January 2003 - zorn-list - mailman.xmission.com

Spring Heel Jack (No Zorn)
by Richard Gardner 27 Jan '03

27 Jan '03

I caught Spring Heel Jack in Exeter (UK) on Friday night. For those who don't know the music SHJ were a drum 'n bass duo who have widened their horizons and moved into much more dangerous territory. Included is the review of the London gig in the UK Guardian. It says it much better than me but this was a superb gig. One final point. I have missed a large chunk of the list recently. Has mention ever been made of Evan Parker's absolutely astonishing album "Lines Burnt In Light"? These three pieces for solo soprano saxophone, using circular breathing and the natural resonance of the church where it was recorded live to create towering minimalist mantras with no electronic effects, has to have been one of the albums of 2002. ______________________________________ Spring Heel Jack Queen Elizabeth Hall, London Pascal Wyse Saturday January 25, 2003 The Guardian "Free jazz" is a marketing nightmare. To the unconvinced, it is the sound of a pet shop burning down - a sonic bickering between musicians who can't be arsed to prepare anything. Spring Heel Jack (John Coxon and Ashley Wales) have roots in drum'n'bass. They may not seem the most likely ambassadors for jazz's messy side - until you look at their record collections (more Anthony Braxton than Blue Note) and the formidable group of free players they have gathered for this tour. Everybody should, before they die, see Han Bennink. This is a man who goes for a run and plays the drums at the same time. Five minutes into the gig, his feet were up on the kit, filling in beats his hands were too busy to deal with. Later he played his kit with a chair leg (still attached to the chair). All this theatre would be empty without his sound, which combines twitching chaos with a cool swing. Starting with a bleak, bluesy electric guitar line from Coxon, the first waves of music quickly became furious. Everyone had their way of making themselves heard in this storm: Matthew Shipp (Fender Rhodes) banged his point home off-beat, changing it a little each time; William Parker (bass) played a patient game, knowing he would eventually be let through with simple grooves; Evan Parker (saxes) soared busily over the top, circular-breathing to keep him in the air; Coxon throttled his guitar on his lap until it shot out bullets of sound. Here, Wales's electronics and Spiritualized frontman J Spaceman (guitar) fell through. Wales looked like he was tidying his desk; Spaceman kept his back to the crowd. Those looking for the jazz to be cut with live electronics and sampled beats were disappointed. But they got to hear one of the hardest forms of jazz done well: frantic communication at once clear and baffling. Later, Wales started to sample the band live, and mixed in cracking plastic sounds and heavy drones, while Spaceman joined Parker up in the clouds for a memorable duet. What worked best was a face-off between the certain and the uncertain. The final number (most of the second half) was a monumental descent - a relentless church-bell riff from Shipp with a rich electronic drone. Each player struggled to escape its gravity, getting free for fleeting solos. This wasn't like free jazz, or Spring Heel Jack. But it was an amazing, heart-breaking sound.

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Jah Wobble
by Arthur Gadney 27 Jan '03

27 Jan '03

Hi, Some time ago I bought Jah Wobble's collaboration with Evan Parker "Passage To Hades" and I think it's amazing. I have never heard much Wobble before, and generaly not liked what I have heard, but this has made me interested in more. So any recommendatiosn for epsecially his solo CDs? SOme of the stuff on his own label http://www.30hertzrecords.com looks good, but I don't really know where to start. Thanks _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail

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RE: Life of Brian
by Steve Smith 26 Jan '03

26 Jan '03

-----Original Message----- From: Franz Fuchs [mailto:f.fuchs@gmx.net] Sent: Thursday, January 16, 2003 8:54 AM To: ssmith36(a)sprynet.com Subject: RE: Life of Brian >> He's active on at least one jazz-related BBS I'm aware of, >> and recently attended the recording sessions for an upcoming >> Keith Rowe / John Tilbury 2CD set on Erstwhile and provided >> a scintillating preview on another mailing list. > >could you forward this preview about the Rowe/Tilbury project to the >Zorn-list or provide a URL for the list it originally appeared on? >Thanks! Sorry to take so long to honor this request... it's been a really trying couple of weeks and I'm still catching up with older correspondence. Here's Brian's report from the Rowe and Tilbury sessions, which paint quite the remarkable picture. Steve Smith ssmith36(a)sprynet.com >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Just back from a week in France with Jon and thought I'd post an advance alert on this session. I'll probably write something more elaborate on the Erstwhile site in the near future. Rowe and Tilbury had never recorded as a duo ("Except when Eddie stops playing", as Keith wryly puts it) so we were looking forward to this session with more than the usual amount of anticipation. But when Keith picked us up from the train station in Nantes, we were informed that Tilbury's mom (95) had suffered a stroke the previous evening and wasn't expected to live very long. Obviously, the session became secondary, but over the phone, Tilbury said that if she were to die in the next day or two, he would still try to make a single day of the planned two-day session but that if she stayed in the same condition for several days, he'd have to stay with her. As the fates would have it, she died that Saturday and we met Tilbury at Gare de l'Est on Monday morning for the long train ride to Nancy. Though clearly affected, he was as gracious, warm, humorous and (typically, I imagine) forthright as one could imagine. On Tuesday, the duo recorded about three hours of material on the Vand'oeuvre stage. In four sets, they created five pieces, roughly 70, 20, 20, 50 and 20 minutes long. In the days beforehand, Keith had talked quite a bit about Tilbury's extraordinary sense of touch and that aspect was just so perfectly clear on that afternoon. This was music of unusual depth and beauty even for these two old pros. Sometimes, understandable given the circumstances, it was quite emotional; maybe even most of the time. Often somber but always with at least a small optimistic nudge somewhere in there. Tilbury incredibly fleet at catching an idea tossed by Rowe; once, Keith let loose a yawp of feedback that John instantaneously captured and dissembled miraculously into a series of romantic, dreamy chords. Tough to describe, of course, but they, at several points, entered areas that we all thought they'd never previously ventured into. The recording will be a two-disc set and will be dedicated to John's mom, Doris. I realize I'm in danger of overplaying it this early but, man, this was some beautiful, beautiful music. Thanks to Jon for allowing me to sit in on this event.

