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Some Notes on John Zorn's Cobra
Some Notes on John Zorn’s Cobra Author(s): JOHN BRACKETT Source: American Music, Vol. 28, No. 1 (Spring 2010), pp. 44-75 Published by: University of Illinois Press Stable URL: http://www.jstor.org/stable/10.5406/americanmusic.28.1.0044 . Accessed: 10/12/2013 15:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of Illinois Press is collaborating with JSTOR to digitize, preserve and extend access to American Music. http://www.jstor.org This content downloaded from 198.40.30.166 on Tue, 10 Dec 2013 15:16:53 PM All use subject to JSTOR Terms and Conditions JOHN BRACKETT Some Notes on John Zorn’s Cobra The year 2009 marks the twenty-fifth anniversary of John Zorn’s cele- brated game piece for improvisers, Cobra. Without a doubt, Cobra is Zorn’s most popular and well-known composition and one that has enjoyed remarkable success and innumerable performances all over the world since its premiere in late 1984 at the New York City club, Roulette. Some noteworthy performances of Cobra include those played by a group of jazz journalists and critics, an all-women performance, and a hip-hop ver- sion as well!1 At the same time, Cobra is routinely played by students in colleges and universities all over the world, ensuring that the work will continue to grow and evolve in the years to come. -
Open Systems in Dialogue OPEN SYSTEMS 2005 Festival for Avant
Open Systems in Dialogue OPEN SYSTEMS 2005 Festival for avant-garde music, performance and sound art 17 - 20 November 2005 · Bochum I Dortmund I Essen I Herne New approaches, new goals, extension of the artistic space: From 17 – 20 November 2005 interdisciplinary integration of musical encounters will set the tone in the German cities Bochum, Dortmund, Essen and Herne. OPEN SYSTEMS, the festival for avant-garde music, performance and sound art in Germany’s Ruhr-area, promotes encounters between artists from different fields with the aim of developing and realizing ideas in a creative environment. Amongst the highlights of the fifteen concerts are performances by ARTO LINDSAY, the ARDITTI QUARTET, the pioneers of net music THE HUB, Tortoise guitarist JEFF PARKER, as well as world premières of works by the blind composer MOONDOG. Dance performances, video installations, lectures, the club lounge and a school project round off the programme. OPEN SYSTEMS stands for stylistic enrichment as well as exciting musical encounters. Collaboration with NOVEMBER MUSIC, the Belgian-Dutch festival for currently happening music, which contributes to five of the concerts on the programme, the Luxemburg Society for Contemporary Music (LGNM) and the WDR Studio Acoustic Art will intensify international networking of artists. The OPEN SYSTEMS festival acts as an artistic laboratory, as a platform for new ideas and approaches: OPEN SYSTEMS – the name refers to systems which interact with others. “Whether acoustic or electronic, improvised or composed, classical or popular, Western or non-European – the festival shows us music which is thriving and very now, and presents it using dialogue and contrast. -
BAM Presents Brazilian Superstar Marisa Monte in Concert, May 1 & 2
BAM presents Brazilian superstar Marisa Monte in concert, May 1 & 2 SAMBA NOISE Marisa Monte With special guests Arto Lindsay, Seu Jorge, and more TBA BAM Howard Gilman Opera House (30 Lafayette Ave) May 1 & 2 at 8pm Tickets start at $35 April 8, 2015/Brooklyn, NY—Renowned Brazilian singer/songwriter Marisa Monte makes her BAM debut with two nights of contemporary Brazilian popular music in a show specifically conceived for the BAM Howard Gilman Opera House. The performances feature Monte’s hand-picked band and guest artists. Praised by The New York Times as possessing “one of the most exquisite voices in Brazilian music,” Marisa Monte has been the benchmark for excellence among female singers in Brazil since she burst upon the scene in 1987. As she approaches the 30-year mark of her career, she still commands the same admiration and prestige that greeted her stunning debut. Her 12 CDs and seven DVDs have sold over 10 million copies worldwide and garnered 11 Latin Grammy Award nominations (winning four) and eight Video Music Brazil awards. For her BAM debut, she will perform with artists that are closely associated with her, including American producer/composer Arto Lindsay, Brazilian singer/songwriter/actor Seu Jorge, and others to be announced. About the Artists Born in Rio de Janeiro, the home of samba, Marisa Monte honed her singing skills with operatic training in in Italy. Her work embraces the traditions of MPB (música popular brasileira) and samba within a pop format that is modern and sophisticated. Aside from being a talented composer—she recorded her own work starting with her second album, Mais (EMI-Odeon, 1991), produced by Arto Lindsay—Monte is considered one of the most versatile performers in Brazil. -
