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

Zorn discovers Judaism, but why?
by Arthur Gadney 10 Jul '02

10 Jul '02

Hello. >I was wondering if Zorn's interest in Judaism does not coincide with him >not >living anymore in Japan. Looks like the timing matches (1992). I think this was commented on somewhere. Was it the Steve Beresford radio program? Something to the effect that Zorn tried for almost ten years to get accepted in Japan, but they still kept looking at him as an outsider. And the dissapointment from this lead him to explore his Jewish roots. It sort of happened to be around te same time he went to Germany and felt there was strong anti-jewish opinions or something like that. Don't remember if this is Zorn himself talking or somebody else speculating. _________________________________________________________________ Send and receive Hotmail on your mobile device: http://mobile.msn.com

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Q re. "The Parachute Years"
by Michael Gillham 10 Jul '02

10 Jul '02

I've (finally!) just got a copy, albeit second-hand. It retails for Â£75-85 (sometimes more) in the U.K. I can't afford that. I'm happy to have only paid about Â£35 (including postage) - eBay. Most, if not all Tzadik titles have obi strips. Does the "The Parachute Years" has an obi strip? If so, my copy is missing it. If anybody has a copy with an obi strip, and aren't bothered about it, I'd like to buy it. I know it's only a bit of paper, but it's an important part of the packaging to me, and one which makes my copy 'complete'. __________________________________________________ Do You Yahoo!? Everything you'll ever need on one web page from News and Sport to Email and Music Charts http://uk.my.yahoo.com

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Whats the name of game pieces vol 1?
by mike cinnamon 10 Jul '02

10 Jul '02

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(no subject)
by Tosh 10 Jul '02

10 Jul '02

It's weird. Americans can be sorrowful and sentimental about Japanese coffee houses but if you get all melancholy about ANYTHING from America's past, you're considered a creepy fool and practically burned at the stake! It's a fact- U.S. culture changes, transforms and is influenced by other cultures just as much as any other culture. People are basically the same EVERYWHERE and always resist change of any kind. ____ No no I feel the same way about American old diners, independent bookstores, independent record shops, etc. I basically hate chain shops! So I am consistent about my feelings about Japanese coffee shops as well as American diners. I also like the U.K.'s Whimpy's Hamburger stand and the British Cafe's (pronounced Cafs). I pretty much loathe all international corporate food places as well as shopping areas. -- Tosh Berman TamTam Books http://www.tamtambooks.com

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Re: Japanese coffee houses
by thesubtlebody 09 Jul '02

09 Jul '02

> From: MorMovies(a)aol.com > It's weird. Americans can be sorrowful and > sentimental about Japanese coffee houses but if you > get all melancholy about ANYTHING from America's > past, you're considered a creepy fool and > practically burned at the stake! What are some examples of this? The ones that come to mind at the moment aren't really examples of America's past as such; they seem to be a longing for things that either never really existed----"family values" in America, Christian fundamentalism as an undergirding condition of the "Founding Fathers'" worldview---or things that probably shouldn't have, i.e. apartheid, chattal slavery economics etc. What forms of nostalgia are we punished for? It's a fact- U.S. > culture changes, transforms and is influenced by > other cultures just as much as any other culture. > People are basically the same EVERYWHERE and always > resist change of any kind. That's a really weird assertion, and I think you pulled it out of nowhere. What exactly is the same about people everywhere? I don't think people resist change wholesale at all times ina ll places. Conversely, I don't think whatever changes are happening in America should be seen as either inevitable or desireable. Also, what is so great about more and more being seized by fewer and fewer parties? What is acceptable about fewer companies controlling the way we do anything, from reading the news to buying coffee? I disagree with Patrice's implication, as I read it, that just because there is fiscal support of communities for a way of life, that way of life doesn't bear any alarming trends for those communities. What seems like abundance often yields oligarchy and price-gouging, not to mention, in this case, heart disease and incredible food politics. Has anyone here read FAST FOOD NATION? ---------s __________________________________________________ Do You Yahoo!? Sign up for SBC Yahoo! Dial - First Month Free http://sbc.yahoo.com

