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  1. <?xml version='1.0' encoding='UTF-8'?><rss xmlns:atom="http://www.w3.org/2005/Atom" xmlns:openSearch="http://a9.com/-/spec/opensearchrss/1.0/" xmlns:blogger="http://schemas.google.com/blogger/2008" xmlns:georss="http://www.georss.org/georss" xmlns:gd="http://schemas.google.com/g/2005" xmlns:thr="http://purl.org/syndication/thread/1.0" version="2.0"><channel><atom:id>tag:blogger.com,1999:blog-4155637663191071619</atom:id><lastBuildDate>Wed, 01 May 2024 06:58:28 +0000</lastBuildDate><category>*****</category><category>Modern jazz</category><category>Sax trio</category><category>Avant-garde jazz</category><category>Concert Review</category><category>Sax-drums duo</category><category>feature</category><category>World Jazz</category><category>Piano Trio</category><category>Avant-Garde</category><category>Guitar Week</category><category>Solo Sax</category><category>Trumpet trio</category><category>Fringes of Jazz</category><category>Reviewer</category><category>Solo 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music</category><category>solo flute</category><title>The Free Jazz Collective</title><description>Reviews of Free Jazz and Improvised Music</description><link>http://www.freejazzblog.org/</link><managingEditor>noreply@blogger.com (Stef)</managingEditor><generator>Blogger</generator><openSearch:totalResults>6259</openSearch:totalResults><openSearch:startIndex>1</openSearch:startIndex><openSearch:itemsPerPage>25</openSearch:itemsPerPage><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-5688477920894477082</guid><pubDate>Wed, 01 May 2024 06:57:00 +0000</pubDate><atom:updated>2024-05-01T08:57:42.757+02:00</atom:updated><title> James Ilgenfritz - Stay Logged In On This Trusted Device (Infrequent Seams, 2024)</title><description>&lt;p&gt;&lt;/p&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEgax4fCCifechfqwaqpoob7QuZthKQHtD9AwmtR2vFIUGu10-06Un8UFIvfSS-ZfSuuUTcDQ8n1wic3JmzcHd_jx6BEGcipYuBtR5OIf6uCZ2gI3VF2HVCfXQq9ASjfM_sJpn1GW8TcgzrN4tgTPWjP-d4Md188ONdUF9rvaPiGSH5MZKLZF8F7Wh5rkYo&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img alt=&quot;&quot; data-original-height=&quot;1200&quot; data-original-width=&quot;1200&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEgax4fCCifechfqwaqpoob7QuZthKQHtD9AwmtR2vFIUGu10-06Un8UFIvfSS-ZfSuuUTcDQ8n1wic3JmzcHd_jx6BEGcipYuBtR5OIf6uCZ2gI3VF2HVCfXQq9ASjfM_sJpn1GW8TcgzrN4tgTPWjP-d4Md188ONdUF9rvaPiGSH5MZKLZF8F7Wh5rkYo=w320-h320&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;p&gt;&lt;/p&gt;By Don Phipps &lt;br /&gt;&lt;br /&gt;More modern classical than free jazz, James Ilgenfritz’s “&lt;i&gt;Stay Logged In On This Trusted Device&lt;/i&gt;” features four Ilgenfritz compositions performed in four different settings – solo bass with electronics, a saxophone quartet, an octet  which features two bassists, and a baseless quartet. Eschewing in your face dynamics, the music Ilgenfritz presents here is cerebral, abstract and minimalist. Think clever exhibitions of sound in slow motion.  &lt;br /&gt;&lt;br /&gt;For example, Ilgenfritz’s “&lt;i&gt;Almostness&lt;/i&gt;” is a twenty-minute bass solo and electronics abstraction that develops slowly – often emphasizing a two note or even a single note theme alternating with silent passages. Added in are effects like double stop bass bowing or an emphasis on overtones. Like David Lynch’s “&lt;i&gt;Twin Peaks&lt;/i&gt;” red room – this music suggests a surreal place where dreams merge with reality. &lt;br /&gt;&lt;br /&gt;The New Thread Quartet, a sax group comprised of Geoffrey Landman on soprano, Kristen McKeon on alto, Erin Rogers on tenor, and Zach Herchen on baritone, perform Ilgenfritz’s formalistic “&lt;i&gt;Trust Fall,&lt;/i&gt;” a 12-minute piece in which the quartet offers up a range of sonic and sometimes comical effects – bird like screeches, gnat/mosquito like hums, and towards the end, what might be described as car horn harmonics. There are even passages where the sax players blow air through their instruments without generating notes, all the time clicking their keys.  &lt;br /&gt;&lt;br /&gt;For his eight-part &lt;i&gt;Apophenia&lt;/i&gt; V, Ilgenfritz calls upon the Ghost Ensemble [Breana Gilcher (oboe), Ben Richter (accordion), Lucia Stavros (harp), Chris Nappi (percussion), Cassia Streb (viola), Jennifer Bewerse (cello), James Ilgenfritz (contrabass), Scott Worthington (contrabass), and Carl Bettendorf (conductor)]. There is an impressionistic back and forth between  Gilcher’s oboe and Nappi’s vibraphone in &lt;i&gt;Part A&lt;/i&gt;. On the topsy turvy &lt;i&gt;Part B&lt;/i&gt;, bass and accordion play in bouncy unison. On &lt;i&gt;Part C,&lt;/i&gt; what sounds like an uncredited flautist plays flutters above the sound of a winding clock as Stavros plucks the harp. On &lt;i&gt;Part D&lt;/i&gt;, Nappi uses percussion to create atmospherics behind the ensemble’s staccato and syncopated notes. On &lt;i&gt;Part E&lt;/i&gt;, the basses bow rumbling notes. The piece features an extended yet unsettling vertical up and down passage and it ends with bass and cello plucks in unison. &lt;i&gt;Part F&lt;/i&gt; highlights bass bowing over bells and a syncopated back and forth. On &lt;i&gt;Part G&lt;/i&gt;, Bewerse and the unidentified flautist play above the vibraphone. Part H offers foghorn effects and what sounds like a rain stick makes an appearance. Gilcher and Richter give solid performances on the piece. &lt;br /&gt;&lt;br /&gt;The final number, &lt;i&gt;Subject-Object-Abject&lt;/i&gt; is performed by Hypercube, a quartet comprised of Erin Rogers (saxophone), Jay Sorce (electric guitar), Andrea Lodge (piano/accordion) and Chris Graham (percussion). The abstractions here, like the other pieces, feature lots of space between notes, but this time with Morse code dits and dots and subtle runs. Graham uses small percussion instruments to great effect -  and the group creates the musical equivalent of an icy, Artic landscape or the barren lunar surface.  &lt;br /&gt;&lt;br /&gt;That said, “&lt;i&gt;Stay Logged In On This Trusted Device&lt;/i&gt;” does have one glaring weakness – it eschews emotions. There is nothing that bonds a listener more to music than feelings. However, the music presented here is more akin to a book on differential equations as opposed to Tolkien’s “&lt;i&gt;Lord of the Rings.&lt;/i&gt;”  Please note that music doesn’t have to communicate emotion, but emotion is what connects the artist and the listener. The album fails on this dimension, and this missing element provides for a dry though interesting musical experience.&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;Listen and download from &lt;a href=&quot;https://jamesilgenfritz.bandcamp.com/album/stay-logged-in-on-this-trusted-device&quot;&gt;Bandcamp&lt;/a&gt;.&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/05/james-ilgenfritz-stay-logged-in-on-this.html</link><author>noreply@blogger.com (Stef)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/a/AVvXsEgax4fCCifechfqwaqpoob7QuZthKQHtD9AwmtR2vFIUGu10-06Un8UFIvfSS-ZfSuuUTcDQ8n1wic3JmzcHd_jx6BEGcipYuBtR5OIf6uCZ2gI3VF2HVCfXQq9ASjfM_sJpn1GW8TcgzrN4tgTPWjP-d4Md188ONdUF9rvaPiGSH5MZKLZF8F7Wh5rkYo=s72-w320-h320-c" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-5786933447076214230</guid><pubDate>Tue, 30 Apr 2024 06:27:00 +0000</pubDate><atom:updated>2024-04-30T08:27:04.145+02:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Piano Trio</category><title>Space - Embrace the Space (Relative Pitch, 2024)</title><description>&lt;span id=&quot;docs-internal-guid-07a2e41c-7fff-b5e3-8241-8409e1d76fe1&quot;&gt;&lt;h2 dir=&quot;ltr&quot; style=&quot;line-height: 1.38; margin-bottom: 6pt; margin-top: 18pt; text-align: center;&quot;&gt;&lt;img height=&quot;320&quot; src=&quot;https://lh7-us.googleusercontent.com/dNIdH3wZEhgqotQyASq99dkO6CZFH39tLwXVOFq4RS4VAjxS9zOGeq_iTdXdIMiGB3o9_9C7PMbc1sasWKFzPHl_FZqPW9ydJyTNm6LSY28j9T4qyqvkYOyZRN3WB-LQDDHww-twngUPiDsiIiQqbsg=w320-h320&quot; style=&quot;font-family: Arial, sans-serif; font-size: 11pt; margin-left: 0px; margin-top: 0px; white-space: pre-wrap;&quot; width=&quot;320&quot; /&gt;&lt;/h2&gt;&lt;br /&gt;By Taylor McDowell&lt;br /&gt;&lt;br /&gt;&lt;i&gt;Space&lt;/i&gt; is Lisa Ullén (piano), Elsa Bergman (double bass) and Anna Lund (drums).The piano trio based in Stockholm is back with a fiery follow-up to their &lt;a href=&quot;https://www.freejazzblog.org/2022/02/lisa-ullen-elsa-bergman-anna-lund-space.html&quot;&gt;2022 debut&lt;/a&gt;. The trio now collectively goes under the name &lt;i&gt;Space&lt;/i&gt;, which I perceive to be the symbolic transformation from ad hoc group to a real band. On Embrace the Space the trio indeed plays like a band - demonstrating a fondness of each other rooted in their shared history (a shared history dating back to at least 2016 as members of Anna Högberg Attack). On &lt;i&gt;Embrace the Space&lt;/i&gt;, the exploratory interplay of their previous outing is sufficiently eclipsed by raw and moving confidence of a fully-developed team. &lt;br /&gt;&lt;br /&gt;Recorded in studio, &lt;i&gt;Embrace the Space&lt;/i&gt; consists of eight exhilarating improvisations. The conciseness of most of these improvisations yields focused, to-the-point statements that relish in their collective acumen with stirring results. “&lt;i&gt;Look&lt;/i&gt;” kicks things off with snarl, with Ullén’s brooding piano building tension like thunderheads on the horizon. The erratic “&lt;i&gt;Cyklop&lt;/i&gt;” begins with a spikey conversation between prepared piano and Bergman’s plodding bass before Lund enters the fray. “&lt;i&gt;Rage&lt;/i&gt;” is aptly titled - it’s a full-tilt assault led by Lund’s driving cymbals. On “&lt;i&gt;Composure&lt;/i&gt;,” the trio slows down without sacrificing a lick of intensity. The paced, descending piano harmony feels foreboding enough before Bergman and Lund prod the group into rougher seas. Three longer tracks permit the group to stretch out a bit more.