From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest) To: zorn-list-digest@lists.xmission.com Subject: Zorn List Digest V3 #70 Reply-To: zorn-list Sender: owner-zorn-list-digest@lists.xmission.com Errors-To: owner-zorn-list-digest@lists.xmission.com Precedence: bulk Zorn List Digest Sunday, September 24 2000 Volume 03 : Number 070 In this issue: - Re: Lois V Vierk Re: Lois V Vierk tzadik in germany Re: Re: Re: Scratch Orchestra record: new? recent releases Wire Tapper Help (College info..No zorn content) Raleigh =?iso-8859-1?Q?Odp:_var=E8se_=28NO_ZORN_CONTENT=29?= Jim Black (Monday) && the Vandermark 5 (Wed, Sept 27th) in Philly [Sweetnighter Productions] REVIEW: Vandermark 5 at Casa del Popolo (short) Re: REVIEW: Vandermark 5 at Casa del Popolo (short) Odp: new jim black release on W&W ---------------------------------------------------------------------- Date: Sat, 23 Sep 2000 14:59:09 -0400 From: Brian Olewnick Subject: Re: Lois V Vierk ObviousEye@aol.com wrote: > > Has anyone heard Lois V Vierk? I read an intersting article about her in > Wire the other day, and her ideas musically seemed very enticing to me. I > know at least some of her music has been released on Tzadik. I enjoy "Simoom", released on XI records a few years back. Pieces for ensembles of like instruments, electric guitars, cellos, etc. Brian Olewnick - - ------------------------------ Date: Sat, 23 Sep 2000 16:06:35 -0400 From: "Risser Family" Subject: Re: Lois V Vierk I like Lois a lot. I saw the cello piece done live (one cello vs 7 recorded cellos) and it's great. It's on Simoom. Also not to miss is Guy Klucevsek's Manhattan Cascade, which has him doing a piece by the same name, also by Vierk. It's extremely successful. She likes to overload instruments playing the same or similar snippets (motifs?) over and over, but she makes good use of stereo and such to create a very thick and enticing effect. Almost like My Bloody Valentine. Peter > I enjoy "Simoom", released on XI records a few years back. Pieces for > ensembles of like instruments, electric guitars, cellos, etc. - - ------------------------------ Date: Sat, 23 Sep 2000 23:22:38 +0200 From: Tim Blechmann Subject: tzadik in germany Hi zorn-list Does any of you know which firm has got the selling agency for tzadik in Germany? It was "99" but they don't exist any more. PEACE Tim mailto:TimBlechmann@gmx.de - - ------------------------------ Date: Sat, 23 Sep 2000 17:42:37 -0500 From: Steve Smith Subject: Re: "Patrice L. Roussel" wrote: > Since we are full swing on litterature, I have always been > surprised that my favorite American writer (after Faulkner) > John Hawkes was barely ever mentioned by anybody. I just > read for the second time his first novel (THE CANNIBAL) and > it is almost like a surrealistic Faulkner! And he was barely > 21 years old when he wrote it... And I saw BLOOD ORANGES on > video! Finally, now that he is dead, somebody... 'Blood Oranges' was on the reading list for a course I took in college on essential 20th century literature. There were about 12 books on the reading list. I passed the class with an A having read only one of the books at all (and that one, 'Pale Fire,' I'd read for an aesthetics class in a previous semester). I'm not making this up, but I'm not bragging, either. If I had college to do all over again... sigh... Steve Smith ssmith36@sprynet.com NP - Charles Ives, 'Robert Browning Overture,' Nashville Symphony / Schermerhorn (Naxos) - - ------------------------------ Date: Sat, 23 Sep 2000 17:36:01 -0500 From: Steve Smith Subject: Re: Sigmund Nonanima wrote: > On Thu, 21 Sep 2000 16:38:22 -0700 Dave Trenkel > wrote: > > > > At 3:54 PM 9/21/00, Patrice L. Roussel wrote: > > >On Thu, 21 Sep 2000 14:49:49 -0700 "s~Z" wrote: > > >> > > >> I'd say reading Moby Dick is bringing out the > best in Steve Smith. > > > > > >But the scary thing is: what's left to do in life > once you have read > > >MOBY DICK ? :-) > > > > > > Patrice Roussel. > > > > > Finnegan's Wake? > > >Too hard > > Isn't that kinda the point? (not the WHOLE