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

commercials
by jim & nika 25 Apr '03

25 Apr '03

And I'm guessing that most people's only exposure to the music of Moondog is through the auto (Chrysler?) ad. Any speculation as to how he would have responded? jim mcauley

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Poetry and music: Dom Farkas
by Arthur Gadney 25 Apr '03

25 Apr '03

Hi guys, So far, almost every single mix of poetry and music I have encountered has made me want to sleep or, more often, leave the room in embarassament. But recently I found something new: Dom Farkas. Anybody have info about that guy. I found practically zero on the web. I only know him from an old short Noel Akchote ep called "M.A.O.", which has pretty nice music but really excellent vocals! Any idea what the lyrics are about. Okay, I get the Mao and China stuff, but what is the particular angle? Cheers. _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus

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Progressive bossanova?
by Lev 'Ljova' Zhurbin 25 Apr '03

25 Apr '03

Hi List, I recently wrote a cool mixed-meter bossanova and am looking for a band which would be interested in it. To that end, I've never really heard any other mixed-meter bossanovas or anything progressive on this end. (Of course, I haven't really looked.) Any suggestions? (For those interested, I can email an MP3 link to a demo of my bossa upon request..) Thanks, Ljova -- Lev "Ljova" Zhurbin Please visit my website: ==> http://Ljova.com/ "Do not fear mistakes - there are none." -Miles Davis

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RIP Teddy Edwards
by Perfect Sound Forever 25 Apr '03

25 Apr '03

<http://www.cnn.com/2003/SHOWBIZ/Music/04/23/obit.edwards.ap/index.html>

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Re: Jazz Guggenheims
by Herb Levy 24 Apr '03

24 Apr '03

From: Mark Saleski <marks(a)foliage.com> wrote: > >i'd like to point out for the record that there are some folks out there >who will show up at the store to take away _both_ the latest Joe Morris >and Pat Metheny. > >(heck, maybe even the latest Skip Heller!) > Maybe the latest Skip Heller would buy both (though I doubt it), but I'm pretty sure the old Skip Heller wouldn't have. -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb(a)eskimo.com

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Re: Jazz Guggenheims
by Mark Saleski 24 Apr '03

24 Apr '03

skip wrote: > >HatArt, perhaps. But a good distributor has that power, which gets their >stuff into the stores (especially the stores that don't return Joe Morris >new disc three weeks after it comes out to make more room for that new >Metheny product) has more power. > i'd like to point out for the record that there are some folks out there who will show up at the store to take away _both_ the latest Joe Morris and Pat Metheny. (heck, maybe even the latest Skip Heller!) mark (who started that big mess with Pink last year) -- Mark Saleski - marks(a)foliage.com | http://www.foliage.com/~marks "The trouble with the world is that the stupid are cocksure, and the intelligent are full of doubt." - Bertrand Russell

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Favorite Laswell...
by Arthur Gadney 24 Apr '03

24 Apr '03

Hi. What's your favorite Laswell CD in the ethno-dub-fusion vain? Damn, there is so many. I really like "Hallucination Engine" and want to check more, but I have burned my finger once to many and need a bit of advise. When was the first Laswell dub track recorded, btw? Cheers. _________________________________________________________________ Help STOP SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail

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Re: Cage on Jazz
by Herb Levy 24 Apr '03

