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

Electric Masada on Rai 3, and a call for favorite live streams
by Dan Frank Kuehn 22 Jul '03

22 Jul '03

Did anyone record the webcast (or actual FM broadcast) of Electric Masada on Rai 3 last Friday 10:30 pm Rome time? Will trade Dave Douglas Septet live from a couple weeks ago (hour and a half, killer). Man, it's hard to keep up with the webcasts of great music. Always grateful to anyone who can give warning here on this list of upcoming events. Rai 3's RealAudio stream is at rtsp://live.media.rai.it/redundant/radiotre.rm I think that'll work. The live jazz broadcast schedule is at http://www.radio.rai.it/radio3/radio3_suite/radio3_suite_jazz/index.cfm Announcements seem to be pretty last minute, so you really gotta check every day. And carefully calculate the time difference - 12 hours here on Maui! Anyone else have any other worldwide radio stream addresses and schedules to share, where we might occasionally grab a taste of something good? This morning(tonight, Rome time??!!!), on Rai 3, I caught Myra Melford/Cuong Vu/Stomu Takeishi/Elliot Humberto Kavee. They cook! Dan

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gary smith recordings?
by K. Scott Handley 22 Jul '03

22 Jul '03

I'm interested to know if anyone has soome opinions on guitarist Gary Smith's recordings, particularly recent (?) outings with the groups Mass and Glass Cage, in duo with Japanese saxophonist Masayoshi Urabe, with percussionist Joe Gallivan, and solo. I haven't heard a thing by him, though I have heard vague comparisons with Derek Bailey and noise, and I have enjoyed the record of a group that's collaborated with him elsewhere, improv/noise savages Aufgehoben No Process. Any help would be appreciated. ----s

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Japanese New Music Festival. Europe Tour 2003 (was: Ruins)
by Witkowski, Marcin 22 Jul '03

22 Jul '03

Hi I'm one of the organizer (in Poland) Here you are complete schedule: October 2 OSLO / So What 3 STAVANGER / Tou Scene 4 HELSINKI / Bar Alahuone 6 GOTHENBURG / Nefertiti 8 WARSAW / CSW 9 KATOWICE / Hipnoza 10 WIEN / Szene 11 ZAGREB / Kset 12 WELS / Shlachthof 14 BERLIN / Ausland 15 HAMBURG / Molotow 16 KOLN / Loft 17 LONDON / the Garage 18 BIRMINGHAM / Birmingham Academy 2 19 DUNDEE 20 DUBLIN / Temple Bar Music Centre 21 BELFAST 22 NIJMEGEN / Lux 23 UTRECHT / SJU Jazzpodium 24 BRUSSEL / Magasin 4 25 PARIS / Mains d'Oeuvres 27 BORDEAUX / Zoobizarre 28 TOULOUSE / Le Ramier 29 BARCELONA / Sala Apolo 30 GENEVE / Kab Usine 31 BERN / Reithalle November 1 ZURICH / Rote Fabrik 2 SARDINIA 6 ROME 7 BOLOGNA 8 MILANO Lineup: ZUBI ZUVA X AKATEN RUINS ZOFFY ACID MOTHERS TEMPLE (mode HHH) >When Ruins, Acid Mothers Temple, etc. hit Europe later this year, everyone >out there should make arrangements to go! It should be a great show. Bye Marcin *********************************************************************************************** The information contained in this message or any of its attachments may be confidential and is intended for the exclusive use of the addressee(s). Any disclosure, reproduction, distribution or other dissemination or use of this communication is strictly prohibited without the express permission of the sender. The views expressed in this email are those of the individual and not necessarily those of Sony or Sony affiliated companies. Sony email is for business use only. This email and any response may be monitored by Sony United Kingdom Limited. (6) ***********************************************************************************************

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Re: Electric Masada - Barbican London
by Alan Marshall 22 Jul '03