&amp;nbsp;&lt;/span&gt;&lt;div&gt;&lt;span&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div&gt;&lt;span&gt;They still retain the focused energy as on their shorter improvisations, but with some additional room to maneuver. “&lt;i&gt;All at Once&lt;/i&gt;” is a daring ride that firmly seats Space in the upper echelon of piano trios. There are even moments that remind me of the Feel Trio in the same raw intensity. “&lt;i&gt;Bleach&lt;/i&gt;” is the longest track here at over 12-minutes. We find Space at its most dynamic here - it’s a communion of shifting moods and building tension. About 6-minutes in the trio decelerates; Ullén taps out a repetitive chord while Lund and Bergman fill the scene with restless energy. The piece gradually builds gravity until it reaches a breaking point. The release of energy is hair-raising as three voices collide in free jazz maelstrom. Utterly brilliant.&lt;br /&gt;&lt;br /&gt;&lt;i&gt;Space&lt;/i&gt; is fast becoming one of the most daring piano trios on today’s scene (and a personal favorite of mine). Embrace the Space is a milestone achievement for the trio as they solidify their sound and camaraderie. Highly recommended.&lt;br /&gt;&lt;br /&gt;Enjoy this live performance at Gothenburg’s &lt;a href=&quot;https://www.youtube.com/watch?v=4imSi4wcoKs&quot;&gt;Brötz&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;Embrace The Space is available as a CD or digital &lt;a href=&quot;https://relativepitchrecords.bandcamp.com/album/embrace-the-space&quot;&gt;download&lt;/a&gt;.&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/space-embrace-space-relative-pitch-2024.html</link><author>noreply@blogger.com (Stef)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://lh7-us.googleusercontent.com/dNIdH3wZEhgqotQyASq99dkO6CZFH39tLwXVOFq4RS4VAjxS9zOGeq_iTdXdIMiGB3o9_9C7PMbc1sasWKFzPHl_FZqPW9ydJyTNm6LSY28j9T4qyqvkYOyZRN3WB-LQDDHww-twngUPiDsiIiQqbsg=s72-w320-h320-c" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-6137528903794244268</guid><pubDate>Mon, 29 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-29T06:00:00.152+02:00</atom:updated><title> Niels Lyhne Lokkegaard &amp; Quatuor Bozzini - Colliding Bubbles (Important, 2024)</title><description>&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEhLHVHB_VNtLnkQ2MGl6wdp3HisyRu66mL8MXCz8E4RIS-uIqwlatq6VgvrcrRQHcSFOmsM2wpJ_DzMbY99taQ8zONhsL6qaTMOoDRYqXDFUEFbuX92kd7YRy8qgRN7MncPARNBzPvkMWo1BY8UB3XOx7rMIQA4SVzR2DuOS4XKUJg636ffDXij-RO2SA8&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img alt=&quot;&quot; data-original-height=&quot;1200&quot; data-original-width=&quot;1176&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEhLHVHB_VNtLnkQ2MGl6wdp3HisyRu66mL8MXCz8E4RIS-uIqwlatq6VgvrcrRQHcSFOmsM2wpJ_DzMbY99taQ8zONhsL6qaTMOoDRYqXDFUEFbuX92kd7YRy8qgRN7MncPARNBzPvkMWo1BY8UB3XOx7rMIQA4SVzR2DuOS4XKUJg636ffDXij-RO2SA8=w314-h320&quot; width=&quot;314&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;br /&gt;By Eyal Hareuveni&lt;p&gt;&lt;/p&gt;&lt;p dir=&quot;ltr&quot; style=&quot;caret-color: rgb(36, 36, 36); color: #242424; font-family: &amp;quot;Segoe UI&amp;quot;, &amp;quot;Segoe UI Web (West European)&amp;quot;, &amp;quot;Segoe UI&amp;quot;, -apple-system, BlinkMacSystemFont, Roboto, &amp;quot;Helvetica Neue&amp;quot;, sans-serif; font-size: 15px; line-height: 1.38; margin-bottom: 12pt; margin-top: 0px;&quot;&gt;&lt;span style=&quot;border: 0px; color: black; font-family: Georgia, serif; font-size: 11pt; font-stretch: inherit; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;&quot;&gt;Niels Lyhne Løkkegaard is an experimental-interdisciplinary Danish composer whose work spans from contemporary composition and sound art to performance, conceptual and visual art. He considers his work to be basic research in realities and is interested in how bubble-like systems unfold themselves as human conditions. The meetings between individual bodies and different bubble-like systems and his works investigate the ways to escape these bubbles, and if not escape them, then how they can be warped, wrestled and renegotiated.&lt;/span&gt;&lt;/p&gt;&lt;p dir=&quot;ltr&quot; style=&quot;caret-color: rgb(36, 36, 36); color: #242424; font-family: &amp;quot;Segoe UI&amp;quot;, &amp;quot;Segoe UI Web (West European)&amp;quot;, &amp;quot;Segoe UI&amp;quot;, -apple-system, BlinkMacSystemFont, Roboto, &amp;quot;Helvetica Neue&amp;quot;, sans-serif; font-size: 15px; line-height: 1.38; margin-bottom: 12pt; margin-top: 0px;&quot;&gt;&lt;span style=&quot;border: 0px; color: black; font-family: Georgia, serif; font-size: 11pt; font-stretch: inherit; font-style: italic; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;&quot;&gt;Colliding Bubbles (surface tension and release) &lt;/span&gt;&lt;span style=&quot;border: 0px; color: black; font-family: Georgia, serif; font-size: 11pt; font-stretch: inherit; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;&quot;&gt;is Løkkegaard’s composition for the Canadian string quartet Quatuor Bozzini&lt;/span&gt;&lt;span style=&quot;border: 0px; color: black; font-family: Georgia, serif; font-size: 11pt; font-stretch: inherit; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; font-weight: 700; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;&quot;&gt; &lt;/span&gt;&lt;span style=&quot;border: 0px; color: black; font-family: Georgia, serif; font-size: 11pt; font-stretch: inherit; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;&quot;&gt;(first violinist Alissa Cheung, second violinist Clemens Merkel,&amp;nbsp; violist Stéphanie Bozzini and cellist Isabelle Bozzini), meaning that Quatuor Bozzini is playing string instruments while playing harmonicas. Together, the eight instruments play a subtle game of timbral and harmonic attraction and repulsion. Løkkegaard composed before works for multiple pianos, clarinets, hi-hats, triangles, parabolic microphones, vibraslaps, harmonicas and alto saxes.&lt;/span&gt;&lt;/p&gt;&lt;p dir=&quot;ltr&quot; style=&quot;caret-color: rgb(36, 36, 36); color: #242424; font-family: &amp;quot;Segoe UI&amp;quot;, &amp;quot;Segoe UI Web (West European)&amp;quot;, &amp;quot;Segoe UI&amp;quot;, -apple-system, BlinkMacSystemFont, Roboto, &amp;quot;Helvetica Neue&amp;quot;, sans-serif; font-size: 15px; line-height: 1.38; margin-bottom: 12pt; margin-top: 0px;&quot;&gt;&lt;span style=&quot;border: 0px; color: black; font-family: Georgia, serif; font-size: 11pt; font-stretch: inherit; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;&quot;&gt;Løkkegaard says that he wanted to suggest different kinds of collisions of the “bubbly matter” that will lead to different ruptures and possible release of surface tension. The minimalist fluctuations between the statis-like, delicate vibrations and overtones of the more prosaic harmonicas and the classical string instruments, represent the collisions of these “bubbly matter”. Løkkegaard has perfected this method of arriving into (over)saturated state of multiplied bodies or systems of sound and on the 29-minute &lt;/span&gt;&lt;span style=&quot;border: 0px; color: black; font-family: Georgia, serif; font-size: 11pt; font-stretch: inherit; font-style: italic; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;&quot;&gt;Colliding Bubbles &lt;/span&gt;&lt;span style=&quot;border: 0px; color: black; font-family: Georgia, serif; font-size: 11pt; font-stretch: inherit; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;&quot;&gt;he allows the reverberating sounds to collapse slowly and organically under their own (over)saturated weight and become something else, meditative and thoughtful timbral phenomena.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&lt;p dir=&quot;ltr&quot; style=&quot;caret-color: rgb(36, 36, 36); color: #242424; font-family: &amp;quot;Segoe UI&amp;quot;, &amp;quot;Segoe UI Web (West European)&amp;quot;, &amp;quot;Segoe UI&amp;quot;, -apple-system, BlinkMacSystemFont, Roboto, &amp;quot;Helvetica Neue&amp;quot;, sans-serif; font-size: 15px; line-height: 1.38; margin-bottom: 12pt; margin-top: 0px;&quot;&gt;&lt;span style=&quot;border: 0px; color: black; font-family: Georgia, serif; font-size: 11pt; font-stretch: inherit; font-variant-east-asian: normal; font-variant-ligatures: normal; font-variant-position: normal; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline; white-space: pre-wrap;&quot;&gt;You can think about this impressive composition as a sonic meditation about the human condition. It asks the musicians and listeners to rebel against the linear time concept and the nonstop sonic stimulations and find their collective sonic haven, where the individual sounds dissolve into the collective sound.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;&lt;p dir=&quot;ltr&quot; style=&quot;caret-color: rgb(36, 36, 36); line-height: 1.38; margin-bottom: 12pt; margin-top: 0px;&quot;&gt;&lt;span style=&quot;font-family: Georgia, serif;&quot;&gt;&lt;span style=&quot;font-size: 14.666666984558105px; white-space: pre-wrap;&quot;&gt;Listen and download from &lt;a href=&quot;https://imprec.bandcamp.com/album/colliding-bubbles&quot;&gt;Bandcamp&lt;/a&gt;. &lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&lt;p dir=&quot;ltr&quot; style=&quot;caret-color: rgb(36, 36, 36); color: #242424; font-family: &amp;quot;Segoe UI&amp;quot;, &amp;quot;Segoe UI Web (West European)&amp;quot;, &amp;quot;Segoe UI&amp;quot;, -apple-system, BlinkMacSystemFont, Roboto, &amp;quot;Helvetica Neue&amp;quot;, sans-serif; font-size: 15px; line-height: 1.38; margin-bottom: 0px; margin-top: 0px;&quot;&gt;&lt;/p&gt;&lt;p dir=&quot;ltr&quot; style=&quot;caret-color: rgb(36, 36, 36); color: #242424; font-family: &amp;quot;Segoe UI&amp;quot;, &amp;quot;Segoe UI Web (West European)&amp;quot;, &amp;quot;Segoe UI&amp;quot;, -apple-system, BlinkMacSystemFont, Roboto, &amp;quot;Helvetica Neue&amp;quot;, sans-serif; font-size: 15px; line-height: 1.38; margin-bottom: 0px; margin-top: 0px;&quot;&gt;&lt;br /&gt;&lt;/p&gt;&lt;div style=&quot;text-align: center;&quot;&gt;&lt;iframe allow=&quot;accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share&quot; allowfullscreen=&quot;&quot; frameborder=&quot;0&quot; height=&quot;315&quot; referrerpolicy=&quot;strict-origin-when-cross-origin&quot; src=&quot;https://www.youtube.com/embed/l2q-Y7jfWkE?si=WUM4sEALXHzhKXHo&quot; title=&quot;YouTube video player&quot; width=&quot;560&quot;&gt;&lt;/iframe&gt;&lt;/div&gt;
  2.  
