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

Downtown Music.Net ver. 2.0
by Peter Gannushkin 23 Apr '03

23 Apr '03

Hello All, After about a month of work and several silent updates (you probably noticed these tiny photos' thumbnails), my Downtown Music web site (http://downtownmusic.net/) was completely revamped. Everything is now new: the design, the back-end engine, the message forum, etc. There is also newsletter subscription for those who want to receive site's news. Freshly introduced Links section is still waiting for your contribution, as only a few people suggested the links which were somehow not in my original list. And, of course, any farther suggestions/bug reports/partnership offers are very welcomed too. As a first treat from the new Image Library of the Downtown Music web site I just posted a bunch of photos from recent New York concerts of Derek Bailey, Matt Shipp, Marc Ribot and others. -- Best regards, Peter Gannushkin URL: http://www.downtownmusic.net/

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Re: Jazz Guggenheims
by Ellery Eskelin 22 Apr '03

22 Apr '03

Herb Levy <herb(a)eskimo.com> wrote: > I'm not sure the grant process is much more brutal than getting club > gigs or record contracts Perhaps, but I see that as no great virtue. > I certainly don't think of it as any kind > of remedy to those situations. It's just another option that's > somewhat more clearly public I don't know...I've always thought that grants were supposed to be a way to recognize artists in a way that the free market does not, at least with any consistency. Maybe I'm wrong on this? > and, because in most instances, the > panel makeup changes periodically, more open to some kinds of > vagaries that I guess you're referring to when you use the word > "lottery." I used the word lottery because once you remove the handful of submissions that clearly don't meet the prerequisite guidelines the rest might as well be chosen out of a hat, regardless of who's on the panel and how often that panel changes. Not that a panel is incapable of rewarding deserving artists, but due more to the fact that there are numerous deserving submissions that will never be funded due to financial limitations. > As I tried to be clear earlier, I don't think any funding option, > whether it's the slightly more business-related model of gigs and > record companies, or some kind of grant application, is going to work > for everyone and for many artists, unfortunately, none of them will > work very well at all. True. > As I also tried to be clear earlier, I don't think it's reasonable to > expect otherwise. It may be the case that everyone has the right to > express themselves, but that doesn't mean that any one else is > obligated to buy a particular self-expression. True again, but rightly or wrongly I think the grant situation is seen as being more altruistic and fair in some way, in counterpoint to the purely free market system. And there are the post grant press releases that come from these organizations taking great pride in having determined who is deserving and the accompanying inference that these are necessarily the best folks to fund. Is this really any different than winning a critics poll? And then there's the cache of prestige associated with them. Of course I don't blame the grant presenters, they're doing the best they can and they should continue to do so. I just wanted to point out that the system of giving out grants is really just as f****ed up from a musician's standpoint as trying to get a gig or record deal, maybe more. Of course, some folks are better at it than others, for reasons usually having little to do with music, as has been covered. However, it's probably good to point out that in jazz and improvised music there are usually some kinds of subsidies supporting whatever the endeavor once you scratch the surface. Festivals often receive corporate support, smaller presenting organizations often receive support from local businesses or regional arts councils, recording labels are frequently supported by more popular divisions of the company in the case of majors or run by someone who can afford to lose money year after year in the case of many independents. Even these grassroots tours throughout the US are often supported by a couple/few enthusiastic and industrious music fans in each town who devote their time, energy and money to producing concerts that would otherwise not happen. If the whole thing were to have to depend completely on the number of butts on the seats...well...you get the picture... ================================= ELLeRY ESKELiN/MiCHELLE VAn NaTTA RaMiChElLeRy/PrImE SoUrCe PrOdUcTiOnS http://home.earthlink.net/~eskelin/ =================================

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Re: John Zorn in Jazz a Vienne 2003
by IOUaLive1＠aol.com 22 Apr '03

