Improvijazzation Nation, issue # 13
Improvijazzation Nation, issue # 13
Thirtheenth Edition, Summer 1994
$2.25, HQ, 19th TAACOM, Unit 15015, PO BX 2879 APO 96218-0171, USA
HIGHLIGHTS in this issue:
Robert Winson – 2
FED – Collab from PLB – 2
Jared Peterson Interview – 3
BRAND-NEW reviews from
Henry Schneider – 5
Yucca Tree Records Comp – 9
Post Prandials CD – 10
DBAR interview – 14
& much MUCH more!!!!!
BICHOS: Self-titled – Those o’ yer’ who’ve been with th’ ‘zine for a while know by now that Robert Winson is one of my favorite poets, whether it be on his work with Poetry Devils (two or three years back), with Zzaj (order a copy of MY catalog, eh?), or – as reviewed in # 11 – this group. A kinder/gentler BICHOS? That’s sorta’ what he sed when he sent me this ‘un for review. Starts off with a slow-fugue bloozy sorta’ “Papa John” undertow violin kinda’ thang… then Robert comes sneakin’ in on top of ’em (the violin/acoustic guitar combo works REALLY nice for this poetry, I’ll tell YOU)! His reading is just as spark-filled as EVER, but it’s somehow got a softer tone to it all, which I LIKE! In fact, this is the closest to BLOOZ poetry I’ve e’er heard ANYONE do! Now he’s got ME itchin’ to hook up with the players on here to try a lick or two with ’em! Some of the toonz are re-recordings of the earlier-reviewed BICHOS tape (“I.N.” # 11); I like this one BETTER! Definitely RECOMMENDED, people! Just in case yer’ didn’t KNOW it, Robert has direct involvement with a radio show in Santa Fe that features some FINE poets, in fact I think he sed summa’ th’ Zzaj tapes have played on it once in a while (those specifically featuring poetry, I’m sure). Check ’em out at 626 Kathryn Ave., Santa Fe, NM 87501 Rotcod Zzaj
FED – 10 Artists (from the mail underground to you)… In from Kenyatta Sullivan, of “Pandora’s Lunchbox” fame, here’s an ‘eavy energy compilation tape with summa’ ‘is playin’ friends on it, I’m sure… won’t name all 10 of ’em, but there ARE a couple I recognize from ‘avin reviewed ’em in THESE pages, I know… PLB, of course, CAGE, & a really new one (just reviewed in the last issue) called Broca’s Area. ALL these volkz are HOT & the mix is VERY interesting… not tied down to any ONE style, & movin’ ON alla’ TIME! I’m very impressed, as this’ll serve as an absolutely GREAT intro to some bands you may NOT have heard yet (unless, of course, you’ve already READ ’bout ’em in “I.N.”, of course). The j-sheet has ALL the contact addresses printed on the inside, so ye’ need not worry ’bout gettin’ in contact with ’em. Just a FINE tape… contact Kenyatta for more info, at POB 2071 WILMINGTON NC 28402-2071 Rotcod Zzaj
Purple Dot Experience: VARIOUS ARTISTS – This fine lil’ compiled effort came in from (is it R.D. or K.D.?) Schmitz, who was reviewed in “I.N.” # 12 with a quite DIFFERENT style tape… this is REALLY a most ENJOYABLE effort… all the way from acoustic guitarz ter’ hard-edge drone – from D.I.Y. names MANY o’ you will recognize… Jeff Olson, Chris Ballew, Dave Fuglewicz… there’s some theme here, tho’ I haven’t figgered it out in entirety yet – too much FUN just lissenin’ to th’ MUSIC! The (purple, what else?) j-sheet sez it’s songs based on the poetry of Pamela Mary Stone, who is a poet I’D like to meet if she writes with anywhere NEAR as much energy as these folks PLAY with! She must truly be an INSPIRATION! Having collabed with one or two o’ these folks over th’ last year or so, I can say with some certainty that it surely LOOKS like many o’ these players are sorta’ travelin’ in th’ same “circles”, even if they’ve never MET each other – know wot I mean? This is a GOOD one! Contact at RD4, BOX 217 PLEASANT VALLEY NY 12569 R. Zzaj
“I.N.” is jsut SUPER pleased with reader response on subscriptions… as a part of my promo for the “new/improved” ‘zine late last year, I promised that we would try & “reach out” in different directions… ‘course there’s not TOO many who’d accuse of not doin’ THAT awready, right? I stay in FREQUENT contact with a lot of the volkz who MAKE “I.N.” – the artists! So I thought this year we’d start doing some “by-mail” interviews that would help to give you some insight on where yer’ “compatriots” in th’ D.I.Y. world are AT… this is the FIRST in (what I hope to be) a great series of such, this time with ‘noisemeister’ SUPREME, Jared Peterson, who has been reviewed at least a COUPLE of times in these pages, & in many other ‘zines, as well. So, without enny FURTHER hoo-doo…
First, a few words from th’ “meister” ‘imself:
“The Peterson Mixes has been acive since 1992. Trading homemade tapes of noise collage. The Tapes Of Wrath is the label title. The Peterson Mixes is the recording artist. I am both The Peterson Mixes and The Tapes Of Wrath. Everything and anything is permitted with these products. Correspondence and involvement is encouraged (Suite #14/Peterson, 2 Morgan Ave., Newbury, MA 01951)”
RZ: Do you get any good trades back?
One of my main goals in doing T.O.W./Peterson Mixes is to trade. I can’t picture networking without trading. This is like Mr. Bill without Spot, RatFink without BooBoo. Good trades have included New Killers On the Block, Gesellshaft, Big City Orchestra, The Haters, John Trubee and Eric Hausman (Spilling Audio). A lot of people don’t respond to trades and an empty mailbox is a disgusting sight… ……but I do spend money on tapes, videos, CD’s, ‘zines and books. I live 40 minutes from RRRecords; when I have extra $ I go there. I order from these catalogs: Something Weird Video, Sinister Cinema, Anomalous Records, Flatland and Soleimoon Recordings. I am Elmer J. Fudd, millionaire. I own a mansion and a yacht.
RZ: List all the tapes you’ve produced:
NoiseMeister – 60 minutes
Sexbombed – 46 minutes
Adventures From My Den – discontinued
New Peterson Mixes (untitled)
Possible tape of my ol’ band (h’core)
New T.O.W. comp tape (need submits)
&, of course, my fiance’s ‘zine will be
RZ: What kind of rigs do you use for recording?
I use a TASCAM Porta3 Studio 4-trak. I do my stuff with a cheap mixer, tape recorders, toy turntables, field recordings, etc. I own a digital delay and I use it on roughly 1/2 of my recent stuff. Enjoy fooling with backmasking & speed changes; pause buttons are cool. I have a framing hammer that figured heavily in the “Noisemeister” tape. Samples include films, radio, phone pranks, records, my mom, weird sounds from my house & homemade loops/malfunctions. Been fooling around with “found” tape from the sides of streets/highways (got this idea from GRIME PROJECT), but with questionable results (as usual). I utilize simple equipment but work hard at it. Homemade malfunctions are an important part of The Peterson Mixes.