24 Apr '03

>on 4/23/03 12:07 PM, Patrice L. Roussel at proussel(a)ichips.intel.com wrote: > >> Even after 50 years, you might >> still be considered as taking risk by playing Cage (that should alarm >> the creative audiences, but does not seem to), and where would be >> "high-brow" music without a little bit of sponsored risk taking :-). > >It should alarm anybody that anything 50 years old and taught by the academe >is considered daring. Esecpially in the US, where it serves to prove we're >a bunch of third-rate chickenshit consumers who have none of the pioneer >spirit upon which this country was founded. Whether or not the audience is >considered "creative" (and no audience has the right to point themselves up >as being more creative than any other) should have no bearing. The fact >that we have to look on the pioneering acts of a half century ago for a >confirmation of our collective brevity is truly sickening. Skip's certainly right that it's absurd to think of Cage's early music as experimental & that's why I don't think Patrice's measure of a fading rabid fandom for Cage is appropriate. But you can't argue both sides of this against Cage. If these works are no longer experimental, and they're now being performed by musicians who aren't avant garde specialists for audiences that aren't avant garde fans, well, that's exactly how things enter the classical repertoire. Those audiences are accepting some of the works, just like they accept some of Ives, and some of Copland, Crawford, etc, for that matter. Yes these audiences think they're hearing something different from, say, Mozart or Brahms, but they know what they're hearing isn't brand new experimental stuff. They know it's fifty years old. Nobody's fooling them into thinking that it was improvised yesterday by some kid with a bunch of tattoos & a laptop using MAX/MSP; it's just some of the music from the 20th century that's working its way into the always conservative classical music culture. These audiences (and most of the performers) don't care about music theory for the most part, they just care about whether they like the sound of what they're hearing. That's why I discount all of Patrice's arguments about how shallow Cage's theories may have been. The audience for these works doesn't give a shit how the notes were selected if they like the sound of the notes. &, for better or worse, some of these pieces are quite appealing for those kinds of listeners. There won't be a lot of performances of, say Atlas Eclipticalis or Cartridge Music for this audience, but as more pianists start playing selections from the Sonatas and Interludes, and some of the earlier works, and more quartets start playing Cage's first quartet, the less those pieces have any need for the kind of fans that Patrice is saying aren't there for Cage in general. That's what happens with the avant garde: some of it enters the mainstream, some of it stays within the realm of avant garde fandom and much of it virtually disappears. But, as much as we may wish it were otherwise, it's never the avant garde fans who get to decide what enters the mainstream. There are early Cage pieces being played for straight classical audiences and they're not walking out in droves when they hear it. That's a sign that, no matter what Cage's standing within the avant garde may be, some of his music may have a life in the classical concert repertoire. I think too, that as there are more performances and recordings of a wider range of Cage's work that some other later works will get heard more as well. A lot of it may not get far (I'd certainly be surprised if much from say the mid-fifties into the early seventies ever gets over for non-specialists) but some pieces from Cage's last 15 years or so may have more audience appeal than y'all might expect, given the right kind of players. (&, Ellery, I'm on digest too, & I'm not sure why some of my responses haven't been marking quotes properly. While I've been home sick much of this last week I've made a couple of changes to my computer, I'll look around a little and try to fix it.) -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb(a)eskimo.com

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nyc/ may 1-4 /improvised & otherwise festival lineup
by Acousticlv＠aol.com 24 Apr '03

24 Apr '03

hi gang passing on info. this and the vision festival look to make a fun may ! love to all steve koenig n.p.: billy bang- vietnam: the aftermath ------------------------------------- hello friends -- i know not many of you on this list are in NYC, but any and all help spreading the word would be much appreciated. This is a young, scrappy, entirely artist-run festival that I'm really looking forward to and proud to be a part of. Those who can make it, it would kick ass to see you again. thanks, and take care kyle Improvised and Otherwise: A Festival of Sound and Form Thursday to Sunday, May 1 - 4, 2003 Presented at Williamsburg Art neXus (WAX) 205 North 7th Street (at Driggs), Brooklyn, NY Tickets: $15 adults/$10 students & seniors, Weekend Passes: $40 four-day/$25 two-day THURSDAY - MAY 1 8:00 Isle of Pines - Boaz Barkan, Robert Scott, Sherwood Chen - movement, Arnie Saiki - music, text & puppets 8:30 Reuben Radding - contrabass 9:00 Debra Bluth - dance 9:30 Materiality of Sound in Image - A screening of videos by Maria Dumlao, Kyra Garrigue, Geu Jin Han, Gregory King 10:00 psi - Jaime Fennelly - electonics, Chris Forsyth - electric guitar, Fritz Welch - drums & amplified percussion FRIDAY - MAY 2 8:00 Luis Lara Malvacias/Not Festival - dance, David Watson & Sean Meehan - music, 8:30 Lafayette Gilchrist Trio - Lafayette Gilchrist - piano, John Dierker - reeds, percussionist TBA 9:30 Loophole - Corrina Kalisz, Alison Robinson, Estelle Woodward - dance, Jeff Arnal - percussion, Gordon Beeferman - piano 10:00 Transcontinental 01 - Ernesto Diaz-Infante - guitar, Jesse Quattro - voice, Rent Romus - alto/soprano saxophone Kyle Bruckmann - oboe, Chris Heenan - bass clarinet, Adam Lane - double bass, Helena Espvall-Santoleri - cello, Lance Grabmiller - laptop, Mike Pride - percussion SATURDAY - MAY 3 4:00 Radical Low - Kurt Ralske - video, Chantal Yzermans - dance, Nicholas Marantz - electronics 4:30 Scientifically Speaking with Irene Moon - multi-media (Athens) 5:00 Adam James Wilson Quintet - Arto Artinian - flute, Brad Kemp - double bass, Aaron Trant - percussion, Jonathan Vincent - piano & accordian, Adam Wilson - guitar 6:00 Hans Tammen - endangered guitar, Dafna Naphtali - voice, electronics 6:30 Ras Moshe and The Music Now Unit - Jackson Krall - percussion, Matt Heyner - bass, Ras Moshe - reeds 7:30 Susan Sgorbati & Cori Olinghouse - dance 8:00 Gordon Beeferman - piano, Jeff Arnal - percussion, John Hughes - double bass (NYC, Germany) 8:30 Shakin Ray Levis - Dennis J. Palmer - synthesizers, Bob Stagner - percussion (Chattanooga) 9:30 K.J. Holmes & Karinne Keithley - dance, with Michael Wall and The Whoring Horn Ensemble (NYC) 10:00 Alberto Braida - piano, Giancarlo Locatelli - clarinets (Italy) SUNDAY - MAY 4 4:00 Lisa Gonzales & Carol Kyles Finley - dance 4:15 Lionel Popkin & Carolyn Hall - dance 4:30 Kathy Supove - piano, electronics 5:00 John Berndt - reeds, electronics, percussion, Dan Breen - bass, electronics, percussion, Andy Hayleck - amplified gong, Jack Wright - reeds (Balitmore, Boulder) 6:00 Aaron Petrovitch - "A Cosmic Mishap in an Accidental Universe" - spoken word (NYC) 6:30 Dynasty - Seth Misterka - saxophones, Jennifer Deveau - bass, Nate Smith - percussion (NYC) 7:30 Chainworks - Dan DeChellis - piano, Matt Hannafin - percussion, Brian Moran - electronics (NYC) 8:00 PIMA Group - Melissa Putz, Thomas Clark, Michael Barker, Emily Fifer, Ryan Grove, Helena Epsvall- Santoleri - dance, music & video (Philadelphia) 8:30 Miya Masaoka - koto, electronics (NYC) 9:00 Ben Hall - percussion, Katt Hernandez - violin, John Voigt - electronic upright bass (Boston, Detroit) In the WAX Gallery, April 11th - May 5th FROM THE GROUND UP featuring paintings by: Mark Bouthilette, Catherine Hamilton, Paul Douglas Olmer Closing Reception Friday May 2nd, 6 to 8pm Improvised and Otherwise: A Festival of Sound and Form is sponsored, in part, by the Greater New York Development Fund of the New York Department of Cultural Affairs, administered by the Brooklyn Arts Council, Inc. (BAC) Additional funding is provided by the Istituto Italiano di Cultura.