22 Apr '03

In a message dated 4/22/2003 4:24:19 AM Eastern Daylight Time, Pascal.Cortes(a)dstu.univ-montp2.fr writes: > True, that's a beautiful place (Roman theater on the side of the hill with > view to the roofs of the old town and to the Rhone river).... and guess > what ?..... it's my hometown !... > More seriously... it's true that many shows of the Vienne Jazz festival are > > televised on the french TV and broadcasted on the radio. But not all of > them. It always depends on the artist's will. Some musicians do refuse any > recording (audio or video) of the show to be made.... and of course, any > broadcasting of the show. Some musicians even have their staff seriously > hunting all audio or video recording/bootleg that could be made. Live > transmission on giant screens on each side of the scene: fine. Recording : > forbidden. That was clearly the case, for example, of the late Miles Davis > (my brother was working in the video staff at that time and wasn't able to > bring anything back home...). > > Then, what Zorn's attitude is going to be on that topic.... I honestly > don't know. > Anyone here know him well enough to have an idea ? Are we likely to be able > > to get nice Electric Masada video from the Fench TV ???? Very likely. Zorn is a professional musician, and if they are offering up the dough, he'll do it. Theres been numerous other radio and TV broadcasts of his performances, so it's possible. Enjoy the show, in any event....

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Re: Quartet for the End of Time
by Patrice L. Roussel 22 Apr '03

22 Apr '03

On Mon, 21 Apr 2003 23:37:00 -0700 "serge dautricourt" wrote: > > Any favorite interpretations on this one? or any other pieces by Messiaen > besides Des Canyons Aux Etoiles? thanks, serge I have my favorite, but it is more for nostalgic reasons than anything else. It is on Erato with Guy Deplus on clarinet. I am not even sure that there is a bad version of LE QUATUOR POUR LA FIN DES TEMPS. Besides that, I highly recommend the following two: ------------------------------------------------------------------------------ *** - HOMMAGE A OLIVIER MESSIAEN: Olivier Messiaen 1/ Applause 0:20 2/ Sept Haikai (Messiaen) 21:00 3/ Couleurs De La Cite Celeste (Messiaen) 16:10 4/ Un Vitrail Et Des Oiseaux (Messiaen) 8:20 5/ Oiseaux Exotiques (Messiaen) 14:47 Recorded at the Theatre des Champs-Elysees, Paris on November 26, 1988 Yvonne Loriod: piano; Ensemble Intercontemporain; Pierre Boulez: conductor. 1994 - Montaigne/Auvidis (France), MO 781111 (CD) ------------------------------------------------------------------------------ *** - REVEIL DES OISEAUX/TROIS PETITES LITURGIES: Olivier Messiaen 1/ Reveil Des Oiseaux 2/ Trois Petite Liturgies De La Presence Divine Yvonne Loriod: piano; Jeanne Loriod (5-7): ondes Martenot; Orchestre National de France directed by Kent Nagano. 1996 - Erato (France), 0630-14702-2 (CD) ------------------------------------------------------------------------------ Also, hard to resist to his wonderful piano duo: ------------------------------------------------------------------------------ *** - VISIONS DE L'AMEN: Olivier Messiaen Maarten Bon: piano; Reinbert de Leeuw: piano. 2002 (?) - Montaigne (France), MO782159 (CD) ------------------------------------------------------------------------------ whose haunting beauty never ceases to amaze. Patrice.

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Adachi Tomomi
by Efrén del Valle 22 Apr '03

22 Apr '03

Hi, Among all the Tzadik stuff I got in the mail yesterday, I'd urge you to listen to Adachi Tomomi Royal Chorus' "Yo", which is probably the most hilarious release of the label to date. As the obi says, there's anything from hardcorish tracks to Buddish Chant-like hypnotic pieces, cartoons vocals bordering ridicule, animal onomatopeias, etc... all by a six-piece mixed chorus with a great sense of humor. One of the most absurd, dadaist albums I've listened to in my life. Best, EfrÃ©n del Valle n.p: JZ "Chimeras" (Tzadik) also the "Drury-less" version. Great album. ___________________________________________________ Yahoo! Messenger - Nueva versiÃ³n GRATIS Super Webcam, voz, caritas animadas, y mÃ¡s... http://messenger.yahoo.es

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Re: John Zorn in Jazz a Vienne 2003
by IOUaLive1＠aol.com 22 Apr '03