Goodbye 20Th Century: Noise, Modernism, Aesthetics
1 Goodbye 20th Century: Noise, Modernism, Aesthetics Invited paper given at Noisetheorynoise#1, March 6 2004, Centre for Research in Modern European Philosophy, Middlesex University David Cunningham There is a familiar complaint that, by contrast to our resources for articulating the visual world, our dominant verbal languages lack a similarly rich vocabulary of sound. Yet, despite (or because of) this apparent linguistic ‘lack’, noise as a specific figure of excess – with its accompanying metaphorics of the ‘ear-splitting’, the ‘over- powering’, or even the ‘unlistenable’ - has often seemed particularly liable to provoke a concomitant rhetorical excess on the part of its would-be theorists. Such rhetoric - which continually risks drifting into the utopianist fantasy of a ‘matter’ totally liberated from all formal ‘construction’ – no doubt takes shape, to some crucial degree, through its inevitable relation to the historically-conditioned figure of ‘excess’ itself. (‘Noise’, after all, is one of those disconcerting forms that Burke associates with the category of the Sublime, that canonical philosophical articulation of excess). In this regard, it is not perhaps coincidental that a certain contemporary ‘noise music’ has often been seen to make common cause with a particular discourse of bodily, material ‘transgression’, which has its neat equivalents in both literature and the visual arts. Yet, as the conceptual artists Art & Language argue, in a recent article, ‘it does not follow’ from the perhaps ‘over-intellectualized delibidinized’ -
Blues in the Blood a M U E S L B M L E O O R D
March 2011 | No. 107 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com J blues in the blood a m u e s l b m l e o o r d Johnny Mandel • Elliott Sharp • CAP Records • Event Calendar In his play Romeo and Juliet, William Shakespeare wrote, “A rose by any other name would smell as sweet.” It is a lovely sentiment but one with which we agree only partially. So with that introduction, we are pleased to announce that as of this issue, the gazette formerly known as AllAboutJazz-New York will now be called The New York City Jazz Record. It is a change that comes on the heels of our separation New York@Night last summer from the AllAboutJazz.com website. To emphasize that split, we felt 4 it was time to come out, as it were, with our own unique identity. So in that sense, a name is very important. But, echoing Shakespeare’s idea, the change in name Interview: Johnny Mandel will have no impact whatsoever on our continuing mission to explore new worlds 6 by Marcia Hillman and new civilizations...oh wait, wrong mission...to support the New York City and international jazz communities. If anything, the new name will afford us new Artist Feature: Elliott Sharp opportunities to accomplish that goal, whether it be in print or in a soon-to-be- 7 by Martin Longley expanded online presence. We are very excited for our next chapter and appreciate your continued interest and support. On The Cover: James Blood Ulmer But back to the business of jazz. -
Caetano Veloso by Andy Beta Contributor in the History Books, It Was on March 31St, 1964 That a Military Coup Ousted Brazilian President João Goulart