22 Jul '03

Hi, A friend and I went and we thoroughly enjoyed ourselves The support band "Roberto Rodrigues" were fantastic, I'm not familiar with this type of music at all but we both really enjoyed it, will be buying his CD soon :) When I saw Zorn last year on the Gift, that was great, and 2 year ago with Dave Lombardo on drums was awesome, but this line up with Kenny Wollesen was even more amazing, I though Lombardo was a god (or should that be demon) like genius on drums, but Wollesen was just incredible. I would write more to describe it but I don't have the best way with words, I think the Guardian article is pretty accurate. The whole sound was really in your face, and a joy to listen to, out of interest is the Masada Guitars CD anything like this? Saw Tomahawk, and Melvins on Friday (unfortunately missed first 2 bands) Tomahawk were disappointing, not as good as last time they played London, but it was the 1st time I had seen the Melvins, and they were great, played some old and new stuff, which was nice :) Alan admars(a)ntlworld.com p.s. I'd be interested in a trade for the Electric Masada live > > Message: 6 > Date: Tue, 22 Jul 2003 15:12:03 +0100 > From: Richard Gardner <richard.gardner(a)colourtone.co.uk> > Subject: Electric Masada - Barbican London > To: <zorn-list(a)mailman.xmission.com> > Message-ID: <BB4304C3.2303%richard.gardner(a)colourtone.co.uk> > Content-Type: text/plain; charset="US-ASCII" > > I thoroughly enjoyed the whole gig but here is what the Guardian has to say > today. (As usual very quick OCR so beware the errors.) > > John Zorn > > Barbican, London > > **** > Twenty years ago, on his first visits to Britain, John Zorn sounded like an > inspired sax free improviser who would remain consigned to the same > fascinating twilight world as most practitioners of that lawless art. Now > he's a kind of star, playing a dramatic mix of thrash rock, terrifying > freeblasting, quirky lyricism and Ornette Coleman influenced jazz that packs > concert halls. > > The 2003 Barbican Jazz series ended with the latest edition of Zorn's Masada > project: traditional Jewish melodies and scale structures dropped into a > cauldron of jump-cut free improvising, > > The band followed a stirring performance by Zorn protege Roberto Rodriguezs > El Danzon de Moises, a fascinating investigation of rarely visited links > between Cuban and Jewish music, mostly spawned in the expat communities of > Miami. Thrilling improvisational virtuosity came from klezmer clarinettist > David Krakauer, viola player Meg Okura and Rodriguez himself, a one-man > Cuban percussion section. > > Zorn's Electric Masada is the Incredible Hulk version of a project that has > previously framed these variously vivacious and dolorous tunes within jazz > and chamber music formats. After a perfunctorily shouted name check, Zorn > signalled a massive chord explosion that should have come with a fasten > seatbelts sign. > > Zorn's high pitched dissonant sax and the remarkable drummer Kenny Wollesen > a kind of free improv 1970s stadium rocker then whistled above and > thundered beneath the ear splitting melee. But Zorn has a composer's sense > of form the root of his popularity. With urgent, jabbing gestures at the > sextet, he stopped the onslaught dead, coaxed a relaxed Latin percussion > groove into life and threaded in a typically lilting Masada melody. More > barrages, more lyricism, some David Sanborn-on-acid distorted funk > saxophone, and the first of several hell driving solos from Zorn regular > Marc Ribot followed, with Ribot looking about as transported as a guitarist > can while still sitting down. > > A Wollesen drum intro like a free Gene Krupa led to a typically fragmented > Zorn episode, where he pointed at each player in turn to demand a brief > outburst of improvisation, then a cyclonic fast-funk episode swelling with > electronics, a wash of impressionistic, seagull calling sounds, an > engagingly simple melody like a Jewish Zorba the Greek, a delicious Ribot > slow reverie and an acceleration to another tumult, Zorn by now unleashing > quacking sounds from the detached sax mouthpiece. It was tight furious, > intense, startlingly varied, and a howling audience demanded a raw and > dissonant encore when they abruptly signed off. > > John Fordham > > NP Electric Masada - Live at the Barbican >

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Ruins
by Jorge Gallegos 22 Jul '03

22 Jul '03

Caught Ruins last tour date here in Seattle. Needless to say, it was fuckin unbelievebable. Cover it all, from Stonehage, Burning Stone to shit I didn't recognize (perhaps new material). They flew through both the Sabbath and Mahavishnu medleys. Hyper high energy throughout the evening even though Yoshida seemed clearly tired before hitting the stage.Once on, they were an unstoppable hurricane. Great crowd and opening acts, especially Oxygen Thieves who performed a really well suited Ruins influenced and beyond set. A duo of drummers, were one plays simultaneously drums and guitar and the other drums and bass; thrashing through a union of metal, free jazz and major insanity. --------------------------------- Do you Yahoo!? Yahoo! SiteBuilder - Free, easy-to-use web site design software

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Joe Morris - Singularity
by Mark Saleski 22 Jul '03

22 Jul '03

i was wondering what you all thought about Joe Morris' solo recording 'Singularity'. here's a link to my thoughts on it: http://www.blogcritics.org/archives/2003/07/22/110136.php mark -- Mark Saleski - marks(a)foliage.com | http://www.foliage.com/~marks "Nothing in the world is more haughty than a man of moderate capacity when once raised to power." - Baron Wessenberg

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THROBBING GRISTLE REUNION FESTIVAL!
by tune dukez 22 Jul '03