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Classic Guide to Strategy, Volume three...
by matt. 25 Jan '03

25 Jan '03

If Zorn were to make this today would it be any good? I'm just curious... thanks, matt.

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RE: ikue mori interview - please participate
by ahorton 24 Jan '03

24 Jan '03

>myself, I'd rather hear an artist attempt to describe what they do in as far >out and interesting a fashion as they see fit than just reduce it to the >obvious mechanical aspects. Well, that's one approach; but it seems to me that Mori (and many modern-improv artists that engage in this "exceedingly creative description" of their own work) are simply being dishonest. They're self-conscious; in a field (modern improv/jazz) that values an "intellectual", "academic", or otherwise "professor-esque" approach to one's music, they're afraid and ashamed to admit that they're simply doing what "feels right", what "comes naturally." It seems to me that someone like DJ Shadow (just an example) is being more genuine and honest - whereas someone like Mori is trying to compensate for what they percieve to be a lack of "theory" or "depth" in their musical technique. andrew

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Re: ikue mori interview - please participate
by John Schuller 24 Jan '03

24 Jan '03

Holy shit! I loved the first post about the faux-highbrow posturing! But this one is even better!!!! My side aches...ouch. ----- Original Message ----- From: "schphinxz" <keithsz(a)concentric.net> Date: Fri, 24 Jan 2003 14:36:09 -0800 To: "zorn-list" <zorn-list(a)mailman.xmission.com> Subject: Re: ikue mori interview - please participate Re: >>>This isn't to accuse or to be hostile- i'm a huge fan of Mori's work- but Re: I Re: feel that her approach to explaining what she does is symptomatic of a real Re: epidemic of faux-highbrow posturing in the modern improv world.<<< Re: Re: Why can't you just call it 'pretentious bullshit' instead of 'faux-highbrow Re: posturing?' I don't mean to be hostile-I really dig your posts-but that kind Re: of language seems to betray the very point it is trying to make. Re: Re: Re: _______________________________________________ Re: zorn-list mailing list Re: zorn-list(a)mailman.xmission.com Re: To UNSUBSCRIBE or Change Your Subscription Options, go to the webpage below Re: http://mailman.xmission.com/cgi-bin/mailman/listinfo/zorn-list Re: -- _______________________________________________ Sign-up for your own FREE Personalized E-mail at Mail.com http://www.mail.com/?sr=signup Meet Singles http://corp.mail.com/lavalife

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RE: ikue mori interview - please participate
by Crowmeat Bob 24 Jan '03

24 Jan '03

myself, I'd rather hear an artist attempt to describe what they do in as far out and interesting a fashion as they see fit than just reduce it to the obvious mechanical aspects. from my own perspective, Mori's enunciation of her approach and DJ Shadow's of his are actually reflected in the depth of the music. I own several of her recordings and have little interest in his, because she has a greater conception behind the music, a more varied and compelling sense of montage, a greater intensity (maybe I haven't checked out enough of his, though). After all, she could still be playing drums, but must have felt a need to do something more than just make interesting beats. My first reaction to someone accusing another of "faux-highbrow posturing" is to go with the assumption that it's the accuser who's actually doing the posturing. If I like the artwork, then I'll usually give the artist the benefit of any doubt or confusion I might have about her description of it. I must admit that her piece in Arcana didn't make me want to listen to her music any more than I did before I read it, but I was already a fan, and it certainly didn't hinder my appreciation. -bob >From: ahorton <ahorton(a)vt.edu> >To: Kurt Gottschalk <ecstasymule(a)hotmail.com>, zorn-list ><zorn-list(a)mailman.xmission.com> >Subject: RE: ikue mori interview - please participate >Date: Fri, 24 Jan 2003 17:05:17 -0500 > >I'd really like to see a non-rude, non-confrontational yet honest question >that goes something like this: > >"Ms. Mori, don't you feel that it's misleading to mask all of your musical >endeavors with faux-highrbow language? You've simply used drum machines and >samplers, and more recently MAX MSP, to make music- and yet, you insist on >using lines like 'I extrapolate binary systems of sonic fragments to >further >explore the multiethnic diaspora', when in reality it would be more correct >to >say 'I bash buttons and make interesting beats." > >This isn't to accuse or to be hostile- i'm a huge fan of Mori's work- but I >feel that her approach to explaining what she does is symptomatic of a real >epidemic of faux-highbrow posturing in the modern improv world. If DJ >Shadow's >comfortable accounting for his genius with "I just bash the buttons on my >sampler until it sounds dope", then surely someone like Mori (working in >the >same fashion) should be comfortable doing the same, without having to "talk >herself up." > >love, >andrew > > >_______________________________________________ >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 _________________________________________________________________ Add photos to your messages with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail

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RE: ikue mori interview - please participate
by ahorton 24 Jan '03

24 Jan '03

I'd really like to see a non-rude, non-confrontational yet honest question that goes something like this: "Ms. Mori, don't you feel that it's misleading to mask all of your musical endeavors with faux-highrbow language? You've simply used drum machines and samplers, and more recently MAX MSP, to make music- and yet, you insist on using lines like 'I extrapolate binary systems of sonic fragments to further explore the multiethnic diaspora', when in reality it would be more correct to say 'I bash buttons and make interesting beats." This isn't to accuse or to be hostile- i'm a huge fan of Mori's work- but I feel that her approach to explaining what she does is symptomatic of a real epidemic of faux-highbrow posturing in the modern improv world. If DJ Shadow's comfortable accounting for his genius with "I just bash the buttons on my sampler until it sounds dope", then surely someone like Mori (working in the same fashion) should be comfortable doing the same, without having to "talk herself up." love, andrew

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From DMG (Yes Zorn!)
by Samerivertwice＠aol.com 24 Jan '03

24 Jan '03

News from Zornland - NAKED CITY will reunite for two gigs in Europe on June 17th and June 18th! Naked City is John Zorn, Bill Frisell, Wayne Horvitz, Fred Frith and Joey Baron and these are their first (and only?) shows in a decade, since they played at the 'Month of Zorn' celebration at the old Knit in September of 1993. They are certainly one of the best and most exciting jazz/rock/punk/etc. ensembles of the 20th century, combining every influence/genre that our main man John Zorn was into at that time. Anyone who ever witnessed their power and inventiveness, will never forget that spirit. In September of 2003, Tonic will host another 'Month of Zorn' retrospective, for John's 50th birthday, with another thirty days of Mr. Zorn's music, bands and projects. A version of Painkiller (with Zorn & Laswell) will be amongst the many highly anticipated performances of that month. Tonight January 24th at 7pm & tomorrow night January 25th at 9:45 - the NY film premier of the documentary - "In the Mirror of Maya Deren" will be preceded by the John Zorn Ensemble performing the music for the film with Erik Friedlander, Jamie Saft, Cyro Baptista & Mr. Zorn at Anthology Film Archives at 2nd Ave. and 2nd St. John Zorn's exquisite score for this marvelous movie is found on his 'Filmworks X' release from the Tzadik label. Also tonight, January 24th, the debut of the Eugene Chadbourne All-Star Quartet will play one set only at 10pm at Tonic!! Dr. Chadbourne's Quartet features Joe Morris & Dr. Chad on guitars, Mark Dresser on bass and Gerry Hemingway on drums! Dr. Chad's amazing 'Painpen' cd (on the Avant label) from a couple of years back with similar personnel was one the most challenging releases of the year. Be there! Opening the night at 8pm at Tonic will be Tzadik's Charming Hostess who are also amazing!! DAVE DOUGLAS will also be celebrating his 40th birthday with a week's worth of special gigs at the Jazz Standard from March 25th - March 30th, with different groups each night. Check out Dave's nifty website - www.davedouglas.com for a complete listing. Dave's new release for RCA is called 'Freak In' and it will be out on February 18th, the personnel includes Marc Ribot, Chris Speed, Seamus Blake, Romero Lubambo, Jamie Saft, Craig Taborn, Brad Jones, Ikue Mori, Karsh Kale and Joey Baron. I have heard a few tracks and they have a drum n' bass vibe & are they are fucking cool! ______________________________________________________ Discs I'm listening to at work: Matthew Shipp -- Equilibrium John Zorn -- Masada Guitars Great Jewish Music: Sasha Argov Miles Davis -- Complete Prestige Recordings (discs 5-8)

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Zorn's interview - zorn's list
by Rafael Romero Ibáñez 24 Jan '03

24 Jan '03

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