[rohrpost] solarjazz for assel!(Russell or Roussel)zieh!zwibaks ironis

Hi Listlisteners!

How to continue an interwie with Ciel Clartoy?

first man in space (the all sea~ink*eye)

Mr. Neubauhouser:

"What about simultankonzerte in solarcity, im Triangel

Kito-SO36-Apex, "durchgeknalltes" Japanese Sendersurfink

with Fritz-, Marker-, Helioadapter, H²O-Agora 12...?"

Soulartists pour Solarchartists & speed up with

kurzurzufall aus watênja-solarroman schön zu nde über-

(Archie for cheap solarsheeps / Benn-Raster-Noton:

dacht hatte, ehe dieser beim anfang eines hängenden

Sun Ra pour Run Sara for Sunny&David Reimmarie)

gedankens ankam, das gym, die administrationsge-

Kamikaze GG brings eaglemosseyes to the Kito.

bärde, das relais der solaradelsversammlung, 3 (aufgelötete)

neutrinocritics make solarmusique

qulöster. der stolz der weiszen ist zwar jeder verhöhnung

wtoimf talks like solarplexus of 1000 Elians

zugänglich, ganz unbegreiflich war leib zwielaut seines

language is a solarcopyreiter (my gh ostfrankwrighter RIBS

Review of Sooner or Later written by Keith Lo Bue.

    Warning: HAZARDOUS for casual or background listening! This is my absolute favorite recording by Ostertag
    because of it's sheer emotional power. A lengthy sample of a Salvadorian boy burying his father is played
    untreated. It dies away, then is exhumed in shards, stretching and scraping at the haunting sound source. Like a
    relentless, steady zoom lens it focusses tighter and tighter on the agony of this child and of the senselessness of
    war. It's a really difficult piece of music to bear for this intensity. But, like all art that stands the scrutiny of
    repeated engagement, it is totally worth the experience.

Elian likes 1000 waitoyways of iwf-talks in komafluxus

vaters verachtung für die leistungen der weiszen nicht

repeat ignore before scan the inkstier in indianet

geblieben, teilweise stieg sie aus ihm unbekannten

sell solarsoundescapes or die with Pocahontas..

inneren verliesen empor, ihn unsäge im vers er

zählt lichtjahre zwischen den kalenderkalauern

lauert karl, des Solarzeilenvirus-Kurts Zufall

big Meetbroters Sonnenso!nettstiche

im Jazzzelt, oder Nauras Attacken auf kosmische

Migränen im Staubsaugerpiano, das dem Apex

noch fehlt zum gestillten Gluck: L. Cartoy-Ciel

(spielt mit Dominomindminzmonden Mietzes Res.

goldhamster kaufen kurzufällig thinkstiers tigertanker

Mikadorochade) mehr mervelichtungen fyr ren

solarotterfährtenleser anhalten

zum Jazzgeld (Schluß mit Quieketapes!)

Scholarschotterfahrer anschreiben: Schlotmanns Kartoffelsalat

im Postnieslandslang

Rohre P.Ostertage mit Iggy&Bob

feat. Grußoberst L.Mehr L.

being matter ignited...
an interview with Cecil Taylor

text by Chris Funkhouser
published in Hambone, No. 12 (Nathaniel Mackey, editor)

    Pianist-composer Cecil Taylor is internationally known for the brilliance and audacious beauty of
    his music. He has recorded dozens of albums as a solo performer and with various ensembles
    over a period spanning five decades. He is currently working with a large ensemble called
    Phthongos. He has incorporated poetry into his work in a number of ways over the years; in 1991
    Leo Records released Chinampas, a recording which presents his poetry accompanied by
    multi-instrumental improvisations. The following interview, conducted by Chris Funkhouser,
    took place at Mr. Taylor's home in Brooklyn on September 3, 1994.

Review of Say No More written by Christian Huygen.

    This one is my favorite among Bob's works. I think it's a masterpiece. The balance between composition and
    improvisation is simply breathtaking. It's like a virtuoso 45 minute improvised quartet which has a satisfying
    structure, and wherein every single second is "on." And what Ostertag does with the technology available to him
    extends the musicians' virtuosity in dazzling ways; for instance, there's a long vocal solo by Phil Minton, using lots
    of extended technique, which Ostertag didn't only restructure -- he removed all the in-breaths. So you get two or
    three minutes of a guy singing -- and gibbering, muttering, and quacking like a duck -- without inhaling. In my mind
    that always creates a picture of a very large man getting smaller and smaller, like a balloon. I think this is a
    stunning example of what technology in music can do, and Bob has mastered the possibilities better than anyone
    else I've heard.

Funkhouser: Let's explore the literary side of the work that you do. With the exceptions of people like
Sun Ra, Archie Shepp, and a few others, there aren't many jazz players who choose to work with words
as a mode of expression. I wanted to ask you about your poetry, where you're coming from when you
write it down or are presenting it vocally.