  3. &lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/niels-lyhne-lokkegaard-quatuor-bozzini.html</link><author>noreply@blogger.com (Stef)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/a/AVvXsEhLHVHB_VNtLnkQ2MGl6wdp3HisyRu66mL8MXCz8E4RIS-uIqwlatq6VgvrcrRQHcSFOmsM2wpJ_DzMbY99taQ8zONhsL6qaTMOoDRYqXDFUEFbuX92kd7YRy8qgRN7MncPARNBzPvkMWo1BY8UB3XOx7rMIQA4SVzR2DuOS4XKUJg636ffDXij-RO2SA8=s72-w314-h320-c" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-3463824243111553865</guid><pubDate>Sun, 28 Apr 2024 10:00:00 +0000</pubDate><atom:updated>2024-04-28T12:00:00.180+02:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Sunday Interview</category><title>Joe Hertenstein - Sunday Interview</title><description>&lt;table align=&quot;center&quot; cellpadding=&quot;0&quot; cellspacing=&quot;0&quot; class=&quot;tr-caption-container&quot; style=&quot;margin-left: auto; margin-right: auto;&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td style=&quot;text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0xsxRTUXH1v7Z0811o-WKhOPzXOfdlrWaFpXFMW7frtGdyCxEtBb_KlCdYghWnlz-ieYPhfK-_IMGdrk1CIeTWILWlf8R20RuN6zyEbLN2V2oClfH2KM7uOfLxJEJs8iYhC2v9p1I6SNDF33h4BhZoXDa8BqZVN10mHVkM2AUlvilHRrKgQDhCZAa1IcI/s2048/joehert.jpg&quot; imageanchor=&quot;1&quot; style=&quot;margin-left: auto; margin-right: auto;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1365&quot; data-original-width=&quot;2048&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0xsxRTUXH1v7Z0811o-WKhOPzXOfdlrWaFpXFMW7frtGdyCxEtBb_KlCdYghWnlz-ieYPhfK-_IMGdrk1CIeTWILWlf8R20RuN6zyEbLN2V2oClfH2KM7uOfLxJEJs8iYhC2v9p1I6SNDF33h4BhZoXDa8BqZVN10mHVkM2AUlvilHRrKgQDhCZAa1IcI/w400-h266/joehert.jpg&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td class=&quot;tr-caption&quot; style=&quot;text-align: center;&quot;&gt;Photo by Cristina Marx/&lt;a href=&quot;https://www.facebook.com/Photomusix&quot; rel=&quot;nofollow&quot; target=&quot;_blank&quot;&gt;Photomusix&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;ol style=&quot;text-align: left;&quot;&gt;&lt;li&gt;&lt;b&gt;What is your greatest joy in improvised music?&lt;br /&gt;&lt;/b&gt;&lt;br /&gt;Those endings!&lt;br /&gt;Secondly, getting paid for it.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;What quality do you most admire in the musicians you perform with?&lt;br /&gt;&lt;/b&gt;&lt;br /&gt;Fearlessness&lt;br /&gt;&lt;strong&gt;&lt;br /&gt;&lt;/strong&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;Which historical musician/composer do you admire the most?&lt;br /&gt;&lt;br /&gt;&lt;/b&gt;Many. Milford Graves&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;If you could resurrect a musician to perform with, who would it be?&lt;br /&gt;&lt;br /&gt;&lt;/b&gt;Cecil Taylor&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;What would you still like to achieve musically in your life?&lt;br /&gt;&lt;br /&gt;&lt;/b&gt;Coming up with compositions for my new quartet for our first tour in
  4.    October.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;Are you interested in popular music and - if yes - what music/artist
  5. do you particularly like&lt;br /&gt;&lt;br /&gt;&lt;/b&gt;Yes, in my spare time I am a singer/songwriter myself. I love words,
  6.    storytelling, singing in rhymes. There’s nothing like a great sounding, well
  7.    placed back beat. I’m suspicious of people, who don’t sing and dance.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;If you could change one thing about yourself, what would it be?&lt;br /&gt;&lt;br /&gt;&lt;/b&gt;I’d like to be slightly less depressed about the state of the world and my
  8.    playing. I’m also looking for a bigger (&amp;gt;70m2 with balcony) apartment in
  9.    Berlin, anybody?&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;Which of your albums are you most proud of?&lt;br /&gt;&lt;br /&gt;&lt;/b&gt;My last one? Usually it’s hardly the music itself that I’m proud of but
  10.    rather the fact that I managed to produce and release it into the world at
  11.    all. Colleagues know what I mean. Being a full time (jazz-) musician is an
  12.    impossible way of life.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;Once an album of yours is released, do you still listen to it? And
  13. how often?&lt;br /&gt;&lt;br /&gt;&lt;/b&gt;By the time an album gets released, I have listened to it so much during the
  14.    production process that I must be careful it doesn’t become a love-hate
  15.    relationship. Albums are the documentation of the past, please collect them,
  16.    but come see me play tomorrow: Our trio REMEDY with Thomas Heberer and Joe
  17.    Fonda will be touring Germany and Belgium during the first half of April.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;Which album (from any musician) have you listened to the most in
  18. your life?&lt;br /&gt;&lt;br /&gt;&lt;/b&gt;Couldn&#39;t say, probably Beyond Quantum with Braxton, Parker, Graves, and
  19.    those by Tethered Moon with Kikuchi, Peacock, Motian.&lt;br /&gt;&lt;br /&gt;Many Jazz classics and classic classics of course.&lt;br /&gt;&lt;br /&gt;I listen/ed to many Blues singers and singer-songwriters...I don&#39;t
  20.    know...music is endless...&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;What are you listening to at the moment?&lt;br /&gt;&lt;br /&gt;&lt;/b&gt;I’m mostly evaluating recordings of productions I’m involved with, I mean,
  21.    it&#39;s a job. For a palate cleanse, I might spin some Dylan, Waits, Cale
  22.    later...&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;What artist outside music inspires you?&lt;br /&gt;&lt;br /&gt;&lt;/b&gt;I used to go to a lot of gallery openings. I wonder what the Vatican is
  23.    hiding from us. I stare a lot at the carpet in my living room.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;/ol&gt;&lt;b&gt;Joe Hertenstein on the Free Jazz Blog:&lt;/b&gt;&lt;div&gt;&lt;ul style=&quot;text-align: left;&quot;&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2022/09/stephen-gauci-post-lockdown-round-up.html&quot;&gt;Stephen Gauci Post-Lockdown Round-Up&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2022/07/spacepilot-hycean-worlds-orbit-577-2022.html&quot;&gt;Spacepilot – Hycean Worlds (Orbit 577, 2022)&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2021/06/thomas-heberer-fonda-hertenstein-remedy.html&quot;&gt;Thomas Heberer, Joe Fonda &amp;amp; Joe Hertenstein - Remedy (Fundacja Słuchaj, 2021) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2021/03/sana-nagano-smashing-humans-577-records.html&quot;&gt;Sana Nagano - Smashing Humans (577 Records, 2021) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2019/01/in-memoriam-of-alvin-fielder-and-joseph.html&quot;&gt;In Memoriam: Alvin Fielder and Joseph Jarman&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2017/09/danny-kamins-damon-smith-alvin-fielder.html&quot;&gt;Danny Kamins / Damon Smith / Alvin Fielder / Joe Hertenstein — After Effects (FMR Records, 2017) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2017/02/butcher-lehn-shipp-core-trio.html&quot;&gt;Butcher, Lehn, Shipp / The Core Trio&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2016/09/harvey-valdes-pointcounterpoint-sr-2016.html&quot;&gt;Harvey Valdes - Point/Counterpoint (s/r, 2016) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2015/09/joe-hertenstein-pascal-niggenkemper.html&quot;&gt;Joe Hertenstein, Pascal Niggenkemper &amp;amp; Thomas Heberer - HNH (Clean Feed, 2015) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2014/12/the-core-trio-core-trio-with-matthew.html&quot;&gt;The Core Trio - Core Trio with Matthew Shipp (self released, 2014) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2014/03/sax-trios.html&quot;&gt;Sax trios&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2012/09/joe-hertenstein-achim-tang-jon-irabagon.html&quot;&gt;Joe Hertenstein, Achim Tang, Jon Irabagon - Future Drone (Jazzwerkstatt, 2012) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2011/12/polylemma-wins-happy-new-years-award.html&quot;&gt;POLYLEMMA WINS HAPPY NEW YEARS AWARD 2011&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2011/09/heberer-niggenkemper-hertenstein-and.html&quot;&gt;Heberer, Niggenkemper, Hertenstein and Badenhorst - almost times two&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2011/07/trn-crespect-2nd-floor-2011.html&quot;&gt;Tørn - Crespect (2nd Floor, 2011) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2010/12/joe-hertenstein-pascal-niggenkemper.html&quot;&gt;Joe Hertenstein, Pascal Niggenkemper, Thomas Heberer - HNH (Clean Feed, 2010) ****½&lt;/a&gt;&lt;/li&gt;&lt;/ul&gt;&lt;div&gt;More Joe at:&amp;nbsp;&lt;a href=&quot;http://www.joehertenstein.com/&quot; id=&quot;LPlnk145426&quot; rel=&quot;noopener noreferrer&quot; target=&quot;_blank&quot;&gt;www.joehertenstein.com&lt;/a&gt;&lt;br /&gt;&lt;div&gt;&lt;ul&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/div&gt;&lt;/div&gt;
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  64. &lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/joe-hertenstein-sunday-interview.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0xsxRTUXH1v7Z0811o-WKhOPzXOfdlrWaFpXFMW7frtGdyCxEtBb_KlCdYghWnlz-ieYPhfK-_IMGdrk1CIeTWILWlf8R20RuN6zyEbLN2V2oClfH2KM7uOfLxJEJs8iYhC2v9p1I6SNDF33h4BhZoXDa8BqZVN10mHVkM2AUlvilHRrKgQDhCZAa1IcI/s72-w400-h266-c/joehert.jpg" height="72" width="72"/><thr:total>1</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-239128334078313293</guid><pubDate>Sat, 27 Apr 2024 10:00:00 +0000</pubDate><atom:updated>2024-04-29T05:47:05.508+02:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Festival</category><title>Bergamo Jazz Festival, 2024</title><description>&lt;p&gt;By &lt;a href=&quot;https://www.freejazzblog.org/2010/11/david-cristol.html&quot;&gt;David Cristol&lt;/a&gt;&lt;/p&gt;&lt;p&gt;Bergamo Jazz Festival had its 45th edition from March 21 to 24 with an uncommonly versatile programming courtesy of Joe Lovano, who introduced and attended most of the shows and was a benevolent presence throughout. An average of five concerts a day were spread over two distinct parts of the city, the fairly modern Città Bassa (downtown) and the ancient Città Alta (uptown), with excellent free jazz acts sharing the schedule with mainstream concerts.