point, > but...) Actually, overambitious bastard that I am, I did my senior theme paper on 'Ulysses' and 'Finnegan's Wake.' In high school, that is. Only a high school student could have the idiot hubris to try to tackle both of those books in a single paper. I think the paper was called "Forever in One Day and One Night." Steve Smith ssmith36@sprynet.com NP - Charles Ives, 'Robert Browning Overture,' Nashville Symphony / Schermerhorn (Naxos) - - ------------------------------ Date: Sun, 24 Sep 2000 00:30:18 GMT From: "Bill Ashline" Subject: Re: Scratch Orchestra record: new? This was the blurb I got from PBE which I think answers most questions: $14.99 CARDEW & THE SCRATCH ORCHESTRA, CORNELIUS: The Great Learning CD (CORTI 21). Long desired reissue of this historic recording of AMM founder Cornelius Cardew's "The Great Learning", as performed by the Scratch Orchestra (the loose collective that could include Brian Eno, Lou Gare, David Jackman, Dave Smith, Michael Nyman, Tom Phillips, Eddie Prevost, Keith Rowe, John Tilbury & numerous others). The pieces are presented in 3 "paragraphs", #2 & #7 were recorded on 2/15-16, 1971 and were originally issued on the Deutsche Grammophon label (as part of the super desirable & long extinct Avant Garde boxset). This CDs adds "Paragraph 1", recorded over a decade later in 1982 and issued here for the first time ever. "Paragraph 1" was composed for "chorus -- speaking and playing whistles and stones, and organ". "Paragraph 2" was composed "for singers and drummers". "Paragraph 7" was composed "for any number of untrained voices". The music contained here is absolutely chilling, an unparalleled insight into the strange & alien potentialities of music. A tremendous document, finally available in the common world. "'Definition: A Scratch Orchestra is a large number of enthusiasts pooling their resources (not primarily material resources) and assembling for action (music-making, performance, and edification).' -- Cornelius Cardew, A Scratch Orchestra draft constitution. 'I always think of Cardew, Tilbury, and Bedford making the night train across the Channel to Warsaw. Cardew in his Victorian ulster, Tilbury in that black raincoat he wears, Bedford in a leather jacket... three conspirators right out of Eric Ambler, on their way to represent England at one of the most important avant-garde music festivals in Europe! Any direction modern music will take in England will come about only through Cardew, because of him, by way of him. If the new ideas in music are felt today as a movement in England, it's because he acts as a moral force, a moral center. Without him, the young 'far-out' composer would be lost. With him, he's still young, but not really lost.' -- Morton Feldman, Essays (1967). 'The Scratch Orchestra, to whom The Great Learning is dedicated, was founded by Michael Parsons, Howard Skempton and Cardew himself and emerged out of Cardew's composition class at Morley College in London in 1969 (in fact, at least two paragraphs of The Great Learning had been completed before the Scratch Orchestra was formed). It was an enterprising body of around 40 performers of varied skills, who played all kinds of experimental music -- by Cage, Cardew, Wolff, Riley, Young, Rzewski, and themselves -- in all kinds of situations and for all classes of people: for Cornish farm-workers in village squares, for the young industrial workers of the north-east, and for both urban and rural communities on the Continent as well as for music lovers who frequented the Royal Festival Hall. The Scratch Orchestra consisted of an assortment of people from various walks of life, some of them with considerable artistic talent, who loved and needed music. There was no more enthusiastic, more committed collective of individuals working in the field of contemporary art at that time.' -- John Tilbury. 