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Zafian, Tom

Overview
Works: 24 works in 34 publications in 1 language and 73 library holdings
Genres: Interviews 
Roles: Recording engineer, Director, Producer
Classifications: PN1560,
Publication Timeline
Key
Publications about Tom Zafian
Publications by Tom Zafian
Most widely held works by Tom Zafian
Blue man ( visu )
3 editions published between 1995 and 2006 in English and held by 11 libraries worldwide
A performance art piece, variously including visual projections on screen and other media and props, sometimes combined together with music and the performing group
NOT performance art a selective documentary of performers and performance, New York City, 1987-1995 ( visu )
3 editions published in 1995 in English and held by 10 libraries worldwide
Overviews the history of the art form represented in the NOT performance art series. Includes interviews and performances by various performers of this genre
970-DEBB ( visu )
2 editions published between 1995 and 2003 in English and held by 8 libraries worldwide
Theatre piece
Of all the nerve ( visu )
2 editions published between 1989 and 2003 in English and held by 7 libraries worldwide
Theater piece
Gestation ( visu )
2 editions published between 1991 and 2003 in English and held by 7 libraries worldwide
"Everyone's favorite performance artist, just slightly more than a little bit pregnant, reflects on sleepless nights, the delivery room, the mystery of genetics and the world's oldest profession"--Container
Carthieves! Joyrides! ( visu )
2 editions published between 1995 and 2003 in English and held by 6 libraries worldwide
The Alien Comic ( visu )
2 editions published in 1988 in English and held by 3 libraries worldwide
A video from Not Performance Art, Tom Zafian's video archive collection of classic East Village performance art
The Alien Comic presents The spring show ( visu )
2 editions published in 1995 in English and held by 3 libraries worldwide
"Felicity and Lee Nashville" ( visu )
1 edition published in 1988 in English and held by 2 libraries worldwide
NOT performance art a selective documentary of performers and performance, New York City, 1987-1996 ( visu )
1 edition published in 1995 in English and held by 2 libraries worldwide
Overviews the history of the art form represented in the NOT performance art series. A selective documentary of performers and performance which was shot in the East Village of New York City from 1987-1996
Ghost dance ( visu )
1 edition published in 1993 in English and held by 1 library worldwide
Videodance work
Can't get started ( visu )
1 edition published in 2003 in English and held by 1 library worldwide
A video from Not Performance Art, Tom Zafian's video archive collection of classic East Village performance art
Walk a mile in my head ( visu )
1 edition published in 2003 in English and held by 1 library worldwide
In this video from Not Performance Art, Tom Zafian's video archive collection of classic East Village performance art, Turner plays six characters, variations of an archetypal clown figure
A portrait of Dale Goodson ( visu )
1 edition published in 2003 in English and held by 1 library worldwide
This third video from Not Performance Art, Tom Zafian's video archive collection of classic East Village performance art, tells the story of one artist's career as a performer with interview footage and excerpts from live performances
Not performance art a selective documentary of performers and performance, New York City, 1987-95 :a video ( visu )
1 edition published in 1995 in English and held by 1 library worldwide
Documentary on performers and performance art in New York City. Includes interviews and performance excerpts
Grudge Hanson ( visu )
1 edition published in 2003 in English and held by 1 library worldwide
In this video from Not Performance Art, Tom Zafian's video archive collection of classic East Village performance art, Turner plays Grudge Hanson, the "poet of fortune."