&lt;/p&gt;&lt;p&gt;&lt;/p&gt;&lt;table align=&quot;center&quot; cellpadding=&quot;0&quot; cellspacing=&quot;0&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4L5K-hKi1bJ0I96V8dd_27TvMp9HT1grCDKHTny6NOoCYbWDkbjVWh5PQFGy8-ugvZblfiTFXLLnrN9_UvxEfS8NSFknasDEQbGFlbrtwaeP73rmv3HYOaBkfQ8PmiD65CdfvJFYMeJ39zOmBXqVJyH61CLHSiAlKvpbNgAoIcU4v2ZDQ0f74JsdTtSWT/s2362/DAVE%20BURRELL%20(foto%20Giorgia%20Corti)%20027.jpg&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4L5K-hKi1bJ0I96V8dd_27TvMp9HT1grCDKHTny6NOoCYbWDkbjVWh5PQFGy8-ugvZblfiTFXLLnrN9_UvxEfS8NSFknasDEQbGFlbrtwaeP73rmv3HYOaBkfQ8PmiD65CdfvJFYMeJ39zOmBXqVJyH61CLHSiAlKvpbNgAoIcU4v2ZDQ0f74JsdTtSWT/w400-h266/DAVE%20BURRELL%20(foto%20Giorgia%20Corti)%20027.jpg&quot; width=&quot;400&quot;&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td&gt;&lt;span&gt;Dave Burrell. Photo by Giorgia Corti&lt;/span&gt;&amp;nbsp;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;br&gt; Travel shenanigans meant it was unlikely I’d make it in time for &lt;b&gt;Dave Burrell&lt;/b&gt;’s solo performance at Teatro Sant’Andrea, much to my regret. But after the drive from Milano I was immediately directed up the narrow streets of Bergamo Alta and could hear the jazz master (whose 1969’s &lt;i&gt;Echo&lt;/i&gt;&amp;nbsp;on BYG Actuel remains one of this scribe’s favorite records, as well as the earlier Pharoah Sanders’ &lt;i&gt;Tauhid&lt;/i&gt;&amp;nbsp;on which he participates). Joe Lovano introduces the set, and we hear the catchphrase “in the moment of now” for the first time – a recurring mantra at each of his MC appearances. There could have been no better way to launch the fest. All seats occupied, I retreat to the wooden stairs at the back of the venue, which turn out to be the best spot in the house, slightly perched and with a good view on the artist. The blistering set had me totally attuned to the cubist approach to jazz styles and standards, encompassing abstraction and Monkish / Taylorish attack on the keys. Diffracted blues, limping stride, cluster clouds, inner rhythms, insistence on chords or transitions other musicians – and listeners – do not usually pay attention to, are some of the elements of Burrell’s style, which doesn’t try to be pretty. From its origins to the fire music years, it feels like the whole of jazz is explored. Clichés are avoided like the plague, but we recognize fragments of standards like “Summertime”, “Lush Life” in a wildly original version, while “Somewhere Over the Rainbow” is shattered to bits and “My Funny Valentine&quot; sprinkled with purposefully “wrong” notes, dissonance being another province of the pianist. His art of is that of exasperation, questioning, turning the themes upside down. For all that, the implementation is straight to the point, no loitering about, and it’s wonderful to hear the 84-year old musician so forceful, inspired and relishing the opportunity to perform. This is concert-of-the-year material. “Just Me and the Moon” is played for the first time. &quot;Time is up but let&#39;s break the rule,&quot; Burrell enthuses before launching into another workout. Lovano later expresses his satisfaction to have had him perform at the start of the fest, when the audience’s attention is still fresh and complete.&lt;p&gt;&lt;/p&gt;&lt;table align=&quot;center&quot; cellpadding=&quot;0&quot; cellspacing=&quot;0&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxv7cfesTA2hzZ3WZxItFoTpGNrJZ0l3piHjd92KVQ6G-DaakElca3Gq3tRsFlargT2g4PCdePzS163O7HnQMxgObi2YyXnt6sIMXQwNn-eQKiovDiID8Fe8g1Y7dRQP8K2DYYNVjctFs5CHrOYrO_fkKdMj4UHSxKK7ZRYRRcXVMn1Pe4Q7zP3pKStSC4/s2048/535e5adb-9cbc-4adb-9f53-0a08e3496e58.jpeg&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxv7cfesTA2hzZ3WZxItFoTpGNrJZ0l3piHjd92KVQ6G-DaakElca3Gq3tRsFlargT2g4PCdePzS163O7HnQMxgObi2YyXnt6sIMXQwNn-eQKiovDiID8Fe8g1Y7dRQP8K2DYYNVjctFs5CHrOYrO_fkKdMj4UHSxKK7ZRYRRcXVMn1Pe4Q7zP3pKStSC4/w400-h266/535e5adb-9cbc-4adb-9f53-0a08e3496e58.jpeg&quot; width=&quot;400&quot;&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td&gt;&lt;span&gt;Moor Mother.&amp;nbsp;&lt;span&gt;Photo by&amp;nbsp;&lt;/span&gt;&lt;span&gt;Luciano Rossetti&lt;/span&gt;&lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;br&gt; Poetess and performer &lt;b&gt;Moor Mother &lt;/b&gt;&lt;i&gt;aka &lt;/i&gt;&lt;b&gt;Camae Ayewa&lt;/b&gt; is now regularly present at European festivals, bringing her spoken words to a variety of projects instead of repeating the same show over and over, a hunger for encounters which is to be commended. Her albums are a testament to her openness to extended creative vistas. Onstage, in the last couple of years she lent her deep low voice to a duet with Nicole Michell, a Denardo Coleman-led tribute to his father with jazz band and symphony orchestra, while remaining a key element of Irreversible Entanglements alongside Luke Stewart et al. She was also supposed to perform in a duo with Archie Shepp but the gig was cancelled. Before playing in Don Moye’s AEC tribute at this festival, she joined forces with African-born and Bergamo resident Dudù Kouate (also of Moye’s band), master percussionist, expertly handling instruments I&#39;d be hard-pressed to name, from water bowls to musical bottles through a turtle-shell-shaped piece of wood, pipes, whistles, talking drums and a singing bow. Mother reads social-conscious texts from sheets of paper or a book while generating electronic layers with the other hand. Her whispers are equal parts vocal and textural and her prose wavers between despair and hope, certainty of the nearing end of days and the need to keep the life flowing somehow. Gestures accompany speech, texts are crumpled and swept away while the artist calls to “shake loose the spirit”, gets irate as to whom has a right to citizenship, or makes the sound of her footsteps resonate in the microphone. The association of portentous drones and lush percussion strikes a fine balance between current angst and ancient wisdom. The already dim lightings gradually fade away, the duo ending in complete darkness and without amplification. &lt;br&gt; &lt;br&gt;&lt;table align=&quot;center&quot; cellpadding=&quot;0&quot; cellspacing=&quot;0&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOR7yVKj5NkgPQsMZiQ1S7sxW2EfHNN0u8_kaMusykeAH53zJ76Rz5YF6HfH8zqkEfNnWFs0x4MXWkcbw2msHs_2FyMJXcI6bqvWqwPokwDlJbBsppPDG33iuGqxd0p24u4I1SApjpyp1Rx1GpAHOvw6av0Z7p43aqNo_M-uQgH-HOvRQElVzNiKNNLLx_/s3543/Naissam%20Jalal%20AC2B4914%C2%A9Rossetti_FondazioneTeatroDonizetti.JPG&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOR7yVKj5NkgPQsMZiQ1S7sxW2EfHNN0u8_kaMusykeAH53zJ76Rz5YF6HfH8zqkEfNnWFs0x4MXWkcbw2msHs_2FyMJXcI6bqvWqwPokwDlJbBsppPDG33iuGqxd0p24u4I1SApjpyp1Rx1GpAHOvw6av0Z7p43aqNo_M-uQgH-HOvRQElVzNiKNNLLx_/w400-h266/Naissam%20Jalal%20AC2B4914%C2%A9Rossetti_FondazioneTeatroDonizetti.JPG&quot; width=&quot;400&quot;&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td&gt;&lt;span&gt;&lt;span&gt;Naïssam Jalal.&amp;nbsp;&lt;/span&gt;&lt;span&gt;Photo by&amp;nbsp;&lt;/span&gt;&lt;span&gt;Luciano Rossetti&lt;/span&gt;&lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;br&gt; With “Quest of the invisible”, flutes player (and singer, but not today as
  65.    she’s deprived of her voice by a common cold) &lt;strong&gt;Naïssam Jalal&lt;/strong&gt;
  66.    aims to give the audience a moment of serenity and  meditation in a world
  67.    agitated by worrying spasms. A few months after hearing  her “Healing
  68.    Rituals” quartet at &lt;a href=&quot;https://www.freejazzblog.org/2023/06/jazzdor-berlin-2023.html&quot; target=&quot;_blank&quot;&gt;Jazzdor Berlin&lt;/a&gt;, Jalal
  69.    and the ever-graceful bass player &lt;strong&gt;Claude Tchamitchian&lt;/strong&gt;
  70.    reconvene, this  time as a duo and with a different repertoire, though in
  71.    the same spirit, in a  small, packed museum hall. Behind the players,
  72.    paintings of musical instruments  provide an ideal backdrop. The low-key,
  73.    intimate formula suits the music even  better. Softness and warmth prevail,
  74.    although towards the end Tchamitchian  dances with his double bass,
  75.    accompanying his bow strokes with low-pitched  growls. He is the jazz
  76.    element of the pair, earthy, playing rhythm, while the  ney and other flutes
  77.    are played in traditional, droney, melismatic rather than jazz  fashion.&lt;div&gt;&amp;nbsp;&lt;/div&gt;&lt;div&gt;&amp;nbsp;&lt;table align=&quot;center&quot; cellpadding=&quot;0&quot; cellspacing=&quot;0&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaSo5SY9_uSuZbWBcV2tUTtv1VcWh8jDkXobS6SP13FAFTvZnP1qFwQi-MUoGsAhxudEDC887KGtcsQykc9_GHE-LuvhcYVHtxAkF_SAQK3JPa5N2SJ70gy4th9edcRGtIflA2CiLJQ0k8LSWoUWOvzJdwfF0E5gYzdXrHIV_dFHvZklLcfzq6NRgzmrAw/s3543/Don%20Moye%20-%20Omaggio%20AEOC%20AC2B5625%C2%A9Rossetti_FondazioneTeatroDonizetti.JPG&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaSo5SY9_uSuZbWBcV2tUTtv1VcWh8jDkXobS6SP13FAFTvZnP1qFwQi-MUoGsAhxudEDC887KGtcsQykc9_GHE-LuvhcYVHtxAkF_SAQK3JPa5N2SJ70gy4th9edcRGtIflA2CiLJQ0k8LSWoUWOvzJdwfF0E5gYzdXrHIV_dFHvZklLcfzq6NRgzmrAw/w400-h266/Don%20Moye%20-%20Omaggio%20AEOC%20AC2B5625%C2%A9Rossetti_FondazioneTeatroDonizetti.JPG&quot; width=&quot;400&quot;&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td&gt;&lt;span&gt;Famoudou Don Moye “Plays Art Ensemble of Chicago”. Photo by&amp;nbsp;&lt;/span&gt;&lt;span&gt;Luciano Rossetti&lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;br&gt;&lt;div&gt;The &lt;b&gt;Famoudou Don Moye “Plays Art Ensemble of Chicago”&lt;/b&gt; event had a special significance for the festival and its recurring visitors. On March 20, 1974, the AEC had one their first Italian gigs in the very same venue, the Donizetti Theatre, as tonight’s show, subtitled “&lt;i&gt;50th birthday: the Bergamo concert.&quot;&lt;/i&gt;&amp;nbsp;In 1974, the band induced strong reactions from the audience, split between enthusiasm and hostility. 50 years later, Moye pays tribute to his colleagues, whose names are celebrated throughout the performance, and very much keeps alive the spirit of the Art Ensemble of old. On a personal note, an AEC concert in 1998 (with original members minus Joseph Jarman) was an epiphanic exposure to “Great Black Music”. I don’t remember it – I was immersed in the music and impressed at the huge number of instruments onstage, notably Roscoe Mitchell’s percussion cage, eccentric attires and face paint – but a friend recently reminded me that a good chunk of the audience had left the venue.&lt;br&gt; &lt;/div&gt;&lt;div&gt;Not so in Bergamo! But
  78.    whether in 1974, 1998 or 2024, the AEC’s  operating methods are not
  79.    everybody’s cup of tea. Freedom has as much edge  today as it had back in
  80.    the day (I’m thinking even more but wasn’t born yet).  Again, the stage is
  81.    extensively cluttered with percussion instruments of various sizes,  colors and shapes
  82.    (played by all members of the band, chiefly&amp;nbsp;&lt;strong&gt;Dudù Kouate and Moye&lt;/strong&gt;), in addition to two drum sets, piano, organ and  trombone (all three by
  83.        the extraordinary &lt;b&gt;Simon Sieger&lt;/b&gt;), bass by &lt;b&gt;Junius Paul&lt;/b&gt;,  violin by &lt;b&gt;Eddy
  84.        Kwon&lt;/b&gt;, poetry and electronics by &lt;b&gt;Moor Mother&lt;/b&gt;. The ritual begins  by
  85.        everybody chanting a West Indies sounding psalmody from the slide. The
  86.        tone  is set, the concert will be full of surprises. Indeed, each piece
  87.        feels like a  new ceremonial. Small groups are formed with a high
  88.        turnover of instruments.  Everybody moves about on stage, not standing
  89.        in one defined spot, depending on  the need of each piece. Deceased
  90.        members of the group are referred to in turn:
  91.    