Caetano Veloso by Andy Beta Contributor In the history books, it was on March 31st, 1964 that a military coup ousted Brazilian President João Goulart. The U.S.-backed junta overtook all branches of government, ending nearly a century of newfound democracy for the one-time adjunct of the Portuguese empire and subjecting the country to two decades of increasingly repressive military rule. In Caetano Veloso’s 2003 memoir Tropical Truth: A Story of Music & Revolution in Brazil, he is adamant that the date is a lie: The coup actually took place on April Fool’s Day. Four years into the new regime, then-twentysomething Brazilian pop singer Veloso recorded his first solo album. But the first voice you hear on his 1968 self-titled release isn’t that of Veloso, but of Portuguese knight Pêro Vaz de Caminha, credited with discovering Brazil in the year 1500. He wrote a letter to Manuel I, King of Portugal raving about the fertile Brazilian land and how “all that is planted grows and flourishes,” convincing the king that the presumed island was worthy of colonization. Carta de Pero Vaz Caminha is considered the first literary text to emanate from Brazil but it gets parodied in a high nasally voice by Veloso’s drummer Dirceu. Little did the percussionist know that the tapes were running. And when the arranger of the session mimics the “exotic” sounds of the Brazilian rainforest, it points back to that time when Brazil was virgin land, before the empire arrived at her shores. Caetano Veloso’s debut album remains one of the most revolutionary albums released into the worldwide tumult of the 1960s. -
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age. -
Wavelength Midlo Center for New Orleans Studies
University of New Orleans ScholarWorks@UNO Wavelength Midlo Center for New Orleans Studies 8-1985 Wavelength (August 1985) Connie Atkinson University of New Orleans Follow this and additional works at: https://scholarworks.uno.edu/wavelength Recommended Citation Wavelength (August 1985) 58 https://scholarworks.uno.edu/wavelength/73 This Book is brought to you for free and open access by the Midlo Center for New Orleans Studies at ScholarWorks@UNO. It has been accepted for inclusion in Wavelength by an authorized administrator of ScholarWorks@UNO. For more information, please contact [email protected]. • • NEW ORLEANS MUSIC MAGAZINE THE STORY OF A REBEL AND HIS BIKE. ~ ( r. r. 4 I I I l PEE·WEE HERMAN Pee-wee~ 116 AD~etnlltle An ASPEN FILM SOCIETY I ROBERT SHAPIRO Production PEE-WEE HERMAN • PEE-WEE'S BIG ADVENTURE arstarring ELIZABETH DAILY • MARK HOLlON • DIANE SALINGER· JUDD OMEN music composed by DANNY ELFMAN executive producer WILLIAM E. McEUEN written by PHIL HARTMAN & PAUL REUBENS & MICHAEL VARHOL produced by ROBERT SHAPIRO and RICHARD GILBERT ABRAMSON directed by TIM BURTON [l]lr-="DOLBV~STERE0==""11® FROM WARNER BROS. ~ A WARNER COMMUNICATIONS COM PANY IPGIP'MEifTALGtBIUSYRSTEI-.1 lllloiEL£CTIDT!tPTIIU w C) ...sw ..... -..t... AIIItloht•"-'-~~'""-'""YNOT•turr-.E-~® The Adventure Begins Friday August 9th at a Theatre Near You. • • • r< '/JIV{)I(a JAU '' #/ . I .NA-Y k/OT .BE 1?.6C.Of?[J (({JJ, . THe 011/0~(£ J'ltL£ ISSUE NO. 58 • AUGUST 1985 f>U1111H<£ f'HE CR.t0/1 FOR. Of COURSE. t!JSPIR. ttJb f-IlS VERY R:W oF HIS' wl'm not sure. -
John Lurie and the Lounge Lizards
John Lurie and The Lounge Lizards John Lurie the sax player, the actor, the painter and the fisherman. Though this might sound like a schizophrenic portrait it's simply the truth. All these different personalities suit in the same physical body. Born in Worcester, Massachusetts on December 14 1952, he's mostly known as the founder of The Lounge Lizards, a modern jazz ensemble featuring a bunch of hipsters of the New York Downtown scene. Along with his brother Evan on piano there were Arto Lindsay (guitar), Anton Fier (drums) and Steve Piccolo (bass). This is the band playing inside “The Lounge Lizards” (EEG, 1981), their first official album, although the band was already active at the end of the seventies. The ensemble underwent a few changes over the years: Arto Lindsay was later replaced by Marc Ribot on guitar and more elements were added until the band expanded into an octet, sometimes even a nonet, maintaining John Lurie in New York, 1982 however their typical unsettling, ironic, often sharp, sound. The Lounge Lizards perfectly embodied the Downtown noir-like atmosphere surrounding the artists in New York at the beginning of the eighties. “No pain for cakes” (Island, 1987), “Voice of Chunk” (Strange & Beautiful Music, 1990), “Queen of all ears” (Strange & Beautiful Music, 1998) plus a bunch of live recordings followed their self-titled debut release and are the overall output of the band. Not too much of an output considering when the band was formed, but John used the stage to refine, rearrange and shape the tunes over and over. -
Contemporary Carioca: Technologies of Mixing in A