RZ: Do you have a day job? Do you think the network will provide full-time employment?
I have a job that is an overnight, so I work on my networking and sleep, whatever else, during the day. I operate under the assumption that only a few make an actual living at networking. I don’t expect to make much money over expenses, let alone LIVE off it. Be nice, though!
Last words from Jared, inserted at th’ end…
Tape reviews are opinions.
Good or bad is subjective.
Tape reviews are publicity.
Tammy (that’s Jared’s fiance, I believe) seethes with rage when I’m dissed.
I will be doing tape reviews in her ‘zine; I’ll be promoting independent projects, so send in those trades!
Hope you enjoyed this ‘lil insight into a “true” D.I.Y.’er… whether you like the music/noise or not, the tenacity/fortitude’s gotta’ be admired… should be many more interviews in the next few issues! ROTCOD ZZAJ
Busyditch: HAIR ON A G-STRING – We reviewed a fine tape by this gent (Kerosene Christmas) in the last issue, & I was impressed enough that I got in touch right AWAY! & isn’t that what D.I.Y./networkin’ is all about, ANYway? Fer’ SURE it is! & true to the spirit of this whole thang, there arrives THIS tape in the mail shortly thereafter. In point of fact, John Hajeski (who IS Busyditch) tells me that it’s not even a RELEASE (supposed to put it out on CD a bit later)! Accompanied by an article in “Experimental Musical Instruments” ‘zine, showing him with his ‘Portable Anarchy’ instrument, it’s clear after the first few seconds of aural adventure that Busyditch is PLAYING the future! No lame/limp radio loopie things in HERE! He’s been down a fairly typical improvisational path (I know what he described in his letter was in many ways similar to my OWN experience in this realm), from noise/collage to Analog synthwork/keyboards – but that’s where the DIFF begins… at some point on this sojourn, he began to experiment with transistors/radios/electronics, & WHAT a marvelous trek through his brainpath he leads you on during “Hair”; definitely astounding NEW sounds! I absolutely LOVE this tape. It takes the PICK for improv in this issue! Starcrost hipzoundz fer’ TOMORROW – only YOU get to listen to ’em TODAY, volkz! Take the PLUNGE (NO gamble) & GET IT, I say, at 11 Rose St., East Rutherford, NJ 07073
& now, as you’ve no doubt become ACCUSTOMED to, our friend Henry Schneider reviews some of the HIPPEST new material on the scene – as ever, our hatzoff to Henry for his clearcut insight into wotz GOOD & NOT so…
Poor Richard : KNEES, REINS & FEET (Clockwise CW-71001) CD: 25:39 Knees, Reins & Feet is Poor Richard’s debut CD after releasing two independent cassettes. They are a young band, both as musicians and as a band, formed in 1990 and now on their third drummer. Poor Richard recorded the music on this CD in the summer of 1993 while they all still lived in Arizona. Their music is difficult to categorize in that it encompasses several genres. To me they sound similar to bands like Gentle Giant, BeBop Deluxe, and Crack the Sky. That is their competent musicianship and complex intelligent music skips back and forth between rock and progressive rock. The first song El Ladron is a down and dirty rocker with gritty vocals and funky organ riffs. It is one of those songs that grows on you the more you hear it. The next song Dive is a quiet ballad that picks up the beat half way through. Now to confound descriptions further they kick in with Darkroom, a neo-psychedelic song with a heavy beat and great organ riffing! They even throw in some dissonant electric guitar. The last two songs, Clockwise and Free to Daydream, are the closest to progressive rock on the CD and are also, in my humble opinion, the jewels in the crown with soaring guitar solos and excellent synth melodies. In addition to the music, Poor Richard elected to go with a picture CD that duplicates the album art, The Anatomy of Man’s body as govern’d by the Twelve Constellations. This art contains and explanation of the CD title. Poor Richard is a band worth investigating. You can order this CD direct from Clockwise and soon from the overseas distributors Musea and SI. You can also contact the band electronically over the Internet at firstname.lastname@example.org . [Clockwise Records Inc., 4171 Dundee Road #118, Northbrook, Illinois 60062 USA] – Henry Schneider
Andy Pickford’s PSYBORG Project: REPLICANT (Centaur CENCD 004) CD: 58:37 “A new life awaits you in the off-world colonies. The chance to begin again in a golden land of opportunity and adventure. New climates and recreational facilities. Use your new friend as a personal body servent… your custom tailored, genetically engineered humanoid replicant designed especially for your needs.” (extract from Bladerunner) Replicant is an electronic soundtrack to Andy Pickford’s imaginary Science Fiction movie. The extensive liner notes tell the story of this “movie” which, if you are at all familiar with Science Fiction, you will immediately discover is a thinly disguised retelling of Bladerunner. But there the similarity stops, Pickford’s soundtrack is nothing like the Vangelis score. Though cinematic, Pickford instead emulates the French electronic masters: Jean Michel Jarre and Bernard Szajner. His music is rich and warm, not at all what you might expect based on the subject matter. Pickford uses synths, sound bites, found sounds, and vocals to create his mood. Only once on this disc does the music stray into the forbidden zone of New Age. But luckily not for very long. Replicant is an interesting concept album that should appeal to electronic music fans. [Centaur Discs Ltd., CTS Offices, Magnum House, 140 Seagate, Dundee DD1 2HF, ENGLAND] – Henry Schneider
Van Zyl: CELESTIAL MECHANICS (Centaur CENCD 003) CD: 72:58 Having released beaucoups cassettes over the years, Chuck Van Zyl has finally reached the summit with his first CD release, Celestial Mechanics. Now for the first time you can experience Chuck’s interplanetary excursions via the crystal-clear digital media. Celestial Mechanics contains 4 cosmic journeys: The Moment of Totality, Callisto, Valhalla, and Celestial Mechanics all previously released on cassette. Chuck is a true master of Space Music from floating ethereal choirs to pounding dilithium engines. This music is sure to please even the most jaded of Tangerine Dream and Klaus Schulze fans. An interesting approach to the packaging is Centaur’s use of the clear plastic CD cradle After you remove the CD you see a black and white solar eclipse similar to Tangerine Dream’s artwork on Zeit. By all means look for this CD. It is the only sure way to preserve Chuck’s ephemeral music. HIGHLY RECOMMENDED. [Centaur Discs Ltd., CTS Offices, Magnum House, 140 Seagate, Dundee DD1 2HF, ENGLAND] – Henry Schneider
Various Artists: FROM HERE TO TRANQUILITY VOLUME 2 (Silent SR9343) CD: 79:03 This is an ambient music lovers dream come true. Here we have eleven tastefully assembled examples of ambient music by eleven relatively unknown artists: Pelican Daughters, Legion of Green Men, Lotus, Transcendental Anarchists, Single Cell Orchestra, Patternclear, Cirrus Minor, 68000, Tylervision, Robert Rich, and Air. Rather than discuss each track separately, I will give you my general impressions. Each track is unique and just the right length to avoid boredom. I hear influences ranging from the late seventies to the nineties. I am reminded of Pyrolator, Cluster, Rodelius, Skinny Puppy, Tangerine Dream, and Klaus Schulze to name a few. Sometimes voices on the edge of hearing whisper in your ears trying to lure you further away from your body. Besides the music there are notable song titles like Aurascape and The Mosaic Eye Depressurization Sensation (Ataractic Tessera). All the tracks are equally marvelous. Each person will have to judge for themselves which is the best on this CD. But why sweat it? Just relax and let the music flow over, under, around, and through you. HIGHLY RECOMMENDED. [Silent, 101 Townsend, Suite 206, San Francisco, California 94107] – Henry Schneider
