B. Clugston

"Perfume of a Critic's Burning Flesh" by Naked City

Sprechen zie Deutsch? "Moritat" is "Mack the Knife."

I've been wanting to pick that up. I've heard some clips and it sounds intriguing.

From the Downtown Music Gallery newsletter... LOU REED/LAURIE ANDERSON/JOHN ZORN - The Stone: Issue 3 - Live The Stone January 10th, 2008 (Tzadik 0004 LTDED; USA) The third issue Benefit for The Stone presents the recordings from the 2 sets of the Reed/Anderson/Zorn improv trio at The Stone in early 2008! [discounted to $20 + tax if purchased in-store with cash; otherwise $21 + tax and/or shipping if using credit card] ALL PROCEEDS [100% of $20] FROM THE SALE OF THIS CD WILL GO DIRECTLY TO SUPPORT 'THE STONE' NON-PROFIT PERFORMANCE SPACE. ONLY WITH YOUR HELP CAN WE KEEP THE STONE ALIVE! It seems hard to believe that these three icons of the NYC art/world would end up collaborating, as well as becoming friends over the past few years. It was a big surprise for many of us at attendance last year for Old Knitting Factory Celebration & Stone benefit at Town Hall organized by Michael Dorf, to see Lou Reed collaborating with John Zorn on stage. It was actually a trio with cellist Jane Scarpantoni that night and you know what - it worked! Laurie Anderson, Lou's life-partner for quite a while now, also performed an inspired set that night as well. In February of this year (2008), Zorn premiered a new piece called "Shir Ha-Shirim" scored for two narrators and five female voices at the Abrons Center. The two narrators were Lou Reed and Laurie Anderson and the piece was most impressive. On January 10th of this year, Zorn put together a Stone benefit show that featured Lou Reed & John Zorn plus Laurie was added as well. The show of course, sold out in advance and was truly something to behold. I caught only the second set but was impressed by the way it unfolded and worked as a collaboration. Lou Reed has been a pioneer of noise/rock guitar since his days in the Velvet Underground, some 40 years ago. His classic solo effort, 'Metal Machine Music,' an often misunderstood masterwork, was recently resurrected and performed by a New Music ensemble in Germany with playing some of the guitar parts. For the Stone gig, it was wonderful to see and hear Lou Reed dig deep into his electric guitar manipulations and unique sounds and show that he is still a master. Each set began with Lou playing solo, then Zorn coming in later and finally Laurie entering on electric violin. The pieces evolved organically all the musicians showed that they are gifted improvisers and played supremely well together. It was quite a special night that only 150 folks could witness due to the small size of The Stone. This disc does capture that great night quite well, so dig deep, my friends and support one of the last great experimental performance places in NYC - The Stone! - BLG CD $21 Four new Tzadik releases for April! THE HUB [JOHN BISCHOFF/CHRIS BROWN/TIM PERKIS/MARK TRAYLE/PHIL STONE/SCOT GRESHAM-LANCASTER] - Boundary Layer [3 CD set] (Tzadik 8050; USA) A new recording by the band that pioneered laptop ensembles over twenty years ago coupled with an historic overview of their recordings, unreleased tracks and video clips of the band in performance. Functioning in the West Coast tradition of composer as instrument builder - redefining music from the ground up - The Hub makes music using electronic and digital systems of their own devising. A natural extension of the late 1970's ensemble the League of Automatic Music Composers, the group has performed worldwide over the past two decades and continues to break new ground in the ever-growing laptop medium. This is the definitive document of this important west coast collective and contains recordings covering three decades of activity. Most of this material is being issued here for the first time, much of it has been unavailable for years, and all of it is some of the most imaginative and compelling electronic music ever made. This specially priced 3 CD set includes a deluxe booklet with photos, technical diagrams and written testaments by group members and collaborators giving new insights and historical perspective to one of the most infamous electronic ensembles since Musica Elettronica Viva. TZADIK COMPOSER SERIES 3 CD set for $27 MAJA S.K. RATKJE - River Mouth Echoes (Tzadik 8051; USA) Maja Ratjke is a remarkable vocalist and composer based in Norway. Her work ranges from orchestral and chamber works to electronics, improvisation and creative combinations of all of the above. This special collection of Maja's work showcases several aspects of this composer's unique and intense approach to sound and features two of her most personal chamber works along with electronic and electro-acoustic works for voice, saxophone and more. TZADIK COMPOSER SERIES CD $14 JEREMIAH CYMERMAN - In Memory of the Labyrinth System (Tzadik 8049; USA) Jeremiah Cymerman is a remarkable clarinetist and conceptualist who now resides in Brooklyn. He has performed and recorded with Matt Welch, Sam Kulik, Mary Halvorson and Jessica Pavone among many others. The bulk of his work centers around creating a new language for the clarinet through extended techniques and the manipulation of microphone placement and Pro Tools editing. This CD presents several radical studio compositions that take the sonic language of the clarinet to some startling and surprising places. A fascinating and extreme debut by this brave young explorer of reed music. TZADIK COMPOSER SERIES CD $14 TANGELE [LLOICA CZACKIS/JUAN LUCAS AISEMBERG/ GUSTAVO /BEYTELMANN] - The Pulse Of Yiddish Tango (Tzadik 8124; USA) Tangele explores the fascinating nexus of Yiddish song and Tango and features songs from European Ghettos and Concentration Camps, and from the Yiddish Theatre in Buenos Aires and New York, radically transformed into the language of Tango by the renowned composer/arranger Gustavo Beytelmann. Together since 2002, this virtuosic trio has been presenting this delightful program, created by singer Lloica Czackis to enthusiastic audiences all over the world and now they have entered the studio for a perfect reading of their repertoire. Tzadik is proud to present this distinctive project, created with a JMI Millennium Award (UK) and recorded with a grant from the Foundation for the Memory of the Shoah (France.) TZADIK RADICAL JEWISH CULTURE SERIES CD $14

My favourite of the Patton/Dunn/Baron group. But I've found this gets diminishing returns after a few spins. Still, it's a lot of fun if you like this kind of stuff. Make that really diminishing returns.