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IAO ?
by Bob 09 Jul '02

09 Jul '02

Any consensus/advise on the latest, IAO? I haven't purchased or heard Taboo/Exile and the only other Tzadik comparison is to The Gift. I'm finding "The Gift" very enjoyable, more than I can say for about 25-30% of Zorn's discs I've traded in over the past two + years {cleaning out the dust collectors...) I love most of the filmwork and masada releases...to a point on the later (4 or 5 stellar can't-be-without-any-of-the tracks-discs wouldv'e been preferable.) Several classic nonesuch recordings, all Naked City discs are faves, and "of course" the Masada Chamber Ensembles. Thanks in advance. Bob np: Gabriela's Viento Rojo

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Don Cherry Complete Blue Note
by serge dautricourt 09 Jul '02

09 Jul '02

Is this Mosaic set remastered versions? Does anybody know where I could get my hands on one? thanks, serge _________________________________________________________________ MSN Photos is the easiest way to share and print your photos: http://photos.msn.com/support/worldwide.aspx

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NYC - July 13th
by Andrew Nairn 09 Jul '02

09 Jul '02

Are there any good shows coming up for July 13th in New York City? Thanks _________________________________________________________________ Join the worlds largest e-mail service with MSN Hotmail. http://www.hotmail.com

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overdue DVD reissues
by josephneff 09 Jul '02

09 Jul '02

Hello, ...in the spirit of the current thread, what would folks like to see make it to DVD? Here's some of mine.... "The Phenix City Story" (Phil Karlson) "Contempt", "One Plus One", "Band of Outsiders", + early shorts (J L Godard) "Dog Star Man" (Stan Brakhage) "Who's That Knocking at My Door?", "Italian American", & "The King of Comedy" (Scorsese) "The Blues According To Lightnin' Hopkins", "Hot Pepper", "Burden of Dreams", "Werner Herzog Eats His Shoe" (Les Blank) "The Mother & the Whore" (Jean Eustache) "Solaris" & "Stalker" (Tarkovsky) "Paris, Texas" (Wenders) "Why Does Herr R. Runn Amok?", "Ali: Fear Eats the Soul", "In the Year of 13 Moons" (Fassbinder) "The Killers" (Siegel) "Faster Pussycat, Kill! Kill!" & "Beyond the Valley of the Dolls" (Russ Meyer) "Zabriskie Point" (Antonioni) "Point Blank" John Boorman) "Le Samourai", "Les Enfants Terribles", Bob le Flambeur" (Melville) "Love Affair", "WR: Mysteries of the Organism", "Sweet Movie" (Makavejev) I remain... Joseph NP: Nino Rota- "Original Soundtrack Recording- La Dolce Vita" LP NR: William H. Gass- "The Tunnel'

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Earle Brown, Composer Known for Innovation, Dies at 75
by Nvinokur＠aol.com 09 Jul '02