Exclusive Raja: OFF THE MAP (Musea MP 3012.AR) CD: 51:44 Off the Map is the debut release by a new French band on Musea’s Musea Parallele series. Picture if you will a musical blend of Robert Fripp, Richard Pinhas, Alain Markusfeld, and Camel and you might come close to envisioning the music of Exclusive Raja. Make no mistake, Exclusive Raja is not a derivitive band, they learned from these masters of the trade and created a new music. Their vocalist has a smooth mellow voice like Camel’s Andy Latimer. The truly outstanding songs are Dock 134 with its melodic Fripp/Markusfeld guitar licks, 9/8 that builds in intensity like King Crimson’s Lark’s Tongues in Aspic, and Brooklyn 1 with William S. Burroughs samples, Frippertronics, and Markusfeld guitar runs. They even throw in a cover version of the Smith’s Nowhere Fast! sounding like early seventies acoustic country rock. Off the Map is music for the discriminating listener that may take a few spins before you can appreciate the results. After all there is a disclaimer on the front that states “to be listened to without any restriction – grunge and noise won’t exceed 12% of the content”. I guess that is why Musea chose to release it on their Parallele series. [Musea, 68 La Tinchotte, 57117 Retonfey, FRANCE] – Henry Schneider
Team Metlay: BANDWIDTH (Atomic City ATOM CD 01) CD: 43:01 Back in the summer of 1990 Mike Metlay formed Team Metlay from among fellow participants in the electronic music discussion sessions on the Internet. For those of you not yet on the information superhighway, the Internet is a computer network that connects computers all over the planet. Through the media of electronic mail and newsgroups people communicate on a wide variety of topics, usually only knowing each other as lines of text on a screen. In response to Mike’s invitation eight Internet musicians met in Pittsburgh, Pennsylvania in December 1990 to record the seven songs on this CD. Each song involved a single musician’s germ of an idea which then grew to fruition through the interaction of the “team”. Consequently Bandwidth has more in common with a compilation album than an album by a band. The “team” made an excellent choice for the opening song. The Hinge of Fate is melodic e-music with fuzzed synths much like Mark Shreeve. The next song Nestrophonie has a fast beat with a heavy drum machine line along the lines of eighties East German synth music. It doesn’t explore enough ideas and is just too long. One of the high points of the CD isOxygen Feed, an eery slow piece of space music in the style of Chuck van Zyl or the Nightcrawlers. On March of the Plastic Ants the drum machines are back with repetitive synth figures like Mark Shreeve’s more recent work. Hot on its heels is Killing Chrome with yet more drum machines that overshadow the music, much like what you hear as the credits start to roll. The “team” now takes a step into an entirely different realm with Madeira. Madeira is a slow quiet piece of jazz trumpet that could have been Miles Davis. Closing out Bandwidth is the by far the longest song Loremarie. Loremarie comes the closest to New Age with its quiet piano and Rodelius-like structure. Though it is an uneven release, Bandwidth has some excellent songs that make it worthwhile to own. [Atomic City, P. O. Box 81175, Pittsburgh, Pennsylvania 15217-0675] – Henry Schneider
Simon Steensland THE SIMON LONESOME COMBAT ENSEMBLE (Musea MP 3013.AR) CD: 54:58 T his new release on Musea’s Parallele series is essentially a solo effort by Simon Steensland with a little help on guitar and keyboards from his friends Johan Boberg, Pelle Halvarsson, Joakim March, Herman Muntzing, Morgan Agren, and Mats Oberg. Steensland plays drums, percussion, keyboards, bass, accordion, synths, berimbau, and flute to forge an intelligent blend of King Crimson, Heldon, and Magma with a dash of Frohmader. This is rich music full of complex chord and rhythm changes, dissonance, and virtuoso playing from the opening percussive fusion of Mandrill to the closing chamber music of Could you … if I…? Steensland’s compostional skills and musicianship are exemplary achieving a highly listenable yet intellectual suite of music. With a release of this caliber I find it difficult to name favorite passages, all are deserving of praise. The Simon Lonesome Combat Ensemble is a new high water mark in Post-Classical music, enriching a genre not explored enough today. If you have even a passing interest in the above mentioned musicians, I strongly recommend you buy this CD. [Musea, 68 La Tinchotte, 57117 Retonfey, FRANCE] – Henry Schneider
Trilogy: HERE IT IS (Musea FGBG 4093.AR) CD: 45:44 Triology was a German progressive band whose excellent debut album Here it is dropped rapidly into obscurity due to progressive rock’s decline in the early eighties. We should praise Musea for rescuing this forgotten masterpiece. From the first note played, I knew that here was an album of the likes of which I couldn’t get enough of twenty years ago! Here it is has all the right elements: catchy melodies, symphonic orchestrations, heavy Hammond organ jamming, electric guitars, and synths. I found myself drawn immediately into this music as if it were an old friend. Be it the Keith Emerson Hammond organ riffing, the Rick Wakeman synths, or the Focus orchestrations, Triology composed a refreshing synergistic rock. Along with the usual excellent Musea packaging, they also treat us to the bonus track Treisband previously only available on an old compilation album of Dorsten, Germany bands. By all means seek out this CD reissue, you will be more than ecstatic with Here it is. [Musea, 68 La Tinchotte, 57117 Retonfey, FRANCE] – Henry Schneider
Yucca Tree Records: POINT OF YUCCA A quite interesting compilation CD from Yucca Tree; there’s MANY of the volkz that you who live/breathe improv will recognize… Doc Wor Mirran, M. Hovancsek, Amy Denio, Die Welttraumforscher, & yes, even (our ol’ faves) the Screamin’ Popeyes! Some intricate, some sparse, some odd & some not… any way you LOOK/LISTEN — it’s fo’ REAL improvisation! The CD is not in a hardplastic cover, rather it’s dressed up sorta’ like a lil’ book! I opened it, expecting to find a whole GROUP of label promo material (for Yucca Tree, I mean) & lo & hebold, wot popz out but (some) really NEAT flyers for each group represented on the comp. Pretty packages don’t always mean GOOD material (in fact, I have a slight MIStrust for stuph that’s packaged TOO neatly) – but in THIS event it (most definitely) DOES! Instrumentally, the range is all the way from percussive pieces to guitar/bass backed improv orchestrals. Three “bonus” trax (from YXMALLOO) round it out for a GREAT journey through strange territory – for the STRAIGHT among ye’, ennyway! For info, & to GET the “point”, write to Riedemrain 246, CH-3027, Bern, Switzerland RECOMMENDED Rotcod Zzaj
