked at BMG distribution sent me the entire Ultra-Lounge series (plus the Denny, Gleason, and Baxter double cd sets). Needless to say, it was a great gift.... I'm starting to explore some of the new electronica artists who sample and use exotica records as sources and inspiration (Fantastic Plastic Machine, Cornelius, Pizzicato Five, etc.). Any recommendations here would be helpful. As would any exotica stuff that makes good music for babies.... Hope to get to know you.... Brad bradross@macleod.net # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) New Member Date: 03 Mar 2000 22:21:23 -0800 >Greetings folks, > > My name's Brad Ross-MacLeod. I'm 34, married (with my first baby due >next week), living in the very un-cool central Pennsylvania (a Philly >transplant). I used to teach college (communication), among other pursuits. >I will in the near future be a stay-at-home dad which I'm really looking >forward to. Hi Brad and Welcome. I'm also a Philly transplant (born and raised), living about 3,000 miles away from there in rainy Washington state for the past almost 20 yrs. > As for music, lounge/exotica/etc. is part of my musical interest. I >have way too many cds to mention and I'm sure my tastes will filter out as >you get to know me.... My own tastes in Exotica are not quite as wide and varied as most on this list; however, I do enjoy most of what falls into the instrumental "easy listening" category with special emphasis on people like Henry Mancini & Burt Bacharach (which is the music I grew up with and heard while at home and whose works I also played in high school band, for the most part). The "other" part of me (which, I'll admit, is the part that is dominant!) is solid Brazilian and Bossa Nova related with emphasis on people like The Gilbertos, Tom Jobim, Laurindo Almeida, Luis Bonfa, and Brazil's No. 1 Organist! Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: Re: (exotica) New Member Date: 04 Mar 2000 12:44:19 EST In a message dated 3/4/0 12:23:09 AM, bradross@macleod.net wrote: >I'm starting to explore some of the new electronica artists who sample >and use exotica records as sources and inspiration (Fantastic Plastic >Machine, Cornelius, Pizzicato Five, etc.). Any recommendations here would >be helpful. As would any exotica stuff that makes good music for babies.... Welcome aboard Brad and prepare for a busy first year of baby-hood. Don't forget to make plenty of soothing sounds for him/her. As for the new artists using EZ samples, I am exploring that terrain at present. Start off with "Ursula 1000". Its just what the doctor prescribed. I don't know where you can get it these days, but I found mine at Cutler's Records in New Haven. It was the "last" one. Follow that one up with "Kinky Beats" which you can get from Other Music (http://www.othermusic.com) or call them at 212-477-8150. They say they are working on getting an 800 number. Also try some of the Italian E-Z tempo remixes, particularly the ones by Piero Piccioni. They are fantastic. Dusty Groove has them still I think (http://www.dustygroove.com) 1-888-DUSTYGR. They also have the "Bob E Helen" remix by Piero Umiliani which isn't bad either. And finally, if you can still find it, see if you can get "Its Doopie Time" by The Doopies. The track "Doopie Time" is, IMHO, sheer Japanese sampling brilliance. They cobble together several TV themes and make it very danceable. Others on this list should be able to supply you with other titles to seek, Brian and Cheryl in Canada, and Brother Cleve in Boston. Enjoy the ride, its a great digest. JB/3 years here and still look forward to reading postings # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "m.ace" Subject: (exotica) school band records Date: 04 Mar 2000 16:10:23 -0500 Greetings, new guy (or anyone new who's just lurking). Sorry you caught us when we seem to have "fallen and can't get back up." Inspired by the article in the latest issue of Cool And Strange Music, does anyone want to testify on school band records? I always check the track titles when I see them, but they usually look to be on the dull side. So I only have one so far: "Parkland Elementary Band Spring Concert -- May 4, 1978" It teased me with titles like "Cha-Cha Rock" and "Minuet Rock" (a Bach adaptation), which unfortunately turned out to be a bit disappointing ("Cha-Cha Rock" is neither Latin nor rocking, just relentless in its simplicity). However, "Apollo XI March" more than makes up for them, with slightly exotic, minor key lines. Despite the space-age title, it has a Hollywood Bible epic sound. "Rock Of Gibraltar", which features the brass ensemble & drums, is also fun. I think the band (which sounds fairly large) is pretty darned good for elementary school kids. It has the usual cautious rhythmic feel, slightly wobbly here and there... some off-pitch strings on higher passages... a stray clarinet occasionally lets out a honk. But nothing too hideous. Nice job, kids. Any other stories to tell? Anyone with their OWN school band records still on hand? Thanks, m.ace ecam@voicenet.com OOK http://www.voicenet.com/~ecam/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) school band records Date: 04 Mar 2000 13:55:59 -0800 >Any other stories to tell? Anyone with their OWN school band records still >on hand? Yes, I still have mine and it's the only school band album I own (though I have seen LOTS of others for sale at used record stores). Mine is "The Cardinal O'Hara High School Band, (Springfield, PA), At The Philadelphia Civic Center" (1970). This was made when I was in junior (3rd) yr. there. The pieces selected for the album definitely reflect the times & what was popular--that's for sure. A sample of what's on the LP includes: Henry Mancini's "Swing March", Burt Bacharach's Suite from "Promises, Promises", also "The Look of Love", "Raindrops Keep Fallin' on My Head". Also the Finale from the Overture of the Broadway Show "1776", "Sun City", "Sleeping Beauty", and of course the h.s. alma mater/school song. I won't bore you with the liner notes on the back as they are just a history of the school's music department and who was the band director during what years. I never really thought of school band records as "Exotica", but then again, I don't know where else you would classify them, either! Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Citizen Kafka Subject: Re: (exotica) school band records Date: 04 Mar 2000 17:05:54 -0500 Hi, all, i didn't see cool and strange... funny, i thought i subscribed. i'd better contact them. anyway, this is a collecting area for me. it is, frankly, one of the richest and most rewarding areas of collecting (yes, i'm that strange). i won't list my prizes, the list is a foot long, but i do have a high school band doing a frank zappa tune, and other winners. some will show up on my series 'americana...' btw, everyone who let me know what i still owe them take heart, i'm shipping. thanks ck # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: cheryl Subject: (exotica) Playlist For Space Bop, March 5 Date: 04 Mar 2000 17:57:59 -0500 Beyond kitsch, Space Bop is one hour of full galactical wonder, and can be heard every Sunday from 4 to 5 pm Eastern time on CKUT 90.3 FM in Montreal, Canada, and on RealAudio (real time only, for now) at: http://www.ckut.ca As usual, all comments, questions, and feedback welcome. Space Bop #85 Beat It! Yet more breakbeat and sampling. Some a little on the naughty side...(keeping in mind that this is being aired on the radio, and we will have our 3-year-old in the studio with us this week, so we had to tone things down a bit...) and some on the nice side. Low-Fi Generator: Stereo (Wohnzimmer Mix) "RO 3003" Michael Viner's Incredible Bongo Band: Apache "Kinky Beats" Ursula 1000: Polyblend "The Kinky Sounds Of..." Los Chicharrons: Chicharron 'n Boogaloo "Conga Heaven, Bongo Hell" Sunny Face: Sunny Cha Cha Cha "Kinky Beats" Stereo Total: Amour Spacial "RO 3003" Merricks: Schwabing Girls "RO 3003" Tim "Love" Lee featuring Chantilly Peach: Twitchin' "Suck It And See" Jacknife Lee: Brown Glitter "Muy Rico!" Arling & Cameron: 1999 Spaceclub "Music For Imaginary Soundtracks" Fantastic Plastic Machine: Green Door "Suck It And See" Maxwell Implosion: Moonboots "RO 3003" Thanks for reading. cheryls@dsuper.net brian@phyres.lan.mcgill.ca # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Lou Smith Subject: Re: (exotica) school band records Date: 04 Mar 2000 20:41:50 -0500 (EST) At 05:05 PM 3/4/00 -0500, CK wrote: >i didn't see cool and strange... funny, i thought i subscribed. i'd >better contact them. Don't panic yet, CK. I haven't received the latest ish yet myself. It's one of the advantages of living in Brooklyn - the PO saves the best for last! Basically, Dana figures that by the time I get my copy, everyone everywhere else has already gotten theirs, and that's his cue to start writing and distributing promo copy. > >anyway, this (school band) is a collecting area for me. it is, frankly, one of the >richest and most rewarding areas of collecting (yes, i'm that strange). > Add my name to the list of School band LP collectors. I also collect summer camp Color War LPs, and Drum&Bugle Corps LPs. Don't pass up any D&B records you may find - they fetch good size $$ from the small but serious group of D&B afficienados. -Lou # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: LTepedino@aol.com Subject: (exotica) The Beach Boys "Pet Sounds" and Exotica connection Date: 05 Mar 2000 01:24:25 EST Well before the Ultra Lounge series ever came out, Irwin Chusid came up with the idea to put together a series of CDs that would highlight what would later become dubed "lounge music." Irwin came up with the idea for the seies just after the first "Incredibly Strange Music" CD was released. Unfortunatley due to some foot dragging with respect to licensing masters from the third party source enlisted (that was out of Irwin's and my contriol) this series never materialised. One CD in this proposed series was to be composed entirely of "exotica" music. Interestingly enough, Irwin had picked the very exotic instrumental track "Let's Go Away For A While" from the Beach Boys' "Pet Sounds" album as a fine example of "exotica" coming from a surprsing source not associated with this style of music. Irwin mentioned that it was his plan in the liner notes to mention that it was very likely Brian Wilson's father, Murray Wilson who may have at one point in Brian's musical education exposed Brian to the music of Martin Denny and thereby influenced the composition and arrangment of this track. Due to the popularity of Denny's albums this seems hardly a questionable assumption that one if not more of Denny's albums resided in the record cabinet ogf the Wilson household. Well you can imagine my pleasant surprise that while exploring the 4 CD "Pet Sounds" box set earlier this evening I discovered in the sessions personel listing that it was in fact Martin Denny's vibe player Julius Wechter who in fact plays the vibes on "Let's Go Away For A While." Not only that, but Wechter also provides percussion touches on other "Pet Sounds" album tracks: "You Still Believe In Me" (the finger cymbals) and "I Know There's An Answer" (tambourine). What a fascinating family tree this makes! # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Philip Jackson Subject: Re: (exotica) school band records Date: 05 Mar 2000 19:29:20 +1100 on 5/3/00 8:10 AM, m.ace at ecam@voicenet.com wrote: > > Inspired by the article in the latest issue of Cool And Strange Music, does > anyone want to testify on school band records? > Any other stories to tell? Anyone with their OWN school band records still > on hand? I often regret that I don't have any recordings of the school band I was in back in the late '60's. Our conductor was a famous trumpet player in Australia and arranged for us tunes like Caravan, El Cumbanchero etc. I'm sure we murdered them beautifuly. However, the other day I found a copy of a record he had made in the '50's "The Fabulous Trumpets of the Victorian Trumpet Trio". On the back - his name in his own handwriting (I remember his curly capitals) - not autographed for somone but his personal copy. When I took it to the counter and told the guy it was by my old trumpet teacher he had a look and it turns out he had been taught by another member of the trio on the lp! Not a bad record either. Virtuosic performances of El Relicario, Cumana, Sabre Dance, Ritual Fire Dance etc. Philip - no longer blowing his own horn. -- # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Keith E. Lo Bue" Subject: (exotica) Great News!!!!! Date: 05 Mar 2000 20:35:09 +1100 Hi kids! Welcome, Brad M.! I'm sure you'll dig the wide-ranging topics here; I know I have. GREAT NEWS to tell you all. I'm beginning work, with Scott Smith, Ferrante & Teicher's manager, on the first and only Official F&T Website!!! I'm so excited I could poop diamonds. (Ick, what a foul image--sorry) I'd like to ask any of you who dig the Grand Twins of the Twin Grands what you'd love to see on the site...love to have all your input. I've come up with a groovy look for the site. It will include a complete discography (a first on the web), album cover gallery, photos of the guys, etc. Do you think we should have a fan page? or chat room? Come on and throw me some input! Cheers, Keith **************************** http://www.lobue-art.com A virtual gallery and info site for the artwork and workshops of KEITH E. LO BUE **************************** # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Otto" Subject: (exotica) Minneapolis Exotica Date: 05 Mar 2000 01:18:22 -0800 "THE SON OF VOODOO!" MINNESOTA CONTEMPORARY ENSEMBLE with THE VIENNA SAX QUARTET VANESSA TOMLINSON VIC VOLARE JANET GOTTSCHALL-FRIED and KING KINI Fine Line Music Cafe, Minneapolis * (612) 338-8100 SATURDAY, APRIL 29th * 8PM Tickets $13 advance - $15 day of show (all Ticketmaster outlets) With the success of last year's standing-room-only show at the Fine Line Cafe, Minnesota Contemporary Ensemble (MCE), will again present an eclectic evening of music including noire, lounge, contemporary, and experimental. We will perform works by L A bassist Joey Altruda, a leader in the "new cool school" movement in Los Angeles, who's music is featured in the movie "Swingers". We will also give the world premiere of a new work by Robert Drasnin, the former head of CBS television's music division for 20 years and last year's featured artist by MCE. Other highlights of the evening include Leonard Bernstein's classic and rarely performed "Prelude, Fugue, and Riffs", The soundtrack to Orson Well's "Touch of Evil", XTC's "Man who Sailed Around His Soul" featuring Vic Volare, and two works by Yma Sumac with Janet Gottschall -Fried, performer with the Minnesota Opera and the Theatre de la Jeune Lune. This year's show features an outstanding line-up of soloists including internationally regarded percussionist Vanessa Tomlinson, a frequent performer with Germany's "Ensemble Modern", giving the world premiere of Erik Griswold's Every Night the Same Dream. We will also have as guest artists the Vienna Sax Quartet performing their arrangement of Steve Reich's New York Counterpoint which was re-written in collaboration with the composer. The MCE band will also include Doug Little from the Motion Poets on solo tenor sax and flute. In between sets, audience members will be treated to Minneapolis' own "lounge/exotica" expert, King Kini, spinning vinyl from his truly unique and unmatched collection of vintage recordings. * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * This mailing list is brought to you by Slick.ORG at http://www.slick.org to remove yourself from the list, send e-mail to majordomo@slick.org and include the words "unsubscribe tikievents" in the message (not in the subject). For web-based help, go to: http://www.slick.org/cgi-bin/majordomo * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Brian Karasick" Subject: (exotica) Breakbeats for kids? Date: 05 Mar 2000 11:34:36 -0500 bradross@macleod.net wrote: > >I'm starting to explore some of the new electronica artists who sample > >and use exotica records as sources and inspiration (Fantastic Plastic > >Machine, Cornelius, Pizzicato Five, etc.). Any recommendations herewould > >be helpful. As would any exotica stuff that makes good music for babies.... > Others on this list should be able to supply you with > other titles to seek, Brian and Cheryl in Canada, and Brother Cleve I think we're in the same place a Jimmy, exploring this terrain, and far from experts in this area. Still, after a lot of searching we've managed to turn up a few things. What I'm finding at least is the range is quite wide and on a lot of these releases, the level of exotica-funk sampling varies and some of it sounds like it crosses over into the hip-hop/house direction. I'm no expert in classifications of dance music so... Still there are a few notable ones that I could recommend without hesitation, in addition to those recommended by Jimmy: Tipsy, Sukia and Stock, Hausen & Walkman (especially "Organ Transplants"). These three groups have been around some time and are all pioneers in exotica sampling. DJ Me DJ You - Simplerockmachine (Emperor Norton, US) Actually Sukia in another disguise and one of the best things on this label. He has a new one out which I've yet to hear but expect to be good. Dimitri From Paris (France) and Ursula 1000 (US) are both brilliant. Each has one CD and neither will disappoint. The "Jet Society" compilation (Eighteenth Street Lounge, US) - has two particularly strong tracks, one by the Norwegian group, The Bobby Hughes Experience and one by the German group Mo' Horizons that were what first got me interested in exploring this style. The rest is more bossa inspired but highly recommended. The Bobby Hughes Experience - Fusa Riot (Ultimate Dilemma, UK) This is the most recent release by the band and lives up to all expectations. Mo'Horizons - Come Touch the Sun (Stereo Deluxe, Germany) . Jazz-African-Bossa inspired. Quieter than some but it definitely grows on you. We've just received a bunch of new disks which I can't say we've heard through enough to make any solid recommendation. However, Los Chicarrons - CongaHeaven, Bongo Hell (Tummy Touch, UK) seems to be a top contender and is made with the right sense of humour to keep me listening. Also, Jacknife Lee's - Muy Rico (Pussyfoot, UK) is quite good, though the rest of the disk doesn't quite live up to his brilliant rendition of "The Cat" called "Here Kitty Kitty" also featured on Kinky Beats. The compilation "Suck It and See" samples porn films and is also recommended (not quite the thing for kids though). You will hear much of this if you tune into Space Bop today (Sunday) from 4:00 - 5:00 pm (eastern standard time) at: http://www.ckut.ca The FSUK compilations (Future Sounds of the UK) of what I've heard are good though they go all over the place. We were fortunate to find three of the four 2CD sets here in town and will feature excerpts from them on Space Bop next week, so tune in if you want to hear more. Still waiting on a few more things by Resident Filters and Mint Royale which I expect to be good. As a first purchase, certainly try Kinky Beats. Br. Cleve steered us to this one and it is a great introduction! As to music for babies, ours was particularly fond of Esquivel but who can say. Certainly there is Raymond Scott's - Music for Babies set which I'm sure you would like too. Otherwise, just having interesting music around is a good thing for kids (unless it happens to be Spice Girls, Britney Spears, or any other of the kiddie cult drivel out there) Our rule here is Disney is fine so long as it was made while Walt was alive. After that it's gotta prove itself to us! Oh yes, and we've managed to maintain our status as a Barney-free household, against all odds... Happy parenting (and listening)! # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) The Beach Boys "Pet Sounds" and Exotica connectio Date: 05 Mar 2000 09:59:15 -0800 >Well you can imagine my pleasant surprise that while exploring the 4 CD "Pet >Sounds" box set earlier this evening I discovered in the sessions personel >listing that it was in fact Martin Denny's vibe player Julius Wechter who in >fact plays the vibes on "Let's Go Away For A While." Not only that, but >Wechter also provides percussion touches on other "Pet Sounds" album >tracks: >"You Still Believe In Me" (the finger cymbals) and "I Know There's An >Answer" >(tambourine). > >What a fascinating family tree this makes! I just played the instrumental tracks from the mono version of that CD that came out in 1990 (I don't own the boxed set). While "Let's Go Away for a While" is a very nice instrumental track, I personally prefer the instrumental "Pet Sounds" track more. Quite coincidentally, the subject of Julius W. playing vibes on this album came up within the past week on another music discussion forum, though no other comments on it have been posted. My opinion: I think we have to draw the line on the family tree, somewhere. If you include this album as "Exotica" because of the presence of Julius Wechter, then by association you also have to include Herb Alpert's Tijuana Brass as well--because many of those same personnel played on Wechter's own Baja Marimba Band albums (of which Wechter was the leader). I don't know how others feel about this, but to me the TJB and the BMB don't fit in as part of "Exotica"! Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: RLott@aol.com Subject: (exotica) How do I make CDs from LPs? Date: 05 Mar 2000 14:01:08 EST Apologies if this has been covered here before, but I'm brand-new to this CD burning thing. I know this can be done, because some of you have talked about it, so how does one go about burning a CD from a good old slab of vinyl? Any help is appreciated. --Rod www.hitchmagazine.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: RLott@aol.com Subject: (exotica) ORGAN-IZED! Date: 05 Mar 2000 14:07:20 EST A quick recommendation for a recent CD that's flown completely under the radar: the compilation "ORGAN-IZED!: An All-Star Tribute to the Hammond B3 Organ." It's on a division of Windham Hill, but don't let that scare you. For an "all-star" lineup, I didn't recognize many of the names, because I think most of them come from the jazz world. But John Medeski, DJ Logic, Galactic, Jimmy Smith and Jack McDuff are among the 13 artists. I think anyone who digs the Hammond sound won't be disappointed -- there's a little lounge, a little jazz and a little funk among the tracks. No gospel, thankfully. For those looking for a budget-priced Hammond disc, I also recommend "Hammond Organ Favourites," which can be found for around $7 (if memory serves correct) from Collector's Choice (www.ccmusic.com). Mostly covers of classics of the lounge canon, including several by Bacharach. --Rod www.hitchmagazine.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) Ferrante & Teicher homepage Date: 05 Mar 2000 20:11:18 +0100 Keith E. Lo Bue wrote: > I'd like to ask any of you who dig the Grand Twins of the Twin Grands what > you'd love to see on the site...love to have all your input. I'd like to see the index page as the inside of an elevator and hear soft background music right away, by... guess who! In the mirror of the elevator you would see a 70 inch tall ear with arms and legs, white gloves, a white scarf, elegant stick and a tuxedo on top. The buttons of the elevator for the diverse floors would be the links to the chapters of the homepage, which would be designed as different 50s/60s styled appartments with stylish furniture and vintage stereo equipments with small record collections, that could be played by the visitor of the homepage. On the beds and sofas of the appartments beautiful female ears with blond wigs and golden high heels would be stretched out lasciviously. One room however would show a terrified ear-sex-bomb and in that room you could click on the wardrobe, the doors would open and you would find Ferrante & Teicher hiding naked inside. Sorry, you asked for it! Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "james brouwer" Subject: (exotica) Re: CDs from LPs? good and bad burns? Date: 05 Mar 2000 20:24:33 GMT RLott@aol.com wrote: >I know this can be done, because some of you have talked about it, so how >does one go about burning a CD from a good old slab of vinyl? My understanding is that you have to a) connect your stereo to your computer, and b) download the appropriate software. But someone else on this list, I'm sure, can do a much better job than myself in explaining the details of this. I don't have a burner. I do, though, have a further question: why do some of my CD burns get "rejected" by my CD player? I put them in, and can here the Cd player trying to do its thing but it just doesn't catch. I've got two burns that are unplayable (they aren't scratched either), and one that is a bit dicey at times. NONE of my regular CD's do this. Anyone know what I'm talking about? Anyone know if it can be fixed? Any help here is appreciated. Thanks JBrouwer ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: kendoll Subject: (exotica) re:school band records Date: 05 Mar 2000 13:26:43 -0700 I'm another collector of school band records (and all amateur music). I look for usual repertoire -- pop tunes rather than religious or patriotic songs. I have handbell choirs & ukulele bands in addition to the more usual vocal, concert and marching bands. In this country, many schools made records to celebrate Canada's centennial year (1967). These records are a staple of Canadian thrift stores. A related genre i also collect (am i the only one?) is "Studio 86" tapes. This was a place where you would go to record your own vocals over prerecorded backing tracks onto a cassette. In Canada, the first location was at Expo 86 in Vancouver. It expanded to West Edmonton Mall (now defunct). I have 16 of these tapes that I've found in thrift stores (one of them was made at a place called Centre Stage Recording Studios with locations in New Zealand and the US). Almost without exception, they were recorded by groups of young girls who display more enthusiasm than talent. A Goodwill cashier once tried to talk me out of buying one, telling me it would probably be awful. On the contrary, I replied, it's probably wonderful & much more entertaining than the original. And indeed it was -- they're ALL delightful (in their way). Titles include "The Rose", "That's What Friends Are For" (two versions), "The Locomotion" (two versions); "The Wind Beneath My Wings" and so on. The only one I have that was recorded by a man is "Mamas Don't Let Your Babies Grow Up To Be Cowboys." Mike Ewanus All Sales Are Vinyl http://www.freenet.edmonton.ab.ca/~kendoll/Welcome.htm # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Larson/Thomas" Subject: RE: (exotica) How do I make CDs from LPs? Date: 05 Mar 2000 13:10:48 -0800 >how does one go about burning a CD from a good old slab of vinyl? Here are some useful sites: http://www.fadden.com/cdrfaq/ http://homepages.nildram.co.uk/~abcomp/lp-cdr.htm http://resource.simplenet.com/primer/primer.htm Jerry # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "m.ace" Subject: Re: (exotica) The Beach Boys / Exotica Issues Date: 05 Mar 2000 16:47:42 -0500 >My opinion: I think we have to draw the line on the family tree, >somewhere. If you include this album as "Exotica" because of the >presence of Julius Wechter, then by association you also have to include >Herb Alpert's Tijuana Brass as well--because many of those same personnel >played on Wechter's own Baja Marimba Band albums (of which Wechter was >the leader). I don't know how others feel about this, but to me the TJB >and the BMB don't fit in as part of "Exotica"! Has the ol' epistemology question popped up yet again? I guess it's been a while. My own observations of the list gestalt run like this... I would agree, the TJB and the BMB are not strict definition exotica. Strict exotica examples include Baxter (not his entire ouvre), Denny, Lyman, Sumac. However, despite what the name of the list might imply, this list is not solely about strict exotica. From space age pop to now sound to obscure crackpots, we cover the waterfront. One way to describe what we cover might be "the stuff that everyone else ignores." Though it's really more complex than that. For example, Frank Sinatra certainly is not an ignored artist, but it is not out of line to speak of him here. And the TJB and BMB are certainly list-appropriate. Does this mean the name of the list is a misnomer? In a way, yeah. But it's the name we were "born with." It works fine. And it provides an emotional center of sorts, for all of our diverse explorations to orbit around. Finally, I think this passage from the list 'welcome' message bears repeating (again): :::::::::::::::::::::::::::::::::::::::: >The Exotica mailing list is a forum for people interested in unusual >music, primarily that from the 1950s and 1960s. There is no hard and fast >definition of "Exotica" as the distinction is primarily in the eye (and >ear!) of the collector. Just keep in mind that the primary focus of this >mailing list is the *unusual*. ::::::::::::::::::::::::::::::::::::::::: m.ace ecam@voicenet.com OOK http://www.voicenet.com/~ecam/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: Re: (exotica) Exotica Issues Date: 05 Mar 2000 17:27:44 -0500 At 04:47 PM 3/5/00 -0500, m.ace wrote: > >I would agree, the TJB and the BMB are not strict definition exotica. >Strict exotica examples include Baxter (not his entire ouvre), Denny, >Lyman, Sumac. I disagree. What is the strict definition of exotica? I've always taken it to mean an attempt to mix exotic musical influences in with "jazz-based" musics such as swing or cocktail jazz. So when you try to decide if something is exotica you have to decide whether there is an exotic influence AND whether the music at its base is jazz-ish. In other words, if you used bird calls and Hawaiian tunes but mixed them in with rhythm n blues, would it still be exotica? I don't know. But that's the only question that stops me from giving TJB and BMB the stamp of exotica. The music might be a bit too "rockin" at its base to qualify. But otherwise I think the vague Mexican or Mariachi influence qualifies it as exotica every bit as much as it would if the influences were more Hawaiian. Any record I have that combines swing or big band jazz with Chinese or Japanese or Arabic sounds, I put in with the exotica records. Like "Brass and Bamboo" by Tak Shindo or "Land of the Rising Sun" by Jack deMello. It doesn't have to come from the exact geographic origin - assuming you can pin that down - as Les Baxter or Martin Denny's exotica to qualify, does it? And having said all that, I might have reservations about the TJB but I think the Baja Marimba Band absolutely qualifies as exotica. I think I could take a number of their cuts, put them on a mixed exotica tape and the vibe would be uninterrupted. Doesn't the very sound of the marimba, let alone all that overt percussiveness qualify it as exotica? And one more thing. I know why people lump the TJB and the BMB together but I think it's unfair and unflattering to the Baja boys. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) Exotica Issues Date: 05 Mar 2000 14:59:36 -0800 >>I would agree, the TJB and the BMB are not strict definition exotica. >>Strict exotica examples include Baxter (not his entire ouvre), Denny, >>Lyman, Sumac. > >I disagree. What is the strict definition of exotica? I've always taken >it to mean an attempt to mix exotic musical influences in with "jazz-based" >musics such as swing or cocktail jazz. So when you try to decide if >something is exotica you have to decide whether there is an exotic >influence AND whether the music at its base is jazz-ish. Maybe the crux of the matter is defining what you call "exotic musical influences". That phrase is kind of vague to me and could mean any number of things, not necessarily having to do with the music that's talked about and covered on this list. Does it mean musical influences coming from remote and far-away parts (and peoples) of the world, or from little-known and little-used minority instrumentation? Or both? Or neither? Further, you qualify exotica as being jazz-ish at its base. From what I've seen talked about and mentioned on this list, Hawaiian music and Tiki music are definitely exotica, but I don't consider either one a form of music based on what is standardly known and thought of as "jazz". So how do they fit in with the rest? Is it because they are tropical-island based? If so, I think a broader definition of "Exotica" is in order. As for Exotica being "what everyone else ignores", I think that should be amended to say "what everyone else *now* ignores". A good deal of what is considered to be Exotica *used* to be plain ol' popular music that was once loved by the masses, played on radio stations infinitum, and whose popularity has come and gone and is now relegated to "oldie" status by the public, occasionally to get resurrected in a film (the way Burt Bacharach did in "Austin Powers"). >And having said all that, I might have reservations about the TJB but I >think the Baja Marimba Band absolutely qualifies as exotica. I think I >could take a number of their cuts, put them on a mixed exotica tape and the >vibe would be uninterrupted. >Doesn't the very sound of the marimba, let alone all that overt >percussiveness qualify it as exotica? In my opinion (again), I don't see any instrument being singled out to qualify for the label of "Exotica", because it totally depends on how the instrument is used within the piece of music. Any number of instruments can be used "percussively". A circus caliope is not standardly used in jazz(!) or in mainstream recordings, but unless/until a more encompassing definition of "Exotica" is arrived at, I'd have no idea what "category" to put it in or if it even would qualify as "Exotica". >And one more thing. I know why people lump the TJB and the BMB together >but I think it's unfair and unflattering to the Baja boys. I'm not sure why you believe it's unflattering, given that the two groups share much the same personnel, record label, album producers, arrangers, etc. etc. I happen to like the sound of the BMB over the TJB, too (for purely instrumentation reasons)--but credit has to be given where credit is due, and the BMB recordings simply would not have existed without the support of the members of the TJB and what formerly was Herb Alpert's record company. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "m.ace" Subject: Re: (exotica) Exotica Issues Date: 05 Mar 2000 19:15:04 -0500 Sorry, I forgot to make my conclusion in the earlier message... Better to simply relax and enjoy it than to drive yourself crazy splitting hairs over definitions, boundaries and classifications. Of course, if you enjoy that hair splitting process, that's a different kettle of catfish. Go ahead and have a ball... >>I disagree. What is the strict definition of exotica? My old definition of "strict" exotica is: Mood music incorporating elements evoking non-European/North American regions: the Pacific islands, Asia, India, Africa, South America, the tropics in general. But that's just my definition. Everyone else will have their own. And reading it again, I suppose that could include TJB [anti-lumping barrier] or BMB. Though a lot of either band's material is a bit too bouncy for mood music. I guess next it'll be, "what's the definition of mood music?" >As for Exotica being "what everyone else ignores", I think that should be >amended to say "what everyone else *now* ignores" "What everyone else ignores" already *is* present tense. (just teasing ;o) m.ace ecam@voicenet.com OOK http://www.voicenet.com/~ecam/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: LTepedino@aol.com Subject: Re: (exotica) The Beach Boys "Pet Sounds" and Exotica connectio Date: 05 Mar 2000 21:17:47 EST In a message dated 3/5/00 1:00:58 PM EST, bjbear71@mindspring.com writes: << My opinion: I think we have to draw the line on the family tree, somewhere. If you include this album as "Exotica" because of the presence of Julius Wechter, then by association you also have to include Herb Alpert's Tijuana Brass as well--because many of those same personnel played on Wechter's own Baja Marimba Band albums (of which Wechter was the leader). I don't know how others feel about this, but to me the TJB and the BMB don't fit in as part of "Exotica"! >> Whooooaaaa boy! All I'm saying is that the particular track "Let's Go Away For A While" has defintely been influenced by exotica and utilizes one of exotica's master musicians to create it's sound. My comment on the family tree was just a throwaway aside and it was in no way intended to have people completely wasting there time over argumentsover whether to consider "Pet Sounds" an exotica album....I know I've got better things to do than that, like laundry. Ashley # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: Re: (exotica) Exotica Issues Date: 06 Mar 2000 09:19:38 -0500 At 02:59 PM 3/5/00 -0800, B.J. Major wrote: > > >Maybe the crux of the matter is defining what you call "exotic musical >influences". That phrase is kind of vague to me and could mean any >number of things Exactly. It's vague. The very concept of the "exotic" is vague. It's an image, a feeling. It's about an idea more than it's about strict musical influences. So how can you say that the sounds influencing TJB and BMB were NOT exotic? If these bands do not qualify as "strictly" exotica, they were certainly extensions of the concept that originally created exotica. It was about bringing the "feeling" of exotic foreign destinations to a mostly white suburban middle class audience. It was about reminding them of that Hawaiian band that met them at the airport OR that Mariachi band that serenaded them on the beach. It was about sitting in the rec room, putting on a Hawaiian shirt, sipping a rum and coke and imagining copper skinned native girls serenading you. It's true that Mexico is not quite as "exotic" as the mysterious far East but when I see the Baja Marimba band dressed up as Mexican banditos, I can't help thinking that we're basically in the same territory as Yma Sumac, the Incan princess or whatever she was supposed to be. > >Further, you qualify exotica as being jazz-ish at its base. From what >I've seen talked about and mentioned on this list, Hawaiian music and >Tiki music are definitely exotica, but I don't consider either one a form >of music based on what is standardly known and thought of as "jazz". What would you call the sound of Martin Denny or Arthur Lyman if not at least "jazz based"? They're basically cocktail jazz piano quartets with something extra. They're not a whole hell of a lot different than those earlier "latinesque" George Shearing records which I'd call jazz. It's not bebop certainly. It's more what I'd call "polite" jazz. But it still ain't rock n roll. If you want to put TJB and BMB at the fringe of exotica, it doesn't bother me. All I was saying was that I could make an exotica tape and include some BMB without most people - even on this list - going "hey what's that doing there?" It's not like I actually care if something does or doesn't qualify as exotica. If you want to split hairs, you could probably say "Martin Denny is exotica but not when he covers McArthur Park" and in the right mood, I might agree with you. But I'd still try and throw it on the exotica tape playing in my head. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Nathan Miner" Subject: (exotica) LP Question... Date: 06 Mar 2000 09:34:07 -0500 Came across an interesting LP that was marked too high for purchase.....it = was a gatefold, double-LP set put out by the manufacturers of Seeburg = jukeboxes as a demo of all the "Easy Listening" type music available to = stock in said jukeboxes. Now these are "corporate jukes" used to pipe music into offices, etc. The = cover says something like Easy Listening in cursive script, and there's a = cover of the Seeburg machine. Inside is a total zen-like experience as = the entire gatefold is nothing but pure white space....not a dot of text = anywhere......I even did a double-take an looked inside the gatefold a = second time to be sure!!!=20 The back of the album is exactly the same as the front - looks like the = wax is an entire, continuous track on all four sides...... Anybody have this? What's it like? - Nate # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Nathan Miner" Subject: Re: (exotica) Ferrante & Teicher homepage Date: 06 Mar 2000 09:34:39 -0500 Oh man - was that great!!!! Great imagination!!! I'll second that design....... - Nate # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Rajnai, Charles, NNAD" Subject: RE: (exotica) Great News!!!!! Date: 06 Mar 2000 09:51:47 -0500 what you'd love to see on the site I would love to see a picture of the inside of a prepared piano!! visit=20 THE BRIMSTONES Eternal Surf and Garage Damnation=20 at http://www.brimstones.com =A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=BA=B0`=B0=BA=A4=BA=B0`=B0=BA=A4=F8,= =B8=B8,=F8=A4=BA=B0`=B0=BA=A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4 surfing the chaos, Charlieman cdr@brimstones.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: nytab@pipeline.com Subject: (exotica) Friends of Late Singer Searching for His 57 Children Date: 06 Mar 2000 09:54:39 -0500 Friday March 3 6:01 PM ET Friends of Late Singer Searching for His 57 Children By Dan Whitcomb LOS ANGELES (Reuters) - Rhythm and blues wild man ''Screamin'' Jay Hawkins was pretty sure that he fathered roughly 57 children during his life. He just couldn't keep track of them all. Now friends and family members of the eccentric singer, who died in Paris last month at age 70, have begun a worldwide search for his sons and daughters, who may or may not know that Hawkins, best known for his 1956 hit single ``I Put A Spell on You,'' is their father. But those long-lost children of Hawkins, who performed his voodoo-inspired blues after emerging from a coffin, shouldn't expect any money from their late father's estate. ``It's not like there's some huge pot at the end of the rainbow,'' said Hawkins' friend and lawyer Gary Spritz. ''They're entitled to nothing, to be honest with you.'' Spritz added that he had obtained strands of Hawkins' hair, and could use them to scrutinize the DNA of anyone claiming to be the late singer's son or daughter. Spritz said the search, being conducted largely on the Internet, was more for the purposes of ``closure,'' even though he hoped to track down any of the children before Hawkins' will is submitted for probate in May. ``Are YOU one of Jay's kids?'' asks a Web site dedicated to the search that features a photo of the smiling Hawkins, who was married six times and apparently sired a prodigious number of children out of wedlock. The Web site (www.jayskids.com) notes that Hawkins ''reportedly fathered up to 57 children'' and asks visitors to contact his estate ``If you believe you may have had a child by Screamin' Jay Hawkins or if you believe you are a child of Screamin' Jay Hawkins.'' Maral Nigolian, a longtime friend of Hawkins, said the performer, known for his outlandish live performances featuring a flaming skull named ``Henry,'' told her before his death that he wanted to reach out to his kids -- all of them. ``The last time I visited him in Paris he told me that he had 57 children that he knew of,'' Nigolian said. ``He personally didn't think there was anything wrong with that, but he hoped that he would have more time to find them and hoped that it would be done. He said: 'You do it, Maral.''' Nigolian, an independent film producer currently making a documentary about Hawkins, concedes that contacting all of his kids could be nearly impossible, and adds that some of those who knew he was their father were not speaking to him. ``He also performed all over the world, he was married to a Japanese woman one time, he was married to a Hawaiian woman one time and he had a number of relationships,'' she said. Nigolian said the search was not intended to find heirs who might have a claim to his estate, but to bring all of the children together at least once in honor of their late dad. ``If it's possible, we'd like to bring all his children under one tent, take his ashes and have a ceremony in his honor,'' Spritz said. ``We think we'll find at least 37 of them,'' Spritz added. ''We'll weed out the ones we're definitely not going to find, and with enough word of mouth we think we can find the rest.'' Screamin' Jay Hawkins Related News Stories · Screamin' Jay Hawkins put a spell on us - Salon (Feb 18, 2000) Copyright © 2000 Reuters Limited. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: nytab@pipeline.com Subject: Re: RE: (exotica) Great News!!!!! Date: 06 Mar 2000 10:22:16 -0500 "Rajnai, Charles, NNAD" wrote: >>what you'd love to see on the site >I would love to see a picture of the inside of a prepared piano!! Cool idea! You could use the Evelyn Glennie percussion masterclass site ( http://www.braunarts.com/evelyn/intro.html ) as a model. Or even better, the Interactive Gamelan site ( http://www.gsj.org/library/sw_gamelan.cfm ). It would be great to play virtual prepared piano at your site. Think of the possibilities! Drag and drop various items to various positions in the piano, then play the v-keyboard to see what happens. There's a PP cd-rom available ( http://www.propeller-island.com/sounds/dt/prepared_piano.html ) that you can use for playback. -ls # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Zach_Douglas@Dell.com Subject: Re: (exotica) school band records Date: 06 Mar 2000 09:36:12 -0600 School Band Records and such... I only have school band TAPES (from early 80's) of my band days (I'm 26)... It's too bad though I only have the lame tapes from concert years.. one year we played a tune called Incantation and Dance. We had to practice it so many months to be able to play it that I wouldn't have wanted a tape of it if you offered.. But now I can really appreciate what it was.. almost a clear cut exotica piece! It started with some slow mysterious strings like a yma sumax piece and then the percussions started in with the Claves (I played them). More and more percussions came in every 4 bars until it was pretty groovy and then the rest of the band came back in. I think all the time the percussion was going there was a solid note from the Oboes going HMMMMMMMMMMMMMMMMMMMMM. The piece picked up and ended up sounding something like the music in Raiders of the Lost Arc.. like running through the jungle being chased by natives music. Best part was the 'Whip' we cracked which was really some planks of wood with a hinge and handles. You just clapped them together for a whip-like cracking sound. We cracked it so loud and hard the wood split on the boards and we had to build another one. I doubt anyone has heard of the piece, but I may look around the web and see if I can find if there are any recordings of it... Incantation and Dance. Oh btw, we won the 'sweepstakes' playing the piece. I think it was so difficult for a high school band they would have given us the prize for playing it half-way decent... but we played it very well. OH yeah - the only band record I've bought thrifting was because of this: On the cover of the album it showed about 40 kids who were in this band.. it must have been an elementary school band, pretty young kids. Anyways, on the black and white photo some kid had taken a marker and X'ed out every kids face except for 2! Those 2 had big red circles around them. I assume this was the owner of the record and their best friend. It was kind of sweet they kept 2 circled, yet creepy they crossed out the other 38. Would make a good album cover now the way it is. Maybe a new thread: If anyone has ever seen the pavement EP with the rooster on the record cover.. this is actually a record jacket from an old album which has been doctored with a pen or marker and reused as their album cover art. I saw this old album but didn't buy it ($7 at the time was steep). I've seen the Kim Novak cover of that Eddie Duchin story soundtrack colored in with a marker and used as a 7' cover also. That's a really common thrift store soundtrack find it seems. I just wonder if there are more exotica or soundtrack covers that have been copped for post-modern reuse on modern record jackets. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Bradford Ross-MacLeod" Subject: Re: (exotica) Great News!!!!! Date: 06 Mar 2000 09:59:25 -0500 ----- Original Message ----- Sent: Sunday, March 05, 2000 4:35 AM > GREAT NEWS to tell you all. I'm beginning work, with Scott Smith, Ferrante > & Teicher's manager, on the first and only Official F&T Website!!! I was at a local flea market when I came across a booth with loads of "Easy Listening" LPs. Lots of F&T and some other gems...."Switched on Bacharach" included. If anybody has anything they're looking for, let me know. Most of them were pretty cheap ($2 or so, some as much as $10). I live out in the middle of nowhere and so I think there's less demand for these things. So maybe I could find something you've been looking for.... Just a thought.... Brad # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Ben Waugh Subject: (exotica) Record show, DC Date: 06 Mar 2000 08:37:48 -0800 (PST) Did anyone local to DC attend the record convention at the Westpark Sunday? I saw very nice copies of list-specific lps for reasonable prices (Bernie Green's Futura, $10, e.g., and my currentfavorite synthesized cheese, Rudy Rosa at the Hammond/ARP: $5). Scored a nice copy of Joe Maphis's Fire on the Strings for $3, Panics' Panicsville, etc. Nice little cheerleaders' convention there, too. SWB. BW __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: mimim@texas.net (Mimi Mayer) Subject: Re: RE: (exotica) Great News!!!!! Date: 06 Mar 2000 10:56:00 -0500 >"Rajnai, Charles, NNAD" wrote: >>I would love to see a picture of the inside of a prepared piano!! Yeah! And I love Lou's idea of an interactive keyboard so we could make the sounds ourselves. You could supplement the keyboard by designing the prepped piano with mouseover events. Invite people to run their cursors over the entire prepped piano body then surprise them by sounding off the tones when they hit the strings or the pedals or whatever was the source of specific sounds. And for these pages, instead of Mo's giant ears, you could have disembodied hands and a bunch of mallets, picks, bows, brushes, kitchen sponges, or, what the hell, gardening tools--whatever F&T used. Before Charles suggested the graphic, I went a bit nuts dreaming up a scavenger hunt on the site--a sort of make-your-own-F&T-style music thingy as a navigatation strategy. An alternative to Mo's penthouse metaphor. And I've love to see graphics of F&Ts favorite records so we could get a history of the musical influences that wacked their ears throughout their careers. Show record spines or graphics of sleeves--click to open and hear sound samples. You know, the same principle as bookshelves in Myst. On second thought, most this stuff would probably require a CD-ROM. How much input will F&T themselves have on the site, Keith? And does anyone know how they feel now about their prepped piano stuff? Shame? Pride? Chagrin? Apathy? And anyone want to recommend some good F&T sites? Lou? TIA. Mimi # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Reader Geoff Subject: (exotica) Minneapolis Exotica Date: 06 Mar 2000 16:40:32 -0000 This looks like a real treat. I got my first listen to Drasnins 'Voodoo' only recently and it is a beautiful piece of music, truly a Great Exotica Classic, (no genre quibbles here I trust). And so cheap too, apart from the 500 quid or whatever it is return fare to the US. Very envious. Very Envious Indeed. El Maestro Con Queso djcheesemaster@yahoo.com grr@brighton.ac.uk http://www.shitola.freeserve.co.uk/cheese/cheese.htm http://www.geocities.com/djcheesemaster/ MINNESOTA CONTEMPORARY ENSEMBLE with THE VIENNA SAX QUARTET VANESSA TOMLINSON VIC VOLARE JANET GOTTSCHALL-FRIED and KING KINI # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: nytab@pipeline.com Subject: RE: (exotica) Great News!!!!! Date: 06 Mar 2000 12:01:00 -0500 Mimi Mayer wrote: > And anyone want to recommend some good F&T sites? Lou? TIA. I think that's the point of Keith's proposed site - there aren't any other good F&T sites out there now. While looking for one, though, I stumbled across an Australian Christian EZ cocktail radio station with an on-line feed. Check this page!: http://www.4crb.com/Audio.html Oh, here's another idea for the F&T site - F&T paper dolls. Picture, if you will, 2 hairless F&T's standing there in their boxers. Surrounding them are drag&drop outfits (tuxes, spacesuits, nehru jackets, etc.) and hair (both scalp & facial). F&T varied their appearance with the times, and it would be a beautiful thing to rummage through their virtual-closets. -Lou # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Darrell Brogdon" Subject: (exotica) Retro Cocktail Hour Date: 06 Mar 2000 11:01:57 -0600 We've got tunes for comic book heroes on this week's Retro Cocktail Hour webcast! We'll hear Billy May's "Green Hornet Theme" from the new Japanese CD reissue, plus music from "Comic Book Heroes" by the Capes and Masks. Irrelevant trivia: didja know side 2 of "Comic Book Heroes" is really tunes from Irving Joseph's earlier "Murder, Inc" album? They simply stuck different titles on for the "Comic Book Heroes" release. Also, goofy cha-cha records by Don Swan and Jackie Davis; underrated exotica from Frank Hunter's "White Goddess" and Mike Simpson's rare "Jungle Oddysey"; the chimes, they are a- swinging, with Dick Schory, David Carroll and Henry Mancini; music for teenage rebellion from "The Wild One" and the ultra-rare soundtrack from "Hot Rod Rumble"; plus tunes by the Three Suns, Peter Thomas, Les Baxter and chanteuse Linda Lawson. To hear The Retro Cocktail Hour on the Web, it's: http://kanu.ukans.edu/retro.html Requires a minimum 28.8 Internet connection and RealPlayer. If you tune us in, drop us a line and let us know! Thanks for the space. Darrell Brogdon dbrogdon@ukans.edu The Retro Cocktail Hour KANU FM 91.5 Broadcasting Hall The University of Kansas Lawrence, KS 66045 Visit The Retro Cocktail Hour at: http://kanu.ukans.edu/retro.html Listen to The Retro Cocktail Hour at: http://kanu.ukans.edu/retro/retrolisten.htm # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Brian Karasick" Subject: (exotica) Re: CD burners Date: 06 Mar 2000 12:31:43 -0500 James wrote: > I do, though, have a further question: why do some of my CD burns get > "rejected" by my CD player? I put them in, and can here the Cd player trying > to do its thing but it just doesn't catch. I've got two burns that are > unplayable (they aren't scratched either), and one that is a bit dicey at > times. NONE of my regular CD's do this. Anyone know what I'm talking about? > Anyone know if it can be fixed? I can't say for sure but the laser in older CD players often have lower output (I have an old and not at all shabbby California Audio Labs Icon, complete with new laser assembly that suffers from this problem) and the blue/green discs have a lower reflectivity index. End result is they often can't be read-in. For me at least 2 of 3 blue/green burns are unplayable yet they all play fine on the computer CD drive. The solution is simple - Use only gold or silver backed blanks. I've never had a problem with them. I use Kodak but there may be others, I think Mitsumi? They cost a bit more ($2.25 - $2.50 apiece here in Montreal) but worth it in the end. Not all machines, burners, or blanks seem to be equal. Another case of a lack of standards in the industry. I'm beginning to more and more understand (and appreciate) the Apple approach to computing. I hear Moritz giggling in the background! Brian Karasick Physical Planner McGill University Montreal, Canada # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) Exotica Issues Date: 06 Mar 2000 09:33:18 -0800 >Exactly. It's vague. The very concept of the "exotic" is vague. It's an >image, a feeling. It's about an idea more than it's about strict musical >influences. So how can you say that the sounds influencing TJB and BMB >were NOT exotic? I said that because the music those two groups made doesn't put me in mind of any music I've read about here so far on the Exotica list. I also originally read here that exotica was about music that everyone else no longer bothers with. I can assure you that the TJB and BMB are very much alive on fan sites and other music discussion forums on the web and that therefore there are many others "bothering" with their music! >If these bands do not qualify as "strictly" exotica, they >were certainly extensions of the concept that originally created exotica. As extensions of exotica, I'd give a big "maybe" to that, though I still have my reservations about their inclusion at all. >>Further, you qualify exotica as being jazz-ish at its base. From what >>I've seen talked about and mentioned on this list, Hawaiian music and >>Tiki music are definitely exotica, but I don't consider either one a form >>of music based on what is standardly known and thought of as "jazz". > >What would you call the sound of Martin Denny or Arthur Lyman if not at >least "jazz based"? They're basically cocktail jazz piano quartets with >something extra. They're not a whole hell of a lot different than those >earlier "latinesque" George Shearing records which I'd call jazz. It's not >bebop certainly. It's more what I'd call "polite" jazz. But it still >ain't rock n roll. I never said that those people you mention above weren't jazz based. I said that by your own definition, you called Exotica "jazz-ish at its base". I then replied that Exotica takes in Hawaiian/Tiki/Tropical music as well--and those are certainly *not* jazz based. Jazz means one thing and one thing only to me--improvisation. So, Exotica is taking in two different worlds here--one jazz based and the other not. Therefore, you cannot call all of it jazz based. I'm really not interested in splitting hairs over this or getting into discussing different folks' musical tastes that influence what they like & collect. All I want is a workable definition of Exotica that is clear about what it includes *as well as* what it excludes. The definition as it now stands does NOT take in everything that people have so far said is within the realm of Exotica (school band records being a prime example). Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Brian Karasick" Subject: (exotica) Re: CD burners Date: 06 Mar 2000 12:31:43 -0500 James wrote: > I do, though, have a further question: why do some of my CD burns get > "rejected" by my CD player? I put them in, and can here the Cd player trying > to do its thing but it just doesn't catch. I've got two burns that are > unplayable (they aren't scratched either), and one that is a bit dicey at > times. NONE of my regular CD's do this. Anyone know what I'm talking about? > Anyone know if it can be fixed? I can't say for sure but the laser in older CD players often have lower output (I have an old and not at all shabbby California Audio Labs Icon, complete with new laser assembly that suffers from this problem) and the blue/green discs have a lower reflectivity index. End result is they often can't be read-in. For me at least 2 of 3 blue/green burns are unplayable yet they all play fine on the computer CD drive. The solution is simple - Use only gold or silver backed blanks. I've never had a problem with them. I use Kodak but there may be others, I think Mitsumi? They cost a bit more ($2.25 - $2.50 apiece here in Montreal) but worth it in the end. Not all machines, burners, or blanks seem to be equal. Another case of a lack of standards in the industry. I'm beginning to more and more understand (and appreciate) the Apple approach to computing. I hear Moritz giggling in the background! Brian Karasick Physical Planner McGill University Montreal, Canada # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Ponak, David" Subject: (exotica) The Liquid Room 3/4/00 Date: 06 Mar 2000 10:02:15 -0800 The Liquid Room airs every Saturday Morning (Friday night) from 3-6 on 90.7 FM KPFK. (98.7 in Santa Barbara County). Also check out my show The Nice Age at http://www.spikeradio.com on Sunday afternoons from 3-6 PM, PST. The Liquid Room-3/4/00: 1.The Association-Come On In Birthday (Warner Bros.) 2.Great 3-From The Motion Picture 'Without Onion' Without Onion (EMI-Japan) 3.Pau Mauriat-Get Back L.O.V.E. (Phillips) 4.Mouse On Mars-Albion Rose Niun Niggung 5.The Wiseguys-Start The Commotion The Antidote (Ideal) 6.Aretha Franklin-Satisfaction Aretha Arrives (Rhino) 7.Yoshinori Sunahara & Mars Art Lab-Preview Pop Tics (Bungalow-Germany) 8.Cambodian Rocks-A2 Love, Peace & Poetry-Asian Psychedelic Music (QDK Media-Germany) 9.J-Welk-This Is A Soul Vibration Heartbeat-Sunday Sessions IN Reykjavik (Uniform-Eu) 10.Hugo Montenegro-Caravan Others By Brothers (RCA) 11.The Ananda Shankar Experience & State Of Bengal-Alma Ata Walking On (Realworld) 12.Jenka-You (Be My Sweet) Be (Epic-Japan) 13.Eternity's Children-Lifetime Day Eternity's Children (Rev-ola-UK) 14.Riviera-Veruschka Wir Im All (MP3.com) 15.Tom Jones With Portishead-Motherless Child Reload (Gut-UK) 16.Jungle Brothers-Sounds Of The Safari Straight Out Of The Jungle (Warlock) 17.Flaming Lips-Race For The Prize/Everyone's Gone To The Moon UK radio live performances 18.Angelo Badalamenti & Orbital-Beached The Beach Soundtrack (London) 19.Mongo Santamaria-Working On A Groovy Thing Working On A Groovy Thing (Columbia) 20.Billy Stewart-Sitting In The Park One More Time (Chess) 21.Arto Lindsay-Resemblances Prize (Righteous Babe) 22.The Beach Boys-Let The Wind Blow Wild Honey (Capitol) 23.The Wondermints-Bali Bali (Neosite-Japan) 24.Brian Wilson-Love And Mercy I Wasn't Made For These Times (MCA) 25.Beachwood Sparks-Silver Morning After Beachwood Sparks (Sub Pop) 26.Lloyd Cole-There For Her Don't Get Weird On Me Baby (Capitol) 27.The Supremes-I Keep It Hid The Supremes (produced by Jimmy Webb) (Motown) 28.Masaru Satoh-Son Of Godzilla (The Readymade Retouched Mix by Konishi) Destroy The Monsters (Triad-Japan) 29.Oasis-Who Feels Love Standing On The Shoulder Of Giants (Epic) 30.The Free Design-Canada In Springtime There Is A Song (Tokuma-Japan) 31.Papas Fritas-Girl Buildings And Grounds (Minty Fresh) 32.Mellow-Sundance Another Mellow Winter (Atmospheriques) 33.Thomas Dolby-Screen Kiss The Flat Earth (Capitol) 34.The MiGs-Honolulu Debut (?) 35.Rupert Holmes-I Don't Want To Get Over You Singles (Epic) 36.Rocky Chack-Change Single (Midi-Japan) 37.Terry Callier-Ordinary Joe Occasional Rain (Chess) 38.Bootsy's Rubber Band-What's A Telephone Bill? Ahh...The Name Is Bootsy Baby (Warner Bros.) 39.Susan Rafey-The Big Hurt Hurts So Bad (Verve) 40.The Blue Nile-Saturday Night Hats (A&M) 41.The Sandpipers-Come Saturday Morning A&M Digitally Remastered Best (Polydor-Japan) 42.Paul Williams-Morning I'll Be Moving On Someday Man (Reprise) # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Stephen W. Worth" Subject: (exotica) Hawaiian Jazz Date: 06 Mar 2000 11:22:54 -0800 >Date: Sun, 5 Mar 00 14:59:36 -0800 >From: "B.J. Major" >Subject: Re: (exotica) Exotica Issues > >Further, you qualify exotica as being jazz-ish at its base. From what >I've seen talked about and mentioned on this list, Hawaiian music and >Tiki music are definitely exotica, but I don't consider either one a form >of music based on what is standardly known and thought of as "jazz". As long as it's been recorded, Hawaiian music has always been influenced by Jazz. Just listen to Sol Hoopii. Those Hawaiian cats dug Django and Charlie Christian as much as they dug Pele and Princess Papoolii. See ya Steve Stephen Worth bigshot@spumco.com The Web: http://www.spumco.com Usenet: alt.animation.spumco Palace: cartoonsforum.com:9994 Spumco International 415 E. Harvard St. Ste. 204 Glendale, CA 91205 # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "m.ace" Subject: RE: (exotica) Great News!!!!! Date: 06 Mar 2000 14:24:10 -0500 Don't forget an info-rich/low-bandwidth version (or section) for those who lack cable modems and high horsepower computers. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) Exotica Issues Date: 06 Mar 2000 09:33:18 -0800 >Exactly. It's vague. The very concept of the "exotic" is vague. It's an >image, a feeling. It's about an idea more than it's about strict musical >influences. So how can you say that the sounds influencing TJB and BMB >were NOT exotic? I said that because the music those two groups made doesn't put me in mind of any music I've read about here so far on the Exotica list. I also originally read here that exotica was about music that everyone else no longer bothers with. I can assure you that the TJB and BMB are very much alive on fan sites and other music discussion forums on the web and that therefore there are many others "bothering" with their music! >If these bands do not qualify as "strictly" exotica, they >were certainly extensions of the concept that originally created exotica. As extensions of exotica, I'd give a big "maybe" to that, though I still have my reservations about their inclusion at all. >>Further, you qualify exotica as being jazz-ish at its base. From what >>I've seen talked about and mentioned on this list, Hawaiian music and >>Tiki music are definitely exotica, but I don't consider either one a form >>of music based on what is standardly known and thought of as "jazz". > >What would you call the sound of Martin Denny or Arthur Lyman if not at >least "jazz based"? They're basically cocktail jazz piano quartets with >something extra. They're not a whole hell of a lot different than those >earlier "latinesque" George Shearing records which I'd call jazz. It's not >bebop certainly. It's more what I'd call "polite" jazz. But it still >ain't rock n roll. I never said that those people you mention above weren't jazz based. I said that by your own definition, you called Exotica "jazz-ish at its base". I then replied that Exotica takes in Hawaiian/Tiki/Tropical music as well--and those are certainly *not* jazz based. Jazz means one thing and one thing only to me--improvisation. So, Exotica is taking in two different worlds here--one jazz based and the other not. Therefore, you cannot call all of it jazz based. I'm really not interested in splitting hairs over this or getting into discussing different folks' musical tastes that influence what they like & collect. All I want is a workable definition of Exotica that is clear about what it includes *as well as* what it excludes. The definition as it now stands does NOT take in everything that people have so far said is within the realm of Exotica (school band records being a prime example). Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Nathan Miner" Subject: (exotica) Comments on the Luxuria site...... Date: 06 Mar 2000 14:30:06 -0500 Snipped from Cowabunga surf newsgroup: <> # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: Re: Re: (exotica) Ferrante & Teicher homepage Date: 06 Mar 2000 15:23:33 EST In a message dated 3/6/0 9:31:50 AM, nminer@jhmi.edu wrote: >Oh man - was that great!!!! >Great imagination!!! SECONDED!~ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Michael Zadoorian Subject: (exotica) NEW BOOK RELEASE TODAY! Date: 07 Mar 2000 15:40:16 +0000 Hey Exotica folks- Here's a press release for my just-released novel, SECOND HAND. I mentioned this quite a few months ago, but am mentioning it again because it's actually happening. In fact, today's the official publication date. If you're interested in old stuff and junk culture-- objects, clothing, music, books, etc, you might want to read this press release (pulled from the extremely enthusiastic jacket copy.) Or check out my website: www.secondhandnovel.com. Best, Michael Z Now, let the hyperbole begin! Press Release for SECOND HAND: A Novel At last, the novel for everyone who has ever loved something secondhand--the High Fidelity of garage sales, the On the Road of thrift shopping, The Moviegoer of the flea market. SECOND HAND by Michael Zadoorian from publisher W.W. Norton & Company will be available at booksellers on March 6. SECOND HAND is peppered with insight as unpretentious and satisfying as the unexpected garage sale find. Junk, narrator Richard tells us, "has taught me that to find new use for an object discarded is an act of glistening purity. I have learned that a camera case makes a damn fine purse or that 40 copies of 'Herb Alpert & the Tijuana Brass's Whipped Cream and Other Delights' may be used to cover a wall of a bedroom. . . . Junk has taught me that all will come to junk eventually, and much sooner than you think." The book has been heralded by a diverse mix of people : "A fine and wonderful novel about one of the most unusual of subjects: junk, and those who care for the valuable objects, living and dead, that others have thrown away." -Charles Baxter, author of Believers Zadoorian conveys the oft-overlooked beauty of cast-offs, be they vinyl records, photographs, mismatched dinette chairs, or even people. -Al Hoff, author of Thrift Score "Second Hand hooked me right away--Zadoorian is a stylist with his own sound. He's a very entertaining writer, hip and funny." -Elmore Leonard, author of Be Cool and Get Shorty "Michael Zadoorian speaks to the heart and soul of the junker." Mary Randolph Carter, author of American Junk "A wonderful book." Chris Jussel, host of Antiques Roadshow For more information about SECOND HAND, including jacket copy, full blurbs, author bio and ordering information visit: www.secondhandnovel.com. W.W. Norton & Co. ISBN: 0-393-04797-0 Hardcover $23.95 Publicity: Whitney Peeling 212.790.4267 # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Brian Phillips Subject: Re: (exotica) Hawaiian Jazz Date: 06 Mar 2000 17:24:41 -0500 > >of music based on what is standardly known and thought of as "jazz". > >As long as it's been recorded, Hawaiian music has always >been influenced by Jazz. Seconded. Also, thirded by Columbia Records, who included King Benny Nawahi on their 50 Years of Jazz Guitar comp. If you wish to split hairs, though, I (in my limited experience) would agree that some Hawaiian musics are influenced, as opposed to based on Jazz. Brian Phillips # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Zach_Douglas@Dell.com Subject: RE: (exotica) How do I make CDs from LPs? Date: 06 Mar 2000 16:28:16 -0600 Everything in the world about burning CDR's is on this FAQ and I recommend going through it! http://www.fadden.com/cdrfaq/ Here are some tips on burning CDs of Records.. You need to first start with 44.1 khz WAV files.. to do this, you will need some software.. I use COOLEDIT. You can get different versions of cooledit from places on the net like www.hotfiles.com or www.download.com. You must have an amp or mixer because you can not hook a turntable with a ground wire up to a computer directly! So run the phono to your amp, and your amp to your computer using RCA to Mini-Din (headphone size) cable. Then you start COOLEDIT recording while you play your record. Make sure you Line-In is set to ON and the Volume is UP (use the speaker icon to bring up properties) You will have to stop cooledit after each song is recorded, or if you want to go for it, you could record and entire album at once. I wouldn't recommend it. Once you record each song you just need to cut off the silence at the beginning and end if desired and save the .WAV file to hard drive. Then use Adaptec CD burning software to make an audio CD using those WAV files you created. Just name them so that they are in order like track01, track02, etc. Once you get that going, you can look in to software that removes pops and clicks and static (if you so desire). Avoiding bad CD burns... make sure there are no other programs running on your system before burning a CD. Kill background tasks with Control-Alt-Del task manager. Make sure you have the session set to "Close CD after finished". If you don't, you probably won't be able to read it. You may need to try some different brands of recordable discs.. I have had success with Memorex and also with the Comp-USA brand which are cheap too. I hear good things about Imation and Verbatim also. If all else fails, your hard disk may not be keeping up with the burner.. you might set the burn speed down if you can.. or.. make an "image" file so that it is easier for the hard drive to write the file to the CD burner.. check adaptec help files for how to do that. Hope that helps! Zach D. -=- Radio Frank Stays Crunchy in Milk -=- http://fc.net/~zachd/main.htm # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Brian Phillips Subject: RE: (exotica) How do I make CDs from LPs? Date: 06 Mar 2000 18:48:55 -0500 >Avoiding bad CD burns... Yeah! What he said and also, it would also help to run defrag on your hard drive first as well (Start - Run - Defrag) or for you Mac Folks, run Norton Speed Disk if you have it, but make sure that your version won't wreck your disk (MAN, do I hate Performa 6220's!) and you can use Adaptec's Toast. Also, make sure that before you burn you have a BIG hard drive (mine is 13 GB and hey, it's how you use it that counts). One three minute song is about 30 MB , therefore and an album's worth of tracks can add up. If you have a lot of scratchy records (aimless whistling and averted gazes start NOW), then you may also wish to buy Easy CD Creator Deluxe, which has Spin Doctor to ease over some of the rough spots, although I haven't gotten it to perform too well just yet. Brian Phillips # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) Exotica Issues Date: 07 Mar 2000 01:10:22 +0100 B.J. Major wrote: > I then replied that Exotica takes in Hawaiian/Tiki/Tropical music > as well--and those are certainly *not* jazz based. Hawaiian: Hawaiian music was Swing influenced long before the times of a Martin Denny, but not very much present in Martin Denny's own music, as funny as this may seem. Tiki: What is Tiki music? Tropical: This must be the most diverse category: Tropical is anything Brazilian, Carribean, South-East Asian, South Seas Islandish, Indian, even Arabian and African, Mexican. That's really not a musical category. It's a category like "exotic". The parallel notions of 'Exotica' and 'Primitiva' do the best job in defining what it is all about for me. Has anyone really read this book "Exotica"? I must admit I have given up somewhere in the first third of it. Wanna read it entirely in my next holydays (which will hopefully bring me to the Estremadura of Central Spain for an encounter with the most diverse and interesting *bird* population of Europe, btw...); I think the book is the attempt to write about Exotica as something that is defined by many things, not only musical. And I don't know other. I think Exotica is impossible to explain if you don't include all kinds of psychological, behaviouristic, esthetic, visual, sexual, social, religious and what not elements. F.i.: One of the important pieces of the mosaic of Exotica, the original meaning of it, is "the far away", "the being outside" and, as everybody will immediately admit, this is a very relative thing. The idea of an exotic world is connected to the imagination of a paradise very often - which is also relative - but it may be the reason why we tend to see Exotica music as something soft and peaceful and "easy" instead of the hectic, dancable, shrill, urban ways that Jazz also went. Nor cool, rather warm. Just some thoughts Mo The Moritz R Museum has got a new entrance: http://moritzR.de #Exotica mailing list FAQ: http://home.munich.netsurf.de/Moritz.Reichelt/exofaq.html Also check out: http://www.poptics.de # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) Re: CD burners Date: 07 Mar 2000 01:11:32 +0100 Brian Karasick wrote: > I'm beginning to more and more > understand (and appreciate) the Apple approach to computing. I > hear Moritz giggling in the background! I must admit I have cleaned my glasses before reading this a second time. It sounds a bit like the pope talking about the advantages of contraceptives... (giggle!) Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) Exotica Issues Date: 07 Mar 2000 01:12:04 +0100 Nat Kone wrote: > What would you call the sound of Martin Denny or Arthur Lyman if not at > least "jazz based"? They're basically cocktail jazz piano quartets with > something extra. They're not a whole hell of a lot different than those > earlier "latinesque" George Shearing records which I'd call jazz. Cal Tjader. The album Cal Tjader recorded in 1954 is like Martin Denny's 'Exotica' (1956) without the bird calls. "Mambo with Tjader" is the title. Martin Denny was honky-tonking in Brazil at the time. All of this was covered in an extensive thread on this list about a year (or 2?) ago. BTW: On 'Exotica 3' you hear the whole-jazz Martin Denny sound. Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) Exotica Issues Date: 06 Mar 2000 16:24:50 -0800 >B.J. Major wrote: > >> I then replied that Exotica takes in Hawaiian/Tiki/Tropical music >> as well--and those are certainly *not* jazz based. > >Hawaiian: Hawaiian music was Swing influenced long before the times of a >Martin >Denny, but not very much present in Martin Denny's own music, as funny as >this >may seem. I'm not (and never was) referencing modern Hawaiian music, but *traditional* Hawaiian music--music that existed in Hawaii long before jazz was invented. >Tiki: What is Tiki music? I'm sure the people into Tiki music can answer that for you. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: itsvern@ibm.net Subject: (exotica) Incantation and Dance Date: 06 Mar 2000 20:47:35 -0500 > we played a tune called Incantation and Dance. > But now I can really appreciate what it was.. almost a clear cut exotica > piece! Boy, talk about bringing back memories. I also played 'Incantation and Dance' while in my high school band. Our band director tore out much hair trying to get a bunch of 15-16 year olds with no sense of rhythm (and who happened to be in the percussion section) to play their parts correctly. I played tympani on the piece, and I loved the piece because I was encouraged to play as loud as I could during the finale. I remember loving 'Incantation and Dance' so much that I asked my band director at the time whether it was available on LP anywhere. He said that the companies selling musical scores to high schools would often have 'sample' LPs that the band directors could order to hear the arrangements before actually paying money for the actual sheet music. I went to one music store at the time and asked about it, but got nowhere quick. I never thought about it, but the percussion section had definite exotica elements to it. Here's a short audio clip I found, its performed by the Sammamish High School Band in Bellevue, Washington, which proves a real link between high school bands and exotica. http://oasis.bellevue.k12.wa.us/sammamish/sounds/incantation.aiff Perhaps my long hours in percussion class working on this piece back in 1979 was what really initiated me into exotica - and it just remained in dormant stage for 15 years before breaking loose again. 'Incantation and Dance' was written by a composer named John Barnes Chance in the year 1963, so he must have definitely been influenced by the flair of exotica flourishing at the time. Chance was killed when electrocuted in his backyard in 1972 (at age 40) - not quite as exotic as a lava wall falling on top of him, but still a little bit more exciting than dying in your sleep. More web searching found this piece of information put out by the Yale University music department - which could be appled to half of Martin Denny's songs also.... "The title of this piece suggests a religious orientation, but not toward any of the established religions of Western or Eastern culture. To the standard deities one offers prayers. Incantations are uttered in rituals of magic, demonic rites, and the conjuring up of spirits both evil and benign. When the spirit comes and the worshiper is possessed, there is wild and abandoned dancing. The opening Incantation is full of mystery and expectation; wandering, unstable, and without tonality. In the Dance, percussion instruments build a rhythmic tapestry of incredible complexity and drive. The dance grows wild and frenzied. The brass hammer out ferocious snarls and the woodwinds fly in swirling scales. The pretty tune is abandoned to leave a paroxysm of rhythm, a convulsion of syncopation that drives on and on, to the shattering climax of exultation. Then the dance is over and the worshiper is fulfilled." 'Incantation and Dance ' still appears to be a popular concert piece - my web search found many sites that showed various high school/college bands listing the piece in their concert programs. Nice to know exotica is reaching the unsuspecting masses in some form. The Harvard University Wind Ensemble performed 'Incantation and Dance' last year (1999) and has available a mp3 recording of the entire piece. The percusiion is definitely exotica, but I'm also reminded of Ravel's 'Bolero' listening to the piece 20 years later. http://hcs.harvard.edu/~hwe/sound.html And if you want an actual CD recording of 'Incantation and Dance', you can order it from this site -- it's a Norwegian site, which somehow seems appropriate in this world-wide ever-expanding love of exotica influences. http://hjemmesider.gs.bergen.hl.no/~khe22/NM-CD1998.html I can't believe I got so excited about hearing about 'Incantation and Dance' that I found all this info to share with you all Vern # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Mr. Fodder" Subject: (exotica) Friendly Persuasion - Week of 03/06 Date: 06 Mar 2000 17:46:12 -0800 Week of 03/06/00 The Friendly Persuasion Show Cool and Strange Music Magazine's weekly radio show on Antenna Internet Radio. http://www.antennaradio.com/punk/friendlypersuasion/index.htm Get your RealAudio player ready and tune in anytime during this week to hear: 1. The Peanuts - Tintarella Di Luna 2. Mrs. Miller - These Boots Are Made For Walkin' 3. Bambi & The Boys - Double Agent Double D 4. Big Mess Orchestra - More Than a Feeling 5. Julie London - Yummy, Yummy, Yummy 6. Charles Wilp - Close-Up 7. Bette Davis - Turn Me Loose On Broadway 8. Jean Jacques-Perrey - Gossipo Perpetuo 9. The Arrogant Worms - Great to be a Nerd 10. Big Mess Orchestra - Smoke on the Water 11. Jean Nidetch - The Magic of Weight Watchers (song #1) 12. Tom Jones - Looking Out My Window 13. Screamin' Jay Hawkins - I Put a Spell On You 14. Jimmy Durante - Were Going UFO'ing 15. Jean Nidetch - The Magic of Weight Watchers (song #2) 16. Miki Obat A & The Outcast - Jane, Jane 17. Martin Denny with the Randy Horne Singers - Mumba! 18. The Polynesians - Tahitian Festival 19. Free Design - Kites are Fun 20. Paul Frees & The Poster People - The Look of Love (Boris Karloff) 21. Buck Ritchey - The Slave 22. Mother Goose with a Beatle Beat - Old King Cole 23. Victor Lundberg - An Open Letter To My Teenage Son 24. Brandon Wade - Letter From a Teenage Son 25. Claudine Longet - Golden Slumbers Chow, Otis Mr. Otis F-Odder mofo2148@speakeasy.org www.thebranflakes.com Box 21104, Seattle, WA 98111 USA Cool & Strange Music Magazine - www.coolandstrange.com Antenna Internet Radio - www.antennaradio.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Keith E. Lo Bue" Subject: (exotica) F&T! Date: 07 Mar 2000 13:54:12 +1100 I've forwarded (some!) of your comments on to Scott, and we'll powwow soon about the F&T site. Thanks for all of your input!!!! Keith **************************** http://www.lobue-art.com A virtual gallery and info site for the artwork and workshops of KEITH E. LO BUE **************************** # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Jim Gerwitz Subject: (exotica) Screamin Jay in TJ Date: 06 Mar 2000 19:45:57 -0800 Fathered "roughly" 57 kids? So that's why they called him Screamin Jay. Sounds like a good question for "Who Wants to be a Millionaire?" Check out his last film appearance in "Dance with the Devil" (aka Perdita Durango). A small role as buddy to Santeria priest/maniacal killer Javier "Romeo" Barden. This movie will be a cult classic - pounding border music with Rosie Perez and Romeo lowriding through Tijuana bopping to the TJB's "Spanish Flea" as they look for someone to kidnap and murder in a blood ceremony. Pre-Sopranos James Gandolfini is a cop who acts like Tony S. when he's being good and taking his Prozac. Jay helps out with the chickens in the big Santeria ritual scene, but does look a bit tired. No wonder....Unrated DVD highly recommended. And I have a CD that skips during his "Constipation Blues," no shit.... Little Jimmy Hawkins, #23 son # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Ross 'Mambo Frenzy' Orr Subject: Re: (exotica) Great News!!!!! Date: 06 Mar 2000 22:53:25 -0500 Keith wrote: >I'd like to ask any of you who dig the Grand Twins of the Twin Grands what >you'd love to see on the site... Don't neglect the "late" F&T!! _Classical Disco_ is right up there in my personal Top Twenty. And you really will need their amazing cover photos from _Star Wars_. Yow, where did they get those outfits? (Not to mention the bad toupees.) Happy to scan if needed. cheers, --Ross || Ross "Mambo Frenzy" Orr || Ann Arbor, Michigan USA # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Keith E. Lo Bue" Subject: (exotica) Re: exotica-digest V2 #642 Date: 07 Mar 2000 13:49:02 +1100 >The definition as >it now stands does NOT take in everything that people have so far said is >within the realm of Exotica (school band records being a prime example). > >Regards, >- --bj If this list was Exotica Proper, and nothing but, there's absolutely NO WAY I'd be staying on the list....it's eclecticism matches my own and that's why I cherish it! Keith **************************** http://www.lobue-art.com A virtual gallery and info site for the artwork and workshops of KEITH E. LO BUE **************************** # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: (exotica) What is Tiki music? (was: Exotica issues) Date: 07 Mar 2000 11:17:33 +0100 B.J. Major wrote: > >Tiki: What is Tiki music? > > I'm sure the people into Tiki music can answer that for you. I don't think so. Let's check it out! So, people: WHAT IS TIKI MUSIC? Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Brad Bigelow Subject: (exotica) I'll Drink to That! Date: 07 Mar 2000 06:57:38 I'm assembling a list of cocktail-related tunes and albums for a new listener's guide page on the Space Age Pop website--things like "Cugie's Cocktails," Pete Candoli's "Moscow Mule and Many More Kicks," where all the tunes are named for some kind of drink. Any suggestions list members want to offer will be greatly appreciated ... hic! Brad # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: Re: (exotica) Exotica Issues Date: 07 Mar 2000 08:47:00 -0500 At 09:33 AM 3/6/00 -0800, B.J. Major wrote: > > Jazz means one thing and one thing only to me--improvisation. Well maybe that's the problem. Or the tip of the iceberg anyway. When I first got into jazz, on my way to becoming a huge jazz snob, my jazz musician friends said something similar to what you're saying. I liked the idea that it was true but I never quite believed it. Jazz is not all about improvisation. Not even bebop, which is more about improvisation, is ALL about improvisation. But if that's how you see it, that might explain why we're having difficulty coming up with an agreement on what constitutes exotica. I believe that most of the musicians who created exotica, saw themselves a jazz musicians. It's probably true that they saw themselves more in the jazz tradition of Duke Ellington than that of Charlie Parker. It's also probably true that many of them would have had difficulty being accepted as jazz musicians. They just didn't have the chops. But just because they couldn't cut it as jazz musicians, doesn't change the fact that for many of them, their training and background was in jazz. This might be more true for "lounge" and/or "space age bachelor pad music" but I tend to believe that it extends to exotica. I'm sure Martin Denny and his band saw themselves as jazz musicians and though I can't be quite so sure for Les Baxter, I suspect he saw himself as, at the very least, a jazz arranger. And the very fact that there is such a thing as a jazz arranger, contributes to my feeling that jazz is not all about improvisation. Putting that all aside, if you don't want to split hairs, don't. But I think that a discussion - or even an argument - about what constitutes exotica is entirely appropriate for a list like this one. I say the Baja Marimba Band is close enough to exotica to at least merit a mention in a list of "exotica-related" musicians. (I also say the same thing about Los Indios Tabajaras by the way. And Santo and Johnny too.) I don't think exotica means all the music that everyone else ignores. I think that's not a bad explanation for what this list is about but this list is not just about exotica. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: Re: (exotica) Screamin Jay in TJ Date: 07 Mar 2000 12:35:49 EST In a message dated 3/6/0 10:47:42 PM, jamesbg@home.com wrote: >Fathered "roughly" 57 kids? So that's why they called him Screamin Jay. >Sounds like a good question for "Who Wants to be a Millionaire?" Reminds me of a legendary student Romeo from the highschool where I teach. His name was Sherman. They call him "Sherm The Sperm". He never did learn to add or subtract, but he sure could multiply...JB/true story # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: Re: (exotica) What is Tiki music? (was: Exotica issues) Date: 07 Mar 2000 12:37:18 EST In a message dated 3/7/0 5:21:09 AM, exotica@munich.netsurf.de wrote: >WHAT IS TIKI MUSIC? The sound of two tikis knockin' boots 'round midnight...JB # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 07 Mar 2000 10:16:47 -0800 >At 09:33 AM 3/6/00 -0800, B.J. Major wrote: >> >> Jazz means one thing and one thing only to me--improvisation. > >Well maybe that's the problem. Or the tip of the iceberg anyway. >When I first got into jazz, on my way to becoming a huge jazz snob, my jazz >musician friends said something similar to what you're saying. >I liked the idea that it was true but I never quite believed it. >Jazz is not all about improvisation. Then please enlighten us ALL and favor us with what your complete definition of jazz is. If the music in question does not include improvisation on a melody, it's simply not jazz, period. I don't want to be a snob about this myself, but I was a music major in college and I am very familiar with the definition of different forms of music and what constitutes them. If your jazz musician friends were telling you what I'm telling you (i.e., the same thing), there must be a reason for that! >It's also >probably true that many of them would have had difficulty being accepted as >jazz musicians. They just didn't have the chops. I found out a long time ago that "people who just don't have the chops" can't survive in the jazz world, period. No way, no how. You must be able to improvise and do it fluently. So you can't call these people "jazz musicians" in that sense, because they left jazz/didn't go into jazz (because of their lack of chops) and went off and did something else (create Exotica). It's no shame, there are plenty of good solid musicians out there who are well trained in music, play their respective instruments as pros, but cannot improvise. It's a special gift to be able to do that (AFAIC), just as all musicians are not all composers, arrangers, or those who can simply play by ear. >And the very fact that there is such a thing as a jazz arranger, >contributes to my feeling that jazz is not all about improvisation. A jazz arranger can lay out a piece for a group to play, but I assure you that the improvisation part is NOT charted. It's left blank, sometimes with an indication of how many bars for the soloist to play, sometimes not. When the improv is over, reading the arrangement on the charts resumes. > But I >think that a discussion - or even an argument - about what constitutes >exotica is entirely appropriate for a list like this one. If even two people can't agree on what constitutes Exotica, no conclusion will be reached and Exotica will just remain undefined. Which might be ok for some people but not for others. Personally, I don't see why a category of music like Exotica has to/should contain almost 'everything but the kitchen sink'. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: HOUSEOBOB@aol.com Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 07 Mar 2000 14:30:31 EST John Tesh was being interviewed and he said something to the effect of' "If you play it right it's music and if you make a mistake you call it Jazz" (And he can't figure out why people hate him). Also coming out of the fog in my brain is the story about a famous jazz musician who was asked, "What is Jazz?" and he replied, "If you've got to ask, you'll never know". # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Nathan Miner" Subject: (exotica) Mystery Tune??? Date: 07 Mar 2000 15:05:41 -0500 Please tune in to the following link and click on "Break Beats." The very first song is listed as Buscemi's "Yves Eaux" but the tune sounds = different here than on the Amazon site where you can hear a 30 sec. clip = of that same song. This' a great song with phone sex dialog looped over the rhythms..... Who is that band? - Nate # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Nathan Miner" Subject: (exotica) Karla Pundit...... Date: 07 Mar 2000 15:07:36 -0500 Is that CD "Journey to the Ancient City" a full-length (60 or so minutes) = recording?? There's only like 6-7 songs listed......... - Nate # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "m.ace" Subject: (exotica) place your hands on your head and step away from the Date: 07 Mar 2000 15:45:40 -0500 A friendly, but stern lecture from our pals at the RIAA: http://www.riaa.com/tech/tech_ht.htm##_top No mention that the Digital Millenium Copyright Act (already passed, slowly blossoming its scary implications) may eventually rollback our rights to analog copying also. m.ace ecam@voicenet.com OOK http://www.voicenet.com/~ecam/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: (exotica) RIAA (was put your hands on your head...) Date: 07 Mar 2000 14:05:26 -0800 >A friendly, but stern lecture from our pals at the RIAA: > >http://www.riaa.com/tech/tech_ht.htm##_top > >No mention that the Digital Millenium Copyright Act (already passed, slowly >blossoming its scary implications) may eventually rollback our rights to >analog copying also. I am all for having people get paid for their work and I have never attempted to sell a "copy" of anything, but only the original. So this part of the RIAA site particularly annoyed me: >Second, again for your personal use, you can make some digital copies of >music, depending on the type of digital recorder used. For example, >digitally copying music is generally allowed with mini-disc recorders, >digital audio tape (DAT) recorders, digital cassette tape recorders and >some (but not all) compact disc recorders (or CD-R recorders). As a >general rule for CD-Rs, if the CD-R recorder is a stand-alone machine >designed to copy primarily audio, rather than data or video, then the >copying is allowed. If the CD-R recorder is a computer component, or a >computer peripheral device designed to be a multi-purpose recorder (in >other words, if it will record data and video as well as audio), then >copying is not allowed. No one told me when I got my CD-R for my computer that I was not "allowed" to burn CDs of my home LP library (that have never seen the light of day on CD release themselves). And the paragraph that follows this is supposed to make people gleefully purchase stand-alone machines that connect to one's home stereo. But there is hidden cost in those machines to cover the "royalties" mentioned; i.e., those blank "audio only" CD-Rs cost anywhere from $2 to $7.00 A PIECE more than CD-R blanks for a computer system. Having to pay a combined fee of over $700.00 per year to ASCAP & BMI for mp3 file hosting is already a huge sum of money for anyone who runs a not-for-profit site that was created with their own materials and maintained in their own spare time. Now to know that I can't legally make CD-Rs of my LP collection on my computer is but the icing on the cake... In the words of Charlie Brown, "Good grief!..." Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 07 Mar 2000 17:46:28 -0500 At 10:16 AM 3/7/00 -0800, B.J. Major wrote: > >Then please enlighten us ALL and favor us with what your complete >definition of jazz is. If the music in question does not include >improvisation on a melody, it's simply not jazz, period. (Hey this discussion is not closed to the two of us and I'm not going to take it offlist!) If a musician tells me they never play a song the same way twice - and many have - I recognize that as a form of improvisation but not the highest form. Improvisation occurs in all kinds of music. The question is whether that improvisation defines the music or is simply an aspect of it. Some jazz is more defined by improvisation and some is less defined by it. When I hear a band like Ellington's playing an arranged tune, the music is not defined by the solos a few members take. And it's not defined by the "liberties" some musicians may take with their assigned parts. I like all that. And I listen to a fair bit of jazz with less structure, less arrangement and more improvisation. But when I listen to jazz, I'm in the mood for a certain spirit, a certain sound, a certain approach to harmony and arrangement and rhythm, none of which I can actually speak of in musical terms. But I think I recognize it when I hear it. If you want to tell me that the spirit of improvisation was a central factor in the creation of this music and that the influence is discernible even when precious little improvisation is occurring, I'll accept that. But that's a far cry from accepting that improvisation is what defines jazz. Once upon a time I was a rock and folk and blues guy. Then I started to listen to jazz. I think that one of the ways that I made the transition was that I was one of those guys who liked those long long rock solos - except bass solos of course - and this was like the greatest "solo-taking" music ever . At first I may have been there for a certain vibe that seems to come with heavily improvised music. And I listened to a very narrow category of jazz. Mostly Coltrane and stuff that reminded me of Coltrane. But then I'd be at someone's house and they'd be playing a vocal version of "You don't know what love is" and I'd think "Hey I know this tune". And gradually I realized that I may have come for the improv but in the meantime, I'd developed a taste for a whole bunch of classic tunes. And little by little, I realized that I could enjoy those tunes and others, with or without the soloing or improvisation. This was the beginning of my ever-expanding taste for instrumental music. The only obstacle left to conquer was developing an appreciation of arrangement and an ability to enjoy that, with or without overt soloing. When that happened, the floodgates burst and they're still bursting. What does this have to do with anything? I'm not sure. But the way I look at instrumental music, there are basically two kinds. Light jazz and light classical. (I'm not sure where I'd include "pop" and don't ask me where polka comes in.) Dick Hyman for instance, was a bona fide jazz musician who shows up on a surprising number of "real jazz" records. I wouldn't call his organ records on Command, "jazz" but I hear the jazz roots in them. I hear jazz in "lounge". I hear it in "Western Swing" too. When I was a bebop snob, I hated "big band" music. And I still don't love it. But I listen to music all the time that basically fits that category. And maybe I still have a problem calling it "jazz" but I know that there's jazz in there somewhere. Same with Martin Denny. Same goes twice over for Arthur Lyman. As far as what constitutes "exotica" - as opposed to what this list covers - I think Moritz said it pretty well when he talked about a dream of faraway places. Or at least I think that's what he said. A dream of faraway places where life is simpler, even a bit more "primitive". A place where people are more "real". A place to escape the "hustle and bustle" and just listen to the wind in the trees. But exotica, to me, is not really all that. It's music that "suggests" all that. It's someone's VERSION of all that. That's what I like about it. The interpretation going on. The attempt - which to me is almost by definition, unsuccessful - to combine that with "western" forms like jazz and pop. That's the same reason I like "psychedelic" music, especially bad psychedelic music. I hear it in the Baja Marimba Band. I'm in Mexico hiding out with Billy the Kid or the men of the Magnificent Seven and we're drinking and whoring and kicking back and enjoying the simple pleasures of a place where life is cheap, your "girlfriend" looks like Rita Coolidge and every moment you're wondering if she's going to cut your throat as you sleep. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Mark Renwick Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 07 Mar 2000 17:55:39 -0500 BJ and others, If someone transcribes to paper a recording of a jazz solo and then performs the solo so well that no one can tell that it's not being improvised on the spot, is that jazz? It sounds like jazz, but it's not being improvised. Does the word "jazz" denote the style of music or the means of production (e.g., improvization vs. reading)? --Mark Renwick Jacksonville, Florida, USA tibia@att.net http://home.att.net/~tibia # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 07 Mar 2000 15:54:24 -0800 >BJ and others, > >If someone transcribes to paper a recording of a jazz solo >and then performs the solo so well that no one can tell that > >it's not being improvised on the spot, is that jazz? It >sounds like jazz, but it's not being improvised. Does the >word "jazz" denote the style of music or the means of >production (e.g., improvization vs. reading)? > >--Mark Renwick > Jacksonville, Florida, USA > tibia@att.net > http://home.att.net/~tibia Mark: as you can see, people's opinions on this vary, but from what I was taught, "what is" jazz is not found on transcribed "notes on a page" (to quote Mr. Holland's Opus). It's the improvisational creation on the spur of the moment around the melody and (sometimes unfortunately) there's no limit to how long it can go on. While it's probably happened lots of times that an improvised solo was so popular it was "copied" an another performance by another musician, that in and of itself doesn't constitute the essence of jazz because the newer musician didn't create the solo himself. So, to answer your last question, I was taught that jazz denotes the means of production (i.e., improvising). Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: cheryl Subject: Re: (exotica) Mystery Tune??? Date: 07 Mar 2000 19:49:18 -0500 Nathan Miner wrote: > > Please tune in to the following link and click on "Break Beats." Where's the link?? I want to hear this piece! cheryl # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Br. Cleve" Subject: Re: (exotica) Mystery Tune??? Date: 07 Mar 2000 19:54:23 -0500 At 3:05 PM -0500 3/7/00, Nathan Miner wrote: >Please tune in to the following link and click on "Break Beats." > >The very first song is listed as Buscemi's "Yves Eaux" but the tune sounds >different here than on the Amazon site where you can hear a 30 sec. clip >of that same song. > >This' a great song with phone sex dialog looped over the rhythms..... > >Who is that band? You answered it yourself - the "band" is called Buscemi; they're (he's) from Belgium. 1 album out, 3 12" singles. Almost all the tracks on the singles, including "Yves Eaux", are on the album. The stuff ranges from dreamy trip hop to slamming jungle to.....uh, I hate to bring it up now, jazz. Speaking of jazz - - at the weekly electronic music event that I host called "Solaris", we often have a form of electronic music known as 'Live P.A.'. When these artists appear, they perform live electronic dance music, be it techno or trance or d 'n b or house or whathaveyou. They bring down synthesizers, both analog and digital, drum machines, power books, mixers, etc,.......and then they instantaneously create electronic music. For the most part, it is improvised. Does this make it jazz? What about the new wave of electronic jazz artists, mostly coming out of Germany these days, such as Jazzanova, Rainer Truby Trio, Da Lata, et al, or the digital bossa novas of Fantastic Plastic Machine, Balanco, Nicole Conte, Montefiori Cocktail and others? In the United States these days, the definition of jazz is a style of music played in expensive clubs to overeducated (mostly white) audiences who listen to too much NPR. It has lost touch with its roots - it was born as dance music, in honky tonks, turpentine farms, and bordellos. When it got funky in the late '60's (and went back to being dance music in nightclubs), it's new style was rejected by the jazz establishment (those records now command top dollar, but only after being rediscovered by the Acid Jazz scenesters in Britain a decade or so ago). Ah, but don't start me............. My point is that what is termed jazz is an ever changing form, just like rock has been for the last 50 years (if someone can show me the similarities between, say, Everlast and Chuck Berry, I'd love to hear it). You just have to look at the various roots. The majority of SABP artists, for example, came out of the big band era (don't forget, Esquivel's records were made with 26 pieces - - that's a big band!). Nat made an excellent correlation between Denny and George Shearing which was right on the money. I guess the roots of that would be the cocktail lounge jazz of the 30's and 40's, itself a more compact unit of the 'sweet band' sound of the 20's (i.e. Paul Whiteman, Guy Lombardo - - who in turn begat Montovani, Lawrence Welk, etc etc). Dick Hyman wailing away for 16 measures of "The Liquidator" is as much jazz as is Coltrane blowing 128 measures of 'My Favorite Things'. There are modal scales applied in both, variations on a theme, upper structured triads, 9ths 11ths 13ths, etc etc etc.............. Sweet, swing, western swing, bop, hard bop, post bop, fusion, west coast, crime, funk, latin, brazillian, boogie woogie, free, smoov, acid........yeah, it's a lot of things. It's King Oliver and Henry Mancini, Charles Mingus and Wynton Marsalis, Albert Ayler and Kenny G. btw, check out the new album by Luke Vibert and BJ Cole - "Stop The Panic" (Astralwerks), for some real cross pollination. A mix of synths, loops and samples with steel guitars, fiddles, mandolins, sort of a hybrid of hip hop with western swing and bluegrass. I can only use 1 word to describe it: Exotic! cheers, br cleve, berklee collidge of music dropout # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 08 Mar 2000 02:08:02 +0100 B.J. Major wrote: >Jazz means one thing and one thing only to me--improvisation. >If the music in question does not include improvisation on a melody, it's simply not jazz, >period. >A jazz arranger can lay out a piece for a group to play, but I assure you >that the improvisation part is NOT charted. It's left blank, sometimes >with an indication of how many bars for the soloist to play, sometimes >not. When the improv is over, reading the arrangement on the charts >resumes. I just started to read Joachim-Ernst Berendt's 'Jazzbook' (the guy who died recently) and he says a very similar thing. He also claims, it is the common way to define Jazz. He calls improvisation a basic element of Jazz; but he also talks about a type of musicians who live intensly in their times and very much reflect life as they feel it in their music. Although white musicians have been in Jazz from the early days on, there is a specific basic black element that I cannot seperate from my imagination of Jazz. We talked about a similar subject some weeks ago during a thread about Pop and I think it was Brian Phillips who spoke of two parties of music listeners, the "can't-seperate-pop-from-racial-issues's" and the "yes-you-can's". After seeing this documentary about the literal war that the US government had waged against the black panthers (and other dissidents) I think I know what Brian meant. If you knew some things, you could not anymore pretend you're innocent. And at least until the 70s I believe these issues were still vital. At exactely about the time when the afroamericans got substantially more rights in society finally, the decline of Jazz started, at least that's what I think. Why I'm saying this? Because I think there are no mono-causal definitions neither for Pop, nor Jazz, nor Exotica. And of course there are no sharp lines seperating music styles from one another. Nat Kone wrote: > But when I listen to jazz, I'm in the mood for a certain spirit, a certain > sound, a certain approach to harmony and arrangement and rhythm, none of > which I can actually speak of in musical terms. But I think I recognize it > when I hear it. > If you want to tell me that the spirit of improvisation was a central > factor in the creation of this music and that the influence is discernible > even when precious little improvisation is occurring, I'll accept that. I guess, wether by improvisation, or by arrangement, the expression of Jazz had to be just right. It reflected the state of life at any given moment. When the fight increased, free form increased, the music became more dissonant, as in resisting to entertain, being uncomfortable, and so on. > A dream of faraway places where life is simpler, even a bit more > "primitive". A place where people are more "real". A place to escape the > "hustle and bustle" and just listen to the wind in the trees. Exactely. Somehow I see 'real' jazz, as opposed to Exotica, more on the "fight for a better life" side. But there certainly were very romantic things too and those point directly into the exotica direction. I mean, still, even if you were performing romantic feelings, it makes a difference, wether you knew hard times with no place for romanticism or wether you were used to freedoms and wealth all the time, because you were priviliged. In that case you were a perfect victim for a music that more or less emotionless repeated standardised patterns. The latter is what makes a lot of easy listening stuff unenjoyable to me, even if it is perfectly arranged. The perfection turns into something you mistrust, an all-too-persuasive lie. You could say, there is no jazz in it. > But exotica, to me, is not really all that. It's music that "suggests" all > that. It's someone's VERSION of all that. > That's what I like about it. The interpretation going on. The attempt - > which to me is almost by definition, unsuccessful - to combine that with > "western" forms like jazz and pop. Yeah, sounds like a definition of "camp" to me... Don't you find diverse interpretations of the genre in all styles? That's not a typical thing for Exotica. It's in Jazz, it's in Rock. Maybe it even was in classical music and we just don't know it anymore. The question is: What is the notion of the referring genre? Is there something like a common dream in Jazz? In Rock it would be something like 'power'. In Exotica maybe the paradise. A paradise for those who could afford it; for those who had to fight, Exotica may have been a ridiculous kind of escapism and giving up yourself. > That's the same reason I like "psychedelic" music, especially bad > psychedelic music. > I hear it in the Baja Marimba Band. I'm in Mexico hiding out with Billy > the Kid or the men of the Magnificent Seven and we're drinking and whoring > and kicking back and enjoying the simple pleasures of a place where life is > cheap, your "girlfriend" looks like Rita Coolidge and every moment you're > wondering if she's going to cut your throat as you sleep. That's your dream, isn't it? Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Ron Grandia" Subject: (exotica) Bruce, can I borrow your Theremin? Date: 07 Mar 2000 17:09:53 -0800 Our own Bruce Lenkei is the winner of Luxuriamusic.com's Theremin giveaway. OoooEEEeoooooOOOOOO! Ron # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: Re: Re: (exotica) What is Jazz? (was Exotica issues) Date: 07 Mar 2000 20:19:38 EST In a message dated 3/7/0 5:56:20 PM, tibia@att.net wrote: >If someone transcribes to paper a recording of a jazz solo >and then performs the solo so well that no one can tell that >it's not being improvised on the spot, is that jazz? That's what Supersax did...Transcribed Charlie Parker solos, harmonized the parts and sang 'em...JB # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Mark Renwick Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 07 Mar 2000 21:36:26 -0500 > While it's probably happened > lots of times that an improvised solo was so popular it was "copied" an > another performance by another musician, that in and of itself doesn't > constitute the essence of jazz because the newer musician didn't create > the solo himself. > So perhaps we can say that the recreated solo is not jazz, itself, but that it is "jazzy" or in a jazz style. I'm a theatre organist by avocation, and I play some jazzy arrangements of my own concoction. But I'm the first to say I'm NOT a jazz organist, because I can't improvise very well on the spot. I think we can draw a distinction between jazz and jazz style. --Mark Renwick Jacksonville, Florida, USA tibia@att.net http://home.att.net/~tibia # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: (exotica) Is this considered Exotica? (humor) Date: 07 Mar 2000 19:57:21 -0800 Anyone who is ready for a good laugh right about now, go to this site: Jammin' Johns Toilet Seats: http://www.leeps.com/jammin.htm As the site says: "It's More Than Just Bathroom Humor. It's Music to Your Rear!" --bj # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "paul thomas" Subject: (exotica) If you gotta ask... Date: 07 Mar 2000 21:01:15 -0800 The story goes that Louis Armstrong was asked by a lady to describe jazz and he replied "Lady, if you gotta ask, you'll never know!" It's probably apocryphal but it's still great. Then, of course, there's the time one of the fellows in Jelly Roll Morton's Hot Peppers was greatly diverging from what Jelly had written. Jelly took a huge pistol out of his coat pocket, laid it on top of the piano and turning to the offending musician said "Just play it the way I wrote it." ~~ Paul MailCity. Secure Email Anywhere, Anytime! http://www.mailcity.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: (exotica) I found definitive TIKI music....(really, I did) Date: 07 Mar 2000 21:50:06 -0800 OK, to answer the question >What is Tiki Music? Asked earlier today on this list, I can definitely say that I've found it. What? You say that Tiki music doesn't exist? Not true!!! Anyone ever been to Disneyland or Walt Disney World's Enchanted Tiki Room? Once upon a time I had the entire soundtrack of this attraction from beginning to end (on LP). Now I have just the original (sung) theme song on a Disney Park "Official Album" CD. Remember that theme? I made an mp3 of it, but I've got nowhere to upload it to at the moment that will accept files of this size (1.2 meg). However, I found a site that has short clips from the music (though not the entire theme) as well as nice facts, plenty of tiki photos from the area, and a "virtual visit" of the attraction: http://www.geocities.com/Hollywood/Boulevard/1877/friendsoftiki.html All together now: "in the tiki tiki tiki tiki tiki room, in the tiki tiki tiki tiki tiki room all the birds sing words and the flowers croon in the tiki tiki tiki tiki tiki room!" --bj # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Kevin Crossman Subject: Re: (exotica) I found definitive TIKI music....(really, I did) Date: 07 Mar 2000 23:00:27 -0800 "B.J. Major" wrote: > >What is Tiki Music? > > Asked earlier today on this list, I can definitely say that I've found > it. What? You say that Tiki music doesn't exist? Not true!!! > > Anyone ever been to Disneyland or Walt Disney World's Enchanted Tiki > Room? > All together now: "in the tiki tiki tiki tiki tiki room, in the tiki > tiki tiki tiki tiki room all the birds sing words and the flowers croon > in the tiki tiki tiki tiki tiki room!" I find it ironic that the theme for the enchanted Tiki room has absolutely nothing to do with exotica and "real" tiki music, except the name of course. Or, at least that's what I think. Still, a cool place to hang out... -Kevin -- *********************************************************** * Kevin Crossman kevin@kevdo.com * * http://www.kevdo.com - The Narrow Interest Portal * * Lip Balm Anonymous, Ultimate Mai Tai, Exotica Archive * *********************************************************** # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Michael Jemmeson Subject: Re: (exotica) What is Jazz? Date: 08 Mar 2000 12:02:18 +0000 I found Ben Sidran's 'Black Talk' book on this subject to be a very interesting and helpful read. Can wholeheartedly recommend it. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) I found definitive TIKI music....(really, I did) Date: 08 Mar 2000 13:33:21 +0100 B.J. Major wrote: > I've found it. OK, you win; that IS tiki music! > However, I found a site that has short clips from the music (though not > the entire theme) as well as nice facts, plenty of tiki photos from the > area, and a "virtual visit" of the attraction: > > http://www.geocities.com/Hollywood/Boulevard/1877/friendsoftiki.html The site of Chris Wingert who has been organizing a campaign against the closure of the Enchanted Tiki Rooms for years. It's possible, that the Tiki room would already be history without Wingert. I have posted this site 2 or 3 times here and I call everyone again to sign the petition. > All together now: "in the tiki tiki tiki tiki tiki room, in the tiki > tiki tiki tiki tiki room all the birds sing words and the flowers croon > in the tiki tiki tiki tiki tiki room!" Yeah! ...in the tiki tiki tiki tiki tiki room, in the tiki tiki tiki tiki tiki room all the birds sing words and the flowers croon in the tiki tiki tiki tiki tiki room! welcome to a tropical hide-away, you lucky people you!.... in the tiki tiki tiki tiki tiki room, in the tiki tiki tiki tiki tiki room all the birds sing words and the flowers croon in the tiki tiki tiki tiki tiki room! in the tiki tiki tiki tiki tiki room, in the tiki tiki tiki tiki tiki room all the birds sing words and the flowers croon in the tiki tiki tiki tiki tiki room! in the tiki tiki tiki tiki tiki room, in the tiki tiki tiki tiki tiki room all the birds sing words and the flowers croon in the tiki tiki tiki tiki tiki room! in the tiki tiki tiki tiki tiki room, in the tiki tiki tiki tiki tiki room all the birds sing words and the flowers croon in the tiki tiki tiki tiki tiki room!!!!!!!!!!! Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "antonio ibañez" Subject: (exotica) Re: [Supersuckers]: [The Weatherman Tells It Like It Is] (fwd) Date: 08 Mar 2000 13:42:36 CET A dude from other list sent me this interesting essay... >From: Damon Palyka >Reply-To: supersuckers@eskimo.com >To: supersuckers@eskimo.com >Subject: [Supersuckers]: [The Weatherman Tells It Like It Is] (fwd) >Date: Tue, 07 Mar 2000 11:07:07 -0500 > > > If you always suspected that CDs were a scam, read on - > > > > Courtesy of Negativland, who'll be in Pontiac on Thursday April 13th > > at Clutch Cargo's. > > > > __________________________________________ > > > > SHINY, ALUMINUM, PLASTIC, AND DIGITAL > > by Negativland > > > > Reproduction of this essay is strongly encouraged. > > > > So, why is that new "Oasis" CD so expensive? > > > > In the early eighties, sales of vinyl, cassettes, turntables and > > cassette players were "flat". This means that sales were stable, not > > rising or falling. For the makers of all this hardware and software, > > that wasn't quite good enough. They needed a new angle. A new way to > > sell music and the stuff you play it on. Luckily, someone at the > > Phillips Corporation (owner of PolyGram Music and Island Records and > > one of the worlds top defense contractors) had the bright idea that > > it would be good for their stockholders and investors if they could > > get the music consuming public excited about buying music again by > > introducing a new format and a new machine to play it on (i.e. how > > can you convince that aging baby boomer to buy yet another copy of > > DEJA VU by Crosby, Stills, Nash and Young when they already have one?) > > > > Thus was born THE COMPACT DISC in all it's shiny, aluminum, plastic > > and digital glory. It's maximum playing time, about 75 minutes, was > > chosen because the president of the company wanted something that > > could play his favorite piece of music, Beethoven's 9th Symphony, all > > the way through without stopping. > > Well, compact discs weren't as successful as they had hoped. For one > > thing, their price was too high. The higher price was blamed both on > > the fact that they were mostly being made in Japan and that they had > > a high defect rate, with approximately one out of every three discs > > being tossed out before even leaving the CD factory. Early on, the > > economics of this led to an industry wide decision to continue paying > > recording artists a royalty rate based on the sale price of vinyl > > instead of the higher sale price of compact discs. And nobody was > > buying those new CD players either, because they were just too darned > > expensive. > > But then, in the spring of 1989, something wonderful happened for > > the music industry. Everything changed! Almost overnight, CD's were > > everywhere! Suddenly they were a huge success and suddenly it became > > almost impossible to get anything on vinyl at all.. > > > > This change must have occurred because it was what the consumer > > wanted.....right? We live in a market-driven economy and the market > > was demanding more compact discs.....right? > > > > Wrong. What actually happened was this - a flexible return policy had > > always existed between record stores and the seven major > > distributors, i.e. stores could "buy" something from a distributor, > > and if it didn't sell, they could return it. This allowed stores to > > take more chances on new releases or on things they were not so > > familiar with, because if it didn't sell, they could always send it > > back. Well, in the spring of 1989 all seven major label distributors > > announced that they would no longer accept "returns" on vinyl and > > they also began deleting much of the vinyl versions of their back > > catalog. These actions literally forced record stores to stop > > carrying vinyl. They could not afford the financial risk of carrying > > those releases that were on vinyl because if they didn't sell they > > would be stuck with them. Very quickly almost all record stores had > > to convert to CD's. The net effect of this was that the consumer no > > longer had a choice because the choice had been made for us. High > > priced compact discs were being shoved down our throats, whether we > > knew it or liked it or not. > > > > As we mentioned earlier, record labels were paying artists a royalty > > rate on sales of CD's based upon the $8.98 or $9.98 list price of > > vinyl (or achieved the same end result by using contractual tricks > > like "packaging deductions"). As CD's took over and the majors all > > acquired their own domestic CD pressing plants and the defect rate > > dropped to almost zero, the cost of manufacturing compact discs > > dropped dramatically as well. One would have expected the price of > > CD's to also drop and for the profits to now be split evenly and > > fairly with the musicians who were making all the music. > > > > This, of course, never happened. CD prices have continued to rise to > > a now unbelievable $16.98 list price (soon to be $17.98!) while > > manufacturing costs have now dropped to less than it costs to > > manufacture a $9.98 vinyl release. A CD, with its plastic jewel box, > > printed booklet and tray card now costs a major label about 80 cents > > each to make (or less) and a small independent label between $1.50 > > and $2.50. Meaning that CD's should now cost the consumer less than > > their original prices over a decade ago, not more. But the music > > business got consumers used to the idea of paying the higher price > > and the labels got used to the idea of their higher profit margin, > > and record labels continue to this day to pay almost all artists a > > royalty rate as if they're selling CD's for the list price of vinyl. > > That extra 4 or 5 or 6 bucks goes right into the pockets of the > > record labels. It is not shared with musicians. And of course, we all > > had to go out and buy a CD player (which had mysteriously dropped to > > a more reasonable price) if we wanted to hear any of the music on > > this "popular" new format. So, all in all, it's no wonder that the > > record industry and stereo manufacturers loved the compact disc. In > > fact the following year (when our economy was in a recession) the > > music industry had its biggest profits, ever! > > > > If any of this bothers you as much as it does us, then you might be > > wondering why you've never heard about any of this or why no > > anti-trust action was ever taken against major labels and > > distributors. The answer to this is quite simple. Most of the > > reporting on the inner workings of the record business comes from the > > music press and the music press is almost totally reliant on the > > advertising dollars and good will of the business that they're > > writing about. So, in the interest of not wanting to "rock the boat" > > or anger the folks who essentially bankroll their publishing > > ventures, this story would, and will continue to remain, unreported. > > And with the coming "popularity" of DVD, the music industry looks > > like it is ready to try the same tricks all over again. > > > > -Negativland > > > > 1920 Monument Blvd., MF-1 Concord CA. 94520. fax 510 420 0469 Web > > site and e-mail - http://www.negativland.com > > > > > > -- > > - Colin > >---------- End Forwarded Message ---------- > > > >----> all opposing viewpoints are bigoted <----- >-------------->www.thejealoustype.com<------------- > ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Nathan Miner" Subject: Re: (exotica) Mystery Tune??? Date: 08 Mar 2000 08:39:24 -0500 Did I forget to send the link to that song with the phone sex overdubs?? Here 'tis: http://www.parco-city.co.jp/shibuya-fm/ondemand.html Click on "Break Beats" at the menu selections...... And thanks for the responses - possibly this song is a bit different on a = single than the album. The Amazon song clip is definitely different = (well, from the 30 seconds that you get to hear anything anyway!!!). I love this list!.... - Nate # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Nathan Miner" Subject: Re: (exotica) Mystery Tune??? Date: 08 Mar 2000 08:42:30 -0500 Br Cleve and Exoticats: Just wanted to mention also that that "mystery tune" which turns out to be = Buscemi - also features that "Conoid Project" stuff - namely a sound clip = of a gal saying 52, 53, 54, 55, 56................ So br cleve, "Yves Eaux" is definitely that "phone sex" song??? 'Cause I = want to order it......... Best - Nate # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: nytab@pipeline.com Subject: (exotica) [obit] Pee Wee King Date: 08 Mar 2000 10:22:38 -0500 LOUISVILLE, Ky. (AP) -- Frank ``Pee Wee'' King, who co-wrote the ``Tennessee Waltz'' and helped introduced several instruments and musical styles to the Grand Ole Opry, died Tuesday. He was 86. King had been hospitalized after suffering a heart attack Feb. 28. Born Julius Frank Anthony Kuczynski in Abrams, Wis., King wrote ``Tennessee Waltz'' with fellow band member Redd Stewart in 1947. The two said they wrote it on an unfolded matchbox as they were riding in Stewart's truck. While King's recording did well, a version of the song by Patti Page became a No. 1 pop hit and sold 65 million copies. It became the state song of Tennessee in 1965. King joined the Grand Ole Opry in 1937. During his 10-year run on the popular country music radio show, he was among the first to do polkas, cowboy songs and waltzes, as well as use trumpets, drums and electric guitar in his band. King's Golden West Cowboys were outfitted in colorful western outfits designed by the Hollywood tailor Nudie, a look other stars emulated. Future stars like Eddy Arnold, Cowboy Copas and Ernest Tubb played in King's band. In 1974, he was inducted into the Country Music Hall of Fame. ``I learned a lot about showmanship from him,'' said Arnold, who played guitar with Golden West Cowboys in the 1940s. King and the band appeared in several of Gene Autry's movies. They also appeared in Westerns with Charles Starret, the Durango Kid, and Johnny Mack Brown. Funeral services were scheduled for Saturday. http://www.country.com/article/mus-news-new/pee-wee-king-dies.html http://allmusic.com/cg/x.dll?p=amg&sql=B23546 http://vhost.telalink.net/~nsf/king.html http://countrystandardtime.com/peeweekingBOOK.html http://www.insurgentcountry.com/pee_wee_king.htm http://venerablemusic.com/CountryRecordPages/BS_804.htm http://www.country.com/hof/members/pee-wee-king.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Bruce Lenkei Subject: Re: (exotica) Bruce, can I borrow your Theremin? Date: 08 Mar 2000 10:26:23 -0500 (EST) On Tue, 7 Mar 2000, Ron Grandia wrote: > > Our own Bruce Lenkei is the winner of Luxuriamusic.com's Theremin giveaway. > > OoooEEEeoooooOOOOOO! > > Ron yes, it's true! I can't wait to start messin' with it. Hopefully, someday, I'll be able to coax some actuall music out of the thing, and not just weird sounds, although that would be ok too. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) I found definitive TIKI music....(really, I did) Date: 08 Mar 2000 08:16:45 -0800 >I find it ironic that the theme for the enchanted Tiki room has >absolutely nothing to do with exotica Ah, but there are those on this list who would probably defend it as being Exotica! With Disney's Tiki Room, it seems as though the Tikis are there mainly for decoration and to help set the tropical/island "atmosphere", so to speak. Obviously the singing birds and flowers are the stars of the show. > and "real" tiki music, except the >name of course. Or, at least that's what I think. Still, a cool place >to hang out... You were the tiki expert I was thinking of when the "What is Tiki music?" question was raised. In your opinion, what is (or what constitutes) tiki music? What would be good examples to listen to? Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Marco \\\"Kallie\\\" Kalnenek" Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 08 Mar 2000 14:04:01 +0100 ----- Original Message ----- > Then please enlighten us ALL and favor us with what your complete > definition of jazz is. If the music in question does not include > improvisation on a melody, it's simply not jazz, period. Jazz is not about improvisation on a melody. All the great jazz is about improvising on the HARMONIES (the chord-progression) of a tune. Improvisation on the melody happens in a lot of other music, including folk music as well as pop and rock. > I found out a long time ago that "people who just don't have the chops" > can't survive in the jazz world, period. No way, no how. You must be > able to improvise and do it fluently. Ever heard Thelonious Monk......? He wasn't a great technical pianist, but oh boy, did he create some great jazz. Do you want all jazz musicians to sound like Wynton Marsalis? All 'chops' and no soul! > A jazz arranger can lay out a piece for a group to play, but I assure you > that the improvisation part is NOT charted. It's left blank, sometimes > with an indication of how many bars for the soloist to play, And the chord progression of course, more often than not including all the alterations and substitutions that the arranger would like to hear. > When the improv is over, reading the arrangement on the charts > resumes. And according to your definition the jazz ends where the arranged parts resume? Marco # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 08 Mar 2000 08:42:12 -0800 >Jazz is not about improvisation on a melody. All the great jazz is about >improvising on the HARMONIES (the chord-progression) of a tune. >Improvisation on the melody happens in a lot of other music, including >folk music as well as pop and rock. I never heard any improv in folk music, but be that as it may...all the great jazz artists I've ever heard are playing improvised melody when they play. That is, they are substituting a new melody in place of the original one--many times with the *same* chord progressions being played by other musicians underneath. I haven't heard all the jazz there is out there, but I've heard a substantial amount of it over the course of many years. >> I found out a long time ago that "people who just don't have the chops" >> can't survive in the jazz world, period. No way, no how. You must be >> able to improvise and do it fluently. > >Ever heard Thelonious Monk......? He wasn't a great technical pianist, but >oh boy, did he create some great jazz. Do you want all jazz musicians to >sound like Wynton Marsalis? All 'chops' and no soul! [sigh] I'm technically not a real hard core fan of jazz to begin with, but unless the musician playing is a machine, there ususally IS at least *some* "soul" in the improv. Yes, some artists have more of it than others, but this is true of any talent. >> When the improv is over, reading the arrangement on the charts >> resumes. > >And according to your definition the jazz ends where the arranged parts >resume? When you get back to/resume playing "notes on a page", you are reading music, so my answer to that would have to be 'yes'. Before you tear into me for that response, remember that it's already been pointed out that there is a *difference* between the essence of jazz music (the improv) and jazz-style music (the arrangement of the rest of the music without the improv included). Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Peter Risser Subject: (exotica) Oh Yeah Date: 08 Mar 2000 08:57:54 -0800 (PST) So, OK, I was at a record store and had only 11 bucks in my pocket. I don't know why I challenge myself like this... Anyway, I had to put back: Girl Watching by the O'Kaysions and this Stan Kenton (I Think) disc from '76 or so called something like Explosion '76, where he did a bunch of covers. Jeez, I forgot what they were now. These were about 3 bucks each. Should I run right back and pick those up, or am I okay without them in my life right now? Peter __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Br. Cleve" Subject: Re: (exotica) Mystery Tune??? Date: 08 Mar 2000 12:28:45 -0500 At 8:42 AM -0500 3/8/00, Nathan Miner wrote: >So br cleve, "Yves Eaux" is definitely that "phone sex" song??? 'Cause I >want to order it......... nope - - I listened to the shibuya-fm stream, and the Buscemi track is not the one that opens with the phone sex thang. I don't know what that is. "Yves Eaux" comes in at the 10 minute mark, and plays in its entirety (5 minutes). It's the one with the funky bassline, female wordless vocal, and metallic percussion over a downtempo beat. br cleve # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Brian Phillips Subject: Re: (exotica) If you gotta ask... Date: 08 Mar 2000 12:52:24 -0500 At 09:01 PM 3/7/00 -0800, you wrote: > The story goes that Louis Armstrong was asked by a lady to describe jazz > and he replied "Lady, if you gotta ask, you'll never know!" It's probably > apocryphal but it's still great. I just KNEW this anecdote would come up sooner or later. I have heard it credited to Thomas "Fats" Waller. Part of me finds that attitude exclusionary, the other part of me found himself at a Wynton Marsalis (hey, I like him!) concert and a woman asked me, "Excuse me, are you deeply knowledgeable about Jazz?". I replied, "I know a little, why?". "Well, I'm supposed to review this concert." I asked who she was and she responded, "I'm the music critic of the San Diego Union". I will not argue on melody and harmony and improvisation and having attempted to play Jazz, as culturally resonant as it was when I did, I couldn't cut it. My favorite defintion of Jazz was given by my professor, Jimmy Cheatham who called it, "an articulation of a people suffering". Brian Phillips P.S. I don't think it hurts to ASK what Jazz is, but you had better not be a music critic in the U.S. 7th most populous city! # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Nathan Miner" Subject: Re: (exotica) Incantation and Dance Date: 08 Mar 2000 13:21:44 -0500 Good job Vern! Now, what the hell is 14 pounds or whatever in US dollars?? (In reference = to where you can get a recording of Incantation.......). Or will this show up on an Exoticaring tape ;-)....... - Nate # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: (exotica) TIKI Date: 08 Mar 2000 14:52:53 EST In a message dated 3/8/0 7:34:28 AM, a buncha people wrote: > tiki tiki tiki tiki tiki > tiki tiki tiki tiki tiki tiki >tiki tiki tiki tiki > tiki tiki tiki tiki tiki tiki tiki tiki tiki tiki room, >tiki >tiki tiki tiki tiki >tiki tiki tiki tiki tiki tiki tiki tiki tiki tiki > tiki >tiki tiki tiki tiki > tiki tiki tiki tiki tiki tiki tiki tiki tiki tiki > tiki >tiki tiki tiki tiki >tiki tiki tiki tiki tiki !!!!!!!!!!! think I'll go on all fours before my Aku Aku tiki...the ol' fellas really holding up well! # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Carl Russo" Subject: (exotica) Bozos on this Bus Date: 08 Mar 2000 12:26:21 -0800 Friends: Please help me. I'm doing an upcoming 2-hour radio show of clown songs--from Bozo to Gacy. I'm looking for recordings of the weird "Bozo Under the Sea" and the incredibly racist "Bozo and His Rocket Ship." They were originally released on 78 rpm. My own childhood copies are trashed, some were broken. At any rate, I'd be willing to pay money for a copy on cassette, reel, DAT, CD-R whatever. Or you might want to swap for a recording of a hard-to-find soundtrack (of which I have many). Maybe you know of a resource. Please e-mail if you can help! Thanks! Carl "Ratso" Russo www.ratso.net # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Carl Russo" Subject: (exotica) Duning Date: 08 Mar 2000 12:30:17 -0800 Hey y'all. I received the following question from a BBCer, and I don't know the answer. Do you? Thanks! Carl "Ratso" Russo www.ratso.net >>Hello, I work in the Pronunciation Unit at the BBC and we have been asked how to pronounce the name of the American film composer George Duning. I notice from your web site that you mentioned him in connection with the music from "The World of Suzie Wong" in May 1998 (I know it's a long time ago) and wonder if you could advise us. Is it pronounced DUNN'ing (-u as in "fun") DOON'ing (- rhyming with "moon"), or indeed DEW'ning (as in morning 'dew'). Any advice you could give would be gratefully received. Best regards, Sharon Sharon Fairman Senior Linguist, Pronunciation Unit<< # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Stephen W. Worth" Subject: (exotica) Jazz/Improvisation Date: 08 Mar 2000 12:33:16 -0800 exotica-digest wrote: >> Jazz means one thing and one thing only to me--improvisation. This is a college professor's definition, not a jazz lover's. Raymond Scott is a good example of jazz that isn't improvised. At the time, some pseudo-intellectual snobs tried to argue that it wasn't jazz because it was rehearsed and carefully scored, but all it takes is a listen to the music to realize they are wrong. Gershwin, Henderson, Redman and Ellington are all examples of great composers and arrangers in the jazz realm who wrote out charts for the band to follow. While they might have allowed for improvised breaks and solos occasionally, the music was not improvised on the spot by any means. Jazz is. It's easier to hear what it is than it is to try to define rules for it. See ya Steve Stephen Worth bigshot@spumco.com The Web: http://www.spumco.com Usenet: alt.animation.spumco Palace: cartoonsforum.com:9994 Spumco International 415 E. Harvard St. Ste. 204 Glendale, CA 91205 # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Peter Gingerich Subject: (exotica)Oh Yeah Date: 08 Mar 2000 15:40:04 -0500 I saw the O'Kaysions record in a store likewise and would easily have spent $3 on it but it looked like someone had used it as sandpaper. Figure you can't go wrong with the cover, the title, and the fact that they are four kids from North Carolina, a most awesome state (for music anyways). pg >>Anyway, I had to put back: Girl Watching by the >>O'Kaysions and this Stan Kenton (I Think) disc from >>'76 or so called something like Explosion '76, where >>he did a bunch of covers. Jeez, I forgot what they >>were now. >>These were about 3 bucks each. >>Should I run right back and pick those up, or am I >>okay without them in my life right now? >>Peter # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 08 Mar 2000 15:56:31 -0500 At 08:42 AM 3/8/00 -0800, B.J. Major wrote: > >When you get back to/resume playing "notes on a page", you are reading >music, so my answer to that would have to be 'yes'. Before you tear into >me for that response, remember that it's already been pointed out that >there is a *difference* between the essence of jazz music (the improv) >and jazz-style music (the arrangement of the rest of the music without >the improv included). Final response, from me anyway. I'm not going to respond to the notion that a jazz orchestra plays "jazz" and "not jazz" within the course of a single piece of music. Or jazz and jazz-style. I'll just remind you of the original argument. I didn't say that Martin Denny was jazz; I said the music was jazz-based. I guess I could have said "jazz-style". From time to time on the list here, we talk about "Crime Jazz". Why do we call it that? Mostly, I think, because it's music that sounds like jazz. Then there's the fact that it was often composed, arranged and performed by jazz musicians. Then there's the idea that they were trying to evoke a certain atmosphere and the "idea of jazz" seemed to contribute to that atmosphere. Then there's the more mundane issue that some of these films/TV shows actually included on-camera jazz combos, even sometimes featuring them in the story. Sweet Smell of Success, Staccato etc. That just further emphasizes the idea that the films were trying to evoke a certain atmosphere and that the idea - or feel - of jazz at that time in history, was a good way to reinforce that atmosphere. Is "crime jazz" actually jazz? There are solos but I suspect the solos were either "written" or at least tightly prescribed. I don't think there's much improvisation per se. A friend of mine whose jazz tastes are as narrow as mine once were, asked me if he'd like this stuff I was calling "crime jazz". I told him that if he was watching a film and it had a crime jazz soundtrack, he'd probably be pleased. He'd probably enjoy it in that context. It would be music that reminded him of the music he loves. I expressed some doubt that he was ready to just sit down and listen to one of the records. I told him I doubted "Anatomy of a Murder" would become one of his favourite Ellington records. But I was sure that if he saw the film, he'd be pleasantly surprised. And if someday he could loosen up his demands - as I had learned to - he might actually be ready to enjoy a crime jazz compilation I volunteered to make him. I'm intimately familiar with the mentality that holds strict and narrow qualifications for what constitutes jazz. I was once there myself. By my qualifications at the time, Brubeck wasn't jazz. And I can still contact those feelings. (I'm also familiar with the gang who say that nothing produced after 1941 should be called "jazz" but that's a whole other argument.) So, though I enjoyed some of the insights produced by our little argument here, I just want to remind "us" that the argument wasn't about "what's jazz?" but about music with a jazz base, a jazz style, a jazz feel. It doesn't matter if it's really jazz. I know that many would say it isn't and I'm certainly not surprised that a university music department would promote such an idea. They'd probably say the same thing about crime jazz. All I was saying was that Martin Denny reminds me of a cocktail jazz quartet. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Darrell Brogdon" Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 08 Mar 2000 15:16:11 -0600 I've worked in and around jazz radio for 20+ years and all I know is, if you ask 100 different people for a definition of jazz, you'll get 100 different answers. Even jazz musicians can't agree. And who cares how you define it, anyway? When Dan Rather asked Count Basie to explain jazz during an interview on 60 Minutes, Basie's reply was classic: "Pat your foot". 'nuff said, in my opinion. Darrell Brogdon dbrogdon@ukans.edu The Retro Cocktail Hour KANU FM 91.5 Broadcasting Hall The University of Kansas Lawrence, KS 66045 Visit The Retro Cocktail Hour at: http://kanu.ukans.edu/retro.html Listen to The Retro Cocktail Hour at: http://kanu.ukans.edu/retro/retrolisten.htm # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Citizen Kafka Subject: Re: (exotica) What is Jazz? (shut up already!) Date: 08 Mar 2000 16:19:33 -0500 My first and flame-like comment is that I have had to endure worthless arguments and discussions about this issue and the categorization of most any type of music for many years... from "what is classical, bluegrass, jazz, folk," ad nauseum. Mostly instigated by blowhard anal retentive collectors with too much time to obsess and too little sense to think it through (present company pretty much excepted, of course...). For record collectors, these categories have some real validity and value, mainly as shelf markers. Here's the experiment, which can be conducted from either end of the spectrum: Divide your entire collection into a single category: recordings. 2 categories: music and spoken word. if your collection is like mine, you'll even have a bunch of overlap here, on the fringes of poetry, accapella word-jazz, even birds talking and singing without accompaniment. 3 now pick 2 superbroad music categories and divvy it up again: maybe classical music and all other, which is a fair starting point from a dealer perspective. Lots of overlap again. I won't elaborate. 4 keep going. this should be clear by now. ------- or, start with a million categories, like white west coast jazz ensembles from 1962. If one member might be biracial, is that record in or out? ---------- Comment: spend as little time as possible worrying about what category a recording is and start listening more carefully and critically, discovering what resonates in it for you, how it relates to other genres and musics, what it says, how it says it. Is it beautiful? does it make you weep? would you trade it away for something else? many of the comments made during this discussion have been groundless, without foundation, and dumb. This list has more open-minded music listeners and music lovers with broader taste than most other lists around here. i hope it stays that way. go back and listen to your favorite album. As long as you know where you put it, you're on the right track. citizen kafka # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "m.ace" Subject: Re: (exotica) What is Jazz? Date: 08 Mar 2000 16:35:09 -0500 So jazz switches on and off throughout a piece depending on the improv quotient? Wow. I never would have guessed. This thread is starting to make me feel something akin to the bewildered amusement of "primitive" cultures when confronted by western man's penchant for carving the Earth up into parcels of property. Music is not a tv dinner with neat little dividers to keep everything separated. It's a big, yummy stew with all sorts of good things all mixed up. Grab a spoon and enjoy! m.ace ecam@voicenet.com OOK http://www.voicenet.com/~ecam/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Chuck Collazzi" Subject: (exotica) What is jazz?! Date: 08 Mar 2000 16:40:33 -0500 OK, the professor will now take a stab, having perused (far too many) well-meant but wayward definitions......... "Improvisation" is a technique wherein a musician takes an established melodic fragment or harmonic structure and, using non-melody scale tones which relate in some way to the original fragment, or chromatic or diatonic passing tones (in the case of improvising over a chord progression), creates a spontaneous new melody. Improvisation exists in all styles of music. All improvisation is not jazz, and all jazz is not improvisation. "Jazz" is a STYLE of music, and suggests a unique combination of performance practices by which it can be recognized, e.g., tone, choice of instruments and instrumental combinations, specific alterations to chords (using 9ths, 13ths, -5, -9, augmented, suspended, compound, polytonal, etc.), etc., etc. which are not typically found in other styles of music. There is much more to this subject...... Of course, when I turn on the local FM "jazz" station, it sounds to me like their definition is anything with a funky sax. Not that it really matters, I'm afraid.............. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) Jazz/Improvisation Date: 08 Mar 2000 13:53:38 -0800 >>> Jazz means one thing and one thing only to me--improvisation. > >This is a college professor's definition, not a jazz lover's. If lovers of music are going to vary their definition from the standard ones, there's really not much point to having a definition in the first place, is there?! I mean, if anyone can call something they like "jazz" without it really being jazz, This morning I looked up "jazz" in several music textbooks. Yeah, I can hear the groans already. But a reference point for this has to be made somewhere. Each book says that it MUST include improvisation (defined as music created by a musician on the spur of the moment without its having existed in music notation) or it's not jazz. They also said that although improvisation existed before U.S. Jazz, (example, in Europe) it was only done on one instrument at a time (i.e., usually keyboard). U.S. Jazz was the first to have as many as 8 people simultaneously to improvise at once (all things being equal, of course). >Raymond Scott is a good example of jazz that isn't improvised. That's a direct contradiction. And I'm not an intellectual snob in saying that. People who play or compose with jazz influences (thereby creating their own 'jazz style') are not making the same music as people playing true jazz that includes improvisation. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Stephen W. Worth" Subject: (exotica) Bozo the Clown Date: 08 Mar 2000 14:02:47 -0800 >Date: Wed, 8 Mar 2000 12:26:21 -0800 >From: "Carl Russo" >Subject: (exotica) Bozos on this Bus > >Please help me. I'm doing an upcoming 2-hour radio show of clown >songs--from Bozo to Gacy. I'm looking for recordings of the weird "Bozo >Under the Sea" I have a fairly clean copy of Bozo Under the Sea on 78, but I don't have access to a phonograph right now. If you know of someone in the Los Angeles area who would be willing to copy it, I would be happy to supply it to you. The artwork on several of the Bozo 78 sleeves was Grim Natwick, the creator of Betty Boop and animator of Snow White. Just a little trivia there for ya. Please don't forget "Dumbo the Clown Who Loved Christmas" by the infamous Residents. It is one of the most disturbingly innocent perverted songs I have ever heard. Another good one would be Hank Thompson's "Where is the Circus? Here Come the Clowns". The album cover of Hank in greasepaint standing solemnly on a desert landscape is very sad indeed. See ya Steve Stephen Worth bigshot@spumco.com The Web: http://www.spumco.com Usenet: alt.animation.spumco Palace: cartoonsforum.com:9994 Spumco International 415 E. Harvard St. Ste. 204 Glendale, CA 91205 # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: nytab@pipeline.com Subject: (exotica) [obits] David Berman,Charles Gray Date: 08 Mar 2000 17:38:37 -0500 From LA Times David Berman, whose family costumed British infiltrators of the Nazi army, and who personally dressed the movie "Cleopatra," television's "The Untouchables" and Broadway's "Annie Get Your Gun" and put the neon in Liberace's suits, has died. He was 90. Berman, who in one period created virtually every costume on the Las Vegas stage, died Thursday in his Los Angeles home, said his daughter, Sally Sherman. The scion of the family that started one of the first costume businesses in the world, Max Berman & Sons, David Berman launched its Hollywood division in 1949. The company was begun by Berman's great-grandfather in London, where it made uniforms for the royal family during the 19th century and later expanded, becoming one of Europe's leading suppliers of costumes for the stage and eventually films. During World War II, Berman & Sons worked with British officials to create authentic-looking Nazi uniforms for an espionage operation behind German lines. After the war, the company established offices in Paris, Madrid and Rome, supplying the rapidly developing motion picture production business. Berman, who moved to Los Angeles in 1939 and served in the U.S. Army Signal Corps making training films during the war, established the company to supply Hollywood film companies, the American stage, the new medium of television and Las Vegas. Within a few years, he was costuming all the lavish stage productions in the neophyte Nevada gaming city. When a Times columnist suggested that the nearly nude showgirls must require very little costuming and that had to be bad for business, Berman countered that so-called nude outfits didn't come cheap. Berman created one essential gizmo called a "bicycle clip G-string" for the leggy Las Vegas ladies and told The Times in 1960 that dressing a single showgirl in a rhinestone bicycle clip and ostrich, osprey and vulture feathers with a fancy headdress could run $2,000. Other costumes were also pricey, even 40 years ago. One nightclub singer paid $55,000 for what Berman designed for her to wear on stage. Pearl Bailey paid $6,000 for a costume made, appropriately, with pearls, and Jayne Mansfield once paid $25,000 for a skintight dress made of gold that was fashioned by a metalsmith rather than a seamstress. His company churned out 1,000 costumes of various types a month. Berman may have gotten the most attention for the glittery outfits he created for the flamboyant pianist Liberace. When a London reporter, obviously eager to show how the hometown business was faring in far-off Hollywood, once asked Berman how many beads were on one Liberace tuxedo, the costumer gave him a number with a straight face: 1,286,475. "And you know, he quoted me," Berman told Times columnist Gene Sherman, dumbfounded by his own ruse. Although Berman had little serious competition in his heyday, he made a calculated business decision to destroy his overstock rather than sell it to any potential competitor. He supplied the wealthy with costumes for their own use, and when he and his wife, Jean, went out to a Halloween party, they became as the town's best-dressed clowns. Berman dressed the casts of motion pictures such as "Lawrence of Arabia" that became known as costume dramas as well as lavish extravaganzas. His company worked with renowned designers to turn their drawings into hats, dresses and other items of clothing. One collaborator was Cecil Beaton, who won the Academy Award for his lavish designs for "My Fair Lady." The costumes Berman made for "Cleopatra" also won an Oscar for designers Vittorio Nino Novarese, Renie and Irene Sharaff. The Berman company also costumed casts of smaller but no less demanding period films such as "Sophie's Choice." On television, in addition to trench coats and fedoras for the treasury agents and mobsters on "The Untouchables," Berman dressed Lucille Ball and her colleagues in "I Love Lucy." He also provided a full range of costumes for skits and serious song and dance productions of such variety shows as "The Danny Thomas Show," "The Carol Burnett Show" and "The Red Skelton Show." Berman produced the buckskin ensembles for "Annie Get Your Gun" and costumed stars for Broadway productions of "Flower Drum Song" and "Guys and Dolls," among others. His personal garb was less colorful than the show business outfits he designed, but he was rarely seen without his signature red socks. In addition to his wife of 64 years, Berman is survived by his daughter, Sally, of Beverly Hills; his brother, Monty, of London; four grandchildren; and four great-grandchildren. ------- LONDON (AP) -- Character actor Charles Gray, whose chillingly villainous roles included James Bond's arch-enemy Ernst Blofeld, has died at age 71. Gray died Tuesday at London's Brompton Hospital, his agents said Wednesday. The cause of death was not announced. A versatile and admired character actor, Gray excelled as a villain and as a colonial type but also portrayed a range of sadistic generals and old-school men of property. He appeared in horror films, television series and most recently was in the TV mini-series ``Longitude.'' He was best known to international audiences as Blofeld, the villain with the white cat in his arms, in ``Diamonds Are Forever,'' and as the sibilant narrator in ``The Rocky Horror Picture Show.'' In 1976, Gray starred as Sherlock Holmes's brother, Mycroft, in the ``The Seven Per Cent Solution'' alongside Nicol Williamson and Robert Duvall. He returned to the same role years later, with the late Jeremy Brett, in ``Adventures of Sherlock Holmes,'' and ``The Return of Sherlock Holmes.'' His television career included roles in ``Upstairs Downstairs,'' ``Tales of the Unexpected,'' and Dennis Potter's ``Blackeyes.'' Early stage successes included a string of Shakespearean roles at Stratford-upon-Avon and London's Old Vic theater. In the 1960s and 1970s, Gray moved into the realm of cult movies, playing Black Werewolf, in ``The Beast Must Die,'' Satan's emissary in ``The Devil Rides Out'' and, most famously, the ``Rocky Horror'' narrator. Rocky Horror creator Richard O'Brien said that in real life Gray could not have been more different from his on-screen persona. ``He was a charming man with a dry wit and a low tolerance of pomposity in others,'' said O'Brien. There was no immediate word of survivors or funeral plans. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Brian Phillips Subject: Re: (exotica) Jazz/Improvisation Date: 08 Mar 2000 17:42:30 -0500 A funny aside: On the last edition of "My Music", a radio panel game from England that I hear when I can, Steve Race (the chairman and a pianist, Jazz and other styles) asked one of the panelists, "What is Ragtime?", to which the panelist replied, "I have no idea". He then quoted a dictionary of music (Oxford's?) which said, (I'm paraphrasing) Ragtime - a style of music played in Ragtime and "Ragging" was defined as "playing a piece of music in a Ragtime style". Race then said to the panelist, "If he can get away with THAT, then I'm going to give you two points for YOUR answer!" Another aside: On the back of Martin Denny's Exotica, the music is described as Jazz; I am NOT going to argue the point of whether it is or isn't. Just something I noticed (and posted) before that I am making mention of. Another aside: "The Single Petal From a Rose" by Duke Ellington is from the Queen's Suite. Buy it and play it at weddings, etc. What was most fascinating to me was that I heard another version of this song played by a pianist that was known primarily for "Classical" music. If I had played both of them side by side, you would know which version was which and there is not one note that is improvised. I have come to dislike the term Classical music as the music of concert halls played by orchestras. What is a classic? Bach's Brandenburg Concertos? Bessie Smith's "St. Louis Blues"? Flatt and Scruggs "Foggy Mountain Breakdown"? For me, the answer to the questions is "All of the above". That is why I put the term "Classical" in "Quotes" like I just "did". Also, let us not limit artists. Anthony Braxton lectured a class I was in, in which he express disdain over everything that he wrote being classified as Jazz ("If I talk, it's Jazz? If I walk down the street, it's Jazz?". In fact, the opera that I was in (a very small part and thankfully unrecorded; the first performance of Trillium) was primarily Avant-Garde, if you must label it. Another aside: Miles Davis once said, "Don't call it Jazz, call it music." That may seem to be a bit abrasive to some but the word Jazz once had a rather naughty connotation to it as it, "I just jazzed that woman good". Think about that. Would you wish to play a music in which you are expressing yourself (provided you have the talent to do so) in a glorious and beautiful way, something which you went to college for, don't get paid much for, can't get much play on the radio for, only to hear someone say, "That was Brian Phillips and his Orchestra, one of the greatest performers of F**k music. Let's bring him to the microphone. When did you get interested in F**k and did your Father teach you? How long have you played F**k and could you kindly tell the neophyte listeners, 'What the Jazz IS F**k music'? Do you have any advice to youngsters who aspire to F**k...", etc., etc,. NO, I don't consider Jazz a dirty word, but when you grow up as Davis did, with the word losing that meaning, but never gaining the respect it deserved, you may opt for the "call it music" option. "So, hey there, Phillips, where do you stand on the 'What is Jazz' argument?" I stand as an African-American man who tries to know his culture through many means, music being one of them. As for improvisation, Beethoven complained to musicians playing his music NOT to improvise as the printed music was regarded as a framework not as the only way to play the music. I stand on the fact that I have enjoyed many types of music, because that's how I was raised, in a house full of music. I stand as a man with a degree in music from a University, which means... The more I know about music, the less I know. Listen, listen, listen, enjoy, enjoy, enjoy. Spot the similarities in music because the differences are self-evident. It's much more fun that way and as such, I get along with just about everyone. I still say we all need to go over to Kenny G's house ring the doorbell and run like the dickens, if that helps any. Brian Phillips # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: BasicHip@aol.com Subject: Re: (exotica) Bozos on this Bus Date: 08 Mar 2000 17:46:23 EST << I'm looking for recordings of the weird "Bozo Under the Sea" >> Finally, something I can relate to! This intellectual mumbo jumbo about what jazz is is way over my pointed little head. If nobody has come through for ya, Ratso, I'm your man. I've got a NM copy of Under The Sea and am equipped to spit out a fully packaged CD-R for you. This copy is one of those Captiol 33-1/3 LP reissues. If time permits, I'll track down Rocket Ship. Pops up often on ebay, but mighty collectible... Bozo Under the Sea was the very first thing I can actually remember hearing as a kid - a real little kid, like 2 or 3 - so your project tugs at my heart strings. Where do I send my donation? bye for now - ford # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: Re: (exotica)Oh Yeah Date: 08 Mar 2000 17:50:48 EST In a message dated 3/8/0 3:42:05 PM, peter.gingerich@wcom.com wrote: >I saw the O'Kaysions record in a store likewise and would easily have spent >$3 on it I sold my copy of the North Carolina sextet's LP sometime ago so I can't remember exactly what's on it, but I recall it as containing the one hit "I'm A Girl Watcher" which is kind of a pop-soul thing from '68 and a few more MOR tunes and standard-type fare. While "Girl Watcher" is cute, organ-based, vocal and swings in a cool and strange way, the record to REALLY watch out for is the song its based on; Ginger Thompson's "I'm A Boy Watcher" on EMI, from 1967. Be prepared to part with serious sheckels for that one though. ANY LP worth having is worth shelling $3 for IMHO......JB/living comfortably without The O'Kaysions # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: mimim@texas.net (Mimi Mayer) Subject: Re: (exotica) If you gotta ask... Date: 08 Mar 2000 17:31:52 -0500 Well, don't need to ask but I gotta confess something. It tickles me to witness... a discussion pinning down jazz, which is all about fluidity, exploration, improv, spontaneity, taking forms and turning em every which way upside down inside out and swingin it too, while you're at it, buster a discussion defining tiki music, which is all about sensuality, the ineffable, mystery It's giving me a grin just when I need it. Thanks, BJ & Nat & Mo & Brian and whoever. Let the games continue. Hope you lance those windmills or have a great time trying. Mimi # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: RE: (exotica) Jazz/Improvisation Date: 08 Mar 2000 15:45:36 -0800 >Barbara - you're beating a dead horse. Sorry you feel that way; if nothing moves me to comment on a post, I don't. If it does, I do. People that don't like/aren't interested in the Jazz thread can always set up a filter to delete it so they don't have to read it. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Lou Smith Subject: (exotica) What is Jazz? (shut up already!) Date: 08 Mar 2000 19:42:12 -0500 (EST) Citizen Kafka wrote: >go back and listen to your favorite album. As long as you know where you put it, you're on the right track. This is why Kafka is my hero! -Lou # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Lou Smith Subject: Re: (exotica) Jazz/Improvisation Date: 08 Mar 2000 19:46:35 -0500 (EST) At 05:42 PM 3/8/00 -0500, Brian wrote: > >Another aside: > >Miles Davis once said, "Don't call it Jazz, call it music." That may seem >to be a bit abrasive to some but the word Jazz once had a rather naughty >connotation to it as it, "I just jazzed that woman good". Think about >that. Would you wish to play a music in which you are expressing yourself >(provided you have the talent to do so) in a glorious and beautiful way, >something which you went to college for, don't get paid much for, can't get >much play on the radio for, only to hear someone say, "That was Brian >Phillips and his Orchestra, one of the greatest performers of F**k >music. Let's bring him to the microphone. When did you get interested in >F**k and did your Father teach you? How long have you played F**k and >could you kindly tell the neophyte listeners, 'What the Jazz IS F**k >music'? Do you have any advice to youngsters who aspire to F**k...", etc., >etc,. > >The more I know about music, the less I know. Listen, listen, listen, >enjoy, enjoy, enjoy. Spot the similarities in music because the >differences are self-evident. It's much more fun that way and as such, I >get along with just about everyone. > If CK is my hero, Brian, can you be his side-kick? Can I have more than one hero? OK, you're one too! I swear, if you ever decide to unsubscribe from this list, I'll come over to your house and break your finger before you can hit "enter." No, wait -- that'd defeat the purpose, wouldn't it. -Lou # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: itsvern@ibm.net Subject: (exotica) anti-jazz Date: 08 Mar 2000 20:25:08 -0500 Here's a twist to the question on what jazz is. What would you consider to be the complete opposite of jazz? First thing that came to my mind was John Phillip Sousa marches. I know there are probably better answers out there....any takers? Vern # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Lou Smith Subject: Re: (exotica) anti-jazz Date: 08 Mar 2000 21:24:29 -0500 (EST) At 08:25 PM 3/8/00 -0500, Vern wrote: > >Here's a twist to the question on what jazz is. >What would you consider to be the complete opposite of jazz? > >First thing that came to my mind was John Phillip Sousa marches. I know there >are probably better answers out there....any takers? > Well, the Souza thing sounds plausible until you think of New Orleans Brass Bands...how about that LP where someone (forget who) translated Earth's Magnetic Field data into pitch/tembre/tempo info. Unless you picture the planet as improvising its magnetic pulses, that my choice. -Lou # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: PnchDrnk@aol.com Subject: Re: (exotica) Jazz/Improvisation Date: 08 Mar 2000 16:03:04 EST bigshot@spumco.com writes: >... Raymond Scott is a good example of jazz that isn't improvised. ... This reminds me of an interview with musician DON BYRON from CONVENTIONAL WISDOM magazine (an excerpt): CM: "Improvisation is central to jazz." DON BYRON: "Yes, but Jelly Roll Morton's and Duke Ellington's early music was almost entirely routined, and varied little from performance to performance. And Raymond Scott's music was through-composed, yet swings like a M-F!" # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Ross 'Mambo Frenzy' Orr Subject: (exotica) categories Date: 08 Mar 2000 22:13:32 -0500 Without attempting for a minute to get into defining music categories. . . I just wanted to comment that at this point I have enough records that I've had to resort to putting little post-its on the innersleeves of records to remind myself what each record sounds like. So I have to write *something* descriptive that will give me some idea what category it is in. I've found myself making up a more and more idiosyncratic vocabulary to try and evoke the different categories which seem relevant to me. Here are a few of the terms that I've been using the most: Twisty Noir Big Bandish Pepsi Generation Tangy Percussion Graft Bossafied Cocktail Suave Vegas Brass etc. Plus, various combinations of the above--for example, "Experiment in Terror" as played by Al Caiola = "Twist Noir" It's hopeless of course. cheers, --Ross || Ross "Mambo Frenzy" Orr || Ann Arbor, Michigan USA # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Keith E. Lo Bue" Subject: (exotica) Thye Musick Gods Date: 09 Mar 2000 14:55:09 +1100 An uplifting fable. Our neighborhood here in an =DCber-Suburban=81 shire of Sydney just had their junk collection by the shire council...trucks will come and pick up all the crap you can stuff at the end of your (brick) driveway. Over two weeks, as I skateboarded my little girl to day-care, I found lots of great odds-n-ends, records, etc. Then the pick-up day drew close and out of the brickwork came the big guns. After one twenty-four-hour frenzy, I sat back in my living room (=DCber-Sub=81) and surveyed my take: Sharp Optonica Integrated Amp Sharp Optonica Digital Tuner Sharp Optonica Solenoid Cassette Deck Sharp Optonica Direct-Drive Turntable w/Audio-Technica cartridge Color Television Panasonic "The Genius" Microwave The cassette deck needs a $3 belt. I'm warming up to this town, cancha tell? Keith **************************** http://www.lobue-art.com A virtual gallery and info site for the artwork and workshops of KEITH E. LO BUE **************************** # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: bag@hubris.net Subject: Re: (exotica) categories Date: 08 Mar 2000 20:19:09 -0800 At 10:13 PM 08-03-00 -0500, Ross wrote: >I just wanted to comment that at this point I have enough records >that I've had to resort to putting little post-its on the >innersleeves of records to remind myself what each record sounds >like. So I have to write *something* descriptive I have found all of the comments to this interesting and provacative. Its not that I like this as an "issue", but I do like the information people use while responding. Certainly I agree with Kafka's Komments. Categorize your stuff so you can find it...not according to how you "should" place it. This is why, for many people, organizing by record label or number makes more sense...and there are many more methods which don't force stereotypes into art (chronilogical, color of spine, size...you name it). When I worked at a public radio station, someone got the bright idea of colorcoding all the records. Blue for The Blues, Yellow for folk, Red for Rock and so on. But that wasn't enough. Soon there were subcategories and then divisions of subcategories. In the end there were four stripes on some records...the spines looked like-old style ceramic resistors! After that fine a hierarchy was established it became meaningless. I stopped looking for anything but the main category and by the time I had anything to say about it, the practice was fortunately abandoned. For me the only real measure of the music was playing it and short of that time consuming practice, a quick read of the back cover notes for something that would spark my interest (a cool title, some respected musicians, well-known composers or arrangers, descriptions of instrumentations). This was good training for me when I started scouring record bins and buying stuff I had no idea would be good or bad. One section of the library was the C.C. Linley collection which included most of the real collectible albums. The station, I think, has changed through so many people that they may have parsed out that collection...perhaps even abandoned albums altogether as is the trend these days. I found it interesting how Mr. Linley made notes on his records. He had a grading system of checks and often marked tempo. I never quite deciphered everything, but it was always fun to see what I thought it meant (did 4 checks mean it was really great, really bad, was loud, soft, or just that he played it 4 times?). In the end, listening to music and collecting it is just a personal relationship between you and the musician which can't be explained...and certainly not divided and subdivided with precision. I am want to always categorize everything...the computer scientist in me...but I also want to just throw everything in a big pile and take each record for what it means to me at that moment at that place, knowing that will change again, defying categorization. I think both things are natural for humans to do, but somewhere in the middle is where it makes the most sense...where you can find most things and accept some crossover...and yet can also enjoy a better variety of music. Byron Byron Caloz Portland, Oregon, USA, Earth, Sol, Milky Way http://www.hubris.net/zolac The Mr. Smooth site: http://www.hubris.net/zolac/smooth # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Keith E. Lo Bue" Subject: (exotica) Re: exotica-digest V2 #644 Date: 09 Mar 2000 14:24:32 +1100 >Date: Wed, 08 Mar 2000 12:02:18 +0000 >From: Michael Jemmeson >Subject: Re: (exotica) What is Jazz? > >I found Ben Sidran's 'Black Talk' book on this subject to be a very >interesting and helpful read. Can wholeheartedly recommend it. Had to have a belly laugh when I read this...no offense, the book may be wonderful, but it's written by the whitest, most un-hip un-rhythmic un-soulful faux-jazzman I've ever laid eyes or ears on. Well, almost. I've got a video of him 'rapping', complete with little boombox, as two homeys break in the background, that belongs on everyone's 'The Earth Has Broken Out Of Its Orbit And We're Hurtling Towards The Sun' compilation. Keith **************************** http://www.lobue-art.com A virtual gallery and info site for the artwork and workshops of KEITH E. LO BUE **************************** # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Kevin Crossman Subject: Re: (exotica) I found definitive TIKI music....(really, I did) Date: 08 Mar 2000 23:01:08 -0800 "B.J. Major" wrote: > > and "real" tiki music, except the > >name of course. Or, at least that's what I think. Still, a cool place > >to hang out... > > You were the tiki expert I was thinking of when the "What is Tiki music?" > question was raised. In your opinion, what is (or what constitutes) tiki > music? What would be good examples to listen to? Uh, I think you must have me confused with someone else... That said, in my view Tiki music should sound exotic and feature some sort of "natural" sounding percussion. It certainly shouldn't sound like a broadway musical. Though obviously there are exceptions... Kevin Crossman -- *********************************************************** * Kevin Crossman kevin@kevdo.com * * http://www.kevdo.com - The Narrow Interest Portal * * Lip Balm Anonymous, Ultimate Mai Tai, Exotica Archive * *********************************************************** # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "w m" Subject: (exotica) reccomendations? Date: 09 Mar 2000 01:56:58 PST hi all, does anybody have the (french) instrumental 60s compilation series? i'm wondering if they are worth picking up. the discs contain eps by some of the following: les milords, les monegasques, the averns et leurs guitares elctriques, jingle jumpers, the krewkat(krewkuts?), the gladiators, les 4 kiwis(tony and the intials), claude ciari,.. any commments would be helpful. also i saw an italian movie soundtrack for a film called arrriva la bomba which looks quite good. the shop only has one copy and i'm not sure if they will get more in. is it highly reccomended? its a little expensive by taipei standards so i'm not sure if i should just go for it or not. william in taipei. ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Philip Jackson Subject: Re: (exotica) Jazz/Improvisation Date: 09 Mar 2000 21:21:18 +1100 on 9/3/00 9:42 AM, Brian Phillips at hagar@mindspring.net wrote: > Listen, listen, listen, > enjoy, enjoy, enjoy. hear, hear, hear. Philip -- # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Philip Jackson Subject: Re: (exotica) anti-jazz Date: 09 Mar 2000 21:21:13 +1100 on 9/3/00 12:25 PM, itsvern@ibm.net at itsvern@ibm.net wrote: > > Here's a twist to the question on what jazz is. > What would you consider to be the complete opposite of jazz? > Eno is credited as playing a "direct inject anti-jazz ray-gun" on Robert Wyatt's "Ruth Is Stranger Than Richard" album (which is actually quite "jazzy") but I guess some sorts of automatic music created by machines or computer algorithms would have to be anti-improvisation/jazz. Philip -- # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) What is Jazz? (shut up already!) Date: 09 Mar 2000 12:43:58 +0100 Citizen Kafka wrote: > My first and flame-like comment is that I have had to endure worthless > arguments and discussions about this issue and the categorization of > most any type of music for many years... > > Divide your entire collection into... > Comment: spend as little time as possible worrying about what category a > recording is and start listening more carefully and critically... There it is again, the old fear of categorization, of "defining" things. So, this entire thread was completely worthless, right? This is not a hero speaking. I think it's cheap. What's the point? Am I not listening carefully, because I talk about it? Is making categories a crime? Does it limit me? Come on, it's all a mind-game anyway. It's what this list is all about, talking about music, and why not?! I have been listening to all kinds of music all my life and now I want to know "What is Jazz?" And why not? The discussion of Exotica developed to the point, where the question of its Jazz-roots came up and subsequently the question was raised "What is Jazz?" This does not in any way mean that anything is about to be caged in defintions. Quite the opposite: The LESS I know the more limited I am, stuck in the categories that I don't understand. The MORE I go into the deep of a subject, the freer my mind becomes, questioning the categories to a degree where they are pushed beyond their own limits. I am not worrying about categories at all! I'm rather excited. Some people always argue against those who use their brain to analyze, categorize and recognize the world around them. They always say things like "It's not possible to know what the truth is", "You must feel it" and consider themselves being so liberal, tolerant and open-minded. F**k! As if I would care! If the question of 'truth' would bother me, I couldn't even move my little finger. >This list has more open-minded music >listeners and music lovers with broader taste than most other lists >around here. i hope it stays that way. I not only hope, I just KNOW, it will stay that way and therefore I TRUST the list members, that when they discuss something, anything, they have a point. And don't call their efforts to word their complicated thoughts and paths through the Jungle of phenomena of music as worthless. The streets to enlightment are not always perfect, straight and wide, sometimes they turn out to be blind alleys. It doesn't mean walking is stupid. It's not like this thread didn't get to any results: Contradictory positions have merged: Jazz is about improvisation AND Martin Denny is Jazz, that much is clear now. What it MEANS... is another question. It may lead to listen to Martin Denny in a different way and actually discovering improvised parts in his music that you just didn't notice before. Because there was no such category in your mind to HEAR that. I think that would be a great result! Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) Jazz/Improvisation Date: 09 Mar 2000 12:44:31 +0100 If there will ever be a book about the highlights of the Exotica list, I want this to be included: Brian Phillips wrote: > Miles Davis once said, "Don't call it Jazz, call it music." That may seem > to be a bit abrasive to some but the word Jazz once had a rather naughty > connotation to it as it, "I just jazzed that woman good". Think about > that. Would you wish to play a music in which you are expressing yourself > (provided you have the talent to do so) in a glorious and beautiful way, > something which you went to college for, don't get paid much for, can't get > much play on the radio for, only to hear someone say, "That was Brian > Phillips and his Orchestra, one of the greatest performers of F**k > music. Let's bring him to the microphone. When did you get interested in > F**k and did your Father teach you? How long have you played F**k and > could you kindly tell the neophyte listeners, 'What the Jazz IS F**k > music'? Do you have any advice to youngsters who aspire to F**k...", etc., > etc,. Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Brad Bigelow Subject: (exotica) Labels, Labels, Labels Date: 09 Mar 2000 07:15:37 Lawrence Wechsler once wrote a book about the artist Robert Irwin titled, "Seeing is Forgetting the Name of the Thing One Sees." I'd paraphrase that: "Listening is Forgetting the Name of the Thing One Hears." If you have to have categories, make 'em good ones: >And having said that, I'm off to get Bossafied. >Twisty >Noir >Big Bandish >Pepsi Generation >Tangy >Percussion Graft >Bossafied >Cocktail Suave >Vegas Brass Bravo, Ross! I'm off to get Bossafied. Brad # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Subject: (exotica) Peter Thomas soundtrack Date: 09 Mar 2000 13:18:40 +0000 Anybody know a soundtrack called Le Mariage Parfait (The perfect marriage) by Peter Thomas? Its rather expensive on Ebay today: http://cgi.ebay.com/aw-cgi/eBayISAPI.dll?ViewItem&item=274384763 and as we all know the man Thomas, could this be worth a bid? Charlie +-------------------------------------------------------------+ | This message may contain confidential and/or privileged | | information. If you are not the addressee or authorized to | | receive this for the addressee, you must not use, copy, | | disclose or take any action based on this message or any | | information herein. If you have received this message in | | error, please advise the sender immediately by reply e-mail | | and delete this message. Thank you for your cooperation. | +-------------------------------------------------------------+ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: LTepedino@aol.com Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 09 Mar 2000 08:22:07 EST In a message dated 3/7/00 6:56:19 PM EST, bjbear71@mindspring.com writes: << Mark: as you can see, people's opinions on this vary, but from what I was taught, "what is" jazz is not found on transcribed "notes on a page" (to quote Mr. Holland's Opus). >> "What a load of crap" (to quote Grease 2) Ashley # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: itsvern@ibm.net Subject: (exotica) Great Record Collector article Date: 09 Mar 2000 08:28:56 -0500 There's a great, great, great article in today's Washington Post, about a guy in Baltimore who has 100,000 records in his house. It's quite an amazing story ... evidently he has one of a kind high quality stuff that the Smithsonian, the Country Hall of Hame, and others are simply drooling over. There's a few real good jazz related tidbits that are also real interesting. http://www.washingtonpost.com/wp-dyn/articles/A38192-2000Mar8.html Vern # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Subject: Re: (exotica) Great Record Collector article Date: 09 Mar 2000 13:53:52 +0000 145,000 records is just ridiculous. Think of the cost/value! Or the idea of trying to play them all before you die! What a great article. I'm jealous. Charlie +-------------------------------------------------------------+ | This message may contain confidential and/or privileged | | information. If you are not the addressee or authorized to | | receive this for the addressee, you must not use, copy, | | disclose or take any action based on this message or any | | information herein. If you have received this message in | | error, please advise the sender immediately by reply e-mail | | and delete this message. Thank you for your cooperation. | +-------------------------------------------------------------+ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Peter Risser Subject: (exotica) Kindeygarden Date: 09 Mar 2000 05:59:29 -0800 (PST) I simply try to expose my kids to as much musics as I can, to get them interested and open their ears. Sure, my kids like Backstreet Boys, but they also really like Sesame Street, James Brown, Air, Itsy Bitsy Teeny Weenie Yellow Polka Dot Bikini and that Metallica cover of the Nick Cave song. So, yeah. Mostly they listen to Backstreet Boys, but they are listening to what they like, not what everyone says is cool, and I can respect that. Especially since, when I was a kid, I grew up listening to country, like Kenny Rogers, Barbara Mandrell, Statler Brothers and John Denver. I also loved Barry Manilow and the Beach Boys. Then I discovered pop during the 80s and listened to Men at Work, Cyndi Lauper and all those bands. In high school, I discovered classic rock. Also Art of Noise. In college, I discovered the Smiths, Pixies, The Cure, as well as classical, avant garde, electronic (noise, not dance) and so on. Then Fishbone and Primus. Then John Zorn and his group. Then heavy rock like Melvins and Ruins. Then back to Prog like Soft Machine, Yes and King Crimson. Meanwhile Zorn also brought me to Morricone, while Harry Connick introduced me to vocal jazz, which brought me to Julie London, Helen Merrill and Blossom Dearie, all of which, plus Sesame Street, brought me into lounge. So, okay. As long as he's listening and enjoying the music, whatever he chooses to enjoy is his business and I support him in that. Besides, all kids rebel against their parents and hate their parents' music, so I don't want to expose him too much to cool stuff, or he'll grow up to hate it. :) Finally, I just want to say that he organized a group of kids in his neighborhood to try and put on a Stomp-like show. They were out there banging on cans and pushing brooms and shouting and having a great time. I was so proud. Peter __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Rajnai, Charles, NNAD" Subject: RE: (exotica) anti-jazz Date: 09 Mar 2000 11:08:27 -0500 > Here's a twist to the question on what jazz is. > What would you consider to be the complete opposite of jazz? That would have to be Country & Western. But I may be saying that only because I hate it so much. Charlieman # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 09 Mar 2000 08:17:38 -0800 >In a message dated 3/7/00 6:56:19 PM EST, bjbear71@mindspring.com writes: > ><< Mark: as you can see, people's opinions on this vary, but from what I > was taught, "what is" jazz is not found on transcribed "notes on a page" > (to quote Mr. Holland's Opus). >> > > >"What a load of crap" (to quote Grease 2) > >Ashley Usually I would not respond to such posts lacking zero thought behind them, but I suggest you pick up a book and look up "what is jazz" yourself. You will find that it has absolutely nothing to do with reading printed music notation. --bj # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Philip Jackson Subject: Re: (exotica) Re: exotica-digest V2 #644 Date: 09 Mar 2000 21:21:18 +1100 on 9/3/00 2:24 PM, Keith E. Lo Bue at keith@lobue-art.com wrote: > complete with little boombox, as two homeys > break in the background, that belongs on everyone's 'The Earth Has Broken > Out Of Its Orbit And We're Hurtling Towards The Sun' compilation. I'll take a CD-R of your one of these right away, Keith! Philip -- # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Br. Cleve" Subject: Re: (exotica) reccomendations? Date: 09 Mar 2000 11:18:47 -0500 At 4:56 AM -0500 3/9/00, w m wrote: > also i saw an italian movie soundtrack for a film called arrriva la bomba >which looks quite good. It's actually a compilation of 60's/70's Italian tracks, not a soundtrack. It's in the funky, Now Sound vein, with some great tracks and some not so great tracks. The prize on it is the first digital release of Morricone's "Deep Down", the theme to the cult film "Danger: Diabolik", which was only released on an Italian single. The orginal tapes were believed for years to be lost, but the folks at Irma persisted and were able to excevate it. br cleve # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Subject: Re: (exotica) reccomendations? Date: 09 Mar 2000 16:45:31 +0000 Arriva la Bomba is one of those compilations that I didn't quite understand. A mixture of low quality Italian pop and that Deep Down thing? Is that a classic? I'd say avoid this one (especially if it's expensive). Charlie +-------------------------------------------------------------+ | This message may contain confidential and/or privileged | | information. If you are not the addressee or authorized to | | receive this for the addressee, you must not use, copy, | | disclose or take any action based on this message or any | | information herein. If you have received this message in | | error, please advise the sender immediately by reply e-mail | | and delete this message. Thank you for your cooperation. | +-------------------------------------------------------------+ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Johan Dada Vis Subject: (exotica) Re: I'll Drink to That! Date: 09 Mar 2000 14:31:23 +0100 Fred Astaire: Astairable Fred - lp, DRG MRS 911, USA, 1987: contains the song "the martini" Johan ----- # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: (exotica) categories Date: 09 Mar 2000 15:03:45 -0500 At 12:43 PM 3/9/00 +0100, Moritz R wrote: > >There it is again, the old fear of categorization, of "defining" things.What's the >point? Am I not listening carefully, because I talk about it? Is making categories >a crime? Does it limit me? I have to agree with Moritz here. As much as I respect CK and his point-of-view, there's always one person who interrupts your endless, obsessive discussion about musical categories with some cliche like "There's only two categories. Stuff you like and stuff you don't like" Or "There's only two categories. Good music and bad music". And everyone goes "Yeah he's right" and feels guilty about their silly discussion. And I always want to kill that person. (Except in this case of course.) Thinking about categories or genres or sub-categories is central to what I do. And I don't mean just collecting records. More importantly I also mean my work. Making films. Writing. I don't necessarily think of them as categories. Sometimes I think of them as "colours". Sometimes I think of them as "elements". But it's not much different from categorizing music. And sometimes I use musical categories when trying to communicate with a collaborator such as an editor or a writer or a composer. "This scene is a bit more Coltrane and a bit less Blue Note". I don't think I've ever said that exactly but I've said things like that. And even more obscure than that. Sometimes I slice the categories so thinly, you can barely discern a difference. But it works for me. I'm always trying to create a hybrid of sorts, trying to combine elements from different categories. Everybody does it to one degree or another. When you're writing something and for instance, fashioning a subplot, you might think "Okay this is kind of a melodrama. I could use something a bit more jazzy here to offset it". And it works when I'm just listening to a record too. A lot of the records I like, it's because I think I'm hearing all these different elements - or categories - being brought to bear. Sometimes the elements fight each other a bit. Sometimes the failure of the combination can be a joy in itself. This is not to say that I want to argue about jazz forever. Although I could imagine having a running argument like that with a friend. I think I understand the "no categories" mentality. And I can even understand it existing on this list where we talk about all this different music and it all seems to fit. At the same time though, with all the talk of Italian soundtracks and Kinky Beats and samples, which to me are all about combining elements, it's funny that people would say "Enough with the categories!" Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: Re: (exotica) anti-jazz Date: 09 Mar 2000 15:03:47 -0500 At 08:25 PM 3/8/00 -0500, itsvern@ibm.net wrote: > >Here's a twist to the question on what jazz is. >What would you consider to be the complete opposite of jazz? Celine Dion. New Country (most of it anyway, maybe not Alan Jackson or Ricky Skaggs). Steven Spielberg movies. Allen Keyes. McDonald's. National Anthems (in the English speaking world anyway). Up With People. Little Marcy (except when she scats). Susan Carpenter McMillan. Arnold Schwarzenegger. It's hurting my head to try and think of more. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: (exotica) categories Date: 09 Mar 2000 15:03:49 -0500 At 12:43 PM 3/9/00 +0100, Moritz R wrote: > >There it is again, the old fear of categorization, of "defining" things.What's the >point? Am I not listening carefully, because I talk about it? Is making categories >a crime? Does it limit me? I have to agree with Moritz here. As much as I respect CK and his point-of-view, there's always one person who interrupts your endless, obsessive discussion about musical categories with some cliche like "There's only two categories. Stuff you like and stuff you don't like" Or "There's only two categories. Good music and bad music". And everyone goes "Yeah he's right" and feels guilty about their silly discussion. And I always want to kill that person. (Except in this case of course.) Thinking about categories or genres or sub-categories is central to what I do. And I don't mean just collecting records. More importantly I also mean my work. Making films. Writing. I don't necessarily think of them as categories. Sometimes I think of them as "colours". Sometimes I think of them as "elements". But it's not much different from categorizing music. And sometimes I use musical categories when trying to communicate with a collaborator such as an editor or a writer or a composer. "This scene is a bit more Coltrane and a bit less Blue Note". I don't think I've ever said that exactly but I've said things like that. And even more obscure than that. Sometimes I slice the categories so thinly, you can barely discern a difference. But it works for me. I'm always trying to create a hybrid of sorts, trying to combine elements from different categories. Everybody does it to one degree or another. When you're writing something and for instance, fashioning a subplot, you might think "Okay this is kind of a melodrama. I could use something a bit more jazzy here to offset it". And it works when I'm just listening to a record too. A lot of the records I like, it's because I think I'm hearing all these different elements - or categories - being brought to bear. Sometimes the elements fight each other a bit. Sometimes the failure of the combination can be a joy in itself. This is not to say that I want to argue about jazz forever. Although I could imagine having a running argument like that with a friend. I think I understand the "no categories" mentality. And I can even understand it existing on this list where we talk about all this different music and it all seems to fit. At the same time though, with all the talk of Italian soundtracks and Kinky Beats and samples, which to me are all about combining elements, it's funny that people would say "Enough with the categories!" Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "m.ace" Subject: (exotica) tv skim Date: 09 Mar 2000 15:03:51 -0500 Some music-y movies coming up on US TV (eastern times)... Breakfast At Tiffany's (1961) Mancini, 'natch. TCM - Saturday night, 8:00pm The Girls On The Beach (1965) With the Beach Boys, Lesley Gore and cross-dressing Beatles imitators. AMC - Saturday night, 10:00pm, 4:00am Note that this month AMC is inserting a lot of Beach Boys tidbits in their in-between segments in this Saturday night zone. Love Happy (1949) Harpo and harp. AMC - Sunday morning, 6:30am Fun In Acapulco (1963) El... AMC - Sunday morning, 10:00am The Day The Earth Stood Still (1951) For the theremin fetishists. AMC - Sunday night, 10:15pm Ocean's Eleven (1960) Rat Pack, man. AMC - Monday night, 8:30pm, 2:35am Blue Hawaii (1961) ...vis AMC - Monday night, 10:45pm The 5,000 Fingers Of Dr. T. (1953) The ultimate piano lesson... practice, practice! TCM - Tuesday morning, 10:00am Greenwich Village (1944) Carmen Miranda, William Bendix song & dance in a toga. AMC - Tuesday afternoon, 12:15pm X: The Man With X-Ray Eyes (1963) Baxter tracker. AMC - Wednesday morning, 6:00am m.ace ecam@voicenet.com more picks here... http://www.voicenet.com/~ecam/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: nytab@pipeline.com Subject: (exotica) FYI: Copyright Resources Online Date: 09 Mar 2000 15:24:04 -0500 Copyright Resources Online http://www.library.yale.edu/%7Eokerson/copyproj.html The Yale University Library has created Copyright Resources Online, a rich resource filled with links relating to copyright issues. This index is divided into two sections: University Copyright Resources and Non-University Intellectual Property Resources. The two sections are first shown only as alphabetical lists of Websites that serve as sources of information; however, further down the page, each Website is thoroughly annotated including, where applicable, hyperlinked, annotated lists of on-site working papers, guides, and other materials. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Stephen W. Worth" Subject: (exotica) Re: Bozo Date: 09 Mar 2000 12:28:02 -0800 exotica-digest wrote: >I've got a NM copy of Under The Sea and am equipped >to spit out a fully packaged CD-R for you. >This copy is one of those Captiol 33-1/3 LP reissues. In case you didn't know, the LP re-releases of the Bozo records were censored. From what I hear, Bozo Under The Sea doesn't include some of the near death experience of the 78 version, and Bozo's Rocket Ship omits the Ubangis with their boingy lips. See ya Steve Stephen Worth bigshot@spumco.com The Web: http://www.spumco.com Usenet: alt.animation.spumco Palace: cartoonsforum.com:9994 Spumco International 415 E. Harvard St. Ste. 204 Glendale, CA 91205 # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: Re: (exotica) categories Date: 09 Mar 2000 16:36:53 EST In a message dated 3/9/0 3:00:13 PM, bruno@yhammer.com wrote: >the failure of the combination can be a joy in itself. Reworded: The failure of the combination is the essence of exotica. Exotica IS glorious failure. Which is so perfect because "success" in musical terms is so often hard to stomach...JB/My .02 # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: chuck Subject: (exotica) Oh Yeah Date: 09 Mar 2000 13:56:51 -0800 (PST) Its funny Peter, when I first started buying exotica vinyl again Girl Watching by the Okasions was one of my first buys. I played it a lot and and got into this soul pop (blue eyed soul) music style. I have been wanting more of this music ever since. I'm an Okasions fan. I know the late 60's had to have many more bands along this style. Easy listening in the Big Easy Chuck --- Peter Risser wrote: > Anyway, I had to put back: Girl Watching by the > O'Kaysions and > > Should I run right back and pick those up, or am I > okay without them in my life right now? __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Vanessa M Cox Subject: (exotica) Jazz Café- Playlist, Monday 06 March Phoenix Student Radio 107.5 FM Date: 09 Mar 2000 22:18:32 GMT Hello, I did my first radio show on Monday, so I thought I'd be self-indulgent a= nd send the playlist.=20 Cheers! Elis Regina: Roda LP: Elis PHILIPS=3DP765.001P Laika: Uneasy CD: Good Looking Blues TOO PURE=3DPure 89CD Dizzy Gillepsie: Bang Bang CD: Dizzy VERVE=3D533 846-2 Balan=E7o: More CD: More SCHEMA=3DSCCD 310 Louis and Bebe Barron: Graveyard- A Night with Two Moons LP: Forbidden Planet- Original MGM Soundtrack SMALL PLANET=3DPR-001-8 Plaid: New Boss Hippo CD: Rest Proof Clockwork WARP=3DWARP CD63 Bruce Haack, Esther Nelson and Dimension 5 Records: Motorcycle Ride CD: Listen Compute Rock Home EMPEROR NORTON RECORDS=3DEMN 7021 Jean Jacques Perrey: E.V.A. CD: Moog Indigo BGP RECORDS=3DCDBGPM103 Niagara: Rhythm Go LP (v/a): Gl=FCcklich II COMPOST RECORDS=3DCOMPOST 021 Gustav Brom Orchestra: Waldmadchen CD (v/a): Talkin' Jazz Vol. III TALKIN' LOUD=3D553 585-2 Broadcast: Belly Dance EP: Extended Play WARP=3DWAP129 Frank Comstock and his Orchestra: Out of this World LP: Project: Comstock- Music for Outer Space WARNER BROS=3DWS 1463 Gilberto Gil: Margin=E1lia II LP: Gilberto Gil PHILIPS=3D 6488 147 Bossa Nostra featuring Bruna Loppez: Apocalypso CD: Kharmalion IRMA CASADIPRIMORDINE=3DIRMA494503-2 Cal Tjader: Maramoor Mambo CD: Cal Tjader- Roots of Acid Jazz VERVE=3D531 562-2 Miles Davis: Black Satin LP: On the Corner CBS=3DPC31906 Also played Raymond Scott's Powerhouse and T=F4 by Tom Z=E9 to fill time. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Peter Risser Subject: (exotica) Cribbed Record Covers Date: 09 Mar 2000 14:34:54 -0800 (PST) Ween has an album called The Pod, where they took the cover of Leonard Cohen's Best Of from 1975, and pasted one of their own faces over it. That's all I know of. Peter __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Peter Risser Subject: (exotica) What Is Exotica Date: 09 Mar 2000 14:36:01 -0800 (PST) Okay, here's my take on Exotica, which I just scribbled down for a FAQ I'm creating: How can you define exotica? It’s a broad reaching term for a music that primarily consisted of South Seas influenced 50’s instrumental pop, like Martin Denny, Arthur Lyman and Les Baxter. In its broader sensibility it represents any sort of backwater thrift finds in the instrumental pop category from say, the early fifties to the mid seventies, though naturally there’s stuff worth discussing before and after that period. In this sense it’s also known as Space Age Bachelor Pad Music, Hi-Fi music, Lounge music and so on. Some genres that fall under the general banner of Exotica are: exotica, soft pop, now sounds, hi-fi recordings, organ music, sixties soundtracks, percussion explorations, moog showcases, brass projects, production music, blaxploitation, psychsploitation, prepared piano, spoken word, industrial promotions, and anything general wacky or off-key. The core sensibilities behind exotica seem to be novel arrangements, a distinct pop sensibility and a concentration on high-fidelity sound. This is often paired with a (possibly failed) attempt to be hip or a sincere attempt, with varying degrees of success, at something which in retrospective seems quite bizarre. So, yeah. Tijuana Brass counts, and indeed I included a tune from them on a mix I'm making. Peter __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: kendoll Subject: Re: (exotica) I'll Drink to That! Date: 09 Mar 2000 16:37:53 -0700 Brad Bigelow wrote: > > I'm assembling a list of cocktail-related tunes and albums for a new > listener's guide page on the Space Age Pop website--things like "Cugie's > Cocktails," Pete Candoli's "Moscow Mule and Many More Kicks," where all the > tunes are named for some kind of drink. i've been trying to compile a cocktail tune list for a radio show and here's what i have so far: hot toddy (julie london's version is nice) rum & coca cola (barry white's version is called rum and coke) one mint julep tequila, too much tequila, tequila twist & other tequila sequels, imitators & parodies bloody mary (from south pacific), or for a song that is actually about the cocktail, bloody mary morning by willie nelson and that's all i have so far. hope it's of some help. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: (exotica) hybrids Date: 09 Mar 2000 19:12:55 -0500 Speaking of jazz hybrids, are you folks familiar with the Ernest Ranglin CD "Below the Bassline"? I guess they call it "reggae jazz". But I think it's a great record and somehow I was reminded of it by our recent discussion. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: SLarry3595@aol.com Subject: Re: (exotica) I'll Drink to That! Date: 09 Mar 2000 19:09:51 EST Here's some drinkin tunes from ole Dean Martin: Little Ole Wine Drinker Me Drinking Chamagne Party Dolls And Wine Hey Brother Pour The Wine and others I'm sure.... # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Keith E. Lo Bue" Subject: (exotica) No-Apology Analogies Date: 10 Mar 2000 11:47:00 +1100 ---------- >From: owner-exotica-digest@lists.xmission.com (exotica-digest) >To: exotica-digest@lists.xmission.com >Subject: exotica-digest V2 #645 >Date: Thu, Mar 09, 2000, 10:46 PM > >Music is not a tv dinner with neat little dividers to keep everything >separated. It's a big, yummy stew with all sorts of good things all mixed >up. Grab a spoon and enjoy! Boy do I love a good SOOP metaphor! ;-) Keith **************************** http://www.lobue-art.com A virtual gallery and info site for the artwork and workshops of KEITH E. LO BUE **************************** # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Keith E. Lo Bue" Subject: (exotica) Is Jazz What Date: 10 Mar 2000 12:22:51 +1100 >This morning I looked up "jazz" in several music textbooks. Well, BJ, I'll spare the groans for courtesy. I will, however, cite an excellent quote by Frank Zappa: "Writing about music is like dancing about architecture." I know this is in vogue right now, there being the recent film 'Dancing about Architecture', but it is worth mentioning it here, as it applies. Music texts generalize and catagorize in order to guide their texts. Written language cannot fully define an inherently different and independent means of expression, which is what that quote drives at. You'll fail every time, if you try anything more exact than mere suggestion. One can't take these books and come away with the blinders they create...the world is too liquid for that, and boundaries blur more every day. Odds are these texts were written a while ago? ck, I laughed when I read your pissy post, and 'here-here'-ed at the time, but I welcome threads like this on the list. It's a better read than the Shriners debacle. Keith **************************** http://www.lobue-art.com A virtual gallery and info site for the artwork and workshops of KEITH E. LO BUE **************************** # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) Is Jazz What Date: 09 Mar 2000 17:59:22 -0800 >You'll fail every >time, if you try anything more exact than mere suggestion. One can't take >these books and come away with the blinders they create...the world is too >liquid for that, and boundaries blur more every day. Odds are these texts >were written a while ago? Whether they were written yesterday or 30 yrs. ago, the basic definition of jazz would not change because jazz has existed for many decades before I was in college! If jazz was impossible to define more than "mere suggestion", as you say, teaching people the basics of it or what it encompasses would be impossible (and that is not the case). I won't say more than that because this whole debate is getting very tiresome (for me). Others on the list who feel duly compelled, please feel free to take up the torch and run with it. For anyone on this list with a sincere interest in having the "What is Jazz?" question answered, I found an excellent website written by pros that provides enough basic answers to get you started on your journey: http://artsedge.kennedy-center.org/pwtv/whatis.html Toodles. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Mike Horne" Subject: Re: (exotica) Is Jazz What Date: 09 Mar 2000 23:09:59 -0500 >"Writing about music is like dancing about architecture." Funny how noone seems to find it odd that most ballet is inspired by narrative storytelling... ;P Mike # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Bump Subject: Re: (exotica) Re: Exotica Kindergarten Date: 09 Mar 2000 16:46:12 -0500 There's Jonny Lang, rough-edged rock 'n' roll. They had a "live" Back Door Boys concert where interspersed >between stage performances, --and you 'rents >know what I'm talkin' 'bout!--we videotaped it so the kidz could see it over >and over -- "Daddy...What's a Back Door Boy?" WHA. WHA. WHA! ...IT'S SHOWTIME FOLKS!!! >>> >>>>>>> >>>>> Yeah i think i NEED to see that one! <<<<<< <<<<<<<<<<< <<< bUmP ******************************** Bump Universal DJ Defective Records bumpy@megsinet.net http://www.defectiverecords.com "Music, Non-Stop" -- Ralf + Florian # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: LTepedino@aol.com Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 10 Mar 2000 00:24:24 EST In a message dated 3/9/00 11:19:51 AM EST, bjbear71@mindspring.com writes: << ><< Mark: as you can see, people's opinions on this vary, but from what I > was taught, "what is" jazz is not found on transcribed "notes on a page" > (to quote Mr. Holland's Opus). >> > > >"What a load of crap" (to quote Grease 2) > >Ashley Usually I would not respond to such posts lacking zero thought behind them, but I suggest you pick up a book and look up "what is jazz" yourself. You will find that it has absolutely nothing to do with reading printed music notation. >> Actualy there was quite a lot of thought put into that response. That bit of parody perfectly sums up the zero thought of using a definition of jazz as heard in "Mr. Holland's Opus"to make a point!! So "jazz has nothing to do with printed notation"??? I guess that means that no place on earth is there sheet music available of jazz compoositions??? I guess Walter Wanderly was not a jazz artist because he used pre-set arrangements. Did Mr. Holland write that book where you got that definition of jazz too? Ashley # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Ron Grandia" Subject: Re: (exotica) Cribbed Record Covers Date: 09 Mar 2000 21:35:47 -0800 >Ween has an album called The Pod, where they took the >cover of Leonard Cohen's Best Of from 1975, and pasted >one of their own faces over it. Is this a reply to another message? If so I missed it, so at the risk of repeating any previous answers, a few that spring to mind: Beastie Boys's "In Sound from Way Out" Tips the artistic hat to Perrey and Kingsley by borrowing heavily from the original. Man or Astroman has a cover that's an outright copy of Atileo Mineo's Man in Space with Sounds. In fact, it's so good, Jack Diamond thought he had 5 sealed copies of "Man in Space" in his hands untill he got to the checkout counter at a local record store. Doh! Herb Alpert's "Whipped Cream" has been "referenced" a number of times. I just saw a record the other day that was a perfect derivation of one of those Command "Percussion" records... I forget the name... I hope this is what you mean by cribbed record covers. Ron # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 09 Mar 2000 21:45:29 -0800 >Actualy there was quite a lot of thought put into that response. That bit of >parody perfectly sums up the zero thought of using a definition of jazz as >heard in "Mr. Holland's Opus" to make a point!! Sorry, but you misunderstood what I initially said in a BIG way. I NEVER quoted a definition of jazz from "Mr. Holland's Opus". I *only* quoted the phrase "notes on a page". [For those reading this who are not familiar with the movie, there is a scene where Mr. Holland tries to get across to a student that music is about more than just playing "notes on a page". It was not about jazz per se, but still fit the meaning of what I was trying to say]. >So "jazz has nothing to do with printed notation"??? I guess that means that >no place on earth is there sheet music available of jazz compoositions??? As far as I'm aware, improvised solos are composed as one goes along, and no, they are generally not written down. Once music is written down for someone else to perform it ceases to be improvisation. Sheet music that is available of "jazz compositions" does not of itself define what the essence of jazz is unless it includes SOME improvisation by one or more instruments. >I >guess Walter Wanderly was not a jazz artist because he used pre-set >arrangements. Walter Wanderley was a jazz artist because he was capable of improvising fluently within the pre-set arrangements--and I have the recordings to prove it. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: Re: Re: (exotica) Is Jazz What Date: 10 Mar 2000 00:55:52 EST In a message dated 3/9/0 9:01:00 PM, bjbear71@mindspring.com wrote: >Whether they were written yesterday or 30 yrs. ago, the basic definition >of jazz would not change because jazz has existed for many decades before >I was in college! Relax kid..Can't you see that "college" may be unhealthful for your musical identity? A little less pontification and dogma would serve you well. Please feel less of a need to prove yourself 'cause nobody's buying it in these parts. After all, time will tell...... >I won't say more than that because this whole debate is getting very >tiresome (for me). But wasn't it U who started it all with your insistence on definitions of "jazz"? >For anyone on this list with a sincere interest in having the "What is >Jazz?" question answered, I found an excellent website written by pros >that provides enough basic answers to get you started on your journey: What makes you think we are just starting to travel? You just jumped on the bus! Get to know your fellow passengers before making inflammatory statements like that ...JB # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: Re: Re: (exotica) Re: Exotica Kindergarten Date: 10 Mar 2000 00:59:27 EST In a message dated 3/9/0 11:58:52 PM, bumpy@megsinet.net wrote: >"Daddy...What's a Back Door Boy?" Sorry to excite you Mr. Bump!..its actually a Back Street Boy revamped for an imaginary Mad Magazine...I just can't help being a product of the Sexties...JB # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 10 Mar 2000 03:05:56 -0500 At 09:45 PM 3/9/00 -0800, B.J. Major wrote: > >Walter Wanderley was a jazz artist because he was capable of improvising >fluently within the pre-set arrangements--and I have the recordings to >prove it. Why didn't you just say that in the first place? Now we have a working definition of jazz. It's music performed by someone who is capable of improvising. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Br. Cleve" Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 10 Mar 2000 03:20:57 -0500 At 12:45 AM -0500 3/10/00, B.J. Major wrote: >As far as I'm aware, improvised solos are composed as one goes along, and >no, they are generally not written down. Once music is written down for >someone else to perform it ceases to be improvisation. But one must listen to the current availability of so many 'alternate takes' on so many jazz reissues over the last few years to realize that the solos are all pretty much the same - most players have a few set licks that they play in a solo setting (within an individual song, that is) and take it from there. There seems to be only a slight variance here and there within the solos. Touring musicians, playing to different audiences in different cities every night, learn quickly what works within a musical setting and what doesn't, and repeat these one time improvisations so often that they might as well be written down. Except that there are slight variations to them nightly - usually in the middle bars. But when you get a good open and close, you stick with them. br cleve, touring the globe for a quarter century # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 10 Mar 2000 10:02:52 +0000 Jazz also suffers from being recorded. Given that it is an improvised and spontaneous form of music, it primarily exists as a live performance rather than a recording. Once recorded, a single piece of music is fixed - to be played again and again, analysed and pored over, possibly promoting long-winded disussions about solos, improvisation and debates about what jazz is or isn't. Didn't be-bop players do their utmost to make their music as inaccessible as possible? Inaccessible, that is, until the man recorded it and stated getting into it. If any Londoners fancy hearing some cool and very professional jazz from some very talented musicians (who work over every style imaginable from James Brown to drum and bass and from reggae to rare groove) the place to go is the Notting Hill Arts Club, opposite KFC in Notting Hill, just near the tube on a Tuesday night. The band leader is Nathan Hanes (flute, clarinet, etc.) and they generally have a keyboard player, guitarist, bass and drummer. Unfortunately, they have recently got some drum and bass DJs in to spin tunes between sets - Goldie and LTJ Bukem coming along and thinking they own the place. These people! Charlie +-------------------------------------------------------------+ | This message may contain confidential and/or privileged | | information. If you are not the addressee or authorized to | | receive this for the addressee, you must not use, copy, | | disclose or take any action based on this message or any | | information herein. If you have received this message in | | error, please advise the sender immediately by reply e-mail | | and delete this message. Thank you for your cooperation. | +-------------------------------------------------------------+ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Michael Jemmeson Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 10 Mar 2000 10:12:04 +0000 Charles_Moseley%MCKINSEY-EXTERNAL@mckinsey.com wrote: > > Jazz also suffers from being recorded. Given that it is an improvised and > spontaneous form of music, it primarily exists as a live performance rather > than a recording. Once recorded, a single piece of music is fixed - to be > played again and again, analysed and pored over, possibly promoting > long-winded disussions about solos, improvisation and debates about what > jazz is or isn't. But plenty of jazz was deliberately scored for records... Live performance is only one aspect of any music - i dislike the idea that live performance is always inherently better than records. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Peter Risser Subject: Re: (exotica) Cribbed Record Covers Date: 10 Mar 2000 04:07:54 -0800 (PST) > Herb Alpert's "Whipped Cream" has been "referenced" > a number of times. I can only think of two. One is the Pat Cooper record, Spaghetti Sauce and Other Delights, where he's in a mound of spaghetti. The other is a punkish band (for some reason, I want to say Soul Asylum, but I don't think that's right) who do a parody called Clam Dip and Other Delights. That album mirrors the TJB album on both sides, with the comments on the back in the same format and everything. That's all I can think of... Peter __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: Re: (exotica) Cribbed Record Covers Date: 10 Mar 2000 08:21:03 -0500 At 04:07 AM 3/10/00 -0800, Peter Risser wrote: > > > >> Herb Alpert's "Whipped Cream" has been "referenced" >> a number of times. > >I can only think of two. One is the Pat Cooper >record, Spaghetti Sauce and Other Delights, where he's >in a mound of spaghetti. The other is a punkish band >(for some reason, I want to say Soul Asylum, I have another one. I'm not going to go look for it but it has a black woman in the same basic pose. Of course the whipped cream stands out better on her skin. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Brian Phillips Subject: Re: (exotica) Cribbed Record Covers Date: 10 Mar 2000 08:30:12 -0500 Threre is also Sour Cream & Other Delights by the Frivolous Five, which features older, rounder people on it. "We're Only In It for the Money" by the Mothers of Invention is a direct stab at "Sgt. Pepper's Lonely Hearts Club Band" by the Beatles Somerset is a crib of darned near everyone, it seems! # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) Jazz What Is Date: 10 Mar 2000 14:38:57 +0100 Keith E. Lo Bue wrote: > Written language cannot fully define an inherently different and independent > means of expression, which is what that quote drives at. You'll fail every > time, if you try anything more exact than mere suggestion. One can't take > these books and come away with the blinders they create...the world is too > liquid for that, and boundaries blur more every day. Odds are these texts > were written a while ago? So why do you write at all? So, writing about music is like dancing about architecture... Hm, hm. Subsequently writing about architecture is like dancing about music. Sounds easy, but you don't dance 'about' music, you dance 'to' music. Subsequently dancing to music is like writing to architecture. So if writing to architecture is OK, why not writing *to* music? Instead of 'about'. I want this to be changed in the Exotica FAQ and in the statutes of info@exotica! It will free us once and for all times from the burdon of responsibility created by the philosophical dilemma of a connection between language and reality. Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) What Is Exotica Date: 10 Mar 2000 14:39:53 +0100 Peter Risser wrote: > Okay, here's my take on Exotica, which I just > scribbled down for a FAQ I'm creating: > > How can you define exotica? It=92s a broad reaching term > for a music that primarily consisted of South Seas > influenced 50=92s instrumental pop, like Martin Denny, > Arthur Lyman and Les Baxter. Except there was no term 'pop' at the time and people most likely would h= ave called it Jazz. > In its broader > sensibility it represents any sort of backwater thrift > finds in the instrumental pop category from say, the > early fifties to the mid seventies, though naturally > there=92s stuff worth discussing before and after that > period. In this sense it=92s also known as Space Age > Bachelor Pad Music, Hi-Fi music, Lounge music and so > on. Some genres that fall under the general banner of > Exotica are: exotica, soft pop, now sounds, hi-fi > recordings, organ music, sixties soundtracks, > percussion explorations, moog showcases, brass > projects, production music, blaxploitation, > psychsploitation, prepared piano, spoken word, > industrial promotions, and anything general wacky or > off-key. I don't know... I'd rather say that Exotica together with all these wacky genres falls under the general banner of Incredible Strange Music... beca= use: Ronald Reagan =3D Exotica??? Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Nathan Miner" Subject: Re: (exotica) I'll Drink to That! Date: 10 Mar 2000 08:55:31 -0500 Oh, oh I know one! There's this wild/wacky song called "Wine Wine Wine" done by a 60's = garage/surf band. The tune can be found on the "Surfin' in the Midwest" = comp. "Wine wine drinkin' wine all the time......" - Nate # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Brian Phillips Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 10 Mar 2000 08:37:52 -0500 At 10:02 AM 3/10/00 +0000, you wrote: >Jazz also suffers from being recorded. Quite a lot of music does. Nothing beats live performance! Comedy can suffer from recording, too. Many of the vaudevillians never changed their act and if they got to record or be on the radio, it killed that material that was their bread and butter. Brian Phillips # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Brian Phillips Subject: Re: (exotica) I'll Drink to That! Date: 10 Mar 2000 09:03:53 -0500 >There's this wild/wacky song called "Wine Wine Wine" done by a 60's garage/surf band. The tune can be found on the "Surfin' in the Midwest" comp. There was the Renegades V - Wine Wine Wine Also, the Bobby Fuller Four recorded a song by the same name. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Marco \\\"Kallie\\\" Kalnenek" Subject: (exotica) Jazz What Is Date: 10 Mar 2000 15:11:12 +0100 > >I want this to be > > changed in the Exotica FAQ and in the statutes of info@exotica! It will > free us > > once and for all times from the burdon of responsibility created by the > > philosophical dilemma of a connection between language and reality. > Is Ludwig Wittgenstein still a member of this list? If not, can somebody please invite him to join us? What, he's dead? philosophycally yours, Marco > # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Robert McKenna" Subject: Re: (exotica) Is Jazz What Date: 10 Mar 2000 06:53:02 PST >From: "Keith E. Lo Bue" >>excellent quote by Frank Zappa: > >"Writing about music is like dancing about architecture." i can't think of a more fitting subject for dance than architecture. imagine a ballet about gehry's buildings? zappa said this because he wasn't anywhere near as smart as he liked to make out. check his lyrics. great musician. smartarse. no quality control. i agree with pretty much everything you said after that though. i also really like jimmybee's comment on the nature of failure and exotica. a seemless blend is not really exotica, it is the disruption of expectations which drives me to this music. much of this music is manufactured for market segments, through this we get to hear the background hum of culture through the decades. this music is meaningful in that it is a discontinuity in the smooth flow of marketing and consumption to our ears which allows us to interrogate culture and production. this is perhaps why a lot of people got turned on to exotica by industrial music and why a lot of people on this list have genuinely extreme tastes in music and musical provenance. as for the categorisation a la moritz and nat, it is the essence of the enlightenment project and empiricism. if you believe the use of people's intellects can enable us to understand the world better or make the world a better place to live in, de facto you believe in categorisation. categorisation is the scheme we use to assist us in dealing with the ineffable. excuse the lengthy wordy post rob ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Bruce Lenkei Subject: Re: (exotica) Cribbed Record Covers Date: 10 Mar 2000 10:13:17 -0500 (EST) I recently discovered, by way of an inner sleeve ad, that the first Beastie Boys album (the one with the tail of a jet on the cover) was a crib from, of all things, a Chipmunks album called "Around the world with the Chipmunks". The ad was pretty small, but it still looked like that was the source, as far as I could tell. ++++++++++++++++++++ Lenkei Design Graphic Design www.lenkeidesign.com ++++++++++++++++++++ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Nathan Miner" Subject: Re: (exotica) Is Jazz What Date: 10 Mar 2000 10:22:03 -0500 <> I just hafta "weigh in" here and state that I highly disagree with this = statement. - Nate # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: djvinny@ix.netcom.com Subject: (exotica) Re: Pandora's Box (Boston) Date: 10 Mar 2000 10:33:52 -0500 (EST) ******PANDORA's BOX******* "60's Euro & Exotica club" Sunday nights starting March 19th at the Lava Bar, 575 Commonwealth ave,Boston (617)267-7707 Top floor penthouse suite w/a 360 degree view of the Boston skyline 60's euro sexploitation flicks & 60's french music vids GoGo performances by Suzie Solitaire & Carrie Nation Chill out booths & large dancefloor Hosts: DjVinny (GoGo Empire) & Sir Richard (Phase4) Dj's spinning 60's euro soundtracks,Frenchie yeye,loungecore,& more! check out our cool flyer at: www.project3.com/pandora.htm # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: djvinny@ix.netcom.com Subject: (exotica) Re: Pandora's Box (Boston) Date: 10 Mar 2000 10:36:00 -0500 (EST) ******PANDORA's BOX******* "60's Euro & Exotica club" Sunday nights starting March 19th at the Lava Bar, 575 Commonwealth ave,Boston (617)267-7707 Top floor penthouse suite w/a 360 degree view of the Boston skyline 60's euro sexploitation flicks & 60's french music vids GoGo performances by Suzie Solitaire & Carrie Nation Chill out booths & large dancefloor Hosts: DjVinny (GoGo Empire) & Sir Richard (Phase4) Dj's spinning 60's euro soundtracks,Frenchie yeye,loungecore,& more! check out our cool flyer at: www.project3.com/pandora.htm # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: nytab@pipeline.com Subject: (exotica) [obits] Homar Hernandez,Robert Borlek Date: 10 Mar 2000 10:58:02 -0500 *Homar Hernandez SAN ANTONIO (AP) -- Homar Hernandez, a songwriter who was to have been inducted into the Tejano Music Awards Hall of Fame, died Saturday of a heart attack. He was 57. He couldn't read music or play an instrument, but Hernandez composed 144 songs, 88 of which were published and recorded by some of Tejano's most famous stars in the 1980s and early 1990s. Among his compositions was the romantic polka ``Rosas para una Rosa'' (Roses for a Rose), which became a hit in 1985 for singer Ramiro ``Ram'' Herrera. Emilio Navaira, Shelly Lares, Laura Canales and Johnny Hernandez at Aztlan also recorded Hernandez's songs. ------- ACTOR ROBERT BORLEK, 75, ASTRONAUT ON 1950S TV By Maura Kelly Chicago Tribune Staff Writer March 9, 2000 In the late 1950s, when Americans were focusing their fascination with outer space and the mysteries it held, Robert H. Borlek fed their children's imaginations by portraying a dashing, masked astronaut intent on saving the world. As Commander 5, Mr. Borlek played the lead role in the local children's television show of the same name that was set inside a fictional rocket ship. The show, which ran for five years on NBC in Chicago, featured Commander 5 as the hero whose sidekicks were a puppet named Max the Martian and another astronaut, Stubby, who provided comic relief. Mr. Borlek, 75, died Tuesday, March 7, after a long illness following a stroke. He had theatrical roots, with his aunts playing in vaudeville and the Ziegfeld Follies and an uncle who was a television star in Canada. In 1960, he co-hosted the Mental Health Ball in Chicago with Joan Crawford. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: James McDonald Subject: Re: (exotica) hybrids Date: 10 Mar 2000 11:18:30 -0500 Hi Nat, You hit the right button to stop me from lurking and bring me out into the flow of the discussion. Yes, I know Ernest Ranglin's "Below the Baseline". It's great stuff. Ernest is arguably one of Jamaica's best known Jazz (guitar) players. He started playing Ska and was involved in a lot of the early Jamaican jazz bands who eventually invented Ska music. Just recently I heard he put out a record together with Senegalese singer Baaba Maal, but I haven't managed to get a copy yet. If you dig Ernest and want to hear more Caribbean Jazz, you should also check out: Jazz Jamaica (from England but both records are out in the States on Rykodisk) Michael "Bammie" Rose (hard to find Japanese release called "Reggae Be Bop" but well worth it) Yardbeat (from Jamaica, but the album is available on Beatville records here in the States) Jump With Joey (I think Joey Altruda should probably be know to this list) Eastern Standard Time (ok, I've gotta put my pitch in for my own band... ) BTW, has anyone ever commented on this list before about Exotica songs being covered by Jamaican bands? James http://www.easternstandardtime.com At 07:12 PM 03/09/2000 -0500, Nat Kone wrote: >Speaking of jazz hybrids, are you folks familiar with the Ernest Ranglin CD >"Below the Bassline"? I guess they call it "reggae jazz". But I think >it's a great record and somehow I was reminded of it by our recent discussion. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: nytab@pipeline.com Subject: (exotica) what is jazz - quotes Date: 10 Mar 2000 11:32:36 -0500 The further jazz moves away from the stark blue continuum and the collective realities of Afro-American and American life, the more it moves into academic concert-hall lifelessness, which can be replicated by any middle class showing off its music lessons. Imamu Amiri Baraka [Leroi Jones] (b. 1934), U.S. poet, playwright. Daggers and Javelins, "Jazz: Speech At Black Film Festival" (1984). ------ I've come close to matching the feeling of that night in 1944 in music, when I first heard Diz and Bird, but I've never got there. . . . I'm always looking for it, listening and feeling for it, though, trying to always feel it in and through the music I play everyday. Miles Davis (1926-91), U.S. jazz musician. Miles: The Autobiography, Prologue (1989). ------- It seems to me monstrous that anyone should believe that the jazz rhythm expresses America. Jazz rhythm expresses the primitive savage. Isadora Duncan (1878-1927), U.S. dancer. My Life, ch. 30 (1927). ------ Playing "bop" is like playing Scrabble with all the vowels missing. Duke Ellington (1899-1974), U.S. jazz musician. Look (New York, 10 Aug. 1954). ----- Jazz is the big brother of the blues. If a guy's playing blues like we play, he's in high school. When he starts playing jazz it's like going on to college, to a school of higher learning. B. B. King (b. 1925), U.S. blues guitarist. Sunday Times (London, 4 Nov. 1984). ------ There's more bad music in jazz than any other form. Maybe that's because the audience doesn't really know what's happening. Pat Metheny (b. 1954), U.S. jazz guitarist. International Herald Tribune (Paris, 7 July 1992). ------ Jazz music is an intensified feeling of nonchalance. Françoise Sagan (b. 1935), French novelist. Dominique, in A Certain Smile, pt. 1, ch. 7 (1956). ----- Today he plays jazz; tomorrow he betrays his country. Stanlinist Slogan in the Soviet Union (1920s). ----- Something was still there, that something that distinguishes an artist from a performer: the revealing of self. Here I be. Not for long, but here I be. In sensing her mortality, we sensed our own. Studs Terkel (b. 1912), U.S. author, broadcaster. Talking to Myself, bk. 4, ch. 4 (1977), on seeing Billie Holiday perform in Chicago, 1956. ---- I can't stand to sing the same song the same way two nights in succession, let alone two years or ten years. If you can, then it ain't music, it's close-order drill or exercise or yodeling or something, not music. Billie Holiday (1915-59), U.S. blues singer. Lady Sings the Blues, ch. 4 (1956; written with William Dufty; rev. 1975). ------ All quotes lifted from: The Columbia Dictionary of Quotations, licensed from Columbia University Press. Copyright © 1993, 1995 by Columbia University Press. All rights reserved. ----- Check this page to find tons o' quotations on tons o' topics: http://www.startingpage.com/html/quotations.html For instance: A jazz musician is a juggler who uses harmonies instead of oranges. ~~ Benny Green ~ (Here's one for you, Vern!): Jazz will endure just as long people hear it through their feet instead of their brains. ~~ John Philip Sousa ~ Jazz came to America three hundred years ago in chains. ~~ Paul Whiteman ~ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Erik Hoel Subject: RE: (exotica) Cribbed Record Covers Date: 10 Mar 2000 08:21:13 -0800 Actually, one of the members of this list (King Kini - I recall him posting here before) has a very cool website that does have a nice cover page containing some of these separated at birth/cribbed record covers. Goto: http://www.tamboo.com/clubvelvet/lp/ and scroll to the bottom. The Mills Brothers and Martin Denny?!! Too freaky... Erik -- Erik Hoel mailto:ehoel@esri.com Environmental Systems Research Institute http://www.esri.com 380 New York Street 909-793-2853 (x1-1548) tel Redlands, CA 92373-8100 909-307-3067 fax # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) What is Jazz? (was Exotica issues) Date: 10 Mar 2000 08:44:33 -0800 >At 09:45 PM 3/9/00 -0800, B.J. Major wrote: >> >>Walter Wanderley was a jazz artist because he was capable of improvising >>fluently within the pre-set arrangements--and I have the recordings to >>prove it. > >Why didn't you just say that in the first place? Because we were not talking about specific artists, initially. > Now we have a working >definition of jazz. It's music performed by someone who is capable of >improvising. The "capability" of improvising was one of the first things mentioned in the discussion (in the "soul vs. chops" argument)... Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Johan Dada Vis Subject: (exotica) Re: arrriva la bomba Date: 10 Mar 2000 14:28:29 +0100 i know Jill & Chuck loved it, but i found it the most disappointing Irma "lounge" compilation to date. This is nothing else but Italian cover versions of late 60's pop, soul and R&B songs. Johan ----- # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: nytab@pipeline.com Subject: (exotica) Ridin' in tiki style Date: 10 Mar 2000 13:40:46 -0500 Dig this von Franco Taboo Tiki Dyno Cruiser!: http://page.auctions.yahoo.com/auction/19503162 (Not my auction - I just love the way that thing looks!) -Lou lousmith@pipeline.com http://metropolismag.com/new/content/inddes/au99joy.htm http://www.ksmc.com/collective/francobyesup.html http://www.lakecountrybike.com/dynocruse.htm # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: mimim@texas.net (Mimi Mayer) Subject: Re: (exotica) What is Jazz? (shut up already!) Date: 10 Mar 2000 13:40:26 -0500 Hi y'all. I'm going fucking nuts with a crazed project that keep reincarnating back into lurid life as soon as I think I've finished it....BUT here's something I drafted yesterday about jazz. It's got that dance architecture quote going. Not attributed to Zappa --I thought that was said by a German intellectual--I mean beside Mo. (teasing you, honey) Mo wrote >There it is again, the old fear of categorization, of "defining" things. So= , >this entire thread was completely worthless, right? ...Is making >categories a crime? Does it limit me? ... Categorization is not a crime--I do think it's quixotic and difficult and fun...as long as the discussion is about playful exploration. Not winning. "My definitions and categories are the best!!!" That's when the categorization game limits me. It can twist my attention away from actually listening to music if I get too caught up in slotting-to-win. I forget that, for me, music is pure pleasure. Physical, emotional, or cerebral pleasure. So here's how some big-brainers define "jazz": A kind of music that emerged in the southern United states, particularly the city of New Orleans, around the end of the 19th century. The term itself, the origins of which are obscure, gained currency around 1915 and has since been applied to diverse and continually changing styles. Among the progenitors of these styles were Gospel singing, spirituals, and other types of singing current among black slaves, the music of brass bands, strong bands, and minstral shows, and probably rhythms of African drumming brought to the US by slaves. Throughout the history of jazz, its tonal language has been essentially that of Western Europe, combined, however, with characteristic inflections of pitch [see under Blues]. Other characteristics of much jazz are steady though often syncopated rhythms, established by a "rhythm section" most often consisting of drums, double bass (played pizzicato), or tuba, and piano; improvisation by soloists and groups within the framework of harmonic pattern, often that of popular song; and effects of timbre and intonation different from those employed in the tradition of Western concert music. The first two prominent substyles of jazz (antedating the term itself) were ragtime and blues. Others, in approximate chronological order, have been Dixieland (or New Orleans style), swing, bebop, progressive jazz, and most recently, free jazz (in which the use of steady rhythms and fixed harmonic patterns is largely abandoned). Music that attempts to combine the traditions of jazz with those of concert music is given the name "third stream." Don Michael Randel, ed. Harvard Concise Dictionary of Music. Belnap Press, 1978. The book IDs Randel as a professor of music at Cornell University. Entries are not credited to specific authors; the preface states he draw heavily from previous editions of The Harvard Dictionary of Music in compiling and editing the book. OK, the definition's got the improv stuff. It's got the "cries of an oppressed people" stuff. I suggest we also include something about syncopated rhythms in a general definition of jazz...which opens the door for lots of exotic percussion music to fit kinda into jazz. Uh-oh, mess alert! There's lots of stuff overlooked in this stiff little definition of jazz. =46or me one of the key attributes of jazz is what Brian talked about: it's music rooted in the body, not neceesarily the mind--it is f**k music in the same way rockabilly and not too hostile punk or hip hop and a boatload of other musics can be, including sexy exotica. Some jazz strikes me as cerebral--Ornette Coleman's *recorded* harmolodic music, fer instance. Heard live, though, harmolodic music goes right to the body, or through the plastic sax from Ornette's gut, heart, and groin directly to mine. And I thank him for the music itself and for the chance to live inside his imagination and connect to his livin' breathin' self. A livin' breathin' self expressed though pure sound and pitch and rhythm. What a fabulous gift to have! Someone said rather famously, Writing about music is like dancing about architecture. I don't entirely agree with that. But it does point out that writing about music is hard. I've stay with eXotica to read what other people have to say about music as much as anything else. And occasionally I'll stick my neck out and venture an opinion about music...but reluctantly. I'm a fan, not a musician or composer and I don't have the vocabulary to write about music eloquently, let alone with smarts. I end up using metaphors, analogies, etc. Bossaish indeed. Quoting Mo again: >The MORE I go into the deep of a subject, the freer my mind becomes, questioning the categories to = a degree where they are pushed beyond their own limits. So, please talk on. Find some other definitions of jazz here: A glossary of jazz terminology http://www.guitarmain.com/index_gl.html Marc Sabatella's jazz fundamentals http://www.outsideshore.com/primer/primer/ms-primer-3.html Evolution, Linearity, and Closure in Jazz History--more Sabatella http://www.outsideshore.com/cadenza/history.htm Etymology of the word 'jazz" from "So This is Jazz" by Henry O Osgood--for language buffs http://www.cwrl.utexas.edu/~nick/e309k/texts/osgood/osgood.html And tonight, I relax with my new girly cocktail, Sunrise Over Rancho Deluxe, (raspberry lemonade and much vodka, with a lime wedge) and a listen to Denny's Exotica I, listening specifically for "Jazz." I think I'll hear more "Jazz" listening to Lyman. Mimi # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "paul thomas" Subject: (exotica) What is Jazz... Date: 10 Mar 2000 12:13:53 -0800 Didn't be-bop players do their utmost to make their music as inaccessible as possible? I don't if inaccessibility was necessarily what they had in mind as much as getting away from the swing arrangements that were becoming cliche...tho there are lots of stories of veterans of early swing music being completely mystified by the 'stoppin' and a boppin'' as Fats Waller put it. Another point on this is that many critics look to be-bop as the turning point for jazz ceasing to be the popular music of the day. Once it started being 'abstract' and 'difficult' and the music no longer had its basis in the Tin Pan Alley or Broadway tunes that were instantly recognizable. Getting back on track here (maybe)...I just got the three cd Jackie Gleason set that Readers Digest produced. If you're a fan of Jackie or just want one package of a lot of his music, this great stuff. It is also available thru Collectors Choice. ~~ Paul MailCity. Secure Email Anywhere, Anytime! http://www.mailcity.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Stephen W. Worth" Subject: (exotica) Anti Jazz Date: 10 Mar 2000 12:34:42 -0800 >Date: Thu, 9 Mar 2000 11:08:27 -0500 >From: "Rajnai, Charles, NNAD" >Subject: RE: (exotica) anti-jazz > >> What would you consider to be the complete opposite of jazz? > >That would have to be Country & Western. But I may be saying that only >because I hate it so much. ...or because you know very little about it. Western Swing is a whole classification of country music that is pure jazz by anyone's definition of the word. Perhaps if you listened to it, you might find that there are types of C&W that you like. That said, the music that is called C&W today is not C&W at all. It's the same crummy pop-rock as the whiney boy vocals, the hyper- ventillating Barbara Streisand wannabes, and the endlessly meandering pseudo-soul croon-noodling. C&W music died shortly after the British Invasion. No... I take that back. It didn't die. It was murdered. See ya Steve Stephen Worth bigshot@spumco.com The Web: http://www.spumco.com Usenet: alt.animation.spumco Palace: cartoonsforum.com:9994 Spumco International 415 E. Harvard St. Ste. 204 Glendale, CA 91205 # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Brian Karasick" Subject: (exotica) A must-see website! Date: 10 Mar 2000 15:50:11 -0500 Here's a website I'd been sent to check out with some nice Macromedia Flash content. The visuals are great by themselves... but the music!!! Its sites like this that make me think.... If I were only a few years younger I'd dump this planning business to become a webpage maker. Well, at least I have an inspiration to get me going on my own website. Enjoy! http://www.toohot.com Brian Karasick Physical Planner McGill University Montreal, Canada # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "m.ace" Subject: (exotica) improvisation/composition Date: 10 Mar 2000 16:30:06 -0500 In my humble experience, I can't even draw a line between improvisation and composition. They're different aspects of the same thing. The deadlines are tighter with improvisation, but both source from the same place, and both involve that decisive moment where you commit to a particular note at a particular point. Both require the same sense of form. Composition often involves a good bit of improvisation as you try things out. And in this age of recording technology and computer transcription, the lines can become even blurrier as you draw the cybernetic possibilities of the technology into the creative process. Conversely, improvisation calls on compositional skills whether applied consciously or subconsciously... an improvisation *is* a composition, dang it. Maybe one time only, and sure, there's no paper involved, but it happened, it existed, it can be remembered. And if remembered very well, or captured on tape, it can even become an "official" dots-on-paper composition. Circular statement: A composition is an improvisation that has decided on its form. An improvisation is a composition decided in the moment. Rhetorical question: What's the difference between a improvisation that has passed into the ether and a composition for which no copies survive? m.ace ecam@voicenet.com OOK http://www.voicenet.com/~ecam/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: (exotica) live music propaganda Date: 10 Mar 2000 17:35:02 -0500 At 08:37 AM 3/10/00 -0500, Brian Phillips wrote: > >At 10:02 AM 3/10/00 +0000, you wrote: > >>Jazz also suffers from being recorded. > >Quite a lot of music does. Nothing beats live performance! I can't believe I'm hearing this old crap on a list like this. Nothing beats a live performance eh? I'm listening to a record I love at this moment. One of my favourite records of all time. The artist was dead by the time I discovered it but that's almost beside the point. Right now I don't want to be transported to a big room with a bunch of people listening to music. I want to be right here enjoying my private, personal relationship with this record. This is a moment of communication between me and this artist. "Nothing beats a live performance" implies that it's some kind of competition or choice and that one is better than the other. That's crap! And it's not crap just because of the fact that most of us will never - could never - see most of the artists we love. And it's not crap just because of the fact that some of the records we love were recorded in a way that could never be duplicated live. It's crap because the experiences are entirely different. They're as different as theatre and movies. They're as different as architecture and dancing. I have a number of records - I'm thinking particularly of Blue Note jazz records - where the recording process seemed to mimic a "live" jam session. And perhaps the records are trying to give you the feeling that you're hearing them live. You can either bemoan the fact that the solos they played that day are now frozen in time, that they're no longer "alive" the way they are in a performance OR you can celebrate the fact that a lovely moment was frozen in time and will forever be there for you. I'm reminded of that other old cliche "Never meet your heroes". No offense to any friends of his lurking here but a bunch of my friends thought about that when they met Lou Reed. I have an intimate, personal relationship with Lou's records (no sexual innuendos please). It's developed over years and countless replayings. It's part of my life, though I haven't listened to his records for years. Meeting him or seeing him live - which I've done - is a completely different experience with completely different consequences. Sorry for the rant but I really couldn't believe I was reading that here. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Rcbrooksod@aol.com Subject: (exotica) Suns and Prado Recommendations Date: 10 Mar 2000 19:17:11 EST I have been enjoying the 60's sound on The History of Space Age Pop lately. Can anyone recommend a good CD of both The Three Suns and Perez Prado? I am really interested in the sound represented on the Pop series. For example: The Three Suns song "Delicado" and Prado's "Why Wait" are the sounds I am looking for. Is someone wants to boot a copy we can make a trade with something I have. Those suggestions would be better sent off List. Mahalo and Aloha, Tiki Bob # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Darrell Brogdon" Subject: (exotica) Retro Cocktail Hour Date: 10 Mar 2000 18:47:08 -0600 Check out this week's Retro Cocktail Hour webcast for tunes straight out of the Arabian Nights (sort of), including music from Les Baxter's "Ports of Pleasure" and George Duning's "1001 Arabian Nights" soundtrack ("Three Little Maids from Damascus" is a guilty pleasure for yours truly). Also stuffed into our ditty bag this week are groovy Now sounds from Hal Hester ("Hunca Munca"), Claus Ogerman (from "Watusi Trumpets"), Edmundo Ros and Ursula 1000; funky '70s crime jazz from Chaquito, Al Caiola and Lalo Schifrin; plus Mel Henke, Eden Ahbez, the Markko Polo Adventurers, Esquivel, Wanderley, Baxter, Muller and Drasnin. To hear The Retro Cocktail Hour on the Web, just visit us at the link below. Thanks for the space! Darrell Brogdon dbrogdon@ukans.edu The Retro Cocktail Hour KANU FM 91.5 Broadcasting Hall The University of Kansas Lawrence, KS 66045 Visit The Retro Cocktail Hour at: http://kanu.ukans.edu/retro.html Listen to The Retro Cocktail Hour at: http://kanu.ukans.edu/retro/retrolisten.htm # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: (exotica) Thanks Tiki Bob Date: 10 Mar 2000 19:47:35 EST I have to take this opportunity to personally thank a thousand times the one, the only, Tiki Bob! for providing my home with a Martin Denny autographed copy of "Quiet Village" to hang--framed of course--over my Aku Aku (R.I.P.) Tiki. And special thanks to Thinkmatic for the speedy delivery of the LP which I understand had to be sent back to Martin after Bob's visit for his signature....Hopefully someday Tiki Bob's story of his meeting with Martin Denny in Hawaii will grace the pages of one of our fave 'zines.....Bravo Tiki Bob....JB # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Brian Phillips Subject: Re: (exotica) live music propaganda (long and maudlin) Date: 10 Mar 2000 20:28:20 -0500 > >Quite a lot of music does. Nothing beats live performance! > >I can't believe I'm hearing this old crap on a list like this. Nothing >beats a live performance eh? Whoa, back up the train! I said quite a lot of music does. There are some records that cannot be duplicated live, such as tape music (Pierre Henry, heck, there is nothing "live" about it, but it was quite fascinating to me), some of it even Jazz, such as Black Saint and the Sinner Lady by Charles Mingus which can be duplicated live, but was multitracked and even the West Coast Pop Art Experimental Band's "A Child's Garden of Good and Evil", with the wonderful Love-evoL back and forth tape manipulation at the end. 1. I wrote "quite a lot of music does", not all. Jazz doesn't always suffer from being recorded. 2. The previous sentence (which I didn't write) referred to Jazz and for that, since I am a musician, of sorts, if the person is alive and the setting is good, I can see things, such as fingerings, showmanship, etc. 3. Yes, going somewhere to see someone can be truly dreadful. Too far away, some lout enjoying him/herself too much, etc. 4. I am (as I gather you are) rather picky about how records sound. I could go on and on about how I like drums recorded, how the bass sounds on the Moonglows' "Ten Commandments of Love", etc. The last thing I wish to do is offend anyone on the list, in particular a fellow such as Mr. Kone, who always posts interesting things and he most certainly has his own opinion. I had no idea that one sentence that I thought was fairly innocuous would get a such a severe and public drubbing. So, I suppose the moral of the story, is when one has worked rather steadily (to-morrow will be the first day in this month that I will not have gone to work), one shouldn't post what one feels is fairly innocent. All that to say this: I truly enjoy records. I have a lot of them and considering I won't see many of the people whose music that I respect and admire. I am very content to listen to them and I will concede they are two different experiences. Regardless of what you thought of my post, we are actually on the same side on this one. Allow me to qualify and please do kindly forgive if I offend those of us who cannot get around as well as others: When: I see someone I enjoy, The acoustics are right, The people are agreeable, I am in a good mood, Nothing, for me, Brian Phillips, one man, beats a live performance. However, If the person is dead, Or has performed good music I cannot get to, whether that be logistically or racially, If the engineer is someone like a Rudy Van Gelder or Creed Taylor, I enjoy my records as well, some to the point of wearing them out. I won't get into a "who loves their records the most" contest, because I would probably lose and in the end, it really makes no difference. We all do. There is the wish, fleeting and sweet that I could see (maybe meet, but that, agreed, can be a letdown, too, but I, have actually yet to have had that experience) the people whose music has meant much to me. Before I get too Hallmark card-sy here, music has buoyed me over some rough times (and I am quite certain that there people who have suffered far more than myself and there are people to whom music means more) and for that, I am forever grateful. I don't wish to further burden everyone here with this, but I think that the least stimulating argument is where two or more parties essentially agree. Let's all be nice to each other on the 'Net, Brian Phillips # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "claudia" Subject: Re: (exotica) live music propaganda (long and maudlin) Date: 10 Mar 2000 18:00:43 -0800 > > >Quite a lot of music does. Nothing beats live performance! > > > >I can't believe I'm hearing this old crap on a list like this. Nothing > >beats a live performance eh? I thought my fellow Portland Trailblazer and the hated Laker fans got ridiculous..but this takes the cake. I couldn't agree more that A LIVE PERFORMANCE can't be beat.. that is not to say that I don't love/treasure/hoard/covet others collections/etc... It is a statement !!! Folks..did you ever see Frank Sinatra live????? Well let me tell you...I have hundreds of his music collection and it doesn't hold a candle to SEEING HIM LIVE. And yes..I have tons of cds/records/tapes that I treasure of performers that are dead.And I LOVE THEM!!! Why oh why would you call a statement like Brian's CRAP????? God that galls me. I happen to like the JELLYFISH..ok you don't..does that make it crap???? My word !..learn to respect other opinions. It tickled me to hear of a fellow music lovers opinion he loved live music.I started right away thinking of all the live performances that I have seen. Paul Simon's concert with me in the 7th row is far more thrilling than his cd.!!! Seeing Simon and Garfunkle in Berlin in 1982 at the famous Berlin Olympic stadium was a thrill I will never get over.Don't quite duplicate that with my albums and cd's. Sinatra live..well there was the thrill of my entire life.. You get the picture???? # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: bag@hubris.net Subject: Re: (exotica) improvisation/composition Date: 10 Mar 2000 18:26:20 -0800 At 04:30 PM 10-03-00 -0500, m.ace wrote: >In my humble experience, I can't even draw a line between improvisation and >composition. They're different aspects of the same thing. I like some jazz records which list as the arranger "A. Head." In other words, they are saying the performances are "head arrangements." A. Head is due about as much in royalties as Alan Smithee is due a share of the movies he directed. Byron Byron Caloz Portland, Oregon, USA, Earth, Sol, Milky Way http://www.hubris.net/zolac The Mr. Smooth site: http://www.hubris.net/zolac/smooth # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: bag@hubris.net Subject: Re: (exotica) Re: Pandora's Box (Boston) Date: 10 Mar 2000 18:48:59 -0800 At 10:33 AM 10-03-00 -0500, DjVinny wrote: >GoGo performances by Suzie Solitaire & Carrie Nation does Carrie do it weilding an axe? I guess this means they don't serve alcohol at Pan's Box. :) Byron Byron Caloz Portland, Oregon, USA, Earth, Sol, Milky Way http://www.hubris.net/zolac The Mr. Smooth site: http://www.hubris.net/zolac/smooth # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: Re: (exotica) live music propaganda (long and maudlin) Date: 10 Mar 2000 22:47:29 -0500 At 06:00 PM 3/10/00 -0800, claudia wrote: > >I couldn't agree more that A LIVE PERFORMANCE can't be beat.. >that is not to say that I don't love/treasure/hoard/covet others >collections/etc... > >It is a statement !!! >Folks..did you ever see Frank Sinatra live????? >Well let me tell you...I have hundreds of his music collection and it >doesn't hold a candle to SEEING HIM LIVE. Well I just finished apologizing to Brian. I can see how he took my use of the word "crap" personally. And yet here I am, only moments later, trying to think of a softer way of saying "crap" so I can respond to claudia without her taking it personally. Sinatra live was better than any Sinatra record. What does that mean? Does it mean that it's better to see him live than to play any of his records ONCE? Maybe that's true. The two things are so incomparable, I can't comment on which one holds the candle and which one takes the cake. If there's an artist you cherish and you get a chance to see him/her/them perform live once of twice, that experience will probably add something to your appreciation of the music and/or their records. Live performances and records CAN have a relationship with each otherl. But comparing them or saying that one is better or saying that one is MUCH better is uh... hooey. I was listening to a Coltrane record when I wrote my original crappy post. I can't deny that I have often wished I'd been able to see him live. Of course, even if I had, I'd have only been about 14 at most, so doubtless I wouldn't have experienced anything like my fantasy. But leaving that aside, it certainly could have been great. (Then again, I could have caught him on an off night.) But I have had hundreds of sublime, beautiful moments with that record. I know this isn't a bulletin to anyone here but you can play a record whenever you want to. Of course you take that for granted but it's an amazing thing. There's nothing about a live performance that can compare to you and the record alone "together" in your home. Or your car. On a road trip. Driving through some unfamiliar landscape at two in the morning. Whatever. I'm being a bit rhapsodic here. But I think that when people compare records unfavourably to the "live music experience", to some degree they're saying that the live experience is more real. It's more direct. It's more personal. As if there's something misanthropic or "loner-like" to just want to be at home listening to an "object". And I don't agree with that. If I did, I'd have to think the same way about books or letters or any number of other objects which contain, for me, a "personal" communication between myself and the "author". I go into the world. I live among the people. I occasionally experience live performances of various kinds. But if I had a choice between my Coltrane records and the opportunity to have seen him live even ten times, I'd choose the records. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: mimim@texas.net (Mimi Mayer) Subject: (exotica) Claus Ogerman Date: 10 Mar 2000 22:33:29 -0500 So Jimmy Mack and I were talking about ol' Claus this evening while I was spinning Jobim's "Wave" as a warmup exercise for a careful listen to "Exotica" 1. Jim asked, "So he's German, right?" Anyone have the skinny on this producer/arranger? TIA, Mimoski # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: mimim@texas.net (Mimi Mayer) Subject: (exotica) SXSW Date: 10 Mar 2000 23:10:26 -0500 If anyone is showing up, for work or pleasure, for the SXSW Multimedia or =46ilm or Music Festivals, please drop me a line offlist. It would be my pleasure to drag you out for a spin at Broken Spoke, a genuine Texas dancehall, or to the Hill Country for real Texas BBQ. And if you're a veggie or don't eat beef, well, we'll improvise. Mimi # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) Claus Ogerman Date: 10 Mar 2000 21:04:14 -0800 >So Jimmy Mack and I were talking about ol' Claus this evening while I was >spinning Jobim's "Wave" as a warmup exercise for a careful listen to >"Exotica" 1. Jim asked, "So he's German, right?" Anyone have the skinny on >this producer/arranger? TIA, Mimoski He's German, but he's done a lot of work with Brazilians, most = noteably Jobim & Jo=E3o Gilberto. He's arranged and conducted quite = a few of Jobim's albums, even the 1st dual one with Jobim & Sinatra = in the U.S. Other Jobim LPs Claus has arranged and conducted include = "Urubu", "The Composer of Desafinado Plays", "Wave", "Terra = Brasilis", & "A Certain Mr. Jobim". Jo=E3o Gilberto used him on his "Amoroso" LP. Despite him working for Brazilian performers & composers like the = above, many people who are die-hard fans of Brazilian music detest = Ogerman's arragements, claiming them to be "too lush" and "heavy" on = the strings. Funny, we just had a discussion about Mr. Ogerman on = the Saudades do Brazil music list not that long ago, and I was one of = the few people who claimed to like Claus' arrangements A LOT. To me, = there is simply nothing like an Ogerman instrumental treatment of one = of Jobim's songs. I think it basically boiled down to me and one = other person on the list who loved his arrangements. Everyone else = on the list couldn't stand him. It seems that you either really like = Claus or really don't, no middle ground. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) Claus Ogerman Date: 10 Mar 2000 21:03:48 -0800 >So Jimmy Mack and I were talking about ol' Claus this evening while I was >spinning Jobim's "Wave" as a warmup exercise for a careful listen to >"Exotica" 1. Jim asked, "So he's German, right?" Anyone have the skinny on >this producer/arranger? TIA, Mimoski He's German, but he's done a lot of work with Brazilians, most = noteably Jobim & Jo=E3o Gilberto. He's arranged and conducted quite = a few of Jobim's albums, even the 1st dual one with Jobim & Sinatra = in the U.S. Other Jobim LPs Claus has arranged and conducted include = "Urubu", "The Composer of Desafinado Plays", "Wave", "Terra = Brasilis", & "A Certain Mr. Jobim". Jo=E3o Gilberto used him on his "Amoroso" LP. Despite him working for Brazilian performers & composers like the = above, many people who are die-hard fans of Brazilian music detest = Ogerman's arragements, claiming them to be "too lush" and "heavy" on = the strings. Funny, we just had a discussion about Mr. Ogerman on = the Saudades do Brazil music list not that long ago, and I was one of = the few people who claimed to like Claus' arrangements A LOT. To me, = there is simply nothing like an Ogerman instrumental treatment of one = of Jobim's songs. I think it basically boiled down to me and one = other person on the list who loved his arrangements. Everyone else = on the list couldn't stand him. It seems that you either really like = Claus or really don't, no middle ground. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: (exotica) LP Rarity, "Brazilian Mancini" Date: 10 Mar 2000 22:49:35 -0800 Any of you who like both Jobim and Mancini, keep your eye out for = this LP in your travels: Jack Wilson and Tony Brazil, "Jack Wilson Plays Brazilian Mancini", = Vault #1001, (1965). This LP contains Days of Wine and Roses, Mr. Lucky, Sally's Tomato = and six other Mancini compositions, all played in a bossa nova = style/rhythm and featuring a particular uncredited guitarist on the = LP--none other than Antonio Carlos Jobim himself, playing under the = pseudonym of 'Tony Brazil'. This record is extremely rare and is heavily sought after by = collectors of Jobim LPs, especially in Brazil, where it was not = released. A find of it in the U.S. recently was cause for both a = celebration and an article to be written on the entire event on = 3/4/00 in Brazil's "O Estado de S=E3o Paulo" newspaper. There is an = online (Portugese) version of the complete article at http://www1.estado.com.br/edicao/pano/00/03/03/ca2530.html Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Keith E. Lo Bue" Subject: (exotica) Call for LINKS! Date: 11 Mar 2000 21:16:21 +1100 Hey folks--would any of you who have exotica or related websites like to join me on the Ferrante & Teicher site as a link? If so, please email me with the address so I can check it out and put you up! I'll be unveiling the site within a month or so, possibly sooner. Coming along well so far. Sheesh, figures I'd be working on a site focussing on a duo who released 148 ORIGINAL records (not including re-issues, etc.)!!!! It's great fun, in all seriousness. I hope I can do them justice! Keith **************************** http://www.lobue-art.com A virtual gallery and info site for the artwork and workshops of KEITH E. LO BUE **************************** # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) live music propaganda Date: 11 Mar 2000 12:21:10 +0100 I'm really surprised how unprecise this discussion is. As Mike Ace has suggested in his improvisation/composition statement, to draw the lines between such apparentely contradictory categories is not that easy. It's even less obvious in the live vs. recorded thread. So what IS the difference between 'live' and 'recorded'? If you record a live concert the difference between the two soundtracks, the live live and the recorded live, is obviously minimal. The main difference is, that when you hear the music live, you hear it in certain circumstances like admidst a thousand or a couple of people, in a special place, you have dressed up maybe, are together with friends, you have paid an entrance fee, you have expectations and... you SEE the artist/s performing. So all of this might add up to the fact that you are really impressed. Or maybe not, because you think that this favorite band of yours played your favorite song in a way you didn't like. Anyway, if you listen to the concert later on tape or on record, you might be disappointed, because you're sitting in your same old living-room and have no live athmosphere whatsoever around you, no screaming fans that turn you on to screaming yourself and so on. But you are listening to the same soundtrack, not by note exactely the same thing. So if there is a difference between a concert and the recording of the very same concert, then it can't possibly be the music that is different, it must be something else. I leave it to you, dear reader, to draw your own conclusions. Another example: I'm on vacation, sitting in a romantic bar in Santa Lucia, Cran Canaria, exotic athmosphere, a good meal behind me, my girl, friends next to me, substancially drunk, but happy, happy, happy. The music played from cheap speakers in the background adds to my enlightment and for the moment I think, this is the best music I ever heard. I might even try to buy a tape of it occasionally and take it home. Listening to it weeks later at home in my same old living-room might bring back memories of an exciting experience, but most likely I will recognize that the music, I loved so mucho then, is just another average chaka-ding-dong-something-fiesta-Canaria-holyday tape. So listening to it under the southern sun was in fact a live experience, without even a band performing live, but the circumstances were live. So what is live? Again I leave it to you to draw conclusions. The only really substantial difference I can detect in this thread would be the difference between music that is played simultaneously by hand, wether recorded or disappearing into the ether forever, and programmed music whith the parts of it put together piece by piece and only when everything is finished you hear the final result, the actual music. Bands who play gigs with preproduced programmed music give me a substancially different feeling or experience than music that is actually played live. I don't say that I always prefer the hand-played music, but I can sense a difference. Additionally you could ask the question, wether there is a difference between a studio recording of a band and a recording in front of an audience. As we all seem to know, there is a difference. Bands seem to be turned on by a good audience and this seems to have an influence on their music. You have to be in the audience during that performance though to be able to enjoy that effect. I'm not sure though, if I prefer an excited life performance better than a "cool" precise studio recording. It's just two different things. I only know that I prefer listening to a "studio" record to a "live" recording. "Live" only works live. The Sinatra (and others) case: If Frank Sinatra is live really so much better than on record (and I have seen him live and it WAS great and I DON'T care for his records very much), than this effect owes 1. to what I have said in the first paragraph of this post, the live circumstances, and 2. that you may be a woman, and 3. that Frank Sinatra above all was an entertainer, meaning the way he celebrated his person on stage was an amusement factor of its own, he could as well have played a different kind of music and it would still have been a great gig. And 4. wether you admit it or not: you are fascinated because he's a V.I.P, a legend, a really famous person. Short version: If you would have asked me 10 years ago wether I would have liked to have a dinner with Frank Sinatra or see his gig, I'd definitely have chosen the dinner. My personal opinion on this whole subject is, try to beat me for it if you can, I like records better than live performances, hee hee. I could make it simple and count the gigs that I really liked and the records that I really liked, but that would be a bit unfair, as I have bought much more records than I have visited concerts. (Still that's an indication for the fact that I like records better) But I just think that in most cases studio records are better produced than live gigs (I actually really hate "live recordings"), records give you the best that an artist has to offer (no wonder; if you'd choose out of 50 live recordings during a tour one for beeing published on record, or out of 20 takes the band is performing in the studio, you would most likely choose the "best" one), they are available at any time, whenever I feel like listening to them, they use advanced studio technology, that enhances the best sound possible and, in cases of "big concerts", I don't have to cram with thousands of people, that don't give me a chance to see the band anyway, in one room and deliver my health to a sound engineer, who doesn't care if I want to use my ears the next day and the rest of my live. 'Live' is when your life is alive! Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: bag@hubris.net Subject: Re: (exotica) LP Rarity, "Brazilian Mancini" Date: 11 Mar 2000 07:39:44 -0800 At 10:49 PM 10-03-00 -0800, bj wrote: >Jack Wilson and Tony Brazil, "Jack Wilson Plays Brazilian Mancini", Vault #1001, (1965). >This record is extremely rare and is heavily sought after by collectors of Jobim LPs, especially in Brazil, where it was not released. Thanks for bringing it to my attention. It has been hiding in my records since I bought it from a county library sale (they were getting rid of all their LPs). It looks interesting, but I had no idea it would be so important elsewhere! I must listen to it. I am lucky it was not well listened to (only checked out twice), however the library took special care of it by plastering it with all manor of stickers and tape. Mmmf. So, watch your local library or "Friends of the Library" sales...maybe it'll turn up for you, too! Byron Byron Caloz Portland, Oregon, USA, Earth, Sol, Milky Way http://www.hubris.net/zolac The Mr. Smooth site: http://www.hubris.net/zolac/smooth # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: cheryl Subject: (exotica) Playlist For Space Bop, March 12 Date: 11 Mar 2000 11:39:33 -0500 Beyond kitsch, Space Bop is one hour of full galactical wonder, and can be heard every Sunday from 4 to 5 pm Eastern time on CKUT 90.3 FM in Montreal, Canada, and on RealAudio (real time only, for now) at: http://www.ckut.ca As usual, all comments, questions, and feedback welcome. Space Bop #86 Girls At Our Best! To celebrate International Women's Day, this week at CKUT is "Feminist Frequencies", featuring programs on and about women. So Space Bop will be focusing on women in music on this week's show - some old favourites, some new favourites, and a delightful "period piece" by Boyd Rice. Boyd Rice: Period Piece "Hate People Like Us" Chicks On Speed: Mind Your Own Business "Pop Tics" Girls At Our Best: Go For Gold "Go For Gold" Stereo Total: Dactylo Rock "Oh Ah" Combustible Edison: Lonelyville "Schizophonic" Astroslut: Sophisticated Mr. Sleaze "Love At Zero G" X-Ray Spex: Germfree Adolescents "Germfree Adolescents" Portishead: Sour Times "Roseland NYC Live" Pizzicato Five: Mon Amour Tokyo "Happy End Of The World" Takako Minekawa & DJ Me DJ You: Fantastic Voyage "Fun9" Laila France & Maxwell Implosion: Superstar "Pool Position" Pop Tarts: Girlie Pop "Pop Tics" Au Pairs: Diet "Live In Berlin" Lydia Lunch: Spooky "Queen Of Siam" Mrs. Miller: A Groovy Kind Of Love "Wild Cool & Swingin'" Thanks for reading. cheryls@dsuper.net brian@phyres.lan.mcgill.ca # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) live music propaganda Date: 11 Mar 2000 09:42:07 -0800 >The Sinatra (and others) case: If Frank Sinatra is live really so much >better than on record (and I have seen him live and it WAS great and I >DON'T care for his records very much), than this effect owes 1. to what >I have said in the first paragraph of this post, the live circumstances, >and 2. that you may be a woman, and 3. that Frank Sinatra above all was >an entertainer, meaning the way he celebrated his person on stage was an >amusement factor of its own, he could as well have played a different >kind of music and it would still have been a great gig. And 4. wether >you admit it or not: you are fascinated because he's a V.I.P, a legend, >a really famous person. >Short version: If you would have asked me 10 years ago wether I would >have liked to have a dinner with Frank Sinatra or see his gig, I'd >definitely have chosen the dinner. Seeing people "live" in concert often disappoints; they don't always sing or play the songs that are your favorites, they are not always in "best form" themselves, they may be too far away from you, and generally--they have a hard time achieving that plateau we've elevated them to because making a record in a recording studio to near perfection standards can't be duplicated when the atmosphere isn't controlled as in a live performance (where anything can and often DOES happen). Even though I've seen Marian McPartland (who will be 80 this month!), Perry Como, Sammy Davis, Steve Allen, and Henry Mancini in concert--looking back on those times, I'd prefer none of those experiences (as thrilling as they were at the moment) again over having one of their CDs that I don't currently own. This *isn't* to say that anyone who has a chance to see one of their heroes in concert should not do so--but when you attend these events, try not to let your levels of expectation rule the experience or else you will come away disappointed, guaranteed. Better to expect little and not be disappointed than to expect much and come away feeling unsatisfied. In 1992, I sat within five feet of Steve Allen playing the piano in a small jazz club in Seattle, and when he didn't pick my "request" card out of all those that he collected from the audience, I was very disappointed (of course I shouldn't have been, but I was nonetheless). Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: (exotica) New additions & updates as of 3/1 Date: 11 Mar 2000 12:00:12 -0800 New additions/updates as of 3/1/00: --Added "Musician Photographs (WW Trio, U.S. Studio & Brazilian = Musicians)" section to site (see index on Page 1 for exact location) --Added: "MOJO CLUB PRESENTS DANCEFLOOR JAZZ, VOL. 7: GIVE ME YOUR LOVE" to Page 5 CD Reissue section. --Corrected release date of "Brazil's Greatest Hits". All Music = Guide lists it as 1972 and it is actually 1980. Added back cover LP = photo to listing. --WW Site mentioned in the 3/4/00 edition of the "O Estado de S=E3o = Paulo" (a Brazilian newspaper) at = http://www1.estado.com.br/edicao/pano/00/03/03/ca2530.html The = newspaper article was also reprinted in its entirety and linked on = the Portugese version of the "Clube do Tom" (Jobim) website at = http://jobim.com.br/e.index.html --San Francisco artist BRUNI gives permission to include her artist = portrait of WW on website; it has been added to Page 6. --Added WW's grandson Rick Garcia Mendon=E7a's interview/letter to = Page 6. --Added interview with Bruni Sablan, portrait artist (who knew WW = personally) to Page 6. --Split Page 6 due to its increase in size and added Page 7 to the = site. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Ron Grandia" Subject: (exotica) House of Games on Live365 Date: 11 Mar 2000 12:17:41 -0800 Whatever you think of jack Diamond, you have to agree he's quite the college of musical knowledge, and can spin a heckuva set. He now has a server set up on Live365, and a 2-hour show running at 56k (Sorry - Cable, DSL only at the moment.) More reported to be on the way. I particularly enjoy the fact that he's one of the only net-dj's that give any kind of back-announcing (yay) and his too-cool-for-you patter is fun to listen to. here's the link: http://www.live365.com/cgi-bin/directory.cgi?autostart=houseofgames Enjoy. Ron # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Arjan Plug" Subject: (exotica) Eilert is back Date: 11 Mar 2000 21:56:58 +0100 Anyone knows Swedish? Magnus? http://www.panorama.no/plater/anmeldelser/P-T/EilertIsBack.htm Seems the new Eilert Pilarm album is out for a while now. Heard Andi Kershaw on his worldmusic program on the World Servive playing a few songs from it : "Hound Dog" and "Jailhouse Rock", the latter one sounding something like "Ale'ous'ock ", even more appalling than his usual standard. Speaking of Elvis covers, Kershaw played a manic version of Jailhouse Rock by former Ecuadorian president Abdala "Madman" Bucaram in the same program too. Arjan # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: itsvern@ibm.net Subject: (exotica) the Pretenders and exotica Date: 11 Mar 2000 17:26:01 -0500 I saw the Pretenders perform live earlier this week, and they incorporated a bit of exotica into their show. As the group was walking on stage to start off the show, the background music playing was 'Moon Mist' by the Out-Islanders. I recognized it from the 'Mondo Exotica' CD, which is volume one of the Ultra-Lounge series. Of course, it could have been some other artist and version that sounded similar to this version. This segment was short lived, lasting only 20-30 seconds. The crowd was cheering as they walked out, and I had this small, very small thought, that perhaps the sold-out audience was cheering for the 'exotica' spirit, and not for Chrissie Hynde and her bandmates walking out on stage. Then they started playing their own music, and no more exotica was heard that night. Vern # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Keith E. Lo Bue" Subject: (exotica) Is it Live or is it Memorex? Date: 12 Mar 2000 09:58:49 +1100 Funny that this live music/recorded music spread should be birthed, wiggling and vital, from the (now tired) What is Jazz thread. Quite possibly the music that CAN suffer greatest between recorded and live performance is improvisational jazz! Even though I would give up seeing any more live shows if it meant I couldn't have my recordings, the crackle of watching an artist you love thinking and intuiting his way spontaneously around a tune is indeed a hard experience to match! I'm thinking of a fantastic Bill Frisell trio gig at the Vanguard, and there was a thirty-second moment during one of Bill's solos when everything fell away and it was unfettered brilliance, without bravado, but just RIGHT. I knew it, the rest of the audience sure knew it, and he knew it too, as witnessed by the child-like grin thatspread on his face as the moment receded. Ain't music grand???? Keith **************************** http://www.lobue-art.com A virtual gallery and info site for the artwork and workshops of KEITH E. LO BUE **************************** # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Pearmania@aol.com Subject: (exotica) Tracklist needed for Montenegro LPs Date: 11 Mar 2000 19:46:24 EST Could anyone furnish a track list for either or both of the following Hugo Montenegro LPs?: Hugo Montenegro and His Orchestra (Time Label Process 70) Russian Grandeur Please let me know Thanks Sean # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Peter Risser Subject: (exotica) Lyrics Look-Up Date: 11 Mar 2000 18:20:51 -0800 (PST) Does anyone know of a place where you can search for a song based on a lyric? All the lyrics sites I've seen only let you view lyrics if you know the song. It's a classic rock song, and I oughta know it, so I'm gonna appeal to your kinder, gentler instincts and post the line at the end of this post. It's driving me crazy, so please take pity on me if you know the song. But, seriously, is there a place where you can do this reverse song look-up? Also, on an exotica note, does anyone have the English and Hawaiian lyrics for Hawaiian War Chant. Thanks, Peter "I believe... My soul.. is on fiii-ire..." __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Stephen W. Worth" Subject: (exotica) Three Suns / Prado Date: 11 Mar 2000 18:31:35 -0800 exotica-digest wrote: >Date: Fri, 10 Mar 2000 19:17:11 EST >From: Rcbrooksod@aol.com >Subject: (exotica) Suns and Prado Recommendations > >Can anyone recommend a good CD of both The Three Suns and Perez Prado? The best Three Suns CDs are the two volume "Best of" on Circle Records. The Three Suns 1949-156 (Circle CCD-75) and "The Three Suns Second Volume 1949-1953 (Circle CCD-145). The V-Disc two CD set is good too. "V Disc: A Musical Contribution by America's Best For Our Armed Forces Overseas: Three Suns" (No Stock # but it's available from Collectors Choice Music www.ccmusic.com) For Prez Prado, just about everything he did is good, but the best single CD compilation is "Prez Prado: King of Mambo" (RCA ND90424). I believe Rhino put out a collection that was very similar to this collection. Other great CDs are Bear Family's "Havana 3 AM / Mambo Mania" (BCD15462) and Voodoo Suite / Exotic Suite of the Americas (BCD15463). I also highly recommend Xavier Cugat "Mambo Vol 1" (Blue Moon BMCD 2004) and "Mambo Vol 2" (Blue Moon BMCD 2005). Hope this helps... See ya Steve Stephen Worth bigshot@spumco.com The Web: http://www.spumco.com Usenet: alt.animation.spumco Palace: cartoonsforum.com:9994 Spumco International 415 E. Harvard St. Ste. 204 Glendale, CA 91205 # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: bag@hubris.net Subject: Re: (exotica) LP Rarity, "Brazilian Mancini" Date: 11 Mar 2000 23:27:35 -0800 At 10:49 PM 10-03-00 -0800, bj wrote: >an article to be written on the entire event on 3/4/00 in Brazil's "O Estado de S=E3o Paulo" newspaper. There is an online (Portugese) version of the complete article at=20 >http://www1.estado.com.br/edicao/pano/00/03/03/ca2530.html I ran it through babelfish and got the usual half translation, but figured out most of it. Pretty interesting. By taking the album notes from the original album, I found it interesting how translations work and thought you might like to see my probably erroneous Jobim rosetta stone: The first paragraph is the Portugese from the original article. The second paragraph is the "translation" by Babelfish. The third is my rough translation using the original text from the album instead of the re-translation. I took a big jump in my interpretation which may be totally incorrect, so I would like to know what the Portugese writer was getting at. I didn't get the logic behind 200 years (200 anos), so I referred to the= quote as something that still applied 35 years after Johnny Magnus wrote the liner notes. If that is not what the author of the article meant, I would like to know the correct translation. So, now I know what Carumba means in Yankee English...it is "By Golly!" =20 Byron ~~~~~~~~~~ O radialista Johnny Magnus, autor do texto da contracapa de Brazilian Mancini - escrito numa =E9poca em que o mercado americano estava inundado de bossa nova gravada por americanos -, faz uma observa=E7=E3o de interesse par= a os que, hoje, 200 anos depois, ainda discutem a nacionalidade da bossa nova: "Essa forma de express=E3o, t=E3o encantadora e sens=EDvel quanto profundamente r=EDtmica", diz ele, "originou-se no Brasil e dos brasileiros = - e eles a fizeram popular em toda parte. N=F3s, seus vizinhos, apenas a adotamos como nossa - e o que pode ser mais americano do que isso? Caramba, isso =E9 t=E3o americano!"=20 Broadcaster Johnny Magnus, author of text of contralayer of Brazilian Mancini - written at a time where the American market was flooded of bossa new= recorded for Americans -, an interest comment makes for that, today, 200 years later, still argue the nationality of bossa new: " This form of expression, so charming and sensible how much deeply rhythmic ", it says, " he originated in Brazil and from the Brazilians - and they had made it popular in all part. We, its neighbors, only adopt it as ours - and what he can be American of the one than this? Caramba, this is so American "=20 Broadcaster Johnny Magnus wrote the liner notes for "Brazilian Mancini" at a time when the American market was flooded with Bossa Nova recorded for Americans. One interesting comment he made 35 years ago still applies to the national origin of Bossa Nova: "The charming sensitive, soulful rhythmic expressions", he says, "originated in Brazil and the Brazilians...and only they have made them popular elsewhere. We neighbors had adopted them and taken them as our own, and could be more American than that? By golly, that is American!" ~~~~~~~~~~~~~ Byron Caloz Portland, Oregon, USA, Earth, Sol, Milky Way http://www.hubris.net/zolac The Mr. Smooth site: http://www.hubris.net/zolac/smooth # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Philip Jackson Subject: Re: (exotica) Tracklist needed for Montenegro LPs Date: 12 Mar 2000 21:11:07 +1100 on 12/3/00 11:46 AM, Pearmania@aol.com at Pearmania@aol.com wrote: > > Could anyone furnish a track list for either or both of the following Hugo > Montenegro LPs?: > > Hugo Montenegro and His Orchestra (Time Label Process 70) Sequence on lp is different from that stated on the cover. on lp. A: 1. Rachmaninoff Rhapsody 2. Cry Me A River 3. Dark Eyes 4. My Prayer 5. Flight Of The Bumble Bee 6. Rags To Riches B: 1. In A Persian Market 2. Palm Canyon Drive 3. Fantasy Impromptu 4. Because Of You 5. I Concentrate On You 6. Be My Love Philip # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: (exotica) new exotica/easy/lounge sales Date: 12 Mar 2000 12:32:39 +0100 Does anybody by chance know the sales figures of contemporary lounge/easy/exotica reissues and compilations? How much do these records really sell? How big is the audience of the type of music discussed here in comparison to other music genres? I heard that some of the lounge compilations of the last 5 years sold more than 100.000 units; can anybody confirm or disprove that? How much did the Martin Denny and Les Baxter original reissues sell so far? Does new lounge music a la Combustible/Pizz5 et al sell better or less than reissues of old original lounge? Any help very much appreciated! Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Citizen Kafka Subject: (exotica) warning!! Date: 12 Mar 2000 09:11:57 -0500 I had a huge problem when trying to listen to Jack Diamond's radio show at the link below... first i had to download an update for my realplayer (no sweat). then the site couldn't see it. then my netscape crashed. after rebooting, tried again, netscape crashed, then i no longer had access to my inbox (mail). maybe has to do with the talkback on that site??? anyway, can't listen, i suspect that site is trying to pull some info from my netscape, too bad i want to listen! any ideas? ck here's the link: http://www.live365.com/cgi-bin/directory.cgi?autostart=houseofgames Enjoy. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: mimim@texas.net (Mimi Mayer) Subject: Re: (exotica) live music propaganda Date: 12 Mar 2000 11:49:07 -0500 Moritz queried, So what IS the difference between 'live' and 'recorded'? I agree with some of the distinctions you draw, Moritz, but not all of them. First, though, gotta point out that I don't think recorded music is necessarily better than live music; they are very different experiences. Nor do I prefer one over the other. An obvious statement, perhaps, but since you defend one type of experience over the other, I say it up front. As a wise woman of my acquaintance often said, "Is not good, is not bad, is different." I think Mo's first two examples turn on the power of nostalgia in going to a live concert and listening to a concert recording...Or later playing a tape you bought on holiday to evoke that sense of happiness you enjoyed one transient evening. In these cases, the payoff or pleasure is a chance to revel in nostalgia. It's about memory, an experience that cannot convey the immediacy of hearing music live and seeing gifted musicians perform it. Naturally memory cannot reproduce the physical sensations of a live show. With music, there's a disjunction between what you remember hearing at the concert and what you actually hear listening to a recording of that concert days later in your cozy living room. Part of the disjunction is due to the technical limitations of live recordings. But another factor feeds the disjunction: you get caught in the difference between your remembered experience and what you actually hear. In fact, I'd say you can't escape that disjunction. And that's where the disappointment may crop up when you listen to a recording of a live performance--it's built into that disjunction. Plus, there's all the factors Moritz pointed out, which shape that memory and color the expectations you naturally bring to the music the first time you play a recording of a live show. As you listen to the recording, you expect to recapture all the feelings of excitement or pleasure or thrill you had at the show. And you can't. Result? Disappointment that may be bittersweet. Sweet because there's something satisfying about nostalgia. >If you record a live concert the difference between the two soundtracks, >the live live and the recorded live, is obviously minimal.... So if there >is a difference between a concert and the recording >of the very same concert, then it can't possibly be the music that is >different, it must be something else. I leave it to you, dear reader, to >draw your own conclusions. Here's what I conclude, dear Moritz: I think oftentimes live music IS different, and I mean the music itself. Here's an admittedly extreme example. Say you attend a show by saxist Oliver Lake. The show is in a long narrow room with stone walls and low ceiling, affecting the acoustics, the physics of what the audience hears. Lucky you, you get a seat at a table 15 feet from the stage. Lake plays solo, mixing performance poetry with music, performing from a tight script. Still, there's room for improvisation in the script; the music is scored for improvs. You know the music is scored because he'll occasionally bounce over to a music stand and play as he sight reads. Most of the time, though, he plays from memory. And near the end of the show, Lake decides to improvise bigtime. It's a climatic moment. As you watch and listen, Lake stands center stage and plays a complex scale, then variations on it. He starts to swing his sax in circles and the swinging motion and maybe how he's breathing change the sound of the notes. My god, you realize, he is playing with the acoustics of the room, using the acoustics to affect the tone of the notes! Your companion whispers, "Hear that? He's playing harmonics!" Since you're uncertain exactly what harmonic tones are, you nod. But still, your ear can tell the difference--the actual sounds are more complex--they seem to embellish the basic sounds of the notes with real subtle overtones. And compared to the music you've been listening earlier in the show, these notes actually feel different in your body. Maybe that's caused by how the sound waves are bouncing around the room. But you don't want to figure out how the music is happening or why it's affecting you that way or even parse out all the different ways the music IS affecting you, cuz you just want to get lost in the moment. What an astonishing experience! And it's almost unique in the 100s of concerts and live shows you've attended--only one other time have you heard sounds like this: at a Keith Jarrett show years before, in a big auditorium, where you were 300 feet from the stage. Both experiences are extraordinary. That word "extraordinary" is important. The moments in both shows are exceptions, exceptional. And they are products of the acoustics of the room, the artists' sensibilities and skill, their knowledge of their instruments and the range of sounds their instruments can make. And as much as I adore records and recorded music, I doubt recording technology is capable of capturing these sounds for reproduction. I'd love for someone to tell me I'm wrong and direct me to some recordings that reproduce accurately these subtle harmonics or microtones or whatever it was Oliver Lake and Keith Jarrett were able to make in concert. I've not heard these tones outside of live music--not even on an old Keith Jarrett recording, The Koln Concert, a fairly famous ECM recording made in Jan '75. But a hunger to hear such sound again has kept me going to live shows again and again and again. And I think a failing of recorded music is that, it's an experience at least one step removed from live music. Yeah, as Moritz and BJ say, a recording can be perfected--and I love that experience of perfected studio created/studio recorded music too. >The only really substantial difference I can detect in this thread would >be the difference between music that is played simultaneously by hand, >wether recorded or disappearing into the ether forever, and programmed >music whith the parts of it put together piece by piece and only when >everything is finished you hear the final result, the actual music. >Bands who play gigs with preproduced programmed music give me a >substancially different feeling or experience than music that is >actually played live. Moritz, what do you think of Fripp and Frippertronics? Have you ever gone to a Fripp show? To my ears, Frippertronics live are a provocative, yummy mix of preprogrammed music and live improvisation on it--a fact that hit me at a Fripp show I attended recently. >I'm not sure though, if I prefer an excited life performance better than >a "cool" precise studio recording. It's just two different things. I >only know that I prefer listening to a "studio" record to a "live" >recording. "Live" only works live. Generally true. But if "live" recordings are the only way you get to hear the music, then you don't have any substantive point of comparison. It's easy to be satisfied with a concert recording of a band or solo musician who's left this veil of tears or no longer performs. I'd also like to say there's lots of music that works only because it's the product of the recording studio--Esquival is a prime example. These musics offer different payoffs than live music, differnt kinds of complexity and richness and excitement. I really wish there was someone on this list who could tell tales of seeing Esquival live and describe the differences between his live and studio performances. Maybe someone can compare live vs recorded music of another musician known for studio wizardry...Frank Zappa perhaps. Any takers? I'd talk more about live vs. recorded music but I'm written out here. Plus, I'd really like to challenge a couple of Moritz's other points, but don't want to bore the list. Maybe this discussion should go offlist. Enough! As someone used to say, thanks for the bandwidth. And my apologies to digesters. Mimi # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) LP Rarity, "Brazilian Mancini" Date: 12 Mar 2000 10:11:05 -0800 >At 10:49 PM 10-03-00 -0800, bj wrote: >>an article to be written on the entire event on 3/4/00 in Brazil's "O >Estado de S=E3o Paulo" newspaper. There is an online (Portugese) version = of >the complete article at >>http://www1.estado.com.br/edicao/pano/00/03/03/ca2530.html > >. . .The third is my rough translation using the original text from the = album >instead of the re-translation. I took a big jump in my interpretation >which may be totally incorrect, so I would like to know what the Portugese >writer was getting at. Thanks, Byron for doing that. Here below is the very rough = translation that my friend Sergio sent me in email when the article = appeared. It's not the entire article, but it is most of it. --bj Saturday, 4 of March of 2000 "Secret" Album of Tom Jobim appears after all this time A brazilian researcher locates `Brazilian Mancini ', the LP that Jobim recorded in 1965 in the United States, touching guitar and using the = pseudonym of Tony Brazil RUY CASTRO Special All the researchers that, in the last years have pledged in raising = the discografia of Antonio Carlos Jobim, had a problem: a mysterious = LP that Tom said to have recorded as guitarist in Los Angeles in = middle of the 1960s, as accompanying of the piano of jazz artist Jack = Wilson - in which, instead of being presented as the star of the = disk, he appeared in the credits with the pseudonym of Tony Brazil. = The proper Tom liked to count history, without supplying to greater = details on the disk, but it gave to understand that this had been one = of the troubles of his first times in U.S.A.. " For the American, the = Brazilian is latin to lover ", it said, " and latin to lover has to = touch guitar. " By the way, he was one of the reasons for which, in = the famous disk with Frank Sinatra, in 1967, Tom also would play = guitar, not piano, even though the guitar was far of being his first = instrument. In either case, the LP with Jack Wilson continued outside of the = Jobim discografias because nobody seemed to know the title, the name = of the recording company or who played on it. I never had seen it = much less heard it. But, in a few weeks, an implacable Paulistan = researcher of bossa nova, Sergio Ximenes, killed the charade. = Ximenes, 50 years old, is a consultant of information technology. He works in great designs = for the financial system, in S=E3o Paulo and Brasilia, and passes is = free time working on his site www.sombras.com.br. that it has if = disclosed an inestimable source for those who want to locate the lost = coffers of bossa nova. But, in the case of the disk of Tom, it was = chance that helped Sergio. In the start of the year, Ximenes was contacted by the American = Barbara Major, whose site = http://members.xoom.com/bjbear71/wanderley/main.html is dedicated - = as the name it indicates - to the organista and Brazilian arranger = Walter Wanderley (1932-1986). Upon Barbara's asking, he supplied the = vast Brazilian discografia to her of Wanderley. In swap, she gave = Sergio the American produced discography (and in so doing, both had = completed their discografia of Walter Wanderley) and offered to look = for other rare albums. Ximenes then remembered "the secret" LP of = Tom and gave to the Barbara the only information of that it made use = (taken from the book of Helena Jobim, "Antonio Carlos Jobim - a = Illuminated Man"): to that Mancini was about a disk with songs of = Henry Mancini. Barbara put Ximenes in contact with a researcher of Mancini, Mike = Newcomb, who works for NASA in the Challenger design. And Newcomb, = clearly, had the disk: Brazilian Mancini, recorded in 1965 for the = obscure Vault label, of Los Angeles. It was new Mancini in bossa and = the musicians were Jack Wilson on the piano, Roy Ayers to vibrafone, = the Sebasti=E3o Brazilians (Ti=E3o) Neto to the contrabass and Chico = Batera to the drums - and, as "invited artist special", according to = liner notes, a stranger named Tony Brazil to the guitar. The surprise = biggest was Newcomb's, when learning that Tony Brazil was simply = Antonio Carlos Jobim. And then it was discovered why this LP was = missing from the discografias of Jobim: becauase, as the airplanes = that fly low are not seen by the radar, an entire disk with songs of = Mancini would not have been perceived by the researchers of Tom, more = accustomed to work with disks which contain the songs of his = authorship. Ximenes asked Newcomb for a tape and Xerox of the cover of the LP, = but the generous Newcomb made better: it forwarded by post office the = entire original LP to him. And, with this, came to tona in Brazil a = unit of the disk where Tom, to the guitar, forms with great the = Ti=E3o Neto and Chico Batera a delicate but powerful rhythmic = session, interpreting classic Mancini such as Days of Wine and Roses, = Mr. Lucky, Sally's Tomato and six others. Whereby, now anyone who = wants to complete their discografia of Jobim, already can now write = down: Jack Wilson Plays Brazilian Mancini, Vault 1001, 1965. It is not a disk of only historical interest. It is also a beautiful = disk. Wilson, then with 29 years, was a pianista respected in the = West Coast and impressed the proper Tom for his technique. The = vibrafonista Roy Ayers, of only 25 yrs., was a disciple of Milt = Jackson. It practically does not have ground of Tom, but it is felt = the slightness of its finger in some arrangements. Because of the = formation (piano-vibrafone-viol=E3o-softly-drums), the listener can = be reminded to think about George Shearing, but the Brazilian = rhythmic base does not allow the lesser doubt: one is about a disk = "to bossa nova", exactly that with American and recorded repertoire = in U.S.A. - more "bossa nova", in fact, than that shameful jazz that = many Brazilian trios at the same time were recording here. In contrast of that Tom also gave to understand, it was not for = paying his lease in Los Angeles that he accepted the invitation of = Ti=E3o Neto to take part in the disk of Jack Wilson. Brazilian = Mancini was made in the first semester of 1965, already during = Jobim's contract with Warner Brothers (in which he would record, = after that, "The Wonderful World of Antonio Carlos Jobim", with = arrangements of Nelson Riddle) and in the height of his presentations = in the program of TV of the singer Andy Williams. The money was = short: Jack Lewerke, owner of Vault, only could pay to it table to it = - USS 70 per session. The disk was made in three seessions, what it = was valid to it, therefore, USS 210. Tom agree to participate in the = disk for friendship to Ti=E3o, but he left clearly that it could not = use his name. The pseudonym Tony Brazil was an idea of the proper = Ti=E3o Neto. And, as always it happened, Tom was not limited to touch = guitar in some bands: he had participation in the arrangements, = participated in entire disk and, if he could, would have made still = more. In reality, he was always like this. In his last life years, when = invited by singers to do a little participation, singing just one = track, Tom expend weeks no agreeing, just to, without credits, take a = large contribuition in others albums, with damage in his own work. = S=E9rgio Ximenes didn't finish yet or know of the number of other = artists albums Tom made those "little participations"--in the last = number it was more than 40! We didn't have Brazilian Mancini in CD form and we don't know if some = day it will be released. What happened with the Vault label? In = another American album recorded in 1964 (with Tom also), "Soft Samba = of vibraphonist Gary McFarland" (Verve) - this just last year was = reissued in New York. This album has just two participations of = Tom's guitar: in La Vie en Rose and in I Want to Hold Your Hand - = yeah, yeah, yeah. I said just becose all that is seen of bossa nova = guitar in all album is like Tom, diferent of Kenny Burrell's solos, = who has the name of guitar in the other ten tracks. Johnny Magnus, author of the text in the back of Brazilian Mancini - = wrote in an age when USA had a lot of bossa nova recorded by = Americans - made a curious observation for today years and years = after when some people didn't agree about the bossa nova birth: Bossa = Nova, he wrote, come from Brasil and from Brazilians - and they made = it popular in all world. We, their neighbors, just adopted it like ours - and what could be more american than that = ? It's so american!. Albums like Brazilian Mancini and Soft Samba are a good direction of = popular music - it could blend bossa nova, jazz, Mancini, Beatles and = what more will came, in a rich fusion. But, how we know since 1965 = it doesn't matter for the brazilian popular music. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Johan Dada Vis Subject: (exotica) Re: Cribbed Record Covers Date: 12 Mar 2000 13:38:55 +0100 The Bartlebees: Little Teddy LP, Bite 001, UK, 1990's Sort of a Shaggs tribute. The front cover is a replica of the cover of the Shaggs' first LP. The album starts with a song that resembles the Shaggs -- particularly the drumming and out of tune singing -- but the rest of the record sounds very much like the TV Personalities. Maybe they're involved, it wouldn't surprise me. (Dan Tracey on organ). Johan # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: (exotica) Re: Cribbed Record Covers Date: 12 Mar 2000 14:06:17 EST Joe Jackson did one in the 8T's where he replicated an old Sonny Rollins Blue Note cover by posing identically with a sax. The Lothars, a Boston-based all theremin group, named their album "Meet The Lothars" and replicated "The Rutles" cover which mimiced the British "Meet The Beatles" cover. Then Elvis Costello cribbed LP-cover ring wear on "Get Happy"....There have to be many more..JB # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Bruce Lenkei Subject: (exotica) Re: Cribbed Record Covers Date: 12 Mar 2000 15:39:28 -0500 (EST) Oh! There's also The Clash. London Calling duplicates the Type from an early Elvis album. Maybe his first LP? ++++++++++++++++++++ Lenkei Design Graphic Design www.lenkeidesign.com ++++++++++++++++++++ On Sun, 12 Mar 2000 DJJimmyBee@aol.com wrote: > > Joe Jackson did one in the 8T's where he replicated an old Sonny Rollins Blue > Note cover by posing identically with a sax. The Lothars, a Boston-based all > theremin group, named their album "Meet The Lothars" and replicated "The > Rutles" cover which mimiced the British "Meet The Beatles" cover. Then Elvis > Costello cribbed LP-cover ring wear on "Get Happy"....There have to be many > more..JB # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Hemmel@gmx.net Subject: (exotica) Michel Legrad Date: 12 Mar 2000 23:01:31 +0100 (MET) Somewere i read that the two brilliant DANCEABLE MICHEL LEGRAD Tracks COME RAY AND COME CHARLES and DI GUE DING DING from the first Inflight Entertainment Compilation are from the Album PLAYS FOR DANCERS. So can anybody tell me if the rest of that LP is as good as these tracks or are they definitly the highlights ??? Are there other LEGRAD LPs with great and powerfull DANCE tracks ??? Martin -- Sent through GMX FreeMail - http://www.gmx.net # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B. Yost" Subject: (exotica) World Standard "Country Gazette" Date: 12 Mar 2000 17:52:23 -0800 I just wanted to thank the people who recommended this CD on this list a couple of weeks ago. When it first came out, I thought that the concept (Japanese electronic musicians doing an homage to rootsy country/banjo music) didn't work "on paper". Yesterday on an out of town trip, I came across a used copy and picked it up, and was just amazed at how well it did in fact work. And to echo Mo's comments about how external circumstances can enhance a listening experience, thus making it "live" in some way, my first listen to the World Standard cd was in my car on desolate country highways in rural Ohio during an unexpected early March snowstorm as daylight was fading into dark. It was very intense and very moving. It will be interesting to see how the disc holds up to subsequent listening in a more ordinary environment. -- Brad # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) live music propaganda Date: 13 Mar 2000 00:43:06 +0100 Mimi Mayer wrote: > First, though, gotta point out that I don't think recorded music is > necessarily better than live music; they are very different experiences. I think I said something like this too; However what I meant was, that in general I am more interested in records than in concerts. But that was just the last point in my post. What I was basically talking about was, that I think, that most of the reasons why people prefer live music to recorded music have to do with most anything but the music itself. > Here's an admittedly extreme > example. Say you attend a show by saxist Oliver Lake. The show is in a long > narrow room with stone walls and low ceiling... ...you realize, he is > playing with the acoustics of the room... ...What an astonishing experience! Well... I haven't attended a concert like this yet. I admit there are concerts that deal a lot with live acoustics, special rooms, 8-channel-P.A. etc. Those of course can only be experienced live, which means they are not better than records, but a recorded form is just not possible. I just can't remember one of those that I really liked though. Probably because I think that good music doesn't need "tricks" like these. The events we are talking about here, and they are the most common ones, are concerts by artists who play live aproximately what they play on records, more or less, and even if I really like the live version of the music, most of the times it owes to all the non-musical factors that I had tried to list in my examples. As you mention Zappa... I saw a Zappa concert in Frankfurt, when was that? 80? I was like half a mile away from the stage, saw a silouette of someone who could have been Zappa close to the horizon and most of the time during the concert I watched these sci-fi American soldiers with their tight black combat dresses and shiny black helmets who acted as security guards. The music... well, when I came home I put on the record (Roxy and Elsewhere period) and enjoyed it much more than the entire concert. > Moritz, what do you think of Fripp and Frippertronics? Have you ever gone > to a Fripp show? No... > To my ears, Frippertronics live are a provocative, yummy > mix of preprogrammed music and live improvisation on it--a fact that hit me > at a Fripp show I attended recently. I saw a concert, that could fit this description, by Fred Frith (the name even sounds similar), so I think I can imagine what you're talking about. To me those kind of events are often filed under performance rather than music. It's possible that a concert turns me on, even if I don't like the music on CD. But in that case most likely something (that is: a lot!) happened on stage that had nothing to do with the music, and made me being so impressed. The Tiger Lillies gig was a good example for this. > But if "live" recordings are the only way you get to hear > the music, then you don't have any substantive point of comparison. It's > easy to be satisfied with a concert recording of a band or solo musician > who's left this veil of tears or no longer performs. The starting point of this discussion was the statement, that a record can never beat the experience of live music, and I had understood this statement as a direct comparison between the music live on one hand and the music on record on the other hand, and I just had to contradict to that. And one argument was, that in the case of a recorded live concert it would be a contradiction in itself, leading to my statement that all kinds of outer-musical reasons are responsible for what people call their live-experiences. To the extent of situations when even recorded music can get a whole different meaning in very special circumstances of your life. Think of DJs: I can be as excited about the gig of a good DJ as I can about a live band. You simply have to differentiate these layers, if you make a heavy statement like this pro-live music statement. But OK, as always in threads like this, in the end you realize, that there are too many different versions of what you talk about, that it is nearly impossible to generalize. And that there are so many different people with different points of views that questions like this have to be answered by everyone individually. But we do make personal subjective statements in this list, don't we? You can say that you like Arthur Lyman better than Martin Denny or vice versa and try to find "proofs" for your opinions and you can contradict to the arguments of others and maybe sometimes you learn something from the discussion and maybe you even change your mind. I changed my mind many times and when I just thought I knew what I'm thinking I started to drift into the opposite direction. Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: LTepedino@aol.com Subject: Re: (exotica) new exotica/easy/lounge sales Date: 12 Mar 2000 23:18:39 EST How big is the audience of the type of music discussed here in comparison to other music genres? Fairly small I heard that some of the lounge compilations of the last 5 years sold more than 100.000 units; I can tell you (and I work in the business where I can pull Soundscan) that this is totally false cananybody confirm or disprove that? How much did the Martin Denny and Les Baxter original reissues sell so far? Hovering around the 10,000 mark (some titles lower, some titles a bit higher) Does new lounge music a la Combustible/Pizz5 et al sell better or less than reissues of old original lounge? In most cases that is a hardy Yep Ashley # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Mr. Fodder" Subject: (exotica) Friendly Persuasion - Week of 03/12 Date: 12 Mar 2000 22:33:19 -0800 The Friendly Persuasion Show - Week of 03/13/00 Cool and Strange Music Magazine's weekly radio show on Antenna Internet Radio. http://www.antennaradio.com/punk/friendlypersuasion/index.htm Get your RealAudio player ready and tune in anytime during this week to hear: 1. Marcy - I Love Little Pussy 2. The Food - And Your Hard Birds Night Thing 3. The Polkaholics - Polkaholics Theme 4. Frank Zappa - Stick It Out 5. Margarita Pracatan - From Me To You 6. Jonathan and Darlene Edwards - Stayin' Alive 7. The Rangers - Let's Go Rangers 8. Serge Gainsbourg - Qui Est In Qui Est Out 9. Ann-Margret - C'est Si Bon 10. Mrs. Yetta Bronstein - I Want To Hold Your Hand 11. 7-11 - Dance The Slurp 12. Yma Sumac - Look Around 13. Combustible Edison - Hot and Bothered 14. Forbidden Five - Enchanted Farm 15. Sunshine Day - I'm a Tiger 16. Caesar Giovannini - Song of India Twist 17. Leroy Holmes - Chitty Chitty Bang Bang 18. The Barry Gemso Experience - Groovin' Happenin' 19. Laurent Lombard - Bonbon Twistos 20. Marlene Dietrich - Near You 21. Ronald Shaw and his Orchestra - Goldfinger 22. Miss Nelson & Bruce - Upside Down 23. Franco De Gemini - Cheops and Nefertiti 24. Astrud Gilberto - And Roses and Roses 25. Maria Napoleon - Think of Rain 26. Marlene Dietrich - Falling In Love Again 27. The Supremes - A Lover's Concerto Thanks for listening! Chow, Otis Mr. Otis F-Odder mofo@thebranflakes.com Jump into Cool and Strange Music Magazine online at, www.coolandstrange.com View past playlists, find out where to order what you hear, listen to show archives all at, www.thebranflakes.com/fp To unsubscribe from this weekly email, just reply and say, "The only kind of spam I want is the potted meat I dine on thank you very much" and you will be off in a jiffy. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) new exotica/easy/lounge sales Date: 13 Mar 2000 10:37:31 +0100 LTepedino@aol.com wrote: > I heard that some of the lounge > compilations of the last 5 years sold more than 100.000 units; > > I can tell you (and I work in the business where I can pull Soundscan) that > this is totally false So how much do you think did Ultra Lounge et al sell? > How much did the Martin Denny and Les > Baxter original reissues sell so far? > > Hovering around the 10,000 mark (some titles lower, some titles a bit higher) That sounds likely. Only if you could file it under Swing it went much better, didn't it? Like Exquivel for instance. > Does new lounge music a la > Combustible/Pizz5 et al sell better or less than reissues of old > original lounge? > > In most cases that is a hardy Yep > So again: How many of the best-selling Pizzicato? Thanks for your answers Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Subject: Re: (exotica) Michel Legrand Date: 13 Mar 2000 11:44:12 +0000 Michel Legrand Plays for Dancers is the LP in question but it also has another name. Is it Strings Aflame? something like that. The two tracks De Ge Ging and Come Ray and Come Charles are the standouts and the rest of the record does sound like its in string-overdrive mode but it is still a good LP - I would recommend it but hardly ever play it and probably would only ever put the aforementioned two tracks on a compilation tape. Charlie +-------------------------------------------------------------+ | This message may contain confidential and/or privileged | | information. If you are not the addressee or authorized to | | receive this for the addressee, you must not use, copy, | | disclose or take any action based on this message or any | | information herein. If you have received this message in | | error, please advise the sender immediately by reply e-mail | | and delete this message. Thank you for your cooperation. | +-------------------------------------------------------------+ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Reader Geoff Subject: (exotica) the weekend Umiliani / Brazil / Morricone OST Q Date: 13 Mar 2000 13:29:59 -0000 2 New records this weekend (I deserved them after a very abstemious month). Pierro Umiliani-Il Corpo originally released in 1974, a bit of a return to form after the disappointing 'Legge de Gangsters' I reckon. Although thats obviously just a coincidence in the re-release schedules. Its a double LP and another lavish gatefold sleeve from Easy/Right Tempo (whichever it is) with an excellent photo inside with Umiliani standing on Tip-Toe so that he can lean nonchalantly on the Conga's and not be dwarfed by the films female star. The sleevenotes say that the film is a version of 'The postman always rings twice' set in the south seas. The music is so wonderfully mellow - even the uptempo stuff, it has the feel of some of the slower stuff off 'Todays Sound', but with a smoother production. To me it also sounds like 'Sweden Heaven and Hell', but without the obvious 'Mah na Mah na' hit. Some nice Synth leads, what sounds suspiciously like a Mellotron, a small band for the most part. Nice exotic Marimbas (?) on one track. A lovely record. The only problem I have with it are the number of duplicated cuts, theres one with the original version, extended version and alternative Intro (4 chords on a guitar before the normal version comes in). But as a double its probably only a little more expensive than a single LP would be I suppose. Also Brazilian Beats, On 'Mr Bongo's Classic Brazilian Cuts' label. Another double LP, each side themed, side 1 is 'The carnival' which has Pete Hellers remix of 'Batacuda', a Masters at Work Track and a track which has had a great chunk sampled (a whole verse chorus if it wasn't an instrumental, ie a great BIG chunk) on a recent House track, side 2 is Bossa Trio's, which is Jazzy Bossa Nova Trio's, including the Great Ed Lincoln's Cochise (although if thats a trio it must be organ, drums and trumpet with Lincoln playing bass on the pedals). Side 3 is God Made me Funky, which I'm not sure about yet, a bit slow, and lumpy I thought (but I've only played this side once). And side 4 is Exotic moods (I think), a mix of Older stuff and the quite bizarre 'Bob', which has some very odd samples on it. 2 good double LPs, I'm very happy. There were also a couple of new Ennio Morricone soundtracks, both from soft porn films judging by the covers, anyone have recommendations on these? Back to work..... El Maestro Con Queso djcheesemaster@yahoo.com grr@brighton.ac.uk http://www.shitola.freeserve.co.uk/cheese/cheese.htm http://www.geocities.com/djcheesemaster/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Brian Phillips Subject: Re: (exotica) Re: Cribbed Record Covers Date: 13 Mar 2000 09:38:00 -0500 In the spirit of King Kini's site (which just keeps getting better), I was wondering; in the "same model" mode, who is the woman of "You Get More Bounce With Curtis Counce" http://www.fantasyjazz.com/catalog/counce_c_cat.html (First album, left hand corner) and Russ Freeman's/Andre Previn's "Double Play" http://www.fantasyjazz.com/catalog/cat_previn.html (First album, left hand corner) Contemporary 7537 and 7539. Also, if she closed her mouth, would she photograph? An unexpected crib in my book was the back of Miles Davis' Tutu and the front of Ron McCroby plays Puccolo, a whistling album, both balding and puckering. Brian Phillips # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Johan Dada Vis Subject: (exotica) Re: Claus Ogerman Date: 13 Mar 2000 16:09:26 +0100 the only thing i know is that he made hundreds of LP's in Germany. mostly EZ core. Johan ----- # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: mimim@texas.net (Mimi Mayer) Subject: Re: (exotica) live music propaganda Date: 13 Mar 2000 10:23:07 -0500 Mo wrote: >I think I said something like this too; However what I meant was, that in >general I am more interested in records than in concerts. And I guess I'm interested in music in general--greedy Mimi. Gimme gimme in almost any format. Except for Celtic music. A penny whistle and fiddle sounds, and pacifist I wanna reach for a revolver. Erin go blech. >What I was basically talking about was, that I >think, that most of the reasons why people prefer live music to recorded >music >have to do with most anything but the music itself. Yeah. Most people go to a show to hear and see the musicians replicate a recorded tune they love--they want music "just like on the CD." (Labels know that, musicians know that, you well know that from Ata Tak and your bands, everybody knows recording cos. underwrite tours to "move product.") And many people go to a concert to make a scene or hang with their pals, etc. There's nothing wrong with that. Or they go to be wowed with a performer's or band's charisma--that was what knocked me out when I saw Caetano Veloso perform this summer. I expected to adore the music and I did, no question. But I remember most of all the brilliance of Veloso's performance. And small wonder most people go to shows for reasons other than the music. Most live music gets distorted by how it's amped and mixed. It's lame if it doesn't suck. My experience sort of turns these patterns inside out, though. When I was going to live shows a minimum of three x a week--as I did for two, three years--the show was usually my introduction to the music and the musicians. It changed how I listen to records or CDs. For instance, I came to prefer live shows for certain kinds of music--with rap and jazz I'd go to hear the mixing or to see performers riff off each other or to feel giant rhythm and bass sounds rumble my gut or to catch the improvs. Really edgy alternative or thrash or blues, I'd go for the energy and the volume and speed. Few people have the extreme experience of hearing as much and as wide a variety of live music as I. I'm not posturing or boasting here. All the concerting I've done really reshaped how music in any form hits me. I listen to recording studio music as much for how it's produced as for how the music itself sounds. That must be why I went ape over Command and other stereo action records. The music is produced to exploit recording studio equipment, and that's one reason why I dig it so much. Hmm, hadn't realized that before. > I admit there are concerts >that deal a lot with live acoustics, special rooms, 8-channel-P.A. etc. Tho= se >of course can only be experienced live....I just can't remember one >of those that I really liked though. Probably because I think that good mus= ic >doesn't need "tricks" like these. Er, Moritz, I don't think Oliver Lake's riffing off the acoustics of the room was a "trick." That word discredits Lake's consummate artistry. The fact is, he had the chops and experience to know the kinds of sounds his horn could make, he had technique to make those sounds, and he had the ingenuity to exploit the conditions in the room. Result? Lake created a rare and superlative music, right on the spot. Very few musicians have that combination of chops, musicality, creativity, skill, knowledge of their instrument. Keith LB mentioned Bill Frissell-- I've never seen him perform (dammit!) but he's probably one of the handful who could do it. John Zorn too. Carla Bley. >As you mention >Zappa... I saw a Zappa concert in Frankfurt, when was that? 80? I was like >half a mile away from the stage, saw a silouette of someone who could have >been Zappa close to the horizon...well, when >I came home I put on the record (Roxy and Elsewhere period) and enjoyed it >much more than the entire concert. GACK~! My condolences, Mo! Of course you'd prefer the record. You really can't hear the music in those huge outdoor shows. >I saw a concert, that could fit this description, by Fred Frith (the name e= ven >sounds similar), so I think I can imagine what you're talking about. To me >those kind of events are often filed under performance rather than music. And I'd probably slot that Veloso show there too. >But we do make personal subjective statements in this >list, don't we? ..and when I just thought I knew what I'm thinking I >started to drift>into the opposite direction. Yup, me too. Viva eXotica. Thanks for a bracing debate, Mo. Mimi # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: mimim@texas.net (Mimi Mayer) Subject: Re: (exotica) Re: Claus Ogerman Date: 13 Mar 2000 10:51:57 -0500 Johan wrote >the only thing i know is that he made hundreds of LP's in Germany. mostly >EZ core. Just as I suspected. Bet that's why so many people on BJ's samba list dissed Ogerman's arrangements. Thanks for the info, Johan and BJ. Mimi # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: nytab@pipeline.com Subject: (exotica) [obits]Hayward Cirker,Nim Chimpskey,George Siravo,Tommy Thompson,Elizabeth Chase,Walter Dana Date: 13 Mar 2000 11:47:29 -0500 NEW YORK (AP) -- Hayward Cirker, the founder and president of eclectic paperback publisher Dover Publications, died Wednesday in Roslyn, N.Y. He was 82. Cirker built Dover into a paperback powerhouse by delving deep into the public domain and reprinting thousands of out-of-print novels, illustrations, manuals and scientific texts. The company's titles ranged from ancient tragedy to ``Build Your Own Inexpensive Dollhouse.'' Dover books almost always had attractive covers, low prices and intriguing titles like ``The Egyptian Book of the Dead,'' ``Three Prophetic Novels by H.G. Wells'' or ``The History of Underclothes.'' Founded in 1941 with his wife, Blanche, Dover grew rapidly in the 1950s, riding the public's appetite for cheap paperbacks, skipping the pulp romances and detective novels favored at the time and continuing to find quirky classics and practical fare. One of the company's best sellers proved to be a little-known theoretical work by Albert Einstein -- one which the scientist had said he thought did not merit a reprint. Included in Dover's large catalog are 60 Nobel Prize winners and some high-end publications, including clothbound editions of the writings of Henry David Thoreau. By the 1980s, Dover had grown into a $15 million-a-year publishing house, and remained privately held. Cirker visited the company offices three days a week until his death. ------------- Friday March 10, 3:17 pm Eastern Time SOURCE: Fund for Animals Nim, World's Most Famous Sign Language Chimp, Dies at Age 26, Reports Fund for Animals MURCHISON, Texas, March 10 /PRNewswire/ -- It is with great sadness that The Fund for Animals announces the passing of Nim, the world's most famous chimpanzee, who died of heart failure today at The Fund for Animals' Black Beauty Ranch in Murchison, Texas. He was 26 years old. Nim was taken from his mother at the University of Oklahoma when he was three days old, and sent to New York as part of a research program to determine whether chimpanzees could learn sign language. Nim was the quickest learner of sign language in chimp history, learning more than 300 signs. When Nim was nine years old, the research program lost funding, and he was sent to a laboratory to be used in hepatitis experiments. The Fund for Animals prevailed upon the university to allow Nim instead to live out his days peacefully at Black Beauty Ranch. Nim came to live at Black Beauty Ranch in 1983, and lived there happily for seventeen years. Says Marian Probst, President of The Fund for Animals, ``Nim was not only the most famous animal under the care of The Fund for Animals, but was perhaps the most beloved. He communicated freely with our staff and visitors, and he told us about his likes and dislikes, his thoughts and feelings. We are confident that he not only died peacefully, but that he also lived peacefully.'' ------ L.A. Times --- Saturday, March 11, 2000 George Siravo; Arranger for Sinatra, Composer George Siravo, 83, a pop music composer, arranger and conductor who was a longtime associate of Frank Sinatra. Born on Staten Island, N.Y., Siravo learned alto saxophone as a youth and joined Harry Reser's Clicquot Club Eskimos at 17. Five years later he joined Glenn Miller's first band and stayed there a year before joining the Gene Krupa band in 1938 as a sideman and arranger. He became a staff arranger and conductor for Columbia Records after working for "Your Hit Parade," a popular radio show, in the 1940s. While at Columbia, Siravo began arranging up-tempo music for Sinatra's nightclub show, and in some ways his tunes served as a model for the music Sinatra made when he switched to Capitol Records in the early 1950s. Siravo was the arranger on "Swing and Dance With Frank Sinatra," "Portrait of Sinatra" and "Frank Sinatra With Red Norvo Quintet: Live in Australia." He also worked with Tony Bennett, arranging and conducting the singer's "Who Can I Turn To" album. On Feb. 28 at home in Medford, Ore. ----------- From the Washington Post -- Tommy Thompson,Producer Tommy Thompson, 73, the veteran producer of television's "The Lucy Show" who also worked extensively on the films of Robert Altman, died March 10 after a heart attack. He was stricken near Baker, Calif., during location shooting of an Altman film that he was co-producing, "Dr. T & The Women." The producer made his mark with Lucille Ball's long-running comedic series from 1962 to 1974. He worked extensively in television, most recently as one of the producers, along with Harry and Linda Bloodworth-Thomason, of the series "Designing Women," which ran from 1986 to 1993. Over the past three decades, beginning with Altman's 1971 film "McCabe and Mrs. Miller," Mr. Thompson also had worked as assistant director and producer of about a dozen Altman motion pictures, including "A Wedding," "The Long Goodbye," "California Split," "Nashville," "Buffalo Bill and the Indians," "Three Women" and "Cookie's Fortune." ------- SANFORD, Fla. (AP) - When screen legend Hedy Lamarr died, she left her stamp collection to her 11-year-old grandson, her estate to her children, and $83,000 to a police officer who occasionally ran errands for her. Lamarr, who starred in films including ``Tortilla Flat'' and ``Samson and Delilah'' and was once billed as the world's most beautiful woman, died Jan. 19 at age 86. Her will was filed Friday in Seminole County Circuit Court, and it contained a few surprises. In addition to Lamarr's son and daughter, the list of those she picked to share her wealth included her personal secretary, a California engineer she had never met and Altamonte Springs Police Lt. Chuck Stansel. Stansel met Lamarr late in her life while delivering a message and befriended her after she called him to request an errand. His family eventually became regular guests at Lamarr's home, helping her shop for groceries and visiting the Austrian-born actress at least twice a week. ------------- The March 13 issue of the Wrestling Observer Newsletter that Pro Wrestler Elizabeth Chase died on Feb. 26 in Costa Rica while under going liposuction surgery. Chase had been a professional wrestler for over 20 years, most recently wrestling for Florida Champioship Wrestling. ------ NY Times --- March 13, 2000 Walter Dana, Polka Promoter, Dies at 96 By DOUGLAS MARTIN Walter Dana, who propelled polka music to a new prominence in postwar America after a varied career in popular music in Poland, died on March 4 in Miami Beach. He was 96. Having exposed the Poles to American jazz before the war, Mr. Dana took polkas to new audiences when he founded Dana Records in New York in 1945. It became the top Polish music label, introducing artists well known in the field like Frank Wojnarowski, Ray Henry, Gene Wisniewski and Johnnie Bomba. See rest of obit at: http://nytimes.com/yr/mo/day/news/national/obit-w-dana.