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Fwd: [chi-improv] Northwestern U. Music Marathon
by Ben Axelrad 24 Apr '03

24 Apr '03

For any Chicago list members: Zorn will be in attendance at the Northwestern Music Marathon > >http://aquavite.northwestern.edu/cal/pp/eventd.cgi?e=13941 : > >Event Title: NU Music Marathon: From A to Z! >Event Date: May 11, 2003 >Event Time: 3:30 PM - 10:00 PM >Event Location: Lutkin Hall >Event Description: Multiple venues and times. >Opening program: 3:30 p.m., plaza outside Pick-Staiger Concert Hall >Closing program: 8 p.m., Pick-Staiger Concert Hall lobby >Amy Williams and Jay Alan Yim, codirectors >The annual NU Music Marathon features composers Louis Andriessen and John >Zorn, two of the most revolutionary artists working today. Both will be in >attendance for this daylong series of concerts and art installations >focusing on the fascinating intersections between contemporary music and >improvisation, visual arts, and technology. Additional highlights include >performances in memory of Earle Brown, double-bowed and six-string MIDI >cello works played by Frances-Marie Uitti, and a presentation by Virgil >Moorefield's Lucid Dream Ensemble. The program also features several >composer-performers, including renowned bassist Mark Dresser, French >composer-improvisers Etienne Rolin and François Rossé, and sound-sculpture >improviser-pianist Mark Applebaum. Spotlighting rising stars in the >contemporary music world, the marathon also features eighth blackbird, >soprano Tony Arnold, Northwestern's Contemporary Music Ensemble, and >pianists Winston Choi, James Giles, and Jacob Greenberg. >Contact Info: Pick-Staiger Concert Hall, Pick-Staiger(a)northwestern.edu, >phone 847/491-544 >Group: School of Music/Pick-Staiger Concert Hall . > ><< >> << >> << >> << >> << >> > >If that's not detailed enough, you could always Email or >call the hall, or you could Email or call either or both of >the event co~directors: > >http://music.northwestern.edu/people/faculty/comp/comp.html#yim . > _________________________________________________________________ Add photos to your e-mail with MSN 8. Get 2 months FREE*. http://join.msn.com/?page=features/featuredemail

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