THICKER: ‘zine – Looks like the first issue of an absolutely FINE ‘zine of about 50 pages, semi-glossy cover, but not a HYPE! These gentz are contactable (I first got to ’em via alt.zines – use either email@example.com – that’s Eric – or firstname.lastname@example.org – Chuck, natch), which is becoming EVER more important to a ‘zine these daze (as you’ve awready heard me rant on & ON ’bout, right?)! Exalted Potentate Eric (‘s in Bradford) kinda’ sumz it all up when he sez “if we like it, we talk about it. If we don’t like it, we don’t.” One thing they seem ta’ REALLY like is talkin’ wi’ th’ volkz who are PLAYING! Just some really NEAT interviews with “Kustomized”, “Shellac” & others, including a most timely one with Ken Chambers (th’ ‘zine comes with a record by him inside of it, as well)… I really enJOYed th’ interviews, coz’ it seemed to come down to someone who knew th’ “right” questions to ask to get a REAL response from those bein’ interviewed! A page of ‘zine reviews (Eric sez they’re in a “reviewing” mood right now, so get ‘dem subz in right AWAY, ‘fore they run outta’ zteam… …eh?) and some slightly recycled sound reviews – they first appeared in Mykel Board’s ‘zine “Nothing But Record Reviews”; on this score, too, Eric points out that th’ only reason for this is that it wuz th’ first issue – he NEEDS more input! (I’m submittin’ some stuph myself). Stirs th’ ol’ Zzaj blood folkz – this is gonna’ be a HOT one! Get in on the GROUND floor & send somethin’ to ’em for review, like NOW, to: POB 881983, San Francisco, CA 94188-1983 (or call (415)641-8648 This one is HIGHLY recommended! Rotcod Zzaj
Post Prandials: FLIGHT – This CD came without much in the way of intro… but, talk about IMPROV! Sum VOLCANIC stuph! ’twill burn hotlava imagery into th’ cells of e’en th’ MOST jaded among us… I do, indeed, LIKE it! Title piece leads it off, gently I might add. If I could find an airlines with travel to such strange zones, I’d go into HOCK to stay in th’ air… synth underlying lots of (well recorded) UFO’s (unidentified phroggin’ oddities) that come zoomin’ in at yer’ from every angle imagineable – & some that take your imagination to NEW places! Keith Nicolay is the one who sent this in & the only address I saw listed was his on the envelope. If you’re looking for the improv of yesteryear, or even today – FORGET it, volkz… this is from the next CENTURY, sort of like a preview. Definitely fun and certainly RECOMMENDED! Contact at 1953 65th, Brooklyn, NY 11204 R. Zzaj
Jeff Song & Matt Turner: IN VIVO – Seems I’ve been innundated with CD’s of late – dinna’ get me WRONG, that’s not a complaint… it’s just that MOST of the inputs in daze previous were on tape! This one seems to have arrived due to a late-night conversation with one Joseph Celli (reviewed in the last issue) of O.O Discs… we were talking about my occasional forays into the playing of some of the traditional Korean instruments & his OWN trips over here for that very purpose (in point of FACT, I may get a chance to meet – & MAYbe play with – him in the near future) …but, enough about MY aspirations! Jeff Song (who is a Korean PLAYING those traditional instruments, in this case the Kay-a-gum ) is a – very YOUNG-appearing MASTER… many times when Korean artists try to mesh their artistry with jazz players, it comes off sounding a bit stodgy, stiff & unnatural. Not THIS time! This is THE best jazz I’ve listened to this YEAR (so far) – the superb talents of Matt Turner on cello/piano furnish a flowing improvisational jazz panorama for Jeff to meld his majicks with! This music is that rare marriage of cultures that makes the BEAUTY and RIGHTNESS of east/west mixtures become immediately evident. The comparison, for me of course, is to my OWN marriage… such relationships can not BE sustained with only the superficial or the common. It often takes the form of an almost mystical balance… and tho’ such balance does not OFTEN happen – in the LONGER term, anyway -, when it DOES it comes from a willingness to FEEL the other person, to TASTE their directions and dedicate one’s being to becoming a PART of the other – withOUT sacrificing identity. Gawd, zounds like a phroggin’ phil-OS-ophy class, yoh? I’m sorry, but th’ music Jeff & Matt are playin’ here carries me off into such musings. No more rattlin’ on… suffice it to say that if you get NO other jazzworks this year – you MUST have THIS! THIS is the jazz PICK for this issue! Contact Asian Improv Records, 1433 Grant St., Berkely, CA 94703-1109 for ordering information. Also, the aforementioned Mr. Celli also stocks thier FIRST recording, “Love & Fear”, so you might want to contact O.O. Discs, 502 Anton St., Bridgeport, CT., 06606-2121, to order THAT as well!
The Bureaucracy of Hope: “elephants force-fed on stale chalk” – This CD came in a LONG time ago, & I didn’t even realize that it’d been overLOOKED until rovin’ through the empty beerboxcase that all the “pending” stuph getz stacked in. SO – apologies are DEFINITELY in order… …D.I.Y., heavily oriented towards radio-chop, synthlacing spread over top, under & wound round various voxloops… there’s a nice bass wandrin’ in & out of the second cut that adds some “focus” to the randomweave… & NOW, on th’ third trak, th’ skeletal flikz on th’ CD cover are borne out… fairly high-end guitarz (as in METAL, mon’) rampage o’er heavy tribal drumzoundz in a very “qualified” way… hmmmm, not BAD, people! While th’ artwork on th’ cover is quite well done, I was disappointed to find that there’s no real “liner” notes on the inside, something I’d have preferred, to learn a little more about who put this together! Ah, NOW I see, itz a COMP… group names, in VERY hard to see red on green/black on the back cover show volkz like “Jesus Penis”, “Cyclops Joint”, “Meatyard” & “The Sacred Cows”. So, of course, that takes the “hearing” of it in a different direction… how does it “fit” together? (Quite well, actually) Is there a theme? (I don’t think so) Is it worth inquiring about? (Most assuredly, good mix, interesting and creative sounds, groups “i” hadn’t heard yet) Is it “improv”, in the strictest sense? (Naw, comes across more in the D.I.Y./undergound vein) Is that a PROBLEM? (Not at ALL; this was a very “interesting” listen). My main hang with it is the cover… the art is FINE – but there wasn’t enough INFO about the groups, and because of the print mix, it was HARD to read the address… I did manage to do it, though, so if you’re interested in good solid pieces with character that stand on their own merits, contact at POB 541261, Houston, TX 77254
The Plastic Tower: POETRY ‘ZINE – This little quarterly (number ix) was sent in by Roger Kyle-Keith, co-editor with Carol Dyer; & that was because our longtime ally & poetry friend Joan Payne Kincaid had written (awfully) nice review comments on “I.N.”. It comes out to 48 pages. NICE layout (they said they’ve just CHANGED to this format), plenty of poems from writers that I’d not “heard” from before (believe you me, since publication of THAT review, I’m hearin’ from them NOW… which is just GREAT!). That may not mean that they are “new” writers, but that’s the impression I had (though, to be fair, there WERE some names I DID recognize right away – Lyn Lifshin, Cheryl A. Townsend, Bob Z, just to name a few). An extract from one I liked particularly – titled “Neon Veins”, by Bob Meyer…
while we try and hide
under blankets of pavement
sunlight enters our tonsils
we are fish
dropped from vast oceans
into the hot bubbling grease
The poems seem to run/be just a little longer than those published in this ‘zine… I really liked the “feel” of the “Tower”!
