October 2002 - zorn-list - mailman.xmission.com

Fwd: Re: The Ex (no Zorn content)
by Efrén del Valle 19 Nov '02

19 Nov '02

Hi >I didn't hear about this. Could you provide > details? Cheers, John The Cd will be released on October 8 according to Towerrecords (might be earlier in Europe). It's part of the "In the Fishtank" series from the Dutch Konkurrent label. It's Sonic Youth + ICP + The Ex. The musicians involved are the following: Lee Renaldo, Thurston Moore, Steve Shelley, Jim O'Rourke, William Winant, Ab Baars, Han Bennink, Wolter Wierbos, Luc Ex, Terrie Ex. Looks really promising. Let's see how about the results! Best, EfrÃ©n del Valle n.p: John Coltrane "Interestellar Space" (Impulse!) _______________________________________________________________ Yahoo! Messenger Nueva versiÃ³n: Webcam, voz, y mucho mÃ¡s Â¡Gratis! DescÃ¡rgalo ya desde http://messenger.yahoo.es

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Upcoming Tzadik releases
by Peter Gannushkin 11 Nov '02

11 Nov '02

Hello All, KOCH posted Tzadik release schedule for January 2003: FRISELL/RIBOT/SPARKS: Masada Guitars GREAT JEWISH MUSIC: SASHA ARGOV CARLA KIHLSTEDT: Two Foot Yard All three looks interesting. But the most I wonder who is on the first one except three guitar players. -- Best regards, Peter Gannushkin e-mail: shkin(a)shkin.com URL: http://www.downtownmusic.net/

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caetano veloso
by skip Heller 03 Nov '02

03 Nov '02

I caught CV at Royce Hall last night and, while not as mindbending as his 1999 show (which I saw at the Anson Ford), it was still really quite something. Jacques Morelenboim is one of the few cello players I can see in a pop mujsic situation without wincing. Has anyone picked up his LIVE IN BAHIA? Was wondering what the band on that was, what the general style of it is, and if anyone's read his book yet. skip h NP: early andre williams stuff on fortune records

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ROBIN HOLCOMB, XENAKIS articles
by Perfect Sound Forever 30 Oct '02

30 Oct '02

Greetings, In the latest issue of Perfect Sound Forever online music magazine <http://www.perfectsoundforever.com> , you'll find among other things: ROBIN HOLCOMB On the American Rhine- Kurt Wildermuth describes her as an 'American composer, pianist, singer/songwriter, musical and cultural iconoclast.' Needless to say, there's all that and more to her work. SAVAGE REPUBLIC Return of the art-punks- 13 years after the fact and with hordes of underground bands now being toasted for creating complex noisy song structures, some of the originators of this clash of styles are ready to return to claim their due. Steve Olende delves through their sometimes tumultuous history. Plus interviews with SR members Bruce Licher and Ethan Port. IANNIS XENAKIS Aesthetics of his early works- Markos Zografos explores the origins of one of the most rigorous modern composers and how he began to develop his influential theories about music. We're always looking for new material and good ideas so please let us know if you have any to share. See you online, Jason Perfect Sound Forever online music magazine perfect-sound(a)furious.com http://www.perfectsoundforever.com

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CT show
by Tom 30 Oct '02

30 Oct '02

something pretty interesting to go check out if your within driving range http://www.newmassmedia.com/mus.phtml?code=new&db=mus_cdp&ref=22582 __________________________________________________ Do you Yahoo!? HotJobs - Search new jobs daily now http://hotjobs.yahoo.com/

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Non-JZ Non-eBay FA: Auto'd AUBE "Flood-Gate" CD
by pm.carey＠utoronto.ca 30 Oct '02

30 Oct '02

Possibly of interest... ** AIR MAIL POSTAGE depends on DESTINATION ** Offers in US$, please. Q's to: pm.carey(a)utoronto.ca OFFERS -- Aube - "Flood-Gate" JAP CD (Vanilla: vanilla-27) 1993 [Sound source: Water. Now classic "digital" debut on the excellent Vanilla imprint. 3 tracks, 60 minutes of ambient, drone & blissful rhythmic noise recorded at Studio MECCA, Kyoto in 1993. This copy is NEW (mint), and * AUTOGRAPHED * in silver ink by Akifumi on the back of the front sleeve. Limited edition of 500 copies. Long out of print.] -Patrick pm.carey(a)utoronto.ca

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Re: onkyo
by Crowmeat Bob 29 Oct '02

