eai 2.0

[Sergio Zamora]

The old eai thread is over 2000 posts. Like the papa owl said: 'Enough is too much!'

Anyway, I belive frankiepop was asking for Merzbow recs.

[MRS]

[walto]

BTW, any of those who, like me, were a bit surprised at the cogency and coherency of Bill's discussion of "communitarianism" may be interested to learn that it was lifted, in its entirety (and without citation --though he did mention that link in an earlier post) from a Stanford.edu encyclopedia. (I guess I wasn't too surprised learn this myself. Maybe there's more evidence of Bill's teaching skills in that sort of approach to scholarship and copyright.) Anyhow, I don't disagree with anything in the Stanford article, and nothing in my review does either.

As I indicated on the ancestor thread, most of the rest of Bill's commentary strikes me as either too confused or too antipathy-driven to bother responding to.

[Jon Abbey]

I thought it was pretty obvious that Bill cut-and-pasted that definition from somewhere. I was surprised he didn't cite where it was from specifically, but I think he just forgot to include it, I don't think he was trying to pass it off as his own writing.

the typically enigmatic Schaumann post two above this is the cover of the Oren Ambarchi/Johan Berthling CD on Hapna, FYI.

[walto]

Yeah, it was obvious to me too, because, as I said, Bill doesn't write that clearly/well.

But it isn't really just a definition. All that discussion of e.g., Jane Jacobs made me wonder too. What was the tip-off for you?

[Alastair]

Originally Posted by walto

Yeah, it was obvious to me too, because, as I said, Bill doesn't write that clearly/well.

Jesus. Walto, Bill, both of you, just shut up. You don't like or respect each other, we've got that.

At least when people were challenging each other to put their dukes up I could understand the posts.

[walto]

Roger wilco, Alistair. I've agreed to lay off before and have even apologized for nasty responsive posts, but it's been to no avail.

Lessee if you can get a cease fire agreement from Bill. If you can, I'm game.

[Jon Abbey]

Originally Posted by walto

What was the tip-off for you?

the punctuation made it pretty clear, Bill wrote "It might help to do a little research on this issue, Mr. Horn, before writing a critique on it", then a colon, then the rest was enclosed within quotation marks.

"Plagairo" is just silly, assuming it's just based on this single slip.

[walto]

OK, I didn't see the quotation marks. I'll edit.

[crawjo]

Typing this post from a depressing motel in Ashland, Ohio, on my way home...

I enjoy both Walto and Bill's insights. I guess they are implacable foes, but I'm not exactly sure why. It seems to me that they could probably debate each other without resorting to petty name-calling and so forth. Both seem to be bright and fair-minded individuals...at least I have found them to be that way whenever I've interacted with them here.

[Erik Lund]

Bill who?

Who's ass do I have to kick?

[frankiepop]

bill's a new resident windbag from the far east...who i dont enjoy...and our friend from vermont wiped the floor with...........

I was surprised he didn't cite ... he just forgot to include it, I don't think he was trying to pass it off as his own writing.

arent we forgiving to a fan...get off the bs trane...ashline is a liar and a thief...


but walto, where do you get off suggesting that my attacks on bill as defense of you?

[Jon Abbey]

don't be silly, frankie, Bill and I have had our share of major disagreements. even Walt admitted he went too far.

back to music for a second, last night I went to see Sean Meehan and Tamio Shiraishi play, an all-acoustic "eai" show.

every year, Sean schedules a weekend of outdoor shows at various places around Manhattan. two years ago, the trio of Sean, Greg Kelley and Zach Wallace played three sets in different places, two hours apart, shows on both rivers with time to walk between them. last year, Sean and Tamio Shiraishi played in the parking garage under the 79th St. Boat Basin. and this year, Sean and Tamio played in a really interesting outdoor park across from the Javits Center on 11th Ave, between 35th and 36th St.

