Speaking of MASADA…does
anyone on the list have Electric Masada IV? It’s one of the volumes
released from the performances at Tonic
in NYC 2003, during the month of John Zorn’s
50th birthday celebration? I highly recommend it, as it is a
conundrum of music and loops.
Marc Ribot (guitarist extraordinaire) and
various others perform…including the likes of Ikue Mori on laptop and
electronics. Many influences
as Ted described, too…world music at
it’s most sick & twisted…
Peace & loops,
Ed in NJ
From:
ArsOcarina@aol.com [mailto:ArsOcarina@aol.com]
Sent: Saturday, April 30, 2005
1:18 PM
To:
Loopers-Delight@loopers-delight.com
Subject: That first note (or loop)
. . .
Per (et al),
In a message dated 04/30/05 0:02:43, per@boysen.se writes:
I think this is one of
the keys for doing a good live performance.
The first note you play is the most important! It has to be mean
as hell. It has to be magnificent. The first note (or loop) you play
has to sum up emotionally what you are going to do, why you
are standing there on the stage. The first note justifies the
concert. If the first note sucks nothing can save the gig.
That's probably why I may never be very good at this. The first note
(or lick, or loop) IS important to me -- I build off of it. But it's not THAT
important. I almost prefer to start out with a whisper of something --
or some musical bit or fragment that is sooo minimal that it almost
means nothing more than a pulse or slight suggestion of key -- the
more ambiguous the better. And, THEN build toward something.
One of my favorite compositional techniques is to gradually lure the
listener in (promising nothing, but suggesting all sorts of vague mysterious
possibilities) and then, suddenly, WHACK them on the side of the head! An
example of that is easily heard (before and after) the woozy, depressive
eBow intro to the track "Cauterant Baptism" on my CD. Nothing of
what's
heard BEFORE gives much of a hint of what's coming down the pike right
at you AFTER. You can sense something is coming but have no idea what.
I like doing that. But then I AM a little sick and twisted anyway.
I once saw John Zorn play a rare gig in Southern
California with his band,
Masada. The opening act was a very creative
and LOUD local rock band.
When Zorn and Co. took the stage they all played acoustically and very
quietly at first -- almost below the level of the ability of audience at the
back of the room to even hear. Nothing had been said. But, the voices
and clinking glasses all gradually hushed as everyone strained to hear.
Folks were leaning forward in their seats -- expectant. This went on
for a minute or two -- 'til there was absolute silence except or the band.
Then WHAMMM!!! The players launched full-force into what they are
known to do -- a sort of loud, scabrous, free-form, harmolodic mix
of squealing, ear-blistering free jazz and klezmer music that had the
crown stamping and cheering. That's about the best example of what
I'm talking about I've ever seen or heard. It's impressed me ever since.
Like I said, I'm sick and twisted.
Best regards,
tEd ® kiLLiAn
"Different is not always better, but better is always different"
http://www.pfmentum.com/flux.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
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http://www.towerrecords.com/product.aspx?pfid=2845073
http://www.netmusic.com/web/album.aspx?a_id=CBNM_17314
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=193
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