'The Great Learning takes root in clarifying the way wherein the intelligence increases through the process of looking straight into one's own heart and acting on the results; it is rooted in watching with affection the way people grow; it is rooted in coming to rest. Being at ease in perfect equity. - --Cornelius Cardew." _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com. - - ------------------------------ Date: Sat, 23 Sep 2000 21:31:31 EDT From: JonAbbey2@aol.com Subject: recent releases three much anticipated recent releases, at least by me. here are some initial thoughts, after a listen or two to each: Bill Dixon/Tony Oxley-Papyrus, Volume 2 (Soul Note). Dixon's two Vade Mecum discs, with Oxley, William Parker and Barry Guy, are among my favorite improv records of the nineties, and Papyrus, Volume 1, released earlier this year, is also very good. but for some reason, I'm not connecting with this new one nearly as much. it doesn't have quite as relaxed a feel as the other 3, and it doesn't seem like Dixon leaves Oxley enough space all the time. I may still change my mind, but for now, disappointing. Iannis Xenakis-Persepolis (Fractal). a few years ago, I sat through 4 hours of electroacoustic Xenakis during a WKCR festival, all of which I already owned, with my finger poised by the tape deck, waiting to record Persepolis, which I was assured by the DJ at the start of the segment that she'd play. well, she never did and I had to wait until now to hear this much-raved about piece. anyway, after two listens, I don't like it as much as the now shamefully out of print La Legende' d'Eer (Auvidis Montaigne). it's very powerful and rough, but not especially nuanced, and not recorded as crisply as I'd like, but I guess it's not too easy recording 100 loudspeakers at once. the Hermann Nitsch comparison which Mike Goodstein made in his review for the Other Music newsletter is a good one. again, not to say it won't grow on me, but for now, also disappointing. I bet being there was one of the most exciting musical events of the last century though. Keith Rowe/Evan Parker-Dark Rags (Potlatch). although Rowe's recently been appearing on more records, he's still woefully underdocumented, especially outside of AMM and MIMEO. this is 2 tracks, 77 minutes of concert recordings from 12/31/99 and 1/1/00, and completes Parker's unofficial trilogy of duo projects with the members of AMM. after one listen, this may be the best of the three. beautiful, understated subtle work from two of our masters, who are still both in prime form, to say the least. go buy this now. I'm also really looking forward to Rowe's new solo CD, out soon on Grob. Jon www.erstwhilerecords.com - - ------------------------------ Date: Sat, 23 Sep 2000 21:32:33 EDT From: JonAbbey2@aol.com Subject: Wire Tapper the Wire Tapper track listing is up. pretty promising on paper, haven't heard it yet: www.thewire.co.uk/news/tapper/tapper6.htm Jon www.erstwhilerecords.com - - ------------------------------ Date: Sat, 23 Sep 2000 13:37:12 EDT From: ObviousEye@aol.com Subject: Help (College info..No zorn content) I am a senior in highschool in TN, and the decision of college is now upon me. I am beginning to worry because i am not making any decisions very quickly. So my question is this: Where is a college that is surrounded by a strong musical scene, yet also has a very good academic environment? Music is my main priority, but i am not really interested in a Music school. However, i do want it around me, something i could get involved in if i chose to. I do realize this question is a little off-topic, so ignore if you must, but i would appreciate any help. I know a lot of the members of this list know scads about literature and music, and literature is one of my favorite things as well, so i am hoping that you could help me. thanks. ben o. - - ------------------------------ Date: Sun, 24 Sep 2000 05:10:32 GMT From: "William York" Subject: Raleigh >Is anyone on this list in the Raleigh area? >I recently read some press on the "improv" scene down there, a lot of >which seems to revolve around the Micro East Collective. Has anyone >seen any shows and would care to give an assessment? I really liked the >MEC discs that I picked up. Wow, that's an unexpected