  92.    Malachi Favors Maghostut, Lester Bowie, Joseph Jarman, in Moor Mother&#39;s
  93.    lyrics and the leader&#39;s intonations. “Ancient to the future” is still
  94.    relevant  today, but Moye&#39;s syncretic project now encompasses not only the
  95.    afro-am  community but also personalities such as Marseille-based Sieger and
  96.    Brooklyn  composer of Asian descent Kwon who wowed audiences as a solo
  97.    vocalist of  operatic proportions. The aggregate of contrasting characters
  98.    appears as the  logical next step, music as a unifying factor of artists
  99.    from different  continents and stripes. A timely reminder that the AEC have
  100.    – along with a few  others – kicked open the doors of jazz and let in all of
  101.    its components and  eras, in a savant hodgepodge, off beat on first
  102.    impression but precise in  execution and spreading knowledge in the process.
  103.    An extremely joyous concert,  which featured classics such as “Nonaah”, “No
  104.    time left”, “Ohnedaruth”, “Odwalla”  and “Funky AECO”.&lt;br&gt;&lt;/div&gt;&lt;div&gt;&lt;p&gt;&lt;/p&gt;
  105. &lt;table align=&quot;center&quot; cellpadding=&quot;0&quot; cellspacing=&quot;0&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0MPQnO8jiQ-xzgMUqVrGBn0TMzpPS3EVh3T_Hq6REb7iLFqnvyAK8C5mDOte_Y_VUV-8Df3ZGu8vK9DEUkNC1bfDjD3gLNq8MABQoXkjD8crRJCBQuL0mrwPnz8GoiJD7N-SLxoaC0NDQt0NWDI0ZPO3xbY0_F5gxPhsGWeXgtiJ-O5-hvQXYMm2qS_So/s2048/794194d0-60f5-4e31-af7f-b9b14e967501.jpeg&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0MPQnO8jiQ-xzgMUqVrGBn0TMzpPS3EVh3T_Hq6REb7iLFqnvyAK8C5mDOte_Y_VUV-8Df3ZGu8vK9DEUkNC1bfDjD3gLNq8MABQoXkjD8crRJCBQuL0mrwPnz8GoiJD7N-SLxoaC0NDQt0NWDI0ZPO3xbY0_F5gxPhsGWeXgtiJ-O5-hvQXYMm2qS_So/w400-h266/794194d0-60f5-4e31-af7f-b9b14e967501.jpeg&quot; width=&quot;400&quot;&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td&gt;&lt;span&gt;&lt;span&gt;Abdullah Ibrahim.&amp;nbsp;&lt;/span&gt;&lt;span&gt;Photo by&amp;nbsp;&lt;/span&gt;&lt;span&gt;Luciano Rossetti&lt;/span&gt;&lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;p&gt;
  106.    The solo  piano performance by
  107.    &lt;strong&gt;
  108.        Abdullah Ibrahim &lt;/strong&gt;took place at the Donizetti, where  he had opened the
  109.        1975 edition as Dollar Brand. The&lt;strong&gt;
  110.    &lt;/strong&gt;
  111.    South African master delivered a  nostalgia-tinged set, the delicately
  112.    played keys not quite reaching the back  rows of the large venue, which
  113.    sometimes felt, in this fragile acoustics  context, akin to a coughers’
  114.    convention. Spotting an empty seat closer to the stage,  I discreetly ambled
  115.    towards the front rows to better immerse into the last  half. The themes and
  116.    playing were disarmingly simple, and simply enunciated –  no fireworks – the
  117.    artist in a musical reverie, expressing heartfelt thoughts, wisdom  and
  118.    peace. Scraps of tunes appeared and reappeared, and it felt like Ibrahim
  119.    wouldn’t have played differently if he had been practicing at home, browsing
  120.    through favorite themes, some of which heard on recent albums &lt;i&gt;Dream  Time&lt;/i&gt;&amp;nbsp; (2020), &lt;i&gt;Solotude&lt;/i&gt;&amp;nbsp;(2022) and &lt;i&gt;3&lt;/i&gt;&amp;nbsp;(2024), as  well as earlier ones. A
  121.    touching continuum, a walk through the artistic journey  of the
  122.    idiosyncratic musician, who got up to face the audience at the end and sang
  123.    an unhurried acapella homesick chant, expressing his longing for his beloved
  124.    country where he’s unlikely to return.&lt;/p&gt;&lt;table align=&quot;center&quot; cellpadding=&quot;0&quot; cellspacing=&quot;0&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZR9ZSvUhEyqmR75gBTlUZrkyN6UqfVi9RDC4zqWTrujt-39mRnBY9GdMZ-8E5JVFROzcOwalYYAPelaidZ-lI1aK4K36D6XbfcRnD0oZPBHxx72vqzYzafJ0PU-IzKC6RhleXb-Iz88IkEwlVPMnvcQyhwkf7gcFpYi8DhTWlYekuevlWrJma4NvMKahw/s3543/Bobby%20Watson%20Quintet%20AC2B5324%C2%A9Rossetti_FondazioneTeatroDonizetti.JPG&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZR9ZSvUhEyqmR75gBTlUZrkyN6UqfVi9RDC4zqWTrujt-39mRnBY9GdMZ-8E5JVFROzcOwalYYAPelaidZ-lI1aK4K36D6XbfcRnD0oZPBHxx72vqzYzafJ0PU-IzKC6RhleXb-Iz88IkEwlVPMnvcQyhwkf7gcFpYi8DhTWlYekuevlWrJma4NvMKahw/w400-h266/Bobby%20Watson%20Quintet%20AC2B5324%C2%A9Rossetti_FondazioneTeatroDonizetti.JPG&quot; width=&quot;400&quot;&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td&gt;&lt;span&gt;Bobby Watson Quintet. Photo by Luciano Rossetti&lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;
  125. &lt;p&gt;
  126.    Less relevant to this blog, but worthy of mention for sheer musical  quality
  127.    were two mainstream jazz acts. The &lt;strong&gt;Bobby  Watson Quintet&lt;/strong&gt;
  128.    performed a roaring blast of hard bop, very much in the  tradition but with
  129.    so much drive and sincerity that it couldn’t help but win  over audiences,
  130.    including this listener. The 70-year old alto saxman directed  the
  131.    proceedings while playing, with support by a crew on their A-game, including
  132.    &lt;strong&gt;Curtis Lundy&lt;/strong&gt; on bass and &lt;strong&gt;Victor Jones&lt;/strong&gt; on
  133.    drums, both delivering flamboyant solos and hard-as-nails  accompaniment.
  134.    Young &lt;strong&gt;Wallace Roney Jr&lt;/strong&gt; (son of Geri Allen  and Roney Sr) on
  135.    trumpet joined the leader on the front line with plenty of  skills while
  136.    &lt;strong&gt;Jordan Williams&lt;/strong&gt; comped like there’s no tomorrow on piano.
  137.    Erstwhile member and musical director of the Jazz Messengers, Watson played
  138.    in  the wide-ceilinged venue like he would have in a cramped NYC jazz club,
  139.    talking  to his colleagues onstage, keeping them on their toes. Their
  140.    faultless sense of  timing made for an irresistible set, authenticity always
  141.    a winner.
  142. &lt;/p&gt;&lt;table align=&quot;center&quot; cellpadding=&quot;0&quot; cellspacing=&quot;0&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD6uh5vLK47V3voMXFDKIUMXBB9t6dkqvqY2p3OLgvcKp1tsuEo1jfR0A8Ua1AbqOO55hf0DKEuo04WejvumrdRkMCUFAxUNLZyPdFoo_xayiDVwwxE6fujEKojXW3ZT8XmUucHA7rSOplAlsWEPO5td_Nt740AplFVQUIyYuH8cEpsC4HYAF-iDOcLux8/s3543/Perez%20-%20Patitucci-%20Cruz%20Trio%20E43B7317%C2%A9Rossetti_FondazioneTeatroDonizetti.JPG&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjD6uh5vLK47V3voMXFDKIUMXBB9t6dkqvqY2p3OLgvcKp1tsuEo1jfR0A8Ua1AbqOO55hf0DKEuo04WejvumrdRkMCUFAxUNLZyPdFoo_xayiDVwwxE6fujEKojXW3ZT8XmUucHA7rSOplAlsWEPO5td_Nt740AplFVQUIyYuH8cEpsC4HYAF-iDOcLux8/w400-h266/Perez%20-%20Patitucci-%20Cruz%20Trio%20E43B7317%C2%A9Rossetti_FondazioneTeatroDonizetti.JPG&quot; width=&quot;400&quot;&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td&gt;&lt;span&gt;Pérez, Patitucci, Cruz.  Photo by Luciano Rossetti&lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;
  143. &lt;p&gt;
  144.    At Teatro Sociale, the trio of &lt;strong&gt;Danilo Pérez&lt;/strong&gt; (p,  elp),
  145.    &lt;strong&gt;John Patitucci&lt;/strong&gt; (b, elb) and &lt;strong&gt;Adam  Cruz&amp;nbsp;&lt;/strong&gt;(dm)
  146.    also was a treat,  the two former Wayne Shorter acolytes and the drummer
  147.    delivering an effortless,  restrained yet ever-astonishing set. Tributes
  148.    were paid to Shorter (with a  ballad that he could have penned in the
  149.    Weather Report years), writer Toni  Morrison and social activist Angela
  150.    Davis. Panama-born Pérez is a presence not  unlike Herbie Hancock, seemingly
  151.    floating above the proceedings while also being  very much
  152.    &lt;em&gt;
  153.        “in the moment of now”
  154.    &lt;/em&gt;
  155.    . The  Steinway grand sounded gorgeous, with impossible time signatures made
  156.    simple  for all to enjoy. Groove, synth landscapes, calypso-funk,
  157.    quasi-waltz, a  seamless melding of improvisation and composition, and, as
  158.    an encore, a completely rewired &quot;&#39;Round  midnight&quot;, of which only snatches
  159.    could initially be spotted, added up to  a pristine performance, with
  160.    absolutely no  filler to bemoan about.