Snakes reach you faster ( visu )
1 edition published in 2003 in English and held by 1 library worldwide
A video from Not Performance Art, Tom Zafian's video archive collection of classic East Village performance art
3 women and a head ( visu )
1 edition published in 2003 in English and held by 1 library worldwide
In this video from Not Performance Art, Tom Zafian's video archive collection of classic East Village performance art, Lisa Kotin's female characters tell their stories
An evening with Bucky and John Pizzarelli in conversation with Robert Santelli, executive director of the GRAMMY Museum by Bucky Pizzarelli( Sound Recording )
1 edition published in 2009 in English and held by 1 library worldwide
Bucky and John Pizzarelli talk with Robert Santelli about their early roots in New Jersey, starting in Paterson; Bucky's uncles, Peter and Bob Dominick, and how they used to play music every Sunday; Bucky's love for American standards; uncles Peter and Bob Dominick; playing with Joe Mooney, Zoot Sims, and others; John growing up getting inspiration and learning music from the same men that Bucky had grown and learned with; John starting banjo lessons with uncle Bob; their father/son relationship; Bucky never judging any type or genre of music John would bring home; learning songs to begin conversations; the privilege of playing the music you love daily, for a living; Bucky playing shows in his last weeks of high school and getting hooked; when Bucky was drafted in April of 1944 and playing in an unauthorized military band; how guitar was mostly rhythmic in the 1930s and 1940s; the three people Bucky grew up knowing he wanted to work with: Duke Ellington, Count Basie and Benny Goodman; Bucky and Benny Goodman in the 1960s; Bucky's relationship with Benny Goodman; Bucky hearing George Barnes on the radio and later playing with him in New York in 1950; John listening to every record his father made alongside the music of his generation; John loving Peter Frampton; John starting to play with Bucky at age 16; George Van Epps and the seven-string guitar; Bucky recording parts on all genres of music; Bucky touring Europe with Benny Goodman's band and the resulting "Live in Stockholm" recording; sessions in the studio by day, playing jazz by night; John becoming his own musician; how hearing Nat King Cole changed John's life; Stash Records recording John in 1983; John being able to have Bucky, Milt Hinton, Clark Terry and Mel Lewis on his first record; Bucky's pride in John; origins of the song "I like Jersey best"; John's tenure with Bucky including ear training, playing summers at the Pierre Hotel, watching Bucky teach himself classical guitar; Bucky's love of guitar and how he will never retire; how strangers come to attach themselves to Bucky and how Bucky never turns guitar enthusiasts away; John's ability to turn it off and take a break; how young people are learning more about earlier music; how technology provides access to earlier music and artists; learning the standards; the importance of finding a place to play in the corner and publicly make mistakes; learning by playing; arrangements of songs; playing by ear versus sight reading; bossa nova coming to New York in the 1960s; difference between playing in a studio and playing live; the importance of a good sound engineer who works without imposing on the session; Bucky's feelings about Django Reinhardt; the importance of being a good listener
An evening with Bucky and John Pizzarelli in conversation with Robert Santelli, executive director of the GRAMMY Museum by Bucky Pizzarelli( visu )
1 edition published in 2009 in English and held by 1 library worldwide
Bucky and John Pizzarelli talk with Robert Santelli about their early roots in New Jersey, starting in Paterson; Bucky's uncles, Peter and Bob Dominick, and how they used to play music every Sunday; Bucky's love for American standards; uncles Peter and Bob Dominick; playing with Joe Mooney, Zoot Sims, and others; John growing up getting inspiration and learning music from the same men that Bucky had grown and learned with; John starting banjo lessons with uncle Bob; their father/son relationship; Bucky never judging any type or genre of music John would bring home; learning songs to begin conversations; the privilege of playing the music you love daily, for a living; Bucky playing shows in his last weeks of high school and getting hooked; when Bucky was drafted in April of 1944 and playing in an unauthorized military band; how guitar was mostly rhythmic in the 1930s and 1940s; the three people Bucky grew up knowing he wanted to work with: Duke Ellington, Count Basie and Benny Goodman; Bucky and Benny Goodman in the 1960s; Bucky's relationship with Benny Goodman; Bucky hearing George Barnes on the radio and later playing with him in New York in 1950; John listening to every record his father made alongside the music of his generation; John loving Peter Frampton; John starting to play with Bucky at age 16; George Van Epps and the seven-string guitar; Bucky recording parts on all genres of music; Bucky touring Europe with Benny Goodman's band and the resulting "Live in Stockholm" recording; sessions in the studio by day, playing jazz by night; John becoming his own musician; how hearing Nat King Cole changed John's life; Stash Records recording John in 1983; John being able to have Bucky, Milt Hinton, Clark Terry and Mel Lewis on his first record; Bucky's pride in John; origins of the song "I like Jersey best"; John's tenure with Bucky including ear training, playing summers at the Pierre Hotel, watching Bucky teach himself classical guitar; Bucky's love of guitar and how he will never retire; how strangers come to attach themselves to Bucky and how Bucky never turns guitar enthusiasts away; John's ability to turn it off and take a break; how young people are learning more about earlier music; how technology provides access to earlier music and artists; learning the standards; the importance of finding a place to play in the corner and publicly make mistakes; learning by playing; arrangements of songs; playing by ear versus sight reading; bossa nova coming to New York in the 1960s; difference between playing in a studio and playing live; the importance of a good sound engineer who works without imposing on the session; Bucky's feelings about Django Reinhardt; the importance of being a good listener
 
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Languages
English (30)
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