09 Jul '02

>From the NY Times Earle Brown, an innovative experimental composer who allowed performers considerable interpretive freedom, and whose vision of sound as an almost concrete object is often expressed in a form of graphic notation that conveys the importance of time and space in his music, died on Tuesday at his home in Rye, N.Y. He was 75. Mr. Brown began his musical life as a jazz trumpeter, and in his student years he studied mathematics and engineering with the idea of a career in aeronautics. But he was also strongly drawn to contemporary painting, sculpture, poetry, dance and music, and after service in the Army Air Corps during World War II he devoted himself to more formal musical studies at the Schillinger School of Music in Boston. He moved to Denver in 1950, where he began painting as well as composing and teaching music. An encounter there with the composer John Cage in 1951 proved decisive: Cage invited Mr. Brown to New York to contribute to his "Project for Music for Magnetic Tape." Mr. Brown's contribution to Cage's project was "Octet I" for eight loudspeakers (1953), a tactile work in which isolated tones, fragments of speech and singing, snippets or orchestral recordings and bursts of noise swirl around a listener for nearly three and a half minutes. Mr. Brown quickly became an influential member of the New York School, in which the other prominent composers were Cage, Morton Feldman, Christian Wolff and David Tudor. He adopted some of the philosophical hallmarks of Cage's approach, including the use of indeterminacy, a technique in which performers were given parameters within which they could choose what, when or how to play. One of Mr. Brown's best-known works in this style, "December 1952," invites performers to interpret a visually elegant score that consists of rectangles of different sizes and thicknesses, some horizontal, some vertical. The score for "December 1952" has been likened to a painting by Mondrian, but Mr. Brown has said that his graphic scores were more directly inspired by the mobiles of Alexander Calder. The score for his "Available Forms I" (1961), also inspired by Calder, consists of six unbound pages, each of which includes four or five distinct musical events. The conductor begins the work with any event on any page and builds the work by selecting from the remaining events and manipulating tempo and dynamics at will. In the collaborative "Calder Piece" (1963-6), a percussion score by Mr. Brown was, in effect, performed by Calder's "Chef d'Orchestre," a playable mobile. Earle Appleton Brown was born in Lunenburg, Mass., on Dec. 26, 1926. During his years as a mathematics and engineering student at Northeastern University in the early 1940's, he played trumpet in a jazz band on weekends. He continued to play jazz during his military service, and in 1946 he enrolled at the Schillinger School, where he studied composition and early music. His works in these pre-Cage years were largely in the 12-tone style, as were some of his early New York works. When Mr. Brown moved to New York to join the Cage circle, his first wife, Carolyn Brown, a dancer, joined Merce Cunningham's company. Their marriage ended in divorce. In 1972, Mr. Brown married Susan Sollins, who survives him, as does a sister, Marilyn Krysil, of Lunenburg, Mass. In New York, Mr. Brown quickly developed his own approach to Cage's chance aesthetic. But he was less enamored than Cage of pure chance composition. He later described "December 1952" as "an activity rather than a piece by me, because of the content being supplied by the musicians." More typically, he found ways to combine ambiguous elements, in which musicians were free to make choices, with specifically notated passages, which he expected to be played with strict precision. In "time-notation" works like "Music for Cello and Piano" (1954-5), pitches and dynamics are provided in traditional notation, but durations are left to the players. In his later works — the best-known is "Tracking Pierrot" (1992) — he continued to modify the balance between fixed notation and open forms. He also continued to compose for a variety of forces, calling for huge blocks of chordal sound in some works and graceful, pointillistic webs in others. Mr. Brown music was extremely influential in Europe during the 1950's and 60's, when composers like Krzysztof Penderecki, Gyorgy Ligeti, Karlheinz Stockhausen and Franco Donatoni adopted elements of his style. (Donatoni also dedicated two orchestral works to Mr. Brown, "To Earle I," in 1970, and "To Earle II," in 1972.) As a teacher, Mr. Brown held the W. Alton Jones chair of composition at the Peabody Conservatory in Baltimore from 1968 to 1973. He also taught at SUNY Buffalo, Yale University and the Tanglewood and Aspen Music Festivals. As president of the Fromm Music Foundation from 1984 to 1989, he organized new music concerts at the Aspen Music Festival and commissioned works by many composers, among them Henry Brant, Ornette Coleman, Todd Machover, Steve Mackey, Steve Reich, James Tenney and Joan Tower. He was also the repertory director of an important series of new-music recordings on the Time-Mainstream label. Between 1960 and 1973, he oversaw the label's recordings of works by 49 composers from 16 countries, among them Ives, Cage, Nono, Maderna, Stockhausen, Luciano Berio and Iannis Xenakis.

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