For some reason, near the halfway point, there’s a section labelled “Rant & Depression” poetry… but it WORKED! …by way of example, a section from a piece that I was able to relate to (CERTAINLY in a “retrospective” frame of mind, but then that’s sorta’ like swimmin’ or ridin’ a bike, if yer’ know what I mean…)
From Gary Jurechka, simply titled “Smack”, a short illustration…
Smack is the sound
roaring in my ears of
hot vomit adrenalizing
through twisted veins as
the heroin hits
Smack is the sound
of my brain cracking…
Fine little ‘zine that comes HIGHLY recommended by th’ Zzaj! Contact at POB 702, Bowie, MD 20718
Shrunken Heads: A NIGHT OF SERIOUS DRINKING – Ron Jagielnik sent this in after corresponding or speaking with Dan Susnara, a gent who has been reviewed in “I.N.”‘s pages quite frequently. Our issue # 12 covered a tape project that Dan and Ron had been a mutual part of (a 2 tape set called “Regions”), and Dan let him know that I needed more fresh material for the ‘zine… well, ‘fresh’ ain’t the word – CREATIVE comes to mind right AWAY! Out of the three Ron sent in (see later reviews and/or issues), he said up front that this might be the one that “most piques your interest”. He also said that this was done in the BEST mode possible for improvised musics… “just turn the machines on and see what happens”. Done with Tom Mikols, there’s strong synthbase on several of the pieces, with crisp/clear percussion (can’t tell if it’s ALL real or not; rather suspect the undertrak was on a machine). Finely woven sonic pictures, not strongly inclined towards “shock” loops – intricate detail shines through and clearly illustrates the unity of mind and direction these two gents have in their efforts. Very stylistically different from , say, Ligon/Andrews (those who read “I.N.” regularly will know what I mean)… more inclined towards heavier “body”, less excursionary. That’s not in any way a detractor, though. Side 2 had some very nice little wordpieces, not xactly “poems”, but words to provide a, sort of, “directional focus”. FINE little tape, a very enjoyable listen. Contact at 11826 Chisolm Trail, Orland Park, Il., 60462
Fragmented: CRYPTOBIOTIC – A valiant attempt at sonically re-creating the “deepest tunnels within the path of hopelessness, where all structure that used to function suddenly abandons your soul”, as the author putz it! Improv? Yes, I’d say so. I believe ALL of us who improvise find ourselves at “odds” with the world around us at some time on this wierd & wonderful journey through the unconventional. On this tape, the liner notes seem (to me, anyway) to do a better job of describing the pain of being alone in our efforts than does the music. It’s not that Anx.scan isn’t proficient at what he’s performing… there are all the common elements, radio cutovers, video game machine layovers, even a couple of pieces that approach perfection – but even with GREAT textual descriptors – “…and in this empty world it relates only to itself. And in these numb and sterile times, it finds truth only in itself” – the music doesn’t convey to me the HORROR of that realization that we all come to. An interesting journey, but I didn’t feel the courage inherent in having been all the way DOWN there comin’ through as strongly as I did with “Ek Passion Drone”, reviewed in “I.N.” # 12. Fun pain, but not overWHELming! Still worth a contact, though, as I really DID enjoy that tape… 1512 Canyon Run Road, Naperville, IL 60565
Scowl: BRIGHT BLACK – From the (rather large) envelope that Ron Jagielnik sent, this one seems to have, in his own words, “‘rhythm’ as some sort of thread running through it”… & does it EVER! Funky & danceable, this is VERY different in tone/shade from the “Shrunken Heads” sets. Clean and clear recording make it MUCH more enjoyable than many of the tapes along these lines we get in here… the other feature that’s nice is that it’s not JUST funkgutscrootype… a NEAT little poetry piece in here called “From a Hold”… short & sweet, leads right in to a stratocast soundin’ thang that sounds like came from the “other” planet, but still in that most PLEASANT aforementioned rhythmic vein! I truly DO like this tape… if yer’ aspiring to BE a D.I.Y.’er (‘stead o’ just TALKIN’ ’bout it, as so MANY do these days), you NEED to get in touch with Ron & the volkz ’round him… these boyz make some SWEET music, but it’s not so SYRUPY that it’d put th’ improvisors among us off, either! If yer’ ONLY style is “out” improv, you probably won’t be interested – but, OTOH, even the “wierdest” among us (& I surely count meself in THAT category) need to pull BACK e’ry once in a bloomoon, yoh? GET this! It’s GOOD! Contact Ron at the address shown under the “Shrunken Heads” review! Highly, HIGHLY recommended!
As those of you who read this ‘zine on a “regular” basis know already, I’ve made a committment to getting you ever more info about the volkz you see reviewed in these pages… a part of that was the interview you read just a bit earlier with Jared Petersen… now, witness a “by-mail” discussion with one of THE up&coming labels – the folks at D-BAR (stands for Dancing Bear Audio Research) have had a LOT of QUALITY material reviewed in the last 4 or 5 issues… & they just KEEP ON comin’… these questions were answered by one Wes Jensen (who is a GREAT “player” as WELL)… enjoy – & WRITE to them, ok? (POB 3214, Wallington, NJ 07057)
Z: I’ve listened (just in the last 6 months or so) to a LOT of new artistry on the D-BAR label; was that a result of your arrival there, Wes, or was it already “in the works”?
W: Although DBAR was initially started around 1990, by my silent partner, his constant traveling forced (quite willingly) my larger participation in the workings of the label. Until early ’93 my sole contributions were purely musical. In fact, it was DBAR that encouraged me to record solo material and I try to encourage that in the musicians I’m in touch with. I’d say about four new artists have been added since ’93.
Z: D-BAR seems to be pickin’ up a lot of artists in the NJ/NY area? Is that a mistaken impression?
W: No, it’s not. I feel there’s a great need for the musicians I improv with, as well as trade with, to have an outlet available to them in this area. Some of the out of area musicians were on DBAR prior to my arrival and were not opposed to adding more. However, there’s a lot of untapped talent right here in New Jersey.
Z: What are the goals for this/next year for the label?
W: After only a year of being “in charge”, I want to keep DBAR goals realistic right now. Expanding our catalog, increased networking, ‘zine advertising, and monthly live performances featuring present and future DBAR participants are main goals. Honest, positive reviews in ‘zines like yours can only help bring these goals within reach.
Z: Are you quite SELECTIVE in those whom you choose for distribution? Is it restricted to any particular venue?
W: We would be more selective if we had more to select from! Some of those we’ve traded with are already networking through someone or on their own. As far as restrictions go – I’d say we look for experimental, improvised music – synth based or acoustic, new composers with new ideas and new approaches.