  161. &lt;/p&gt;&lt;table align=&quot;center&quot; cellpadding=&quot;0&quot; cellspacing=&quot;0&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi642_mc_swbAUSBvzLyJEK-ZB_4AubzWWnhrQDLTe7itL0gRJ6WumZDLXWUVVYVQesuhGGMcb8Bu8En-zd_DLNZOBMyrUYX7mLhUFyKYUSJ7cgrB6fmep_Jan3qVRs8l__TCRk7LWHqpXKLjQOkjGDp0p3qXxqlz41lmczIScMfKy6MQJotIHCXlhDSGOv/s3544/John%20Scofield%20e%20Joe%20Lovano%20E43B7925%C2%A9Rossetti_FondazioneTeatroDonizetti.JPG&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi642_mc_swbAUSBvzLyJEK-ZB_4AubzWWnhrQDLTe7itL0gRJ6WumZDLXWUVVYVQesuhGGMcb8Bu8En-zd_DLNZOBMyrUYX7mLhUFyKYUSJ7cgrB6fmep_Jan3qVRs8l__TCRk7LWHqpXKLjQOkjGDp0p3qXxqlz41lmczIScMfKy6MQJotIHCXlhDSGOv/w400-h266/John%20Scofield%20e%20Joe%20Lovano%20E43B7925%C2%A9Rossetti_FondazioneTeatroDonizetti.JPG&quot; width=&quot;400&quot;&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td&gt;&lt;span&gt;Scofield and Lovano.&amp;nbsp;Photo by Luciano Rossetti&lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;
  162. &lt;p&gt;
  163.    The &lt;strong&gt;John  Scofield&#39;s “Yankee Go Home”&lt;/strong&gt; project, on the other
  164.    hand, proved uninspired, in  similar fashion to the drowsy Hudson Quartet
  165.    from a few years ago with  Scofield, Medeski, Grenadier and DeJohnette. The
  166.    one moment of surprise came through  the guest appearance by Joe Lovano,
  167.    enlivening things up for a ten-minute “The  creator has a masterplan”
  168.    instrumental remake. The other tunes were firmly in none-too-subtle
  169.    country-rock territory, Scofield even bearing a striking resemblance to
  170.    actor Robert  Duvall on the ranch these days.
  171. &lt;/p&gt;
  172. &lt;p&gt;
  173.    With its program not adverse  to a big gap in aesthetics, Bergamo Jazz 2024
  174.    was a big success in terms of  attendance, with 14 sold out concert out of
  175.    16, an audience of nearly 7000.  Next edition will be March 20-23, 2025.
  176. &lt;/p&gt;&lt;div&gt;&lt;br&gt;&lt;/div&gt;&lt;br&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/bergamo-jazz-festival-2024.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4L5K-hKi1bJ0I96V8dd_27TvMp9HT1grCDKHTny6NOoCYbWDkbjVWh5PQFGy8-ugvZblfiTFXLLnrN9_UvxEfS8NSFknasDEQbGFlbrtwaeP73rmv3HYOaBkfQ8PmiD65CdfvJFYMeJ39zOmBXqVJyH61CLHSiAlKvpbNgAoIcU4v2ZDQ0f74JsdTtSWT/s72-w400-h266-c/DAVE%20BURRELL%20(foto%20Giorgia%20Corti)%20027.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-8561913757446313125</guid><pubDate>Fri, 26 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-26T06:00:00.146+02:00</atom:updated><title>Ava Mendoza &amp; Dave Sewelson - Of It But Not Is It (Mahakala, 2024)</title><description>&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEhaMj0ZfVWx26FL1fHFPFtGi5z__Qi22R80KvFAgZQUYoLlqAYlWC7mhLIC2RF_wlRBxgP-ox1ty-g6wMZrYq65pOsEu3_oSKmKulUt2kMmlkX7UfAg-0xrDN6KThMzLGzCxnhh3n16uqmQFAxdYPhpcns6d2kSpDIpa3nV0pDhm-B0_twH9jF5Wad-PTA&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img alt=&quot;&quot; data-original-height=&quot;1200&quot; data-original-width=&quot;1200&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEhaMj0ZfVWx26FL1fHFPFtGi5z__Qi22R80KvFAgZQUYoLlqAYlWC7mhLIC2RF_wlRBxgP-ox1ty-g6wMZrYq65pOsEu3_oSKmKulUt2kMmlkX7UfAg-0xrDN6KThMzLGzCxnhh3n16uqmQFAxdYPhpcns6d2kSpDIpa3nV0pDhm-B0_twH9jF5Wad-PTA=w320-h320&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;br /&gt;&lt;span style=&quot;font-family: inherit;&quot;&gt;By&amp;nbsp;&lt;span style=&quot;background-color: white; caret-color: rgb(66, 66, 66);&quot;&gt;Ferruccio Martinotti&lt;/span&gt;&lt;/span&gt;&lt;br /&gt;&lt;p&gt;The supreme Ava Mendoza is back on our turntables and, easy to predict, it’s sheer bliss again. Last year she released, as Mendoza Hoff Revels, the amazing Echolocation (in the 2023 top 10 of the blog’s reviewers, fyi) along with Devin Hoff, James Brandon Lewis and Ches Smith, this year we have in our hands the outcome of another collaboration, with Dave Sewelson as the partner in crime.&amp;nbsp;&lt;/p&gt;&lt;p&gt;Beside her own band &lt;i&gt;Unnatural Ways&lt;/i&gt; and her solo activity, teaming up with other musicians seems definitely to be  the ideal cup of tea of the Brooklyn-based guitarist, given that she lent her strings to the likes of Matana Roberts, William Parker, Fred Frith, John Zorn, Negativeland and Violent Femmes, just to name a few.&amp;nbsp;&lt;/p&gt;&lt;p&gt;A super short bio notes of Sewelson. Born in Oakland in 1952, he started playing trumpet, drums, electric and upright bass, before finally focusing on bari sax at 21; he then moved to New York around 1977 and played in 25 O’clock, Jemeel Moondoc’s Jus Grew Orchestra, Mofungo, Microscopic septet, William Parker’s Little Huey Creative Music Orchestra; along the decades he collaborated, among the others with John Zorn, Peter Kuhn, Alex Kline, Sonny Murray, Kidd Jordan, Roy Campbell and Daniel Carter.&amp;nbsp;&lt;/p&gt;&lt;p&gt;At an initial stage, the meeting of the two musicians was set as an improptu quick studio work around a couple of William Parker&#39;s lyrics but the chemistry soon clicked and something on a complete different level took shape, delivering a really outstanding free-blues record. We&#39;re on the most committed music blog of the galaxy, therefore it&#39;s almost pointless to say that when we talk blues we wipe out the idea of the fake black xerox music à la Clapton but we deal with the greasy, stinky, rotten to the core stuff, usually found in the stores of the likes of Beast of Bourbon, Jon Spencer, Cypress Grove as compadre of the legendary Jeffrey Lee Pierce during his ill-fated solo carrier and of Lydia Lunch on the underrated masterpiece A fistful of Desert Blues or (above all, ioho) the artists from the Fat Possum records roster such as R.L. Burnside, Junior Kimbrough and T-Model Ford.&amp;nbsp;&lt;/p&gt;&lt;p&gt;As soon as the music of the first song, &lt;i&gt;Mangrove Sea&lt;/i&gt;, comes out of the speakers, the pace is immediately set: an ongoing, desperate effort of the sax to escape from the blues tracks firmly kept on the ground by the guitar is what we&#39;ll listen along the whole record. Sometimes Dave is totally free to let his sax scream in a Ayler-esque and dissonant mode (the title track, &lt;i&gt;Scaribari &lt;/i&gt;or &lt;i&gt;Don&#39;t Buy the Lie&lt;/i&gt;), otherwise his tobacco, dusty voice is devoted to swampy, sinister atmospheres reminding us the mythical Flesheaters (Dava&#39;s dune) or even drunken serenades (Bill), always magically backed-up by the never self indulgent guitar licks: different musicians but a perfectly smooth amalgam in the holy name of blues.&amp;nbsp;&lt;/p&gt;&lt;p&gt;This is a record made of mud and blood, don&#39;t miss it.&lt;/p&gt;&lt;p&gt;Listen and download from &lt;a href=&quot;https://avamendozamusic.bandcamp.com/album/of-it-but-not-is-it&quot;&gt;Bandcamp&lt;/a&gt;.&amp;nbsp;&lt;/p&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/ava-mendoza-dave-sewelson-of-it-but-not.html</link><author>noreply@blogger.com (Stef)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/a/AVvXsEhaMj0ZfVWx26FL1fHFPFtGi5z__Qi22R80KvFAgZQUYoLlqAYlWC7mhLIC2RF_wlRBxgP-ox1ty-g6wMZrYq65pOsEu3_oSKmKulUt2kMmlkX7UfAg-0xrDN6KThMzLGzCxnhh3n16uqmQFAxdYPhpcns6d2kSpDIpa3nV0pDhm-B0_twH9jF5Wad-PTA=s72-w320-h320-c" height="72" width="72"/><thr:total>1</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-6027511195190426718</guid><pubDate>Thu, 25 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-25T23:58:57.211+02:00</atom:updated><title>John Zorn - Parrhesiastes (Tzadik, 2023)</title><description>&lt;p&gt;&lt;/p&gt;&lt;div style=&quot;text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEhgyic5XS64qFbJyD7M51j-yu2uO0WshqglJuJGUrRDBq4S9uDfUf4dstAQQuMi6SC8LxVfJEuEf4olxa9jfYBdUal2BE38zzYgyutfGIhAue7On9_K9oOpChRJyxtrsliEx3mqVg9J0t7SP1c4Guc7XFQ3xUhBwreW1TrwUM2OJ6bo0_BELpiIAMimJxU&quot;&gt;&lt;img alt=&quot;&quot; height=&quot;283&quot; src=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEhgyic5XS64qFbJyD7M51j-yu2uO0WshqglJuJGUrRDBq4S9uDfUf4dstAQQuMi6SC8LxVfJEuEf4olxa9jfYBdUal2BE38zzYgyutfGIhAue7On9_K9oOpChRJyxtrsliEx3mqVg9J0t7SP1c4Guc7XFQ3xUhBwreW1TrwUM2OJ6bo0_BELpiIAMimJxU=w320-h283&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&amp;nbsp;By Don Phipps&lt;p&gt;&lt;/p&gt;One thing about John Zorn: he never ceases to surprise. And “&lt;i&gt;Parrhesiastes&lt;/i&gt;” is exhibit A. Performed by the electric Chaos Magick ensemble – which features two keyboard players (John Medeski on organ and Brian Marsella on Fender Rhodes piano), an electric guitarist (Matt Hollenberg) and drummer (Kenny Grohowski) – “&lt;i&gt;Parrhesiastes&lt;/i&gt;” is an entertaining and enjoyable romp through three Zorn surreal and fantastic compositions (Zorn also arranged and conducted the ensemble). The music resembles a rubber band, something that both stretches and retains form. Or maybe metamorphosis is a better description, as the music morphs from one catchy mood to the next, and no matter how abrupt the change, it still holds together.&lt;br /&gt;&lt;br /&gt;Zorn has been pushing the boundaries of music his entire career. It’s been four decades since his groundbreaking Naked City group hit the scene, and three decades since his Masada group reimagined free music using, as he put it, “&lt;i&gt;Jewish scales.&lt;/i&gt;”  And while these efforts are still potent today, Zorn, now 70, has never rested on his laurels. “&lt;i&gt;Parrhesiastes&lt;/i&gt;”– fusion done the Zorn way - is a sonic cornucopia of head-nodding bliss.&lt;br /&gt;&lt;br /&gt;The three numbers are all thematically playful. And each covers a lot of ground – mood, shape, and form amorphous yet connected. “&lt;i&gt;In the Footsteps of Hermes&lt;/i&gt;” starts things off, its sweeping lines set the stage before all hell breaks loose – think Oliphants charging the defenders of Minas Tirith. Grohowski offers up some exquisite power drumming – and it’s fun to hear Medeski sparkle and dance funk on the organ or Marsella hopscotch a bluesy line or two. And not to be outdone, Hollenberg’s heavy metal lines explode out of nowhere.&lt;br /&gt;&lt;br /&gt;“&lt;i&gt;The Eventual Devalorization of The Perhaps&lt;/i&gt;” juxtaposes a funky soulful theme with Mad Hatter drives, and it seems, at times, prog rock exists at the tune’s core. Finally, “&lt;i&gt;Form, Object, And Desire&lt;/i&gt;” wraps things up with Marsella’s high energy lines and Medeski’s full chordal offerings atop Grohowski’s dynamo drumming. There’s a brevity and lightness to many of the phrases, often interspersed with mad robotics and more funk. The result – an album that is different, unusual, and conventional at the same time!&lt;br /&gt;&lt;br /&gt;With its almost breathtaking interchanges, “&lt;i&gt;Parrhesiastes&lt;/i&gt; ”demonstrates the musical genius of John Zorn. How this prolific composer and artist continues to create imaginative music at such a high level is certainly a mystery, but like some modern Mozart, one can only marvel at his ever-expanding vocabulary. Highly recommended.&lt;div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;Watch a video here.&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div style=&quot;text-align: center;&quot;&gt;&amp;nbsp;
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  178.  &lt;iframe allow=&quot;accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share&quot; allowfullscreen=&quot;&quot; frameborder=&quot;0&quot; height=&quot;315&quot; referrerpolicy=&quot;strict-origin-when-cross-origin&quot; src=&quot;https://www.youtube.com/embed/0-UWSfXrSUQ?si=RT1IjZjci7Ie_BnB&quot; title=&quot;YouTube video player&quot; width=&quot;560&quot;&gt;&lt;/iframe&gt;
  179.  