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Ponak, David" Subject: (exotica) The Liquid Room 3/11/00 Date: 13 Mar 2000 10:01:23 -0800 The Liquid Room airs every Saturday Morning (Friday night) from 3-6 on 90.7 FM KPFK. (98.7 in Santa Barbara County). Also check out my show The Nice Age at http://www.spikeradio.com on Sunday afternoons from 3-6 PM, PST. I'll be out of town for South By Southwest this week, so there will be no Liquid Room until 3/25! The Liquid Room-3/11/00: 1.The Association-Come On In Birthday (Warner Bros.) 2.Synergy-Classical Gas Semi-Conductor Release 2 (Chronicles) 3.The Black Panthers-Day Tripper Good Night Tokyo (Readymade-Japan) 4.Mansfield-Mansfield Theme Viva La Generation Readymade 2000 (Readymade-Japan) 5.Beachwood Sparks-This Is What It Feels Like Beachwood Sparks (Subpop) 6.Peter Sarstedt-Frozen Orange Juice Story Of Pop (UA-Germany) 7.Great 3-Soul Glow Without Onion (EMI-Japan) 8.101 Strings Featuring The Alshire Singers-Bennie & The Jets Songs Made Famous By Elton John (Alshire) 9.Rocky Chack-Change Single (Midi-Japan) 10.Munich Machine-In Love With Love Munich Machine (Casablanca) 11.Kid Koala-Fender Bender Carpal Tunnel Syndrome (Ninja Tune) 12.Brian Eno-Backwater Before And After Science (EG) 13.Maki Nomiya (?) Viva La Generation Readymade 2000 (Readymade-Japan) 14.Jake H. Concepcion & The Jazz Rock Band-On Any Sunday Midnight Tokyo (Readymade-Japan) 15.Puffy (Yumi solo)-V.A.C.A.T.I.O.N. 16.Tahiti 80-I.S.A.A.C. Single (Atmospheriques-France) 17.Reparata & The Delrons-Bye Bye Baby Whenever A Teenager Cries (World Artists) 18.D'Angelo-Spanish Joint Voodoo (Virgin) 19.The Lovin' Spoonful-Didn't Want To Have To Do It Anthology (Rhino) 20.Okazaki Hiroshi & His Stargazers-Quiet Village A Compilation (Readymade-Japan) 21.Wayne Newton-Rhythm Rhapsody Night Eagle 1 (Aries II) 22.Herbie Hancock-Earth Beat Future Shock (Columbia) 23.Japancakes-Version 1 Down The Elements (Kindercore) 24.The Residents-Please Please Please George & James (East Side Digital) 25.The Residents-Kaw-liga Stars & Hanks Forever (East Side Digital) 26.Kuniko Yamada-? (Produced by Harry Hosono) 27.Liberace-Parks & Recreation (Medley of Cherry Hill Park, McArthur Park, & Echo Park) A Brand New Me (Warner Bros.) 28.Papas Fritas-Far From An Answer Buildings & Grounds (Minty Fresh) 29.T-Bones-Paint It Black Everyone's Gone To The Moon (And Other Trips) (Liberty) 30.Yukari Fresh-Raymond (Erobique Remix) Escalator Records Tokyo (Bungalow-Germany) Thank you Jill Mingo! 31.Lisa Go-Kara Kara Moonbeams (Sapphire) 32.William DeVaughn-Be Thankful For What You've Got Didn't It Blow Your Mind-Soul Hits Of The 70's Vol. 12 (Rhino) 33.Comoestas-Mambo Kuroneko Viva La Generation Readymade 2000 (Readymade-Japan) 34.Thunderball-Late Nite Trick Ambassadors Of Style (ESL) 35.The Critters-A Moment Of Being With You Touch 'N Go (Project 3) 36.Terry Callier-Sunset Blvd. Life (Blue Thumb) 37.Lee Hazlewood-Don't Get Around Much Anymore Farmisht, Flatulence, Origami, ARF!!! And Me (SLR) 38.Akira Ishikawa-The Dawning Of Love Good Night Tokyo (Readymade-Japan) 39.Ananda Shankar Experience and State Of Bengal-Jungle Symphony Walking On (Realworld) 40.The Sunrays-I Was A Loser Vintage Rays (Collectables) 41.Rayko-Money To The Bank Crave (Source One) 42.The Crystals-He Hit Me (And It Felt Like A Kiss) The Best Of (Abco) 43.Etienne Charry-Raye Du Bottin 36 Erreurs (Kindercore) 44.Paul Williams-Morning I'll Be Moving On Someday Man (Reprise) # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) Claus Ogermann Date: 13 Mar 2000 19:11:23 +0100 Johan Dada Vis wrote: > the only thing i know is that he made hundreds of LP's in Germany. mostly EZ > core. Really? I've never seen any single one of them, neither on flee markets, nor in second hand stores. Are you saying he published these album under his own name? If you read his bio, it doesn't look at all like he's into "EZ core". It rather looks like he's into serious classical stuff, but who knows. I am not an Ogermann specialist. Claus Ogermann Biography Composer, arranger, conductor, and pianist Claus Ogermann was born on April 29, 1930 in Ratibor, Germany (now Raciborz, Poland). He studied music in Nuremburg: piano with Ernst Groeschel, Jr., and theory/conducting with Karl Demmer. He worked in Baden-Baden with Kurt Edelhagen and in Munich with Max Greger (for five years). He began his career primarily as a pianist. By the early 60s, he had firmly established himself on the studio scene as a musician of considerable repute, as well as a distinctive and inventive arranger and composer. He composed the scores for 14 German films. He moved to New York City, USA in 1959, where he has remained ever since, although his many assignments have taken him all over the world. By 1963 he had become Musical Director for Verve Records, working on recordings by Bill Evans, Antonio Carlos Jobim, Oscar Peterson, and Cal Tjader (the "Soul Sauce" albums). Claus and producer Creed Taylor joined with Herb Alpert's A&M label, where he worked with Paul Desmond and others. His other collaborations include work with Quincy Jones, Stan Getz, Wes Montgomery, Frank Sinatra, Astrud Gilberto, Joao Donato, Benny Goodman, Randy Brecker, Gidon Kremer, Leslie Gore, Barbra Streisand, producer Tommy Lipuma, George Benson, Michael Franks, and others, from jazz through film and pop to modern classical music. He has written scores for Bill Evans, Stan Getz, Freddie Hubbard, and Stanley Turrentine, among others. Since the 1970s, Claus has devoted himself almost exclusively to serious composition. His commissions and projects include a ballet score for the American Ballet Theatre (Some Times), a work for jazz piano and orchestra (Symbiosis) for Bill Evans, a work for saxophone and orchestra (Cityscape, which includes Symphonic Dances) for Michael Brecker, a song cycle (Tagore-Lieder) after poems by Rabindranath Tagore that was recorded by Met soprano Judith Blegen and mezzo-soprano Brigitte Fassbaender, Concerto Lirico and Sarabande-Fantasie for violin and orchestra that was recorded by Aaron Rosand, 10 Songs for Chorus A-Capella After Poems by Georg Heym that was recorded by the Cologne Radio Chorus, a work for violin and orchestra (Preludio and Chant recorded by world-renowned violinist Gideon Kremer, and many more. Ogermann is not primarily concerned with "modernism" per se - his goal is to evoke emotional response in the listener. His major influences include Max Reger and Alexander Scriabin. ( all taken from http://www.gator.net/~jgower/ogermann/disc.html ) Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "m.ace" Subject: Re: (exotica) Claus Ogermann Date: 13 Mar 2000 13:25:59 -0500 This seems to be slipping by, but wasn't Claus Ogermann associated somehow with Quincy Jones in the early 60s? He arranged and conducted a lot of Lesley Gore's hits. m.ace ecam@voicenet.com OOK http://www.voicenet.com/~ecam/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: (exotica) Biggest Schlager cover site in the world Date: 13 Mar 2000 19:33:04 +0100 I have been knowing this for a while, but as it has gotten so much bigger meanwhile I post it again. Hundreds of record covers... http://www.online.prevezanos.com/schlager http://www.online.prevezanos.com/girlpop Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) live music propaganda Date: 13 Mar 2000 19:40:41 +0100 Mimi Mayer wrote: > Viva eXotica. Thanks for a bracing debate, Mo. My pleasure! Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) live music propaganda Date: 13 Mar 2000 19:45:02 +0100 Are you saying you visited up to 400 concerts in those 2 and a half years??? Well.. now I feel like an absolute layman in things "live"... Mo Mimi Mayer wrote: > When I was going to live shows a minimum of three x a week--as I did for two, > three > years # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: (exotica) records and bachelorhood Date: 13 Mar 2000 14:13:10 -0500 I know that many of you on the list - if not most of you - have families, kids or at least significant others. So maybe you don't relate to this. In the last two weeks, I haven't been quite the bachelor that I've been for the last number of years. And I find myself thinking about records way way less often. As a matter of fact, sometimes I even forget about them. And often I find myself just wanting to put on a CD, rather than fiddling around with records. Yes I know this will probably change when the rose is off the bloom. Although it's more likely that she'll just leave. But suddenly I don't really want all these records around me. And it's not because "she" doesn't want me to have them. She seems fine with them. As a matter of fact, she was supportive - even enthusiastic - when we stopped at the Goodwill store yesterday after shopping for a new shower curtain and other necessities I've been ignoring. It's more the fact that suddenly there's less space in my head and a little less time in the day. And it feels like having all these records was some kind of representation of all the time I spent thinking about them. As if I needed a certain amount of "weight" to sufficiently represent the space it occupied in my (obsessive) thought processes. All I ever really needed to do was cruise through the bins, find a few cheap things I wasn't familiar with, take em home and unearth the buried gems. I never really needed to keep them afterwards. Except in order to make tapes. My film - which is having its world premiere (finally) at the Hot Docs festival here in Toronto - basically argues that record accumulation is NOT about the music. But right now, if I could digitally archive all my favorite cuts, I think I could get rid of 75% of the stuff and not miss it. I don't think I need the object like I once did when my life was a bit emptier. Just thought I'd share that. Stay tuned and within the year, I'll put a huge list up. I'm sure I won't want to deal with selling individual records but I might be up for selling by the box. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: Re: (exotica) live music propaganda Date: 13 Mar 2000 14:34:44 -0500 At 10:23 AM 3/13/00 -0500, Mimi Mayer wrote: > For instance, I came to prefer >live shows for certain kinds of music--. Really edgy alternative >or thrash or blues, I'd go for the energy and the volume and speed. Most of the time, if I'm in the mood to go sit in a bar and hear live music, I really don't care who or what I see. A good ole fashioned bar band playing blues covers with long guitar solos? Fine. It's an experience that transcends the actual music. A LOT of stuff that I've loved live was way way better than the records. I saw Hounddog Taylor a dozen times, whooped and hollered and got my mojo working... but his records suck. I loved Wayne Cochrane, the poor man's white James Brown. I've never even seen his records but I doubt they'd compare to his show. On the other hand, I have seen some great shows by artists with great records. Don't groan but Springsteen is an example. But even in his case, though I was really happy to have the experience of those shows, it's still the records with which I forged a relationship. I sort of look at it like this. Live music is a group experience. And to some degree, it's a packaged experience. You CAN have an individual experience at a show but to a great degree, you're participating in a ritual which is designed to create certain emotions. For everyone. Records are more like drugs. The experience is a mixture of the general effect of the drugs and the specific body chemisty that they enter. Or to put it another way... Records are more individually interactive. My experience with each record is as much about ME as it is about the record. The experience is determind by the times I choose to play it, the volume I choose, what I'm doing, whether I'm reading or writing or just listening, what mood I'm in, how I choose to think of it, what images are created, what's happening in my life at that moment, who I share it with. It's like the difference between praying in church and praying by yourself. I'm not sure since I don't do either. But if I did, I'd probably get more out of the one I do by myself, unmediated by the crowds or by the gatekeepers. I could go on and make more analogies but since Mo and Mimi are the only ones reading at this point, I can assume that they're making their own analogies already. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: (exotica) Claus Ogerman on Kai Winding LPs Date: 13 Mar 2000 11:36:03 -0800 In doing work on another project this morning, I just happen to notice that the arranger/conductor Claus Ogerman is also present on some Kai Winding trombone LPs I own. He arranged two tracks on Kai Winding, "More Brass", Verve #V6-8657 (1966), as well as some of the tracks on Kai Winding, "Mondo Cane #2", Verve #V6-8573 (1965). He may be listed on other Winding LPs as well. This should convince those who only associate Mr. Ogerman with "lush" string/heavy orchestral arrangements of Jobim & Gilberto that he was certainly capable of arranging without the inclusion of strings. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) live music propaganda Date: 13 Mar 2000 11:44:41 -0800 >I could go on and make more analogies but since Mo and Mimi are the only >ones reading at this point, I can assume that they're making their own >analogies already. ??? I submitted a post on this subject on 3/11 as well. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Albert Fish" Subject: (exotica) Astro Sounds 101 Strings Date: 13 Mar 2000 12:21:43 PST 1) IS this worth buying 2) Is it worth buying for $8.50, (pretty good shape, stereo). Thanks heaps A. Fish ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Michael Greenberg" Subject: (exotica) Heal this turntable! Date: 13 Mar 2000 15:34:22 -0500 Hi - I recognize this is not about exotica, but since we have so many vinyl hounds on this list, I hope you don't mind me asking the following: I have a Harmon-Kardon Festival 4, which is an all in one (Garrard turntable, radio, cassette) unit, which I bought used. It seems to play 12" records without a problem, but when I play 7" or 10" records, the needle and tonearm hangup at the very end of the record. In other words the arm is being pulled back toward the beginning of the record, causing a skip. I have the manual and have done the setup routine, even playing around with the settings (I have scanned the relevant page in the manual, if there is someone who would like to see it, but didn't want to attach it to this posting as it might cause some download problems for some people). First, I set the tracking weight at 0 grams, move the counterweight to approximately where the tonearm is parallel to the playing surface. Then I tighten the set screw for the counterweight and turn the counterweight until it gets as close to parallel as possible. I set the tracking weight at 3 grams, as specified, and the anti-skate countrol to between 2 and 4 (in other words 3, as it is supposed to match the tracking weight). It seems if I move the counterweight forward, this slightly lessens, but doesn't completely eliminate the problem. I can't see anything mechanical that is causing the problem, but I haven't taken apart the unit to see if there is an obstruction/mechanical problem inside. I don't want to play any records I care about on this unit until I can hopefully resolve this problem. Thanks in advance to any and all who may have answers to this problem! Michael # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: mimim@texas.net (Mimi Mayer) Subject: Re: (exotica) live music propaganda Date: 13 Mar 2000 15:35:35 -0500 An incredulous Moritz asked, >Are you saying you visited up to 400 concerts in those 2 and a half years??= ? Close to it. It was probably closer to 3 and a half years when I pretty much lived to hear live music. Towards the end, I tapered off to one or two shows a week. At the height of the period, at least once a month, I'd go to an evening show, probably in an auditorium or concert hall, then to a second late-night show in a club. I was lucky to live in Detroit, a great music town that was a one-hour drive from Ann Arbor, another great music town. Both places landed on a lot of tour itineraries. The City of Detroit also hosted tons of free outdoor concerts when it wasn't under a foot of snow...like the Montreaux-Detroit Jazz Festival, the Blues Festival, Ethnic =46estivals that booked all kinds of acts from overseas, etc. Not only that, I worked for an opera company during a chunk of that music-madness period, so my workaday world was spent in showland. You know how opera divas are reputed to be temperamental? Well, in my experience, those reputations are deserved. It was expensive and exhausting and I'm so glad I did it. Now I'm a jaded old fart who mostly stays home and listens to records. :) Mimi # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "paul thomas" Subject: (exotica) Diana Dors Date: 13 Mar 2000 13:43:57 -0800 I've been looking for _any_ cds available by Diana Dors. I've tried some of the obvious routes like Collector's Choice, CDNow and Rhino but with absolutely no luck. Does anyone know if there are any cds out there by her? Thanks, too, to everyone who helped out with my Alvino Rey quest! Zzzzzing! ~~ Paul ~~ MailCity. Secure Email Anywhere, Anytime! http://www.mailcity.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: Re: (exotica) Claus Ogerman on Kai Winding LPs Date: 13 Mar 2000 17:53:54 EST In a message dated 3/13/0 2:38:21 PM, bjbear71@mindspring.com wrote: >Claus Ogerman is also present on some Kai >Winding trombone LPs And here he is again, this time on Cal Tjader's "Warm Wave" on Verve which features "soft subtle Cal Tjader inprovisations on an imposing collection of ballads played against enticing string and small group backgrounds arranged by Claus Ogerman." Not my favorite Tjader OR Ogerman. "Watusi Trumpets" and "Saxes Mexicanos" each do it for me...JB # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: DJJimmyBee@aol.com Subject: Re: (exotica) Astro Sounds 101 Strings Date: 13 Mar 2000 17:54:42 EST In a message dated 3/13/0 3:34:25 PM, adipocere@hotmail.com wrote: >1) IS this worth buying >2) Is it worth buying for $8.50, (pretty good shape, stereo). Yup # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Nat Kone Subject: Re: (exotica) Claus Ogerman on Kai Winding LPs Date: 13 Mar 2000 18:12:57 -0500 At 11:36 AM 3/13/00 -0800, B.J. Major wrote: > This should convince those who only associate >Mr. Ogerman with "lush" string/heavy orchestral arrangements of Jobim & >Gilberto that he was certainly capable of arranging without the inclusion >of strings. When I think of Claus, I think of "Watusi Trumpets", his classic contribution to the groovy Now Sound genre. He also made a few other similar records including "Saxes Mexicanos". For a fuller list, ask br.Cleve. I also think of the groovy Mel Torme record "I'm coming home". (As a matter of fact, those of you in the exoticaring are in for a triple dose of Claus if and when my tape ever finds its way to you.) And then, as someone just mentioned, there's his contribution to the Kai Winding records. I don't know where the idea came from that he's some string-heavy arranger. In fact, this is the first I've heard of him being associated with such stuff. But I'm not surprised. I already knew you shouldn't look at a couple of credits and think you got the guy pegged. Nat # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: mimim@texas.net (Mimi Mayer) Subject: Re: (exotica) live music propaganda Date: 13 Mar 2000 18:00:15 -0500 So Nat, explain please... >I sort of look at it like this. Live music is a group experience. And to >some degree, it's a packaged experience. You CAN have an individual >experience at a show but to a great degree, you're participating in a >ritual which is designed to create certain emotions.... and >Records are more like drugs. ... The experience is determined by the times >I choose to play it,...what's happening in my life at that moment, who I >share it with. So you're saying that with a live show, it's more likely the context is provided for you while with recorded music, it more likely you provide the context? I'd go along with that. Of course things get lots murkier when you first hear a recording after hearing music live. I don't think the converse is true. However, I won't spew out another 10K message explaining why. Mimi # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "james brouwer" Subject: Re: (exotica) Astro Sounds 101 Strings Date: 14 Mar 2000 00:02:17 GMT definitely worth having for that price. I think the best track is "karma sitar" one of the bonus tracks from another 101 strings album called "Sounds Today". "Whiplash" is pretty cool/bent as well. EZ listening strayed into some pretty pervy areas back then. most of the Astro Sounds album was originally made as an album by the Animated Egg. A 101 strings were added to that album and presto! the gods gave us "Astro Sounds". At least I think that's how it happened. I may indeed be wrong but I don't care. I think too that, upon examination, Albert Fish was found to have a 101 pins in and around his genitalia. Pins apparently are better than wine when it comes to dining on neighbourhood children. i hope you are not really named Albert Fish. that would be an embarassment indeed. jb ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) Claus Ogerman on Kai Winding LPs Date: 13 Mar 2000 16:03:44 -0800 >I don't know where the idea came from that he's some string-heavy = arranger. The idea came from some Brazilian music fans on another list who = haven't listened to his other U.S. albums and the tons of other = things he's done that were mentioned in that Claus bio that was = posted here. If all you listened to were a number of = Ogerman-arranged Jobim albums (especially Urubu, A Certain Mr. Jobim, = Terra Brasilis and some others--as well as Jo=E3o Gilberto's = "Amoroso" LP), you could see why some people would think that he is = "string-heavy". However, I maintain that there is *nothing* wrong = with such a reputation anyway--even if those types of arrangements = were all that Claus did (which, they aren't). That discography list URL that Mo posted is pretty revealing and = shows just how diverse Claus is as an arranger. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: SLarry3595@aol.com Subject: Re: (exotica) Re: Claus Ogerman Date: 13 Mar 2000 19:53:18 EST But, Ogerman was a professional making records in different styles. His "Watusi Trumpets" is a really cool now sound/surf LP -- a fave of many exoticats. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "james brouwer" Subject: (exotica) re: records/bachelorhood vs. married life/kids Date: 14 Mar 2000 01:31:10 GMT maybe bachelorhood substitutes an oft busy stereo for an oft empty bed. maybe it makes doting over the record collection the supplement for doting over kids. maybe the collector is proud of his vinyl and its rarity, just as the parent is proud of his kids and their rare talents. so maybe collecting is something you ought to grow out of for the sake of the little 'uns. or not... maybe kids are the bastard-supplement of collecting not the other way 'round. which is, or ought to be, the substitute for which? and do we need substitutes at all?: maybe a lot of people are happy to be both collector and parent - even more. i don't think you should give up one for the other. we should all be as hybrid as our enjoyment permits us. in other words: be both collector and family guy. and after all, virtually anyone can be a parent, but by far the majority of people are uninterested in pursuing rare collections. so if you think you should cultivate what positively differentiates you from most people not what makes you standard-issue, then by all means keep collecting alongside the family-life thing. I don't see why this should be an either/or situation. But, you might say, isn't there something wretchedly selfish about all this collecting? isn't there something thoroughly narcissistic about collecting, or at least about the energy one devotes to it at the expense of things like having a family? for it seems as if one invests a great deal of energy into making one's identity through the amassing of objects (albeit the most sophisticated of objects: art). a collection is you and these things, but you and these things is you alone. a family, though, is entirely different: you and they is a social unit. whereas your collection gives your own image back to you, your kids do something entirely different. they're not reducible to you. they're other people which do and do not reflect who you are. but, i might say in reply, so what if its narcissistic? is this narcissism always bad? as long as it doesn't close other avenues down absolutely why not let it ring on alongside the other routes? having kids is great but there's something worthwhile in collecting too. there's creativity to it and creativity is above-average. a collection is a strange union of consumption and production: it's not simple utilitarian buying, and its not straighforward creation (like say, paintings and piano compositions are) - its somewhere in between. you produce the distinct form of the overall collection, and you do it as a reflection of your taste; but at the same time it is just made up of scraps you've found and bought at various locations (the thrift store, the record store, etc.). we even live at a time where the production of music is itself very often bred with the collection of it (sampling, DJ culture etc.) parallells might even be made with the visual arts and film. the point is that the line between collecting and creating isn't rock solid. (that's why, perhaps, one might argue that there's something equally narcissistic in the production of art, though we hardly ever bring artists to task for that). okay, okay. i'll close. i just wanted to suggest a) that you need not, at least in this case, exclude one lifestyle at the expense of another, and b) that you can conceive of collecting in such a way that stresses what is creative and unique in it, not just what is dweeby and stunted in it. virtually all people on this earth will procreate, but only a very few will ever bother unearthing the forgotten sights and sound this world has hidden in itself. kudos to those who bother... J. Brouwer ps. i've got nuthin' against having little 'uns though they haven't sprung from my loins yet. no kids. no wife either. pretty lonely all around though one hopes the future will differ from the past. ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: djvinny@ix.netcom.com Subject: (exotica) Re: Pandora's gogo gals Date: 13 Mar 2000 21:16:33 -0500 (EST) >At 10:33 AM 10-03-00 -0500, DjVinny wrote: >>GoGo performances by Suzie Solitaire & Carrie Nation > >does Carrie do it weilding an axe? I guess this means they don't >serve alcohol at Pan's Box.>:)>Byron Actually...none of the gogo gals at Pandora's Box really need any weapons. Some of the criteria in order to become a Pandora gogo dancer requires: a black belt/masters in karate,judo,jujitsu,a pair of deadly gogo boots, & of course a Hullabaloo dance certificate...in other words...these ladies really know how to take care of themselves.(Just ask the poor guy in the hospital who tried to stuff a dollar in one of the girls tops at my 60's Tokyo garage & monster fest last November!) As for drinks...I hear they serve a great lemon drop martini. :) Vinny # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "B.J. Major" Subject: Re: (exotica) re: records/bachelorhood vs. married life/kids Date: 13 Mar 2000 19:22:29 -0800 >okay, okay. i'll close. i just wanted to suggest a) that you need not, at >least in this case, exclude one lifestyle at the expense of another, and b) >that you can conceive of collecting in such a way that stresses what is >creative and unique in it, not just what is dweeby and stunted in it. >virtually all people on this earth will procreate, but only a very few will >ever bother unearthing the forgotten sights and sound this world has hidden >in itself. kudos to those who bother... Nice; couldn't have said it better myself. And we'll see in six months if Nat still feels the same way...yes, relationships do tend to distract one (especially in the initial phase), but in my experience, that definitely does wear off after a while. I've always had hobbies my entire life, whether or not I was in a meaningful relationship at the time. They are very important, serve useful purposes, and in the end, you always have opportunities to share your knowledge of a particular subject with others. That should be what it's all about; not just selfish mass-collecting. I disagree with the spirit of the "he who dies with the most toys, [in this case, recordings] wins". That has always had a bad connotation to me. The true spirit of collecting and spending money and time on any hobby or interest should be for the sharing of knowledge first and personal enjoyment second. The more you share, the more you will get back in return. Regards, --bj The Walter Wanderley Pictorial Discography: http://members.xoom.com/bjbear71/Wanderley/main.html http://bjbear3.freeservers.com/Wanderley/main.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Br. Cleve" Subject: Re: (exotica) new exotica/easy/lounge sales Date: 13 Mar 2000 22:33:40 -0500 At 4:37 AM -0500 3/13/00, Moritz R wrote: >> Does new lounge music a la >> Combustible/Pizz5 et al sell better or less than reissues of old >> original lounge? I don't know about P5 sales in the U.S., but I do know that the biggest selling discs of the EZ scene were the first Combustible Edison, "I Swinger", and the first Esquivel, "Space Age Bachelor Pad Music", both of which sold around 75,000 units in Soundscan in the U.S. (SABP may be up around 100K by now). Soundscan only includes stores which report to them, which therefore does not include a lot of independent record stores. The Esquivel disc was only licensed for the U.S.; the ComEd album was also released in Europe and Asia. The 1-2 punch of these 2 albums, which were released within a few months of each other in 1994, kicked off the media/record label frenzy known as the 'lounge movement', which lasted until around '98. Subsequent 'lounge' record sales were not as impressive; some were downright terrible. Capitol's UltraLounge series, taken as a whole, did OK. br cleve # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Brian Karasick" Subject: (exotica) The new Nat! Date: 13 Mar 2000 23:16:30 -0500 Nat wrote: > In the last two weeks, I haven't been quite the bachelor that I've been for > the last number of years. > And I find myself thinking about records way way less often. > As a matter of fact, sometimes I even forget about them. > And often I find myself just wanting to put on a CD, rather than fiddling > around with records. Ah yes, and an eye-opening experience it must be at that! You think this is a big change... just wait if or until kids appear! (No I'm not trying to rush or pressure you). Just that it then becomes a question of simply not having the time, let alone the energy and.or inclination to shop, or change a record for that matter! And you know what, you will somehow manage it fine. Anyway, I think I speak for all on the list in wishing you all the best and the hope your new relationship works out. Let it happen, don't think about it or try to rationalize too much, and just enjoy yourself (for a change!) # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: HOUSEOBOB@aol.com Subject: Re: Re: (exotica) Astro Sounds 101 Strings Date: 14 Mar 2000 00:11:58 EST In a message dated 3/13/0 7:04:37 PM, you wrote: <> The extra tracks are only on the cd, and I think the original post had to do with the original vinyl. I think the vinyl is worth it, but I also think that some of the best tracks are on the cd re-issue. Bob # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: HOUSEOBOB@aol.com Subject: Re: (exotica) Kindeygarden (late reply) Date: 14 Mar 2000 00:29:06 EST My son, who is 7 now, used to scream and cry horribly when he was an infant (around 8 months old) every time I tried to play Tom Jones in the car. The first time he obviously really enjoyed a particular piece of music was when he heard a group of mentally deficient musicians play "Pomp and Circumstance" (thank you , WFMU). He didn't care about the rest of the tape, but when that cut came on he would smile and clap. He later got into the Beatles and Elvis with no real prodding from me. I now have a 6 week old daughter who seems to calm down whenever I play "Satellite 99" by Ana D. I just pray that she avoids Barney the way my son did. Bob # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Matt Hinrichs" Subject: (exotica) Claus Ogermann Date: 13 Mar 2000 23:07:41 -0700 m. ace wrote: > This seems to be slipping by, but wasn't Claus Ogermann associated somehow > with Quincy Jones in the early 60s? He arranged and conducted a lot of > Lesley Gore's hits. Yes - he arranged nearly all of the Lesley Gore/Quincy Jones stuff. One thing that always strikes me is how *perfect* these songs sound - not a string or tinkly piano out of place. Even on some obscure LP cut like "I'm Coolin' No Foolin'". Having never heard O.'s own albums, does his own material sound like Lesley's, but without vocals? You know, incredibly bright and perky? - Matt Matt Hinrichs blue@psn.net In My Room - Fabulous Sounds, Updated Monthly http://www.psn.net/~blue/room.html # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: BasicHip@aol.com Subject: Re: (exotica) Astro Sounds 101 Strings Date: 14 Mar 2000 01:20:19 EST <> I brought this up not long ago, inspired by a tip-off from the master of thrift store bizarre vinyl, Will, of Show and Tell Music. The mystery was solved. Two of those bonus tracks, Instant Nirvana and Whiplash come from "The Exotic Sounds Of Love" (not to be confused with The Sounds Of Love). I had never seen this "adults only" 101 Strings rarity until Mickey McGowan pulled it from his warehouse shelf to show it to me. Inside the gatefold cover is a rather dominent looking chick with an eye patch. :P If anybody on this list has this LP and is up for a CD-R exchange, it is very high on my want list. Also looking for Fred Karlin's OST to "Up The Down Staircase" (Sandy Dennis). Been punching that one into ebay's search box for months with no success... # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: "Christine Karkow" Subject: (exotica) lost las vegas Date: 13 Mar 2000 22:25:29 -0800 I am planning a trip to Vegas and I want to find the last reminants of Old Vegas before its gone. I'd like to find a good ol Lounge-does anyone know if La Concha is still open? and do they have a good bar? Does anyone know the best Lounges where I can hear cheesy music and that hasn't been remodeled in at least 25 years? Please let me know. Alas, perhaps I'm too late. Christine # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Subject: (exotica) Duke of where? Date: 14 Mar 2000 10:09:33 +0000 I remember someone on the list mentioned that a Duke of Burlington tune and the name Duke of Bulington itself were ripped off from The Earl of Westminster. Have I got that right? Can somebody confirm? And does anybody know the name of the tune that the E of W (if that's the right name) made famous? Thanks Charlie +-------------------------------------------------------------+ | This message may contain confidential and/or privileged | | information. If you are not the addressee or authorized to | | receive this for the addressee, you must not use, copy, | | disclose or take any action based on this message or any | | information herein. If you have received this message in | | error, please advise the sender immediately by reply e-mail | | and delete this message. Thank you for your cooperation. | +-------------------------------------------------------------+ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Subject: (exotica) Sohail Rana Date: 14 Mar 2000 10:24:41 +0000 Somebody on this list has a record by Sohail Rana. Speak please! Anybody? Thanks Charlie +-------------------------------------------------------------+ | This message may contain confidential and/or privileged | | information. If you are not the addressee or authorized to | | receive this for the addressee, you must not use, copy, | | disclose or take any action based on this message or any | | information herein. If you have received this message in | | error, please advise the sender immediately by reply e-mail | | and delete this message. Thank you for your cooperation. | +-------------------------------------------------------------+ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Reader Geoff Subject: (exotica) Astro Sounds 101 Strings Date: 14 Mar 2000 11:29:40 -0000 Definitely worth buying, I got the recent re-issue/boot of this, which is a little distorted, but its great, Groovy psychedelic music with the strings layered on top. It works. It TOTALLY ROCKS. This is one LP that my girlfriend really likes. I paid the full UK Pounds for a bootleg and even with the slight distortion I'd say it was worth it so nine US Dollars, go for it. If its still there. There will be a fairly recent discussion in the archives from when I bought it. (December?/January?). And others going further back in time. El Maestro Con Queso djcheesemaster@yahoo.com grr@brighton.ac.uk http://www.shitola.freeserve.co.uk/cheese/cheese.htm http://www.geocities.com/djcheesemaster/ 1) IS this worth buying 2) Is it worth buying for $8.50, (pretty good shape, stereo). Thanks heaps A. Fish # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Brian Phillips Subject: Re: (exotica) Re: Claus Ogerman Date: 14 Mar 2000 08:10:22 -0500 >But, Ogerman was a professional making records in different styles. His >"Watusi Trumpets" is a really cool now sound/surf LP -- a fave of many >exoticats. The only reference I had of Ogerman's before I joined the list was the pastoral and darned near new-age-y "Gate of Dreams" LP that my wife has. It has string-heavy arrangements. I would like to hear this "Watusi Trumpets" album, because the Dreams album, it puts me to sleep. Brian Phillips # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: Moritz R Subject: Re: (exotica) Duke of where? Date: 14 Mar 2000 14:24:02 +0100 Charles_Moseley wrote: > I remember someone on the list mentioned that a Duke of Burlington tune and > the name Duke of Bulington itself were ripped off from The Earl of > Westminster. Have I got that right? Can somebody confirm? And does anybody > know the name of the tune that the E of W (if that's the right name) made > famous? Earl of Alzheim ;-), no, just kidding! Marquis of Kensington was the name and the song title is "Flash". Mo # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: mimim@texas.net (Mimi Mayer) Subject: Re: (exotica) Wanteds & Up the Down/ was Astro Sounds Date: 14 Mar 2000 07:53:58 -0500 >If anybody on this list has this LP and is up for a CD-R exchange, it is ve= ry >high on my want list. Also looking for Fred Karlin's OST to "Up The Down >Staircase" (Sandy Dennis). Been punching that one into ebay's search box f= or >months with no success... Wish I'd known, BasicHip. Just passed on this in a thrift a month or two ago= . Which brings up a good point: Why don't more of us post a *few* of our most wanteds here? It would be a way for us narcissistic collectors to satisfy our appetites (great post, James B.) and help out eXoticat buddies (yes, sharing is good, BJ.). =46er instance, I'm still looking hard for two good used single-well, three-head tape decks, one with a mic jack. And will need a good amp receiver or receiver/preamp set by May 1. Please contact me offlist if you've got stuff gathering dust in storage. Mimi # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------------------------------------------------------- From: LTepedino@aol.com Subject: Re: (exotica) lost las vegas Date: 14 Mar 2000 09:05:48 EST In a message dated 3/14/00 1:33:07 AM EST, cpkarkow@worldnet.att.net writes: << I am planning a trip to Vegas and I want to find the last reminants of Old Vegas before its gone. I'd like to find a good ol Lounge-does anyone know if La Concha is still open? and do they have a good bar? The LaConcha is still open however be aware that this is really just a motel buiklt on the strip rather than a one of the grand old strip hotels. Check out the Peppermill Bar which is real close to this hote