there's not much that far west in that part of Manhattan, no tall buildings getting in the way of seeing the sky. there were thunderstorms here late this afternoon, which had slowed to a drizzle by the time the show started, but as Sean didn't tell many people about this, there were only seven people there. Tamio started playing in the middle of the concrete park, there was a nice acoustic off the walls which propelled his sound throughout the area. Sean set up to the side, and the two played along, with some really nice interplay, which changed as you walked around, of course. for those who haven't heard Tamio, he's a alto saxophonist who usually exclusively sticks to extremely high notes.

so, after about 20-30 minutes, I noticed an unusual sound which I didn't think either musician could be making, and then I saw a seagull circling above our heads. he was obviously attracted to Tamio's sound somehow, and was calling in response. more and more seagulls came, and there were probably 10 or 12 circling, like Tamio was a pied piper or something. it was one of the wildest things I've ever seen. I asked Tamio afterwards if that had ever happened before, and he said no. he said that he knows that the birds are very sensitive to his sound, but usually they just go away. anyway, really memorable, glad I went.

[Oger]

Originally Posted by Jon Abbey

for those who haven't heard Tamio, he's a alto saxophonist who usually exclusively sticks to extremely high notes.

Oh yes Tamio is an amazing saxophonist; I've seen him a couple of times in Paris. I enjoyed him.

BTW, Masayoshi Urabe is very great too.

[Jon Abbey]

Originally Posted by Oger

BTW, Masayoshi Urabe is very great too.

yes, I agree, and sticking to Japanese saxophonists' solo work, the CD on Fringes of Yoshinori Yanagawa is also very good, although I haven't liked the other stuff I've heard by him as much.

[Oger]

About Masayoshi Urabe, there is a recent CD release on PSF.

And an LP on french label 'Elevage de poussiere'. This label is run by Michel Henritzi (A bruit secret) and his friends from Dust Breeders. On the same label a solo by Dietrich (Borbetomagus). Available on Forced Exposure if I remember well.

[Sergio Zamora]

Speaking of japanese altoists, what do you guys think of Masashiko Okura

[Oger]

Originally Posted by Sergio Zamora

Speaking of japanese altoists, what do you guys think of Masashiko Okura

His recent CDs are sometimes disappointing to me. Too minimal. Not enough 'physical' if it does make sense. Maybe it's me, I mean I don't understand well where he wants to go, what he wants to provide. So, I don't listen to him often.

[Oger]

Originally Posted by Jon Abbey

...last night I went to see Sean Meehan and Tamio Shiraishi play, an all-acoustic "eai" show. ...

Well, I would'nt have filed Tamio Shiraishi under "eai".

But interesting that you wrote !

Other suggested subgenres :
semi-acoustic "eai"
all-electronic "eai"

BTW, what I sometimes understand in 'eai' expression is confrontation between acoustic instruments and electronic instruments.

[Brian Olewnick]

Originally Posted by Sergio Zamora

Speaking of japanese altoists, what do you guys think of Masashiko Okura

I just received 'atami' (on hibari) yesterday which features the following intriguing array of musicians/instruments:

alfredo costa monteiro : accordion
ruth barberan : trumpet
feran fages : electronics
masahiko okura : sax, bass tube
masafumi ezaki : trumpet
taku unami : lapsteel, computer

Liked it pretty well on one listen--much more active than you might have guessed.

[Other Steve]

Originally Posted by Jon Abbey

this year, Sean and Tamio played in a really interesting outdoor park across from the Javits Center on 11th Ave, between 35th and 36th St.

In other words, all of one frickin' block from the building in which I work. And this is the first I hear of it.

Swell.

Stuns me the way people manage to get the word out about their gigs.

[grrrrrr.]

On a lighter note, I'm especially proud to announce that, thanks to my suggestion and my editor's approval, you'll find your very own Dion Workman pin-up in this week's issue of Time Out New York -- part of a multi-page fashion spread on up-and-coming New York musicians. I'm positively queasy with pride.

[Jon Abbey]

Originally Posted by Other Steve

In other words, all of one frickin' block from the building in which I work. And this is the first I hear of it.

Swell.

Stuns me the way people manage to get the word out about their gigs.

Sean intentionally wanted to keep this one quiet, I think, the more people that gather, the more likely it is that the cop cars that come by will break the whole thing up (two stopped to observe and moved on during this set). if it makes you feel better, as the shows were on Saturday and Sunday, I doubt you were in the office.