  180. &lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/jonn-zorn-parrhesiastes-tzadik-2023.html</link><author>noreply@blogger.com (Stef)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/a/AVvXsEhgyic5XS64qFbJyD7M51j-yu2uO0WshqglJuJGUrRDBq4S9uDfUf4dstAQQuMi6SC8LxVfJEuEf4olxa9jfYBdUal2BE38zzYgyutfGIhAue7On9_K9oOpChRJyxtrsliEx3mqVg9J0t7SP1c4Guc7XFQ3xUhBwreW1TrwUM2OJ6bo0_BELpiIAMimJxU=s72-w320-h283-c" height="72" width="72"/><thr:total>1</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-2333964870853376444</guid><pubDate>Wed, 24 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-24T07:54:16.942+02:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">*****</category><title>John Butcher  + 13 - Fluid Fixations (Weight of Wax, 2024) *****</title><description>&lt;p&gt;&lt;/p&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEh5KjnsYW67CkzXxP9-xzIj1tx_SEtiCEfZ1sJejiXzX_Qe88TgQ1VyEo3BKlHw14H_oWnQPs-u37HAazp_VoPCwsSXSecayUJ0nHOfiBx74_xaF9wM__WqUJkMc76LW4iCb2hdzUGqJotTerDSo0HMOJqPokSRnKzjzM8a4JwwqKS3xpC3Tu2McKRj0c0&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img alt=&quot;&quot; data-original-height=&quot;1075&quot; data-original-width=&quot;1200&quot; height=&quot;240&quot; src=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEh5KjnsYW67CkzXxP9-xzIj1tx_SEtiCEfZ1sJejiXzX_Qe88TgQ1VyEo3BKlHw14H_oWnQPs-u37HAazp_VoPCwsSXSecayUJ0nHOfiBx74_xaF9wM__WqUJkMc76LW4iCb2hdzUGqJotTerDSo0HMOJqPokSRnKzjzM8a4JwwqKS3xpC3Tu2McKRj0c0&quot; width=&quot;268&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;By Eyal Hareuveni&lt;/div&gt;&lt;p&gt;It is quite unusual that a free improviser, even the most innovative and creative one, gets a chance to invite many of his past collaborators to perform a composition that relies on idiosyncratic improvisation qualities. But British sax player John Butcher was commissioned in 2021 by HCMF - the Huddersfield Contemporary Music Festival - to perform a composition, Fluid Fixations, where the ever-spinning oxymorons - fixed and fluid - may seem to present a conflict of interests, but eventually offer a kind of mysterious harmony.&lt;/p&gt;Fluid Fixations was performed and recorded in November 2021 with Butcher + 13 trusted improvisers-collaborators from the last twenty years, some of whom never met before, and it reflects and refracts their distinct sonic palettes, instincts and energies - Viennese turntables wizard dieb13 (aka Dieter Kovačič), American trumpeter Liz Allbee, French pianist Sophie Agnel, cellist Hannah Marshall, violinist Angharad Davies, electronics player Pat Thomas, percussionist Mark Sanders, double bass player John Edwards and German-French Pascal Niggenkemper, Norwegian drummer Ståle Liavik Solberg, German trombonist Matthias Müller, French vocalist-clarinetist Isabelle Duthois, and stroh violist-musical saw player Aleksander Kolkowski. Twice as many improvisers as in Butcher’s previous HCMF compositions - somethingtobesaid (2008, released by Butcher’s label, Weight of Wax in 2009, with Edwards and dieb13) and Isola (2012, also with Edwards).&lt;br /&gt;&lt;br /&gt;This hour-long composition was informed by what Butcher calls psychological orchestration, i.e. imagining how specific people might respond to particular ideas, and to the sonic company they find themselves a part of. The score was based on instructions (some were intangible ones), precise notation, text, and photographic imagery, mostly drawn from natural environments, all echo his faith in the transformative power environments have over music performance but suggesting spaces where the musicians can step away from the score to create their own sound worlds. dieb13 incorporated pre-recorded sax recordings that were cut earlier to vinyl, as the compositional voice of Butcher, and used close-miking to manipulate some of the “hidden” sound possibilities of the saxophone. Specified solos, duos and small groupings were woven into the piece.&lt;br /&gt;&lt;br /&gt;Fluid Fixations takes the risk of enchantment, as one of its pieces is titled, and draws you immediately into its mysterious, multifaceted and detailed sonic ecosystem. It invites the listener to surrender to a kind of poetic dream state, its psychedelic logic, the swarm-like sounds of the 14 musicians, and allows it to flow and grow naturally into your mind. Often free improvisation, especially with so many individual voices, can become an arresting show of group psychotherapy. Here, with the wise compositional ideas of Butcher, it turned out to be a love letter to the deep relationships formed through improvisation. Pure magic, with so many sonic spells, secrets, wonders and inventions to cherish through many repeated listening.  &lt;br /&gt;&lt;br /&gt;Listen and download &lt;a href=&quot;https://johnbutcher1.bandcamp.com/album/fluid-fixations&quot;&gt;here&lt;/a&gt;.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/john-butcher-13-fluid-fixations-weight.html</link><author>noreply@blogger.com (Stef)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/a/AVvXsEh5KjnsYW67CkzXxP9-xzIj1tx_SEtiCEfZ1sJejiXzX_Qe88TgQ1VyEo3BKlHw14H_oWnQPs-u37HAazp_VoPCwsSXSecayUJ0nHOfiBx74_xaF9wM__WqUJkMc76LW4iCb2hdzUGqJotTerDSo0HMOJqPokSRnKzjzM8a4JwwqKS3xpC3Tu2McKRj0c0=s72-c" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-8657035104706453961</guid><pubDate>Tue, 23 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-23T06:00:00.353+02:00</atom:updated><title> Blasting across the Alkali Flats with Evil Clown</title><description>By Nick Ostrum &lt;br /&gt;&lt;br /&gt;“&lt;i&gt;…In quiet solitude or blasting across the alkali flats in a jet-powered, monkey-navigated...... and it goes on like this&lt;/i&gt;.” – Rev. Timothy Lovejoy, The Simpsons  &lt;br /&gt;&lt;br /&gt;In the above quote, Rev. Lovejoy was reading the wedding vows of one Homer J. Simpson. With just a little imagination and minus the “quiet solitude” part, however, he could very well have been describing the two releases reviewed here. Each is from one of PEK’s newer ensembles, which are based more around electronic environments than the acoustics of the sax-cello core of Leap of Faith, or the drum-propulsion of the Metal Chaos Ensemble. In that, however, they lose none of the sonic probing one has come to expect, and none of the tendency toward excess and entropy. &lt;br /&gt;&lt;br /&gt;&lt;b&gt;Simulacrum – Shadows (Evil Clown, 2023)&amp;nbsp;&lt;/b&gt;&lt;div&gt;&lt;b&gt;&lt;br /&gt;&lt;/b&gt;&lt;/div&gt;&lt;div&gt;&lt;b&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEghGT9Jejw7pEeATrrfE5c9-gRUyZmxDlvHIe0YAcGMBBwhbown81kDagLrOE6Ropu3zbsMMllhQE8Y-GC_IY9vYDLZoVZc6SVgzDkKZxmzVXk3lVCpc0CoEC0215EcQ9m5z6DZOWTuS8C27INKB7CGBVcHEEQvvdt-WpnF7mrg2AgNw3EhjAHvZGVnvtw&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img alt=&quot;&quot; data-original-height=&quot;1200&quot; data-original-width=&quot;1200&quot; height=&quot;400&quot; src=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEghGT9Jejw7pEeATrrfE5c9-gRUyZmxDlvHIe0YAcGMBBwhbown81kDagLrOE6Ropu3zbsMMllhQE8Y-GC_IY9vYDLZoVZc6SVgzDkKZxmzVXk3lVCpc0CoEC0215EcQ9m5z6DZOWTuS8C27INKB7CGBVcHEEQvvdt-WpnF7mrg2AgNw3EhjAHvZGVnvtw=w400-h400&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;br /&gt;&lt;/b&gt;&lt;i&gt;Simulacrum &lt;/i&gt;is something apart from other &lt;i&gt;Leap of Faith&lt;/i&gt; projects. It is missing what seemed to be PEK’s preferred cores until recently: that between him and cellist Glynis Limon and with a variety of percussionists. Instead, &lt;i&gt;Simulacrum&lt;/i&gt; is a vortex of shifting soundworlds that ultimately blast across the alkali flats in a jet-powered…or rather fueled by the addition of Joel Simches on live processing and electronicists Eric Woods, Robin Amos and Bob Moores, who focuses more on his synths and drones than his usual frontage of trumpet and guitar.&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;&amp;nbsp;Naturally, PEK, reedist+ Michael Caglianone and, when focused on such tools, Moores literally add the gusts to the electrified sandstorm of crackles, shimmers and all out sonic strangeness. Shadows is heavy, and heavy on the Arkestra-infused space gaze. However, the missing dedicated percussion replaced by a variety of electro-acoustic techniques help this one float to different corners of the cosmos, clunkily walking the thin line between order and inevitable decay along the way. &lt;br /&gt;&lt;br /&gt;And, as a bonus to the hour-plus first track &lt;i&gt;Shadows&lt;/i&gt; comes Chiaroscuro, a six-minute excursion into a more linear, but still gnarled and knotty kosmische Musik.  &lt;br /&gt;&lt;br /&gt;&lt;i&gt;Shadows&lt;/i&gt; is available as a download and CD from &lt;a href=&quot;https://simulacrum3.bandcamp.com/album/shadows&quot;&gt;Bandcamp&lt;/a&gt;.