22 Jul '03

anybody going to the throbbing gristle reunion festival may/june 2004 in northern england? i need a place to stay. line-up include: alec empire, people like us, merzbow and cosey fanni tutti + chris cristofferson. --------------------------------- Do you Yahoo!? Yahoo! SiteBuilder - Free, easy-to-use web site design software

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Electric Masada - Barbican London
by Richard Gardner 22 Jul '03

22 Jul '03

I thoroughly enjoyed the whole gig but here is what the Guardian has to say today. (As usual very quick OCR so beware the errors.) John Zorn Barbican, London **** Twenty years ago, on his first visits to Britain, John Zorn sounded like an inspired sax free improviser who would remain consigned to the same fascinating twilight world as most practitioners of that lawless art. Now he's a kind of star, playing a dramatic mix of thrash rock, terrifying freeblasting, quirky lyricism and Ornette Coleman influenced jazz that packs concert halls. The 2003 Barbican Jazz series ended with the latest edition of Zorn's Masada project: traditional Jewish melodies and scale structures dropped into a cauldron of jump-cut free improvising, The band followed a stirring performance by Zorn protege Roberto Rodriguezs El Danzon de Moises, a fascinating investigation of rarely visited links between Cuban and Jewish music, mostly spawned in the expat communities of Miami. Thrilling improvisational virtuosity came from klezmer clarinettist David Krakauer, viola player Meg Okura and Rodriguez himself, a one-man Cuban percussion section. Zorn's Electric Masada is the Incredible Hulk version of a project that has previously framed these variously vivacious and dolorous tunes within jazz and chamber music formats. After a perfunctorily shouted name check, Zorn signalled a massive chord explosion that should have come with a fasten seatbelts sign. Zorn's high pitched dissonant sax and the remarkable drummer Kenny Wollesen a kind of free improv 1970s stadium rocker then whistled above and thundered beneath the ear splitting melee. But Zorn has a composer's sense of form the root of his popularity. With urgent, jabbing gestures at the sextet, he stopped the onslaught dead, coaxed a relaxed Latin percussion groove into life and threaded in a typically lilting Masada melody. More barrages, more lyricism, some David Sanborn-on-acid distorted funk saxophone, and the first of several hell driving solos from Zorn regular Marc Ribot followed, with Ribot looking about as transported as a guitarist can while still sitting down. A Wollesen drum intro like a free Gene Krupa led to a typically fragmented Zorn episode, where he pointed at each player in turn to demand a brief outburst of improvisation, then a cyclonic fast-funk episode swelling with electronics, a wash of impressionistic, seagull calling sounds, an engagingly simple melody like a Jewish Zorba the Greek, a delicious Ribot slow reverie and an acceleration to another tumult, Zorn by now unleashing quacking sounds from the detached sax mouthpiece. It was tight furious, intense, startlingly varied, and a howling audience demanded a raw and dissonant encore when they abruptly signed off. John Fordham NP Electric Masada - Live at the Barbican

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Fred Lane
by Gerald Brennan 22 Jul '03