Z: Do you only distribute tapes, or will you be/are you doing CD’s, etc?
W: Right now only tapes are available and it will probably stay that way in light of the fact that most people have tape decks, car stereos, walkmans etc. CD’s are more attractive for getting radio play than tapes, so we may see a compilation CD somewhere way down the road.
Z: Does D-BAR do any “promo” work for the artists they distribute? If so, how/what? Are you “playing” the DJ game, only indie stations, press kits? What?
W: For what its worth, we send catalogs, update/new release cards, reminder cards out to major indie ‘zines and radio stations. DBAR has received airplay in Idaho, California, Florida, Michigan and some late night college stations in the Metro Area. The local airplay has led to some inquiries- despite the late hour.
Z: How does one go about being considered for the D-BAR label?
W: Send us your tape and it will be considered. If for some reason it is unacceptable, it will be returned. Regular contact is also needed for info, feedback, and support for future ads, catalogs, etc. People in this area are especially encouraged to send tapes – especially people who are ready and able to perform.
Z: Do you get a “lot” of “schlock” in, or only a little? On that note, WHERE is underground music “headed” today? For better? For worse?
W: Some of the tapes we’ve received are not up to par, which can make things tricky – as I’m sure you know. I’m glad we’re not in the business of reviewing. I personally feel that “underground music” is still a reflection of the state of the world and if the Metro Area I’m in is any indication – its in serious trouble! We’ve witnessed performances in major underground/experimental venues in NYC that make you want to scream, pull your hair out, and stomp up and down, (which would be a better performance) out of frustration.Technology is great when its used with imagination and daring. Too many people don’t explore the equipment they have and rely on the conceptual more than the music.
Z: I’ve listened to your OWN playing, a LOT, Wes… are you (& yer’ compatriots) “enchanted” with jazz/freeform, or maybe I should say, HOW did you become so? Are you more inclined toward improvisationsl music, or structure?
W: I started with the best – Hendrix, Cream, Tull, etc. If not for Ginger Baker I probably would never have been interested in drumming at all. This led to prog rock, then jazz rock, then free form as my musical appreciation grew. I consider myself lucky that I’ve had a small group of musician friends who share the improv philosophy and have the willingness to pursue it. Though I’ve been involved in mostly improv groups/projects, I still feel a need for structure now and then – as a form of discipline. Constant improvising can run into brick walls at times, but playing thru the wall can lead to new areas of exploration.
Z: What are your primary influences?
W: When I was a teenager, my friends thought I was nuts because I’d listen to sound track music as much as rock. Barry Mancini, Herrmann, Goldsmith are just as much influences as Baker, Bruford, ELP, Zawinul, DeJohnette and everything else.
Z: Do you prefer “live” or “studio” work? Or do you HAVE a preference?
W: I love performing live, especially single. I can travel light and still make the big noise. It just gets the nervous energy juice flowing and that means anything can happen up there. Some listeners in the audience also helps! I also enjoy any studio opportunities that may arise as a learning experience and to tame the “fear” of time restrictions, tape rolling, etc.
Z: What are your “personal” plans for playing/expanding your horizons, say in the next year?
W: I’m looking forward to recording new solo and collaborations in the near future. My solo, “Expression thru Aggression” projects still have a long way to go, and new ideas are happening all the time. Creating music with drumsticks is a concept I haven’t fully grasped yet, even though I’m doing it somewhat successfully. I hope to invest in a computer, to better use what I have and to program my synths in a more time efficient manner. Keeping my chops tuned on the acoustics and maybe find some paying outlet for my solo material as sound tracks sure would be nice!
Scott Brookman: THEY’LL NICKEL AND DIME YOU TO DEATH! – I got this h’yar supreme lil’ C90 in via contact with Scott onna’ INTERNET (where a LOT of good stuph is comin’ from these daze). Strictly D.I.Y. is his motto & he fulfills it WELL! Folk/rock orientation, apparently ALL solo. Got to hook him up with Dan Susnara & some o’ those guys who are IN to th’ sounds o’ th’ sixties – but UPDATED with a surely ’90’s feel. To my ear, there are shades of Niel Young, with a slightly more “electric” feel than Niel’s earlier stuff. The only drawback (for some “I.N.” readers, anyway) to this kind of music is it could be considered sort of “star” category… but, I can tell you right NOW that Scott has his own VERY unique style – very TASTY, without so much of the gloss that “star” bandz shoot for on their demos. High talent, with a greatly original sound! This one comes VERY HIGHLY recommended! UNLESS yer’ ONLY in to “total strange” & refuse to listen to ANYthing but that, you’ll have a PLEASANT listen! Get it from Scott at Lunar Records, POB 14719, Richmond, VA (whoa! That’s th’ ONLY detractor, Scott… J-sheet was printed ZO small that I couldn’t get a zip off there… you volkz’ll have to look it up in the PO)
D-Bar: THE CUTTING ROOM FLOOR/THE BOG PEOPLE – Most pleasant listenin’ fer’ yer’ NIGHTmares… actually a MOST fun listen… synthmare might be a better turn o’ phrase & as ye’ might expect, that’s particularly true on side 2 where the “BOG” people reside… this IS the heart of today’s improv (once again, people, these D-BAR people NEVER cease to amaze me)! Toonz are in no way scratch&screech… wandering (I didn’t say plodding) through some nearly classical turf, there are some definite similarities to the work we’ve (many of us, anyway) heard Jacky Ligon & Duke Andrews do over the last couple years or so. I remember attempts on MY part, in fact (about two years ago) on Zzaj tape “In A Conservative World” to create full panoramas like this – but not done NEARLY as well… this IS fine stuph. Those unable to unbridle their minds for a WILD romp through the sonic jungles will have an AWFUL time with this – but “i” absolutely enJOYed it! Contact D-BAR at the address listed in the earlier interview! Like NOW! HIGHLY, HIGHLY recommended!
Okaniwa Fumihiro: EXHIBITION – First heard of this gent durin’ Zalnikor’s jam here in ‘Morning Calm’ studios… next thing I know, after David went back, I’ve got this HUGE tape package in from Okaniwa. On th’ heels o’ THAT cumz a radioplay tape from KKUP, on which he was featured… Don C’s commentary wuz somethin’ to the effect of “some VERY strange musics” – well, he had THAT pegged fer’ sure, people! Which is what makes this SO much fun. Basic gitarz, some straight-ahead voiceovers (no looped stuff here), with a REALLY wierd semi-jazz organ exploring over the top of it all… this stuph is really BASIC improv, the ROOTS that all o’ us who improvise are (prob’ly) STRIVIN’ fo’… really, REALLY “raw”. Reminds me a bit (in intent, ennyway) o’ our ol’ pal up in th’ majickland o’ OLYWA, Arrington de Dionyso – with even MORE edge to it! Some HARD-edged electric guitar material, but th’ B-side has some very interesting acoustic sojourns as well. The only thing I did NOT care for is that several of the pieces just cut OFF… needs JUST a little more care on the editing, Okaniwa… the package had two more tapes in it, which you’ll hear more about in upcoming issues. For a first listen, these are FINE! Contact at 3-30-3 Senzeku, Taitou-ku, Tokyo 111, Japan RECOMMENDED!
