RE: process threads . . . or what have you

["Javier Miranda V." <gnominus@earthling.net>]

If anybody knows about something like this in the Bay Area (or near 
Berkeley), please drop me a line.

| -----Original Message-----
| From: r_t_cummings@csi.com [mailto:r_t_cummings@csi.com]
| Sent: Saturday 17 October 1998 5:15 PM
| To: Loopers-Delight@annihilist.com
| Subject: Re: process threads . . . or what have you
| 
| 
| I find this whole thread, with its "COBRA" and "OPTION ANXIETY" aspects,
| oddly coincidental with my current activities!
| 
| I'm a percussionist/ looper etc. and I'm participating in a new version
| of the Cobra game piece in Berlin, Germany. This version is called the
| "Dirty Dozen" because it involves 12 players, 3 groups of 2 (=6)
| rhythmatists and 3 groups of 2 (=6) melodiacs. The whole thing is based
| around Goethe's color circle, the rhythm groups being the primary colors
| (red, blue, yellow), the melody groups being the intermediates (purple,
| green, orange). Each groups develops 2 themes which have to be
| compatible depending on their position in the circle (e.g. green melody
| fits with blue and yellow rhythm groups). From there it just gets more
| complex! Roulette boards, monetary "credits", playing cards, hand
| signals, a variety of "purchasable" positions such as berserkers,
| directors, arseholes (seriously), harikirist, bartender are all
| involved. All sorts of other rules are involved, which are too tedious
| to go into here - in fact the "instruction manual" is about 6 pages
| long! In many ways, this is the "German" ;-) version of Cobra, with no
| offense to the German members of the list ...
| 
| The problem I'm currently trying to deal with, is that I really don't
| know how to incorporate my "loopy electro-stuff" into this already
| complex gig. I was offered a rhythm job where I'm to counteract the
| normal trap set drummer with elctro-processed rhythms. Oh man, after two
| practices of very intense changes and color theme changes etc. - on top
| of which I'm trying to make loops, change fx patches and play live (all
| on the fly) - I've noticed it's a heck-of-alotta stress! :-(
| 
| Talk about OPTION ANXIETY!
| 
| I'm actually a drum set player originally but unfortunately this is not
| my "job description" at this gig. I think I really have to chime in with
| what's been said here - my current feeling is that this "Dirty Dozen"
| gig is a little too much stress and too little fun. I agree that it's
| wise to concentrate more of one's energy on just a few concepts.
| 
| Sorry about the very extended post - I'm just feeling a little
| exasperated ...
| 
| Mr. Rob
| 
| 
| Liebig, Steuart A. schrieb:
| > 
| > > Yes, sometimes being too versatile can be a burden, I think 
| someone spoke
| > > of 'option anxiety'. Especially true with the jazz world's
| > > 'trademark-sound' guys.
| > >
| > >
| >         I tend to think of it as trying to bring something 
| special to the
| > plate everytime I play - - having discrete musical experiences. 
| Maybe more
| > like a painter or an author (oops, there I go again). In terms 
| of how I do
| > things with compoistional frameworks for improv, I like to have 
| different
| > settngs for much the same reason. Also, I figure that my personality is
| > going to come through anyway, I just want the colors to be a little
| > different from time to time.
| > 
| >         Option anxiety can be a problem . . . luckily I don't 
| have the time
| > for it anymore :-) I just have to hone in a  couple of selected 
| concepts.
| > 
| >         s
| 
| 
| 
|