22 Jul '03

I was wondering when Alcohol was finally gonna bring that out. The 'Pataphysical Revue music is QUITE different from the two Shimmy Disc albums even though the personal are by and large the same on all of them. Lane (aka Time Reed) was the Beefheartian genius behind his own records, he was simply a brilliant guest at the 'Pataphysical Revue. He sings none of his own songs on that record, just "Volare" and "My Kind of Town (Chicago Is)"--albeit brilliantly--along with some monologues. The rest of the record is more "concept" than "Fred Lane." Sort of a "Fluxus of the Deep South" kind of thing. I don't have my dub of the original LP handy, but there's "The Three Parts of Gaul" (or something in Latin) which is their recreation of ancient Roman music, Anne LeBaron's "Concerto for Active Frogs" wchich was debuted at the Revue, and some similar things. (LeBaron went to high school with Lane.) Don't expect great (or even good) sound quality from the reissue, although it's been improved (I hear) from that of its original LP release on Say Day-Bew Records. I LOVE Fred Lane's albums, they hit me on so many levels, they disturb me. The "Pataphysical Revue, on the other hand, is more an interesting curiosity. It's a warm up for the real thing. What I want to hear is the THIRD Fred Lane record that is still languishing half-finished in the can. Jerry ================ Gerald E. Brennan PO Box 4631 Arcata, CA 95518 USA Message: 7 Date: Sat, 19 Jul 2003 17:18:15 -0700 From: Chris Selvig <selvig(a)earthlink.net> Subject: Fred Lane To: zorn-list(a)mailman.xmission.com Message-ID: <5.2.0.9.0.20030719170623.02624030(a)pop.earthlink.net> Content-Type: text/plain; charset="us-ascii"; format=flowed I see on the new Forced Exposure update that Alcohol's departing from el-ac to reissue Ron 'Pate & His Debonairs' 'Pataphysical Revue, with the Rev Fred Lane's whacked ramblings. I know I'm getting the CD eventually & maybe this'll answer my questions, but does anyone know much about the Fred Lane orbit? I really loved the LPs Shimmy-Disc put out & although there's not much to go on, the inner sleeve either has pictures of dozens of real Lane LPs or fake ones he made up. For the uninitiated, they're amazing collisions of big-band music, free jazz, and post-acid Dadaism. Chris Selvig ------------------------------ Message: 9 Date: Sun, 20 Jul 2003 02:18:10 -0400 From: "josephneff" <jneff(a)visuallink.com> Subject: RE: Fred Lane To: <zorn-list(a)mailman.xmission.com> Message-ID: <CGEILDCHKAAPHDAMCGJHCEODCNAA.jneff(a)visuallink.com> Content-Type: text/plain; charset="us-ascii" Hello, ....there was an article in the July '01 Mojo about this reissue. The Debonairs were an extension of a group of University of Alabama dada crazies that included Davey Williams, LaDonna Smith, and Anne LeBaron. The group did a batch of exhibitions under the name Raudelunas, including a musical variety show, 'The Pataphysical Revue', where Fred Lane was the M.C. and he was backed for his part of the show by the Debonairs. The album is a document of that particular show. And yeah, it sounds like it'll sound pretty damn spectacular. Originally it was pressed in an edition of 200, w/ handmade pizza-box cardboard silk-screened sleeves. The article doesn't mention that there were other releases between "Pata Revue" and the Shimmy Disc albums (though "Pata" was reissued twice), so the lovely looking LP covers on the back of "From the One That Cut You" (yup, I ogled them numerous times, wondering about authenticity) are either fake or possibly different covers for the first "Pata Revue" press. Maybe the booklet from the new CD will shed further light on this. I'll back up the claim that the Lane albums on Shimmy Disc are some kinda great. IIRC, they are combined on one CD that is probably still floating around for sale. The Lane track on the "Lyrics by Ernest Noyes Brookings" comp is pretty killer, also. I remain... Joseph

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Re: Filmworks 14 and Unknown Masada
by Herb Levy 21 Jul '03

21 Jul '03

Efren del Valle<efrendv(a)yahoo.es> wrote: > --- Theo Klaase <river_of_dogs(a)yahoo.com> escribiÛ: >>It's >> the >> compositions themselves, like I've heard these same >> tunes on other Zorn releases. Anyone else get this >> feeling? Like Zorn is essentially creating the same >> composition over and over. Is he running out of >> gas? > >Could be, but he seems to have approached the >Jewish-stuff from a different angle this time and as >far as I'm concerned, the compositions are among the >strongest of his latest stuff. >I don't get that reiterative feeling in comparison to >his former albums, but perhaps inside "Filmworks XIV" >itself. OK, it's a soundtrack, and it's all about a >few themes with variations, but the latter don't seem >to "vary" that much here. At least you noticed some >actual differences in "Invitation to a Suicide", for >example, but the sound is too homogeneous in this >case. > >> I don't think so but I do think this "need" for >> Klezmer-like compositions is limiting in vision. So >> it's a Jewish movie (again), why box oneself in? > >Maybe we were used to short-life Zorn projects and we >perceive this Jewish period as repetitive, I don't >know. > >Best, > >EfrÈn del Valle Hi, It's my understanding that the Masada compositions were written fairly quickly as a large (200+) collection of melodies that could be performed by bands with a variety of instrumentations. These are not a "short-life" Zorn project in the sense that he has continued to record and tour with these material played by several different ensembles, but, again, as I understand it, he's not writing new Masada material, so compositionally at least, Masada is no more or less short-lived than many other of Zorn's projects. Most of the newer compositions that he's performed and/or recorded (Chimera & the other recent "classical" pieces, for example) seem largely unrelated to the Masada tunes. As a touring package and as recordings, it's probably MUCH easier to sell any of the various Masada projects (those are, for the most part, simple, pretty tunes played in straightforward recognizable styles) than Zorn's composed works, but it seems as if Zorn is currently putting a lot of his compositional energy into writing for "classical" performers and ensembles. And as for the use of Klezmer-style music for movies, many film music jobs are entirely work-for-hire situations; they select a particular composer to write particular kinds of music. While we may know a broad range of what Zorn is capable of, for many film producers it's more likely a matter of "get me that guy with the hipster reputation that writes Jewish-themed music." Bests, Herb -- Herb Levy P O Box 9369 Fort Worth, TX 76147 herb(a)eskimo.com

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