Con tempo C o n t e m p o r a r y raryC a r i o c a Cari oca ontemporary CCarioca Technologies of Mixing in a Brazilian Music Scene Frederick Moehn Duke University Press Durham anD LonDon 2012 © 2012 Duke University Press All rights reserved. Printed in the United States of America on acid-free paper ♾ Designed by Kristina Kachele Typeset in Quadraat and Ostrich Sans by Tseng Information Systems, Inc. Library of Congress Cataloging- in- Publication Data appear on the last printed page of this book. Duke University Press gratefully acknowledges the support of Stony Brook University, which provided funds toward the publication of this book. For Brazil’s musical alchemists ontents Illustrations ix C Preface xi Acknowledgments xxiii Introduction 1 1 Marcos Suzano: A Carioca Blade Runner 25 2 Lenine: Pernambuco Speaking to the World 55 3 Pedro Luís and The Wall: Tupy Astronauts 92 4 Fernanda Abreu: Garota Carioca 130 5 Paulinho Moska: Difference and Repetition 167 6 On Cannibals and Chameleons 204 Appendix 1: About the Interviews, with a List of Interviews Cited 211 Appendix 2: Introductory Aspects of Marcos Suzano’s Pandeiro Method 215 Notes 219 References 245 Discography 267 Index 269 llustrations Map of Rio de Janeiro with inset of the South Zone 6 1 “mpb: Engajamento ou alienação?” debate invitation xii 2 Marcos Suzano’s favorite pandeiro (underside) 29 I 3 Marcos Suzano demonstrating his pandeiro and electronic foot pedal effects setup 34 4 A common basic samba pattern on pandeiro 48 5 One of Marcos Suzano’s pandeiro patterns 49 6 Marcos -
Arto Lindsay with Melvin Gibbs
Arto Lindsay Noon Chill Noon Chill 1 Noon Chill 3:35 2 Whirlwind 4:40 3 Simply Are 3:40 4 Blue Eye Shadow 3:28 Produced by Andres Levin and Arto Lindsay with Melvin Gibbs. Recorded at Kampo Studios, 5 Mulata Fuzarqueira 3:06 New York; Marisa’s House, Rio; and AR studios, 6 Anything 4:25 Rio. Mixed at Kampo Studios, New York. 7 Gods Are Weak 2:36 Recorded by Dave Robbins, Andres Levin and Pat Dillett. Mixed by Pat Dillett except Anything, 8 Take My Place 4:14 Take My Place mixed by Dave Robbins. Assisted 9 Daily Life 1:31 by Richard Abbondante and Jim McNamara. 10 Light Moves Away 3:24 Mastered by UE Nastasi at Sterling Sound. 11 Why Compare 3:34 12 Auguri 2:06 1. Noon Chill Words don't cede to unbecoming fact 4. Blue Eye Shadow O bom exemplo já te dei Mudei a minha conduta It's danger we long for or at least some rain Stand over there one at a time Blue eye shadow, all smudged and red Mas agora me aprumei Weight on both feet, look me in the eye Self-portraits, crowds bathing, are hardly proof at all Beauty, all changeable, rustling, tussling red Cold from the stream, plywood in vines Mulata fuzarqueira da Gamboa © 1997 Arto Lindsay, Andres Levin, Melvin Gibbs Cutouts, clowns, all fours on the lawn In my rendering Global Rights Inc (BMI)/Archetext Music (BMI) Só anda com tipo à toa I may have made you Embarca em qualquer canoa! Noon chill Too young or too old Dawn all the time 3. -
A Creator's View of the Music Ecosystem and DMCA
A Creator’s View of the Music Ecosystem and DMCA Creating music that matters is more than just a labor of love – it takes all the joy, loss, courage, fear, and humanity that we have. But whether it’s a Platinum megahit or a lonely ballad written for just one heart, we are grateful for the chance to share our stories and our truth. We see much to celebrate in today’s music landscape – including vibrant digital services that help fans connect with the songs they love. But we also see profound obstacles facing young artists and songwriters hoping to find their voice and build a sustainable career. One of the biggest hurdles is an outdated and ineffective law called the Digital Millennium Copyright Act. Many big tech companies have figured out how to game this law – hiding behind its sweeping immunities while earning billions off of our work. Meanwhile, too many working artists, musicians, songwriters, and producers are left to fight for digital scraps. Thanks to the DMCA, a single video service has swallowed up almost every other form of listening, while paying among the lowest royalties in the business – rates it extracts from creators who have no effective way to keep unlicensed copies off the service if they refuse. The DMCA leaves creators at the mercy of rogue websites that operate at the farthest reaches of US law – and beyond – and offers no meaningful way to hold repeat offenders to account. And forces us to stand by helpless as billions of dollars in advertising is sold around illegal copies of our work.