29 Oct '02

'Onkyo' seems like as good a term as any. 'Electro-acoustic' is way too general and vague. 'Noise' is almost too specific or carries too much baggage within a certain generic frame of reference -- but at the same time is too general and vague as well. Most categories have these poles: you either whittle them down to such intricate specifics that they only apply to a tiny handful of artists, or you expand the meaning so that it could just about refer to anything. Otomo said he conceptualizes both too much and too little information as important aspects of his musical ventures. In that sense, it's all about extremes. It does run the risk of becoming an undifferentiated plane of immanence -- the catatonia of minimalism or the chaotic schizophrenization of maximalism. But he balances it well; he's a slim customer. 'Consume Red' is a monumental intensity -- enough repetition with subtle, microscopic variation, and also enough balls-to-the-walls insanity, to keep your sensorium busy as a beehive and your nerves crackling like a chorus of Schreberian birds. I'd like to think that with onkyo there is a concern for over-all form rather than just purely textured moments succeeding one another in unmotivated sequence. I've definitely felt it with Otomo. There are probably practitioners of the genre whose purism allows for no formal development. Or at least they won't admit that such development occurs in spite of them. --cormwate bob np: Messiaen - Des Canyons aux Etoiles >From: <jkudler(a)wesleyan.edu> >To: <zorn-list(a)mailman.xmission.com> >Subject: Re: onkyo >Date: Tue, 29 Oct 2002 14:22:36 -0500 > >hey andy, >i've seen "onkyo" used more and more lately, generally referring to a >mostly japanese school of improvisors, like sugimoto, nakamura, etc. my >understanding of the term (vaguely gleaned from several articles) is that >it >means sound as sound, as divorced from any symbolic or linguistic >meaning. that could be totally wrong, though. it does seem like that term >is generally used more to label a specific school or aesthetic than a genre >or sound. not sure who popularized it, but i'm not aware of too many >improvisors elsewhere that throw that term around. > >there's an article on the signal to noise website about electro-acoustic >improvisation from a year or two ago, and the author (gil gershman, >list-member?) talks about naming that kind of stuff and, i believe, onkyo. >http://www.signaltonoisemagazine.org/archives/7.html > >you might also find some article or interviews poking around >www.japanimprov.com > >for what it's worth, >jesse > > > > Message: 13 > > Date: Tue, 29 Oct 2002 08:54:01 -0600 (CST) > > From: James Miller <jam189(a)mizzou.edu> > > Reply-To: jam189(a)mizzou.edu > > To: zorn-list(a)mailman.xmission.com > > Subject: Otomo Yoshihide in St Louis > > > > Anyway, does anyone know more about the 'onkyo' concept? > > > > > > Andy > >_______________________________________________ >zorn-list mailing list >zorn-list(a)mailman.xmission.com >To UNSUBSCRIBE or Change Your Subscription Options, go to the webpage below >http://mailman.xmission.com/cgi-bin/mailman/listinfo/zorn-list _________________________________________________________________ Choose an Internet access plan right for you -- try MSN! http://resourcecenter.msn.com/access/plans/default.asp

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Re: onkyo
by jkudler＠wesleyan.edu 29 Oct '02

29 Oct '02

hey andy, i've seen "onkyo" used more and more lately, generally referring to a mostly japanese school of improvisors, like sugimoto, nakamura, etc. my understanding of the term (vaguely gleaned from several articles) is that it means sound as sound, as divorced from any symbolic or linguistic meaning. that could be totally wrong, though. it does seem like that term is generally used more to label a specific school or aesthetic than a genre or sound. not sure who popularized it, but i'm not aware of too many improvisors elsewhere that throw that term around. there's an article on the signal to noise website about electro-acoustic improvisation from a year or two ago, and the author (gil gershman, list-member?) talks about naming that kind of stuff and, i believe, onkyo. http://www.signaltonoisemagazine.org/archives/7.html you might also find some article or interviews poking around www.japanimprov.com for what it's worth, jesse > Message: 13 > Date: Tue, 29 Oct 2002 08:54:01 -0600 (CST) > From: James Miller <jam189(a)mizzou.edu> > Reply-To: jam189(a)mizzou.edu > To: zorn-list(a)mailman.xmission.com > Subject: Otomo Yoshihide in St Louis > Anyway, does anyone know more about the 'onkyo' concept? > > > Andy

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Henry Grimes
by Hannah McRoag 29 Oct '02

29 Oct '02

from the jazz-research list: "I have just received the AMAZING news that Henry Grimes, the exceptional musician who played with just about everyone from Benny Goodman to Cecil Taylor, from Gerry Mulligan to Albert Ayler, and is even in that small group of bassists who worked with Mingus, well...he is alive! Reported as having died in 1984, in recent days Grimes has been in contact with his onetime collaborator Perry Robinson, I'm told. Certainly not to be a Doubting Thomas or anything, but as with all such resurrections and second comings, of course, I will research further and report back." ---GC

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Otomo Yoshihide in St Louis
by James Miller 29 Oct '02

29 Oct '02

Zornlisters, First, thanks so much to whoever it was who mentioned that this show in St Louis was coming up soon. I was able to cram a lot of weekend grading in and drive 2 hours to St. Louis' Washington University to catch the quartet (Otomo, Sachiko, Hautzinger, Coleman). I've been listening to this sort of 'environmental," minimal, post-AMM improv for a couple of years-- thanks mostly to leads taken from this list-- but I'd never seen it performed live. I found it riveting, intellectually and emotionally stimulating, all that great stuff... I'm writing about it all here because of an interesting bit in the concert program. I'll quote: "Literally meaning 'reverberation of sound,' onkyo-ha or onkyo-kei (onkyo school) started to be used about five years ago among musicians and music writers in order to refer to a certain type of music, and musicians playing the music. It is now recognized as a genre distinctive to Japan, in which more importance is placed on sound texture than on musical structure, combining many elements of the three genres techno, noise, and electronic music." So I'm wondering about this term 'onkyo-kei': does this passage I've quoted serve as a good description of the concept? Has the term been written about or theorized or historicized (in English)? To what extent is the concept 'distinctive to Japan' (whatever that means)? I know perfectly well that lots of people hate labels, but it strikes me that without some sort of common language, all we can do is recommend CDs to each other... not that this is a bad thing to do, but there's more to talk about, surely? Anyway, does anyone know more about the 'onkyo' concept? Andy

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