Wes Jensen/Adam Fleishman: LIMBO/SPACE FOR RENT – Sum HEAVY here… Wes (of DBAR, yer’ ‘member?) sent a LOADED pack of 4 tapes (2 of which’ll have to wait til’ NEXT issue – you wouldn’t beLEIEVE th’ tapez that came rollin’ in last month)… this IS the hottest! Jensen & Fleishman trade RED-HOT-SCALDING guitar lickz in realtime, together with a Oberheim Matrix-6! If yer’ want FULL body in yer’ improv – you DO want THIS! Even my wife loved it… & that is SAYIN’ somethin’, people! Plus which, it KICKZ! Basslines that’ll eat yer’ SKULL out, tantalize you betwixt mysterious bellzoundz – this tape is IT! Pay attention to these people, people! If improv with MUSIC is yer’ game, you DON’T wanna’ pass this one up! A really CLEAN recording that’ll blow th’ toppa’ yer’ HEAD off! Contact at the DBAR address given earlier.
Markus Schwill: ENDZEITGENERATION First listen to Markus outer-space trek, via the shod hooves of a whole GROUP o’ heavy ‘orses… well, that IS wot’ it zoundz like onna’ first piece (Lenoran)… quite INTERESTING, I’d say. This is NOT a dull cut&patch swash through the outer limits of “short-wave” radio dials. There is some tasteful synth at work here, not just random hits! BUT, if you’re looking for “new age” sweetwash, it AIN’T on HERE! Lots of overlays, the sounds of asteroids zoomin’ past yer’ as yer’ shoot fer’ th’ heart of… whereEVER! Away from the earth, to be sure, & certainly OUT! Good bass under, just subtle enough not to be noticed except where ’twas meant to be. Schwill has a good sense of where he wants to go with this, & doesn’t lead the listener into any “wastelands”… I really enjoyed listening to this tape, and anyone who wants the electronic music of TODAY, without the HYPE will like it as well. Certainly qualifies in the “improv” arena & not nearly as “tacky” as some of the drek I get in here under the self-header of “experimental”. I believe it’s well worth a RECOMMENDED. Contact Markus at DETMOLDER STR. 66, 10715, Berlin GERMANY… QUICKly, afore it allendz!
Sheila E. Murphy/Megha Morganfield: THE WEIGHT AND FEEL OF HARPS – I don’t hardly ever solicit specific tapes – but when Sheila sent the advert for THIS tape, I had little choice… I’ve always liked her poetry, but I had never HEARD it – at least not with music… & then the picture of Megha’s Celtic harp was too enchanting to let it pass! Make no mistake, however; I know some might think – harps? New-Wage? Meditation music? ?BO-ring? No WAY, baby! I don’t know why (& it’s a bit hard to explain), but for SOME reason, snatches of Sheila’s reading on side A surely REMIND me of Don Van Vliet’s (Captain Beefheart, remember?) readings way back when. She is sure-footed, leading you through mindscapes SHE painted in words… the harp makes it’s presence known, but is not at ALL intrusive. Just an absolutely BEAUTIFUL tape; the PICK of this issue for talent in blending the skills of tale-teller with noteweaver. Write Top Of The Day Productions, 3701 Mon terosa #3, Phoenix, AZ 85018-4848
HAZMAT: ‘zine – This is a lil’ personal ‘zine I got in via e-mail contact. She callz it a “happy zine for happy people”… 20 pages or so ov VERY personal ideas, a short piece on her views of alla’ th’ hype about INTERNET these daze (especially as it applies to WOMEN on the net), some recipies (quite a few of ’em geared to vegetarians). Seems she’ll not be doing ‘zine reviews in here (at least not in the forseeable future), so I doubt WE will be doin’ a whole lot of traffic. The tone of this ‘zine is YOU can do what you set YOUR mind to. Now THAT I can/will support 100%… there are WAY too many people all OVER the world today who let themselves be told/taught that they must have APPROVAL/SANCTION for their ideas. Well, HAZMAT quite effectively points out that as the BUNK it is! I truly did enJOY my quik read through this & hope it continues. ONE way it can is for you to get in CONTACT with the editor, Ms. Phink… easier via e-mail (email@example.com ), or if you MUST, use snailmail to 8127 Heatherton Lane, #T-3, Vienna, VA 22180
Flyers in frum volkz all OVER the world… there seems to be a LOT of networking goin’ ON right now… & a lot of THAT is via INTERNET. If you’re NOT hooked into it right now, check it OUT! ‘s the KEY to a revolution, & YOU don’ wanna’ be left OUT, do ya’?
This issue will be the first of a joint venture with the DBAR label (Wes Jensen, to be specific) and Zzaj Productions. I’ll spare you all the gory, but the thrust is that we’re going to JOIN forces to bring you speedier/better service, MORE information on D.I.Y. around the world, & a generally IMPROVED “I.N.” There will be MANY more details to follow, & “I.N.” readers will be made aware of any changes that occur. The DBAR address is contained earlier in this issue, & of course you already KNOW my address – so if you have comments/suggestions about how this may affect you personally as it applies to “I.N.”, don’t HESITATE to write to either of us. Please make sure (for NOW at least) that any actual SUBMISSIONS (poetry, tapes, CD’s, wotEVER) are sent to MY address… we may do things differently in the future, but for now I’ll still be doin’ most of it from HERE!
GAJOOB wuz s’posed to have a revised format paper issue out as of sometime last month… got an e-mail from Bryan saying that it would be forthcoming… keep yer’ fingers crost, as that means (prob’ly) it’s dependent on CASH flow… wotEVER Bryan wants to do with it, we at “I.N.” will support 150%… I know “i” am sincerely hoping he MAKES this issue happen & I’m sure many of you who have seen his ‘zine are too!
Eric Hausmann, who runz th’ SPILLING AUDIO label (now outta’ FLORIDA) tells me that the first issue of “JUNKYARD” will be READY soon… I’ve no idea of how large/long it will be, but I CAN tell you that if it’s anywhere NEAR as good as the tapes he releases under his label, it’s gonna’ be VOLCANIC! I’m truly interested in seeing what he does with this… he & I have been tradin’ ideas back&forth ever since he moved down there (’bout a year ago, I think), & I’ve NO doubt that “JUNKYARD” will be informative, networkable and timely. We should/will all WELCOME it’s entry into the foray. Contact him at POB 24592, JACKSONVILLE FL, 32241
Contact with Mr. Joseph Celli, of O.O. Discs leads me to believe that there is the distinct chance of meeting himself and (possible) Jin Hi Kim here in Korea within the next month or so… as you’ve heard me say before (prob’ly MANY times), it’s so seldom that I get to actually MEET the players, I get absolutely ECSTATIC when I run into such opportunities… I’ll provide you with more news on (any) event(s) as they transpire of course!