On a lighter note, I'm especially proud to announce that, thanks to my suggestion and my editor's approval, you'll find your very own Dion Workman pin-up in this week's issue of Time Out New York -- part of a multi-page fashion spread on up-and-coming New York musicians. I'm positively queasy with pride.

awesome, looking forward to it. I know Dion's done at least a little modeling work before...

[Alastair]

I saw Sean play with Mark Wastell the other week when he was over here. The basement of 323 Records doesn't have quite as much background noise as 11th Avenue but the woman singing in the shower can usually be counted on to put in an appearance.

After the show I picked up the one-sided LP that Sean and Tamio recorded under the West Side Highway at 59th Street. I really like it. The drones of the vehicles above work very well with the high pitched sax and Sean's assorted rumblings.

Now that I have two Meehan recordings (that one and the collaboration with Sachiko M) and like them both, are there any others I should get?

[Jon Abbey]

Originally Posted by Alastair

Now that I have two Meehan recordings (that one and the collaboration with Sachiko M) and like them both, are there any others I should get?

there aren't many more, there's a CD-R of he and Tim Barnes that Tim sold a few of in Berlin, but Sean hasn't allowed him to make any more as of yet. there are a couple of much older ones which we just stocked today which aren't nearly as refined as his current work. Sean's extremely reluctant to document his work, he's already not happy with that Sachiko duo (which is really good).

[Jon Abbey]

kind of late notice for Baltimore readers (3 hours!), but here you go. both Tim and Sean are very excited about the NYC venue on Sunday, they really like that room, which I've never been to (although it's kind of funny that it has the same address on Suffolk as Tonic does on Norfolk):

===============================================

Jeph Jerman/Tim Barnes/David Daniell/Sean Meehan NE tour dates

July 21, 9pm
The True Vine
1123 W 36th St
Baltimore, MD
410-235-4500

July 22, 9pm
SoundLab
110 Pearl Street
Buffalo, NY
http://www.bigorbitgallery.com/upcoming.html

July 23, 8pm
Montague Bookmill
Greenfield Road
Montague, MA
just north of Northampton
http://www.montaguebookmill.com/

July 24
Intransitive House
Boston, MA
address and directions: hstelzer@hotmail.com
http://www.intransitiverecordings.com/pages/events.html
BBQ from 4pm (BYOB and something to grill, will have a vegetarian grill as well as two non-vegetarian),
music beginning 7pm or 8pm.

July 25, 8pm
Clemente Soto Velez Cultural Center
presented by ISSUE Project Room
107 Suffolk Street between Rivington and Delancy
New York, NY
http://www.issueprojectroom.org/

From the late 80's, sound-artist and improviser Jeph Jerman, here joined by guitarist David Daniell and percussionists Tim Barnes and Sean Meehan, has both quietly and loudly explored the various types of rustling, rumbling, and groaning that occur when objects are prodded with hands, or recorded, unmanipulated, in interesting locations onto cassette. Jerman is a percussionist in all senses of the word. The quiet agitations of much of his solo work contrast against the raucous free jazz he drummed in Blowhole. Jerman’s sound materials are often natural objects. On his gorgeous cd "The Second Attention" (Anomalous), he nudges small objects like sticks, stones and shells into an acoustic narrative of the dreams of things that sit in soil.

Meehan, Barnes and Daniell are well-regarded NYC based improvisers. Barnes is one of the busiest men in the NYC creative music community, having performed with John Zorn, Dean Roberts, Jim O'Rourke, Sonic Youth, Tetuzi Akiyama, and scores more. Meehan has worked a steady trajectory from a whole drumkit improviser to snare drum + cymbal and objects microvisor. He shares common ground with Jerman in a penchant for recording in the open air; his duo with saxophonist Tamio Shirashi (released as a 12" on Fusetron) was recorded under the West Side Highway. Meehan and Barnes' duo performances work like the slow-burn slapstick of Edgar Kennedy sans punchline, occasionally cresting rising and falling layers of trembling bowed cymbal, cavernous bass drum moans, and lace-trails of struck skins. David Daniell is a guitarist whose work ranges from the abstracted blues roll 'n' rock of his long standing trio San Agustin to the spare free-improv pedal steel of his duo with James Elliot. Table of the Elements released a three cd collection of San Agustin's work, and Daniell has also released a lovely solo disc of quiet manipulated field recordings, "sem" on Antiopic.