22 Apr '03

In a message dated 3/26/2003 5:30:53 PM Eastern Daylight Time, boris.campan(a)vnumail.com writes: > yesterday evening was revealed the program of Jazz à Vienne 2003 (Vienn in > France, not in Austria). > > And what a good surprise to see on the 12nd of July : > > > Bill Laswell Material > LineUp : Bill Laswell (b), Ejigayehu "Gigi" Shibabaw (voc), Nils Petter > Molvaer (tp) Henry Threadgrill (s, fl), Amina Claudine Myers (kbs, org), > Hamid Drake (dms,perc), Karsh Kale (dms, tabla), Aiyb Dieng (perc), DJ Disk > (DJ). > > > and > > John Zorn Electric Massada > LineUp : John Zorn (s), Marc Ribot (g), Jamie Saft (kbs),Trevor Dunn (b), > Cyro Baptista (perc), Kenny Wollesen (dms). > > Thats a beautiful place to see a concert.... (as long as its not raining!). And I'm pretty sure every show from that festival is televised, so keep your eyes open.

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Cage on Jazz
by serge dautricourt 22 Apr '03

22 Apr '03

i was listening to "Blowing in from Chicago" by Clifford Jordan and John Gilmore. I was really digging the improv of the two horns, but something kept me from enjoying the music more. I incidentally fell upon this quote by John Cage from the Silence list: http://www.newalbion.com/artists/cagej/silence/html/1996q1/0104.html ...and realized that it was the incensant steady beat that bothered me about most bop-based jazz, and hip-hop for that matter. i am curius to know what other people on this list thing about Cage's statement. serge _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail

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Re: Scream
by Mark Saleski 22 Apr '03

22 Apr '03

shooby taylor for jazz Guggenheim!!! >says you. i think scooby is pretty ultimate. > >sh > -- 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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new music auctions
by Herb Levy 22 Apr '03

22 Apr '03

Once again, I've got many new music items for auction on ebay. Some of the most relevant items are several issues of the Dutch cassette magazine Slowscan featuring electro-acoustic music by Nicolas Collins, Ron Kuivila, Gordon Mumma, and David Rosenboom; the full score of Cornelius Cardew's Great Learning; a first edition of Cage's I-VI with the original cassettes; Phillip Perkins' electro-acoustic marvel Neighborhood with a Sky; first and/or early LPs by Michael Byron, Joseph Celli, Paul Dresher, Harley Gaber, Daniel Goode, Guy Klucevsek, Daniel Lentz, Ned Rothenberg, ROVA Quartet; and lots more. More, similar items are on the way for the next month or two. Check it out: http://cgi6.ebay.com/ws/eBayISAPI.dll?ViewSellersOtherItems&userid=hrebll If this link doesn't work for you, search ebay for seller <hrebll>. Thanks a lot. -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb(a)eskimo.com

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Re: Jazz Guggenheims
by Herb Levy 22 Apr '03

22 Apr '03

Ellery Eskelin wrote: Just for the record, Chamber Music America's Jazz Grant (Doris Duke Jazz Ensembles Project - New Works: Creation and Presentation) does NOT do this. They did it the first year but have since stopped doing so. That's really dumb for so many reasons, but in this regard CMA an exception to nearly every other funding agency in the field. Also, to be eligible to apply one must be a Chamber Music America member at the organization level which costs about $120. That's a pretty stiff application fee for many people. Also pretty dumb for a program that should be a kind of outreach to a new constituency for them, though I sort of understand why it makes sense to them for the categories of support for the "traditional" chamber groups they've served in the past. They should at least waive the membership fee for bands that haven't dealt with them previously. My experience on both sides of this (having sat on panels and having been an applicant) is that it's a pretty brutal process as far as music goes. It's great for the folks who've gotten one and it's good for the audience who gets to experience new works that otherwise might not get produced, but it's kind of indicative of the inherent unfairness of our capitalist system with respect to the arts that it takes something barely more effective than a lottery to try and remedy it. I'm not sure the grant process is much more brutal than getting club gigs or record contracts, & I certainly don't think of it as any kind of remedy to those situations. It's just another option that's somewhat more clearly public and, because in most instances, the panel makeup changes periodically, more open to some kinds of vagaries that I guess you're referring to when you use the word "lottery." As I tried to be clear earlier, I don't think any funding option, whether it's the slightly more business-related model of gigs and record companies, or some kind of grant application, is going to work for everyone and for many artists, unfortunately, none of them will work very well at all. As I also tried to be clear earlier, I don't think it's reasonable to expect otherwise. It may be the case that everyone has the right to express themselves, but that doesn't mean that any one else is obligated to buy a particular self-expression. -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb(a)eskimo.com

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