Now we take a look at wotz’ BOUND ter’ be a rather unpleasant discussion… th’ ol’ Zzaj ‘as recently encountered the most RIDIMINOUS government intrusions via policy that ever I have SEEN!
In specific, I’m speaking of policies/laws that tread on the very FABRIC of the constitution… the new policies on smoking in government buildings… when “they” came & said “you can’t smoke in the office anymore”, I felt the proverbial “finger” writing on the wall… & now, that’s proven itself out… you know, as soon as they said that, we all “cooperated” & moved our smoking outside to the balcony/landing just outside our office (KNOWING that once you give a group mentality an inch, they’ll fly yer’ to th’ phroggin’ MOON)! Then, three weeks ago, the sign on the door to the office CHANGES… & wot’ does it SAY? “The only designated smoking areas for this building are the picnic table area by the front gate (over 100 feet away & IN the weather) and the parking lot adjacent to this building” (over 75 feet away and ALSO exposed to the elements).
The arguments espoused in favor of the ban on (my ruining my lungs with) tobacco smoke are all centered on the damage my smoking is doing to the health of the general populace… what about the damage their POLICY is going to do to MY health? Smoking outside exposes ME to a severe risk of pneumonia, (ESPECIALLY since I’m a smoker, right?) poisoning from bad air – & if ANY of the diseases I pick up from smoking outside are contagious, I’m BOUND to pass it on to those around me, I’d say. If this ever came to TASK, I believe smokers should press for THEIR rights… if non-smokers want what’s best for EVERYone (they DON’T, they just want people to live by THEIR standards), THEY would be advocating that a COVERED area be built for me to smoke in.
What’s really at issue here is that they’re trying to use the GOVERNMENT to do their dirty work… now let me tell you, I don’t (& I’m sure I never WILL) smoke in my parents’ home… when they set their policy down, it was NOT couched in legalese… it was a plain & simple request… th’ ol’ man came & said “We don’t like the idea of you smoking, we think it’s dangerous, but IT’S NOT OUR BUSINESS to tell you how to live YOUR life; but we DON’T want any smoke in our house – so would you please smoke outside, in your car, anywhere but HERE.”
THAT kind of a point-blank request (person-to-person), I can respect. It’s really NOT the smoking issue that’s at the forefront here… it’s the perversion of the constitution – use of the LAW by those who are too scared to state their opinions/desires forthrightly. As I said, a request coming from an “individual” will be honored by me a LOT sooner than some edict they’ve secured through the SYSTEM… the government has no BUSINESS trying to enforce personal preferences. How long would/will it be before “they/you” are telling me “I don’t like your MUSIC/POETRY, so we’ve passed a LAW saying you can’t DO it here anymore.”
Can’t happen here? Think about it!
It is blue light tonight
and the Nets are on
like an etching of black trees
under blue ground sky
the sun has drooped
over the cliff
and Pete Smith gives up a homerun
like a rocket
past the waxing crescent moon
takes on new life
while twilight fades
a costly error leaves trailing;
next door a spot turns on Keith
going out out to his barn
and Marion will feed the cats
night grows colorless dream
pumping savvy muscle at Shea
we can almost see them play
where planes leave Kennedy
and pass over us to where
in cncroaching the sky
the game continues its reverie
takes a walking lead from first
as light erases
c Joan Payne Kincaid
He shuffles, head down
ready for the next blow
Not everyone will know
what cripples him this way
the same thought
the long face?
on the times we fought
now no good reason
overhead a rainy season
over the fence
c Tom “Tearaway” Schulte
accept it kids
it’s part of the
new crack generation
you have such
fresh looking skin
butter or margarine
they killed a man
this morning by
bas paper said
he twitched for
so Roe’s going
down in flames an’
walls are going
up a presidential
it’s time to
ship those damn
niggers home, ship
the godless hymies
to long island,
send the cajuns
to vermont and
i sleep well
at night knowing
c Scott C. Holstad
I’D DO BALLET ON THE PIANO BABY
much a fool
has a place
to go but
because she doesn’t
c Lyn Lifshin
DANCES WITH SHEEP MADONNA
goes out with
little bo peep,
wants the frontier
while its there.
Loves to shake,
get in her ba ba,
nuzzles their wook heaps,
She wants to kiss
hold their butts
squeeze their Rome
until whoever can’t
bear to see her
graze with them
dices their mutton
Those of Royal Ancestry
Styles are similar
fugal figures of poignant thought
sucking up summer dreams
graceful as Egyptians drawn
where ancient music is sacrosanct
lulling as lethargy
Germany and lute…five part
acquiesence is adrift
habitues frequent liasions
sapiently swimming on nude beach
ad-libbing blue make-believes
c Joan Payne Kincaid
Charlie Parker and Miles Play a Duet
Vocalization of the subconscious
a differeing embrace
embouchure hypostasis of
control from a heroic angle
tumbling through the void
ecstatic change of
costume and derivative.
c Joan Payne Kincaid
in the dark of the walls
i wait for the outside to come and join me
the blind cat looks past my head
and i couldn’t write a poem
if i had to
c Anthony Lucero
Peeling those dressed legs like a licking I take
sailed on your thigh toward a “palmy while” touched
with the flat-‘o-the-hand, ah loved, loving you as
now I love, though fallen away to free that pressed-in
fear of losing you (Ah but’s fake this jail I lie in
you?) Toward a swarmy smile I climb, where your
thought-full breast lusts clear direction, or painting
of limbs. So I clothes-debride for you, hoping my
abrasion will thin…
c John M. Bennett
She stood alone at first
then they began to circle
around her like flies to
the honey pot eyes wide
she watched them rocking
slowly on the balls of her
feet tongues hanging out
three of them sniffing her
not touching yet just
close enough to get her
scent & set the stage
for a fast glide across
the dance floor
c Marc Swan
QUITE A PLACE
an ocean liner from 1924
sits in the trees beyond
my apartment complex
this is good
it keeps me romantic
like thinking of tee ess eliot on a
or james joyce flushing his toilet
other days i think of indians
on the plains
or thirties girls making pornographic
my mind’s always going
the past seems to engage it
the past is quite a place
and if you appreciate poignant
you need to see the vast cemetery
that serves it
c Walt Phillips
ii don’t make up stories
tell the plain truth
the cat farted
and a new minute
dawdled around the clock
c Walt Phillips
WE’RE HERE FOR THE SHOW
He details the anatomy
of death and venom;
Says his heart stopped twice;
the people stare in delicious
horror as he kicks and poses
with his stick (porn is in the eye)
He doesn’t say that they are
shy before they’re fried
and barbecued, He is stewing
In India the ceremony is
Nog Punch Me
where they’re tipped out
into mob ecstacy.
All this to badly out of tune
trumpets and drums-
the basic brains of humanity.
c Joan Payne Kincaid
Swallowed By The Night
Swallowed by the Night.
just like crystal
Empty sounds emerge.
Telling her to rest
a sound way to unravel
Cultures inside books
begin the Crystal Night
c Victor Salinas
Indulgence is a Princess
indulgence is a princess
w/music poured across her
where the garter
and flesh mix
similar to the yn-yang
mill thru ruin
c Victor Salinas
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