Jeph Jerman
http://www.anomalousrecords.com/jerman/

Tim Barnes
http://www.quakebasket.com/

Sean Meehan
http://home.earthlink.net/~overturnedbowl/

David Daniell
http://www.antiopic.com/catalog/an002.html

[John B]

Jon -

I just noticed that Dartmouth has a Master's program in electro-acoustic music. Are you familiar with this? I'm not really sure I see the point in a degree program for any music with a limited fan base such as this, unless, as a graduate, your goal was to teach in the same program.

[Jon Abbey]

John, there's a long tradition of academic-based electroacoustic composition, stretching back a few decades now, it rarely results in especially compelling music. the Dartmouth program is well-regarded, Christian Wolff used to teach there. you'll probably be irritated to learn that on their 2001 US tour, AMM played with Wolff in a basement classroom at Dartmouth, a set which I attended along with about eight other people.

[Gary Sisco]

If he's not irritated, I am. Dartmouth's about 2 hours from here. I'm especially irritated now that Rowe has left the group. So, now I'll never get to hear that lineup live.

[Jon Abbey]

Gary, you must not have been into this music yet, because I posted that schedule here beforehand and remember imploring people to come to shows, especially Reynolds (who also didn't make it). I saw them play seven sets that month, the Dartmouth one, Baltimore, Bard, and four at the Knitting Factory.

and even if AMM hadn't broken up, if Tilbury ever sets foot in the US again, I'll be shocked.

[Pedantic Wretch]

Time to re-enter the fray with an impromptu musing...

I recently heard the first two tracks of the album 'Rouge Gris Bruit' by Sophie Agnel, Lionel Marchetti and Jerome Noetinger (I don't actually have a copy, but will certainly be looking to obtain one). Anyway, I had not previously heard of Agnel, but was particularly impressed (from the little I heard) by this album's integration of piano and electronics. It seems that, Tilbury's longstanding presence aside, the piano is underrepresented in this field (except when masquerading as an 'innenklavier'), perhaps because it is an instrument more likely to lead to tonal clichés than the textural realms of string and brass/wind players.

Listening to (the beginning of) this album, I was reminded of French classical music, particularly Messiaen, whom I had in mind after recently encountering the excellent 'Des canyons aux étoiles' on the radio. From what I know, Noetinger and Marchetti both have vague links with the tail end of a 'musique concrète' tradition, and their use of electronics suggests a certain lyricism absent from many of the musicians who came to 'EAI' from the more popular realms of electronica (not that I am championing the 'lyrical', whatever that might be).

Returning to my point about keyboards instruments, if the piano is rare in EAI (or areas of improv entirely divorced from jazz) then the organ is rarer still. This is understandable, since it presents obvious logistical problems such as lack of portability and a tendency to dominate other instruments in the principally church-like spaces in which it is most commonly found. However, I have been impressed by the performance of the Austrian composer Klaus Lang in an organ duet with Werner Dafeldecker on Grob, even though this release went apparently unnoticed by many. Here the focus was on the airflow in the pipes, exploiting the subtle drone-like sonorities.

More feasible than organ improv might be harmonium improv: before anyone dismisses this instrument as kitsch, I would point to the harmonium compositions of the Vienna actionist Hermann Nitsch (presumably created in between slaughtering animals and carrying naked women on crucifixes through castles). And I am still holding out for the entirely straight-faced appearance of a harpsichord on an EAI record one of these days.

Last time I brought up the issue of eclectic instrumentation, J. Abbey suggested that I was overly concerned with the historical contexts of instruments. This is not the case, I am merely thinking in terms of sonority, and of certain physical instruments which computer softsynths are yet to replicate with any sophistication. (Apologies for the excessive use of parentheses in this post.)