one. I'm from Raleigh, but don't live there right now. Anyway, I don't think I ever saw an improv show in Raleigh, local or otherwise, but I could be wrong. The MEC are actually based out of Chapel Hill (30 minutes away, home to Univ. of North Carolina) although I think some of their members are from Raleigh. I missed them live the couple of times they played there, so I couldn't say much about that. I've heard their two records, and was kind of surprised to see the enthusiastic responses from other people outside of the area (more enthusiastic than mine). I wonder if anyone else on the list has anything to say about them, especially NC people. Also, out of curiosity, who was the "press" on -- just the MEC or other bands? And in what publication(s)? Thanks, WY _________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com. Share information about yourself, create your own public profile at http://profiles.msn.com. - - ------------------------------ Date: Sun, 24 Sep 2000 14:02:01 +0200 From: "Marcin Gokieli" Subject: =?iso-8859-1?Q?Odp:_var=E8se_=28NO_ZORN_CONTENT=29?= Hi patRice, (sorry for replying that late) > we did discuss about the var=E8se double cd release on decca a while ag= o. > and i can wholeheartedly second marcin's recommendation. > if you're not familiar with var=E8se's works, you might be surprised ju= st > how much zappa's classical output was inspired by it! And there's a more general point to be made: one can be suriprised by the degree to which our heroes (Dave Douglas, Joey Baron, etc.) were inspired= by what we know as 'classical music'. The famous Zorn 'cut-and-paste' techni= que is clearly Stravinsky-inspired. What's more, i do believe that Joey's drumming is very similiar in style to the drum part on L' Histoire du Soldat. I wonder if there was any real inspiration? I would be surprised = if there were not... This is not meant to be an historical remark. Rather a tip for those = who are not aware that there is plenty of music they 'll like in the classic= al sections of CD stores. When i first heard 'l'histoire du soldat' I was so impressed that i could not stop listening to it for three months or so. Just my 2 cents, Marcin Gokieli marcin.gokieli@mospan.pl marcingokieli@go2.pl Generally speaking, if a philosopher offers to 'dissolve' the problem you are working on, tell him to go climb a tree - Jerry Fodor - - ------------------------------ Date: Sun, 24 Sep 2000 10:02:49 -0400 From: "Alan Lankin" Subject: Jim Black (Monday) && the Vandermark 5 (Wed, Sept 27th) in Philly [Sweetnighter Productions] Sweetnighter Productions presents - ---------------------------------------------------------------------------- Jim Black's Alas No Axis Monday, September 25th, 2000 - 9:30 pm - $12 Jim Black (drums) Hilmar Jensson (electric guitar) Chris Speed (tenor sax, clarinet) Skuli Sverrisson (electric bass) Plays and Players Club, 1714 Delancey St, Philadelphia Special Monday night show celebrating the release of Jim Black's Alasnoaxis (Winter&Winter) See preview article on the concert in the Philadelphia City Paper http://www.citypaper.net/articles/092100/cw.crit.black.shtml Jim Black grew up in Seattle, WA, playing music ranging from garage rock to big band swing. In 1985, he went to Boston, MA to attend the Berklee College of Music. During this time he recorded numerous albums, performed in Europe, and taught summer classes at Berklee. In 1991, he moved to Brooklyn, NY. Jim has been touring and recording with many diverse groups including his role as a co-leader/composer for Pachora, a Middle Eastern influenced jazz trio with Chris Speed and Brad Shepik, as a member of Tim Berne's Bloodcount, Dave Douglas' Tiny Bell Trio, Ellery Eskelin Trio, Human Feel, and Uri Caine's Mahler Project. - ---------------------------------------------------------------------------- The Vandermark 5 Wednesday, September 27th, 2000 - 9:30 pm - $15 Ken Vandermark (tenor sax, Bb and bass clarinets) Jeb Bishop (trombone and guitar) Dave Rempis (alto, tenor sax) Kent Kessler (bass) Tim Mulvenna (drums) Plays and Players Club, 1714 Delancey St, Philadelphia Don't miss this show celebrating the release of Burn the Incline (Atavistic) See preview articles on the concert in the Philadelphia Weekly http://www.brainsoap.com/ae/music/live.shtml and the Philadelphia City Paper http://www.citypaper.net/articles/092100/cw.six.pick4.shtml - ---------------------------------------------------------------------------- The Fonda/Stevens Group Wednesday, October 4th, 2000 - 9:30 pm - $12 Joe Fonda (bass) Michael Jefry Stevens (piano) Harvey Sorgen (drums) Paul Smoker (trumpet) Plays and Players Club, 1714 Delancey St, Philadelphia - --------------------------------------------------------------------------- Khan Jamal/Matthew Shipp/Odean Pope Wednesday, October 11th, 2000 - 9:30 pm - $12 Khan Jamal (vibes) Matthew Shipp (piano) Odean Pope (reeds) Plays and Players Club, 1714 Delancey St, Philadelphia - ---------------------------------------------------------------------------- Sweetnighter Productions http://home.att.net/~lankina/sweetnighter [dedicated to bringing cutting edge jazz to Philadelphia] To get e-mail announcements of future Sweetnighter Concerts, send a blank e-mail to sweetnighter-subscribe@egroups.com. Sponsored by Jazzmatazz http://home.att.net/~lankina/jazz - - ------------------------------ Date: Sun, 24 Sep 2000 11:21:38 -0400 From: "Chris From Zeke's" Subject: REVIEW: Vandermark 5 at Casa del Popolo (short) Howdy! They rocked. They kicked-ass. They wailed. Steve, please go see them at Tonic. I can't write that well. Play Ball! Chris - - ------------------------------ Date: Sun, 24 Sep 2000 12:13:59 -0400 From: Mathieu Belanger Subject: Re: REVIEW: Vandermark 5 at Casa del Popolo (short) Hello, >They rocked. They kicked-ass. They wailed. Steve, please go see them at >Tonic. I can't write that well. Yes, the show was great. Not wonderful in my opinion, but very very good. I think that the few slower and quieter pieces were not as great as the others. Also, Tim Mulvenna - the drummer - did not impressed me too much. While his playing was much better in the second set, his overall drumming in the first set was linear. But the others played well so I can't really complain! Also, the second piece of the second set was a wall of sound and was simply awesome! And afterall, seing any band at Casa del Popolo is always a bonus... Any other opinions? Mathieu - - ------------------------------ Date: Sun, 24 Sep 2000 16:58:14 +0200 From: "Marcin Gokieli" Subject: Odp: new jim black release on W&W From: Patrice L. Roussel > I think that Caine managed pretty well to not fall in the ridicule associated > to modern relectures of classics (I am talking of the relectures from the > "outside", some remembers John Lord, ELP?) with most of these projects but, > IMHO, he failed with the GOLDBERG VARIATIONS one. There is as much subtlety > in that one as in an issue of the Reader Digest. But what a slick project to > make the whole family happy the days TV is off! I still haven't bought this disc - a year and a day passed since I have been able to spend some money on a cd - but i think that treating Bach in Caine's way is more difficult. There is that eclectism element in Mahler's music that make Caine's project quite natural. But Bach is abstract and perfecionist. I am very curious to see how it worked. And I am not surpised by comments who suggest that Uri failed this time. The task is really hard. Marcin Gokieli marcin.gokieli@mospan.pl marcingokieli@go2.pl Generally speaking, if a philosopher offers to 'dissolve' the problem you are working on, tell him to go climb a tree - Jerry Fodor - - ------------------------------ End of Zorn List Digest V3 #70 ****************************** To unsubscribe from zorn-list-digest, send an email to "majordomo@lists.xmission.com" with "unsubscribe zorn-list-digest" in the body of the message. For information on digests or retrieving files and old messages send "help" to the same address. Do not use quotes in your message. 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