More on this here: http://www.organissimo.org/forum/index.php...6820&st=135

Re: New York Times. All the stories seem to be written in this archaic, faux formal style which clouds the substance of stories. It’s still an institution for those raised on newspapers, but for the younger generation it must be like listening to a teetollalering great uncle talk about how he spent the 1960s organizing church bazaars and guess the pie weight contests. Re: the Coleman concert. I am sure it was a great concert, but the New York crowd may have missed out on an added plum from the preceding tour. I saw the quartet plus Charnett Moffat on a very groovy electric bass play in February.

They had just put up a couple of Coleman's Empty Foxhole recordings.

Finally got around to buying this and it is fantastic music. His compositions are endlessly fascinating. A few rough spots for sure, but nothing to scare off anyone interested in Hill's music. It's almost a year ago that Andrew left us.

I'm a big fan of the latter. A few years ago, Wobble did a pretty good album with Evan Parker called Passage to Hades.

Somone at the Braxton Yahoo group mentioned they contacted Mosaic and For Four Orchestras will be part of the set.

Basel and Dortmund were both 3,000 copies.

Why would it bankrupt Mosaic? A lot of people have been dying to see this music get reissued.

Knock off Time Zones, which is a Teitelbaum date, had no involvement by Cuscuna and is not considered part of the core Arista Braxton recordings, Mosaic may be able to jam this into seven discs. It would be disrepectful not to include For Four Orchestras and For Two Pianos. Braxton's music of this period goes far beyond the quartet stuff.

The Arista material should fit on 8 discs, depending on extra material. There are two versions of 23G that were recorded but rejected for the Berlin/Montreux Concerts. As for the "Freedom" material, the Complete Braxton was a 2 LP set and Silence was 1 LP. Time Zones with Teitelbaum was 1 LP with Braxton on both sides. Silence and Time Zones were reissued on 1 disc by Black Lion.

I just received The Complete United Artists Sessions after ordering it through the Makanda website http://www.mkmjazz.com/ There's some samples on the site. It's a cheaper alternative to the sharks at Amazon marketplace.

That was the best way to approach her in the 1980s. I found her a breath of fresh air back in the 1980s compared to most of the synth-drenched dreck of the time. She was either good at getting attention or the attention just followed her—whatever the case, it's the kind of trait that holds her in high esteem by New York Times music critics and deep suspicion by Organissimo board members in roughly the same measure. For an avant-garde musician, a lot of her stuff has date horribly.

Black Africa on Horo with Joe Daley and Sydney Smart.

Is there anything left? (OJC wise, that is)

Looks like Jymie is playing his Ampeg five-string upright bass. Get the Fresh Sound. Also has a nice date with Jimmy Heath on it.

All depends where you are departing from. If you're American, Montreal will have a more appealing alien wallop, if that's what you are looking for. One of my favourite cities.

Then there's the Havel incident: NEW YORK - The Knitting Factory in New York City is always ready for >anything when John Zorn plays. But Zorn's Chamber Masada found some most >unusual guests in the audience for the second set on Thursday night, May >15. Lou Reed and Laurie Anderson played host to Czech Republic president >Vaclav Havel and his new wife and U.S. Secretary of State Madeline Albright >and their entourage. > >Havel, in town for talks that may bring the Eastern Block into NATO, >contacted Lou Reed prior to his visit to arrange a bit of sightseeing and >clubhopping during his New York sojourn. Reed, who has been seen numerous >times recently at the Knitting Factory as both performer and spectator, >contacted Knitting Factory founder Michael Dorf to arrange a special >reception for Havel. Dorf let John Zorn know what would be happening in >advance, and plans were made. The Knitting Factory was crawling with >secret service before long, and the best was yet to come... > >Little did anyone know that Havel and his wife, escorted by Reed and Laurie >Anderson, would also invite Secretary of State Madeline Albright, holder of >the third highest office in the country. Ms. Albright and Havel >immediately engaged in animated conversation, whereupon Zorn, from the >stage, peered up to the balcony and said, "You up there, shut the f**k up, >listen to the music!" whereupon conversation did in fact cease. >Needless to say an international incident did not occur. Everyone reported having a terrific time and enjoyed the music greatly. Even Zorn knew it had been an historic occasion, and gave Dorf a wink on his way out the door. -30- I've seen Zorn perform twice and he was a perfect gentleman both times. Mind you, audiences out here are mellow to the point of being comatose.

Perfectly reasonable behaviour if you know about Schwartz's. Nothing else compares. Kind of like asking for a Mosaic and getting a Lonehill.

Freddie Hubbard: "Fuck you, white motherfuckers! Well, OK, I'll go home. If you don't like me, kiss my ass! That's right, 'cause you jive, you jive, you jive! You white motherfuckers! You the ones who started this shit! Lemme show you--you the ones--fuck you! Fuck you, you white motherfuckers!"