&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;br /&gt;&lt;b&gt;Perturbations – That’s Where the Unknown Is (Evil Clown, 2023)&amp;nbsp;&lt;/b&gt;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;&lt;b&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEjPvcVvDcCCtT0pXi1jQVtqHlObVnbjql0T5QCFchYz88JNVo9Et6J1iuabs4QOGQMQEkNJySECDvjsatx7MEV8R9Bln6yyBPtujMGIwiO9bl6hvS4uPJDMsWDIcz4YAUBeaQLRl8VFDZbIiR2x3FDIlNDh-Visdx7gz3JRDnYmsxrB3sxHWtYZZAkpgRI&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img alt=&quot;&quot; data-original-height=&quot;1200&quot; data-original-width=&quot;1200&quot; height=&quot;400&quot; src=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEjPvcVvDcCCtT0pXi1jQVtqHlObVnbjql0T5QCFchYz88JNVo9Et6J1iuabs4QOGQMQEkNJySECDvjsatx7MEV8R9Bln6yyBPtujMGIwiO9bl6hvS4uPJDMsWDIcz4YAUBeaQLRl8VFDZbIiR2x3FDIlNDh-Visdx7gz3JRDnYmsxrB3sxHWtYZZAkpgRI=w400-h400&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;br /&gt;&lt;/b&gt;&lt;i&gt;Perturbations&lt;/i&gt; is another beast. It shares members PEK, Caglianone and Simches, here with a bigger footprint, with &lt;i&gt;Simulacrum&lt;/i&gt;. Albey OnBass rounds out the quartet with his bass and box of percussion and electronics. Recorded in November 2023, &lt;i&gt;That’s Where the Unknown Is&lt;/i&gt; begins with acoustic clangor and electronic “perturbations”, which blend into a quiet cacophony that mirrors an insect-ridden night in the woods. (One imagines the unknown could reside here, in the space between civilization and the wild, between the physical and metaphysical, as much as anywhere.)&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;An accordion and layered tones of unknown provenance break the spell, transporting the listener from a simulated forest to a port city, creaking docks, lonely saxophone and all. The picture, however, never truly becomes clear. Swooshes of interference intervene. A second, deeper horn engages with the first. A busy swarming background persists, and, in the whirl of elements, it can be difficult for the listener to find footing. Albey OnBass introduces a staggered bass line, and his subsequent duet with a lone sax pose the jazzier moments of this piece.&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;But these moments are fleeting, as was the forest and the dock. It seems like the moment the piece settles, it detours or rather leaps to different aesthetic realms.  In that sense, &lt;i&gt;That’s Where the Unknown Is &lt;/i&gt;is clunkier (though deftly and intentionally) than the ebb-and-flow characteristic of so many extended collective improvisations. This zigs and zags rather than builds and releases. And, well, it goes on like that, zigging, zagging and always finding new corners of the alkali flats to agitate.    &lt;br /&gt;&lt;br /&gt;&lt;i&gt;That’s Where The Unknown Is&lt;/i&gt; is available as a CD and download from &lt;a href=&quot;https://perturbations.bandcamp.com/album/that-s-where-the-unknown-is&quot;&gt;Bandcamp&lt;/a&gt;.&amp;nbsp;&lt;br /&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/blasting-across-alkali-flats-with-evil.html</link><author>noreply@blogger.com (Stef)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/a/AVvXsEghGT9Jejw7pEeATrrfE5c9-gRUyZmxDlvHIe0YAcGMBBwhbown81kDagLrOE6Ropu3zbsMMllhQE8Y-GC_IY9vYDLZoVZc6SVgzDkKZxmzVXk3lVCpc0CoEC0215EcQ9m5z6DZOWTuS8C27INKB7CGBVcHEEQvvdt-WpnF7mrg2AgNw3EhjAHvZGVnvtw=s72-w400-h400-c" height="72" width="72"/><thr:total>1</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-900698130234164837</guid><pubDate>Mon, 22 Apr 2024 06:35:00 +0000</pubDate><atom:updated>2024-04-22T08:35:00.779+02:00</atom:updated><title> Organismic Theory – A Space from Spaces (self released, 2024)</title><description>&lt;p&gt;&lt;/p&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEgeMd05xOfgxIduo08e2VaQpTExPtmHMRLxZza8_4F_Jg7Yu9ZVxNtUWjjSV4mjw9E4hDkbAtf5eJltHjExqe51KYrYQ3OlKBicrcVq58F6civ72yQkAt7p2vovDYz8F5lntfU2Jfhje3yba1a_argSu2qPEvw6BAcfYBD5hG-WBt04_Vw_fxpa7lHiRA4&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img alt=&quot;&quot; data-original-height=&quot;1200&quot; data-original-width=&quot;1200&quot; height=&quot;400&quot; src=&quot;https://blogger.googleusercontent.com/img/a/AVvXsEgeMd05xOfgxIduo08e2VaQpTExPtmHMRLxZza8_4F_Jg7Yu9ZVxNtUWjjSV4mjw9E4hDkbAtf5eJltHjExqe51KYrYQ3OlKBicrcVq58F6civ72yQkAt7p2vovDYz8F5lntfU2Jfhje3yba1a_argSu2qPEvw6BAcfYBD5hG-WBt04_Vw_fxpa7lHiRA4=w400-h400&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;br /&gt;&lt;span style=&quot;font-family: inherit;&quot;&gt;By Fotis Nikolakopoulos&lt;/span&gt;&lt;p&gt;&lt;/p&gt;
  181. &lt;p style=&quot;font-stretch: normal; line-height: normal; margin: 0px 0px 10px;&quot;&gt;&lt;span style=&quot;font-family: inherit;&quot;&gt;Organismic Theory is the Greek duo of Nicolas Skordas on various wind instruments and Selfish Limbs on analogue synth and fx. On this cd they approach jazz and free jazz, from another point of view. As especially Skordas is mostly know for free playing and being an acolyte of free jazz, A Space from Spaces seems quite different –especially for the small Greek scene. On the four tracks of the cd&lt;b&gt;, &lt;/b&gt;all mentioning the word space on their title but concerning a different (social, personal, public, intimate) field of what we call space in this age of social media, the listener will find a fresh take, definitely more ambient, take, of the music.&lt;/span&gt;&lt;/p&gt;
  182. &lt;p style=&quot;font-stretch: normal; line-height: normal; margin: 0px 0px 10px;&quot;&gt;&lt;span style=&quot;font-family: inherit;&quot;&gt;The atmospheres created by the analogue synth allow Skordas’ wind instruments to breathe heavily, resembling many times, with traditional Greek musical patterns. There are some points on the tracks that the music transfers you up on the Greek mountains, where the sound of the clarinet&amp;nbsp; rises deeply from the soil and the analogue synth provide the wind, the sun, the dust –the whole ambience of nature.&amp;nbsp;&lt;/span&gt;&lt;/p&gt;
  183. &lt;p style=&quot;font-stretch: normal; line-height: normal; margin: 0px 0px 10px;&quot;&gt;&lt;span style=&quot;font-family: inherit;&quot;&gt;Expecting, at first, a definitely more “jazz’ approach, I was exposed (not without hesitance) to a whole different universe, one the balances between western musics and Greek traditional surroundings, as in Greece music is deeply rooted with space and geography. As my listening of A Space from Spaces progressed, I came to realize that, at least to my ears, those tracks are also heavily rooted (and relying from) the musicians personal take on this, always risky, part of the musical heritage.&lt;/span&gt;&lt;/p&gt;
  184. &lt;p style=&quot;font-stretch: normal; line-height: normal; margin: 0px 0px 10px;&quot;&gt;&lt;span style=&quot;font-family: inherit;&quot;&gt;The duo relies on building an atmosphere, sometimes cinematic, that most of the times, brings some memories to those of us living in the Balkans. But, beware, because this cd is definitely not “traditional” in any way.&amp;nbsp; Aggressively building into a nocturnal drama of the mountains, it bridges a gap between the past and the present, between jazz based musics and traditional Greek music of mountainous areas.&lt;/span&gt;&lt;/p&gt;
  185. &lt;p style=&quot;color: blue; font-stretch: normal; line-height: normal; margin: 0px 0px 10px;&quot;&gt;&lt;span style=&quot;color: black;&quot;&gt;&lt;span style=&quot;font-family: inherit;&quot;&gt;Listen &lt;a href=&quot;https://organismictheory.bandcamp.com/album/a-space-from-spaces&quot;&gt;here&lt;/a&gt;.&lt;span style=&quot;color: blue;&quot;&gt;&lt;/span&gt;&lt;/span&gt;&lt;/span&gt;&lt;/p&gt;&lt;div&gt;&lt;span style=&quot;color: black;&quot;&gt;&lt;br /&gt;&lt;/span&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/organismic-theory-space-from-spaces.html</link><author>noreply@blogger.com (Stef)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/a/AVvXsEgeMd05xOfgxIduo08e2VaQpTExPtmHMRLxZza8_4F_Jg7Yu9ZVxNtUWjjSV4mjw9E4hDkbAtf5eJltHjExqe51KYrYQ3OlKBicrcVq58F6civ72yQkAt7p2vovDYz8F5lntfU2Jfhje3yba1a_argSu2qPEvw6BAcfYBD5hG-WBt04_Vw_fxpa7lHiRA4=s72-w400-h400-c" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-7749505420529755548</guid><pubDate>Sun, 21 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-21T06:00:00.153+02:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Sunday Interview</category><title>Rudi Mahall - Sunday Interview</title><description>&lt;p&gt;&amp;nbsp;&lt;table align=&quot;center&quot; cellpadding=&quot;0&quot; cellspacing=&quot;0&quot; class=&quot;tr-caption-container&quot; style=&quot;margin-left: auto; margin-right: auto;&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td style=&quot;text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjppfkJZbvYALRTVus0fisK1thLOy9qalJUPeHSQnUEyih9EjM8E3EcMwrsRcaEBms8buw2D2rTSF6-XHRdWEPIKzfgYQuv7BIyJavwzGnB1fo3Lc1zfhjIGUhxZXNaCtj8viqI29RTgSgH5znaxlrTeCDdD0hHj64flac8iEC3CJuxechHYgHAsmVI3yu5/s1560/mahall2.jpg&quot; imageanchor=&quot;1&quot; style=&quot;margin-left: auto; margin-right: auto;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1040&quot; data-original-width=&quot;1560&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjppfkJZbvYALRTVus0fisK1thLOy9qalJUPeHSQnUEyih9EjM8E3EcMwrsRcaEBms8buw2D2rTSF6-XHRdWEPIKzfgYQuv7BIyJavwzGnB1fo3Lc1zfhjIGUhxZXNaCtj8viqI29RTgSgH5znaxlrTeCDdD0hHj64flac8iEC3CJuxechHYgHAsmVI3yu5/w400-h266/mahall2.jpg&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td class=&quot;tr-caption&quot; style=&quot;text-align: center;&quot;&gt;Photo by &lt;a href=&quot;https://www.facebook.com/Photomusix&quot; rel=&quot;nofollow&quot; target=&quot;_blank&quot;&gt;Cristina Marx/Photomusix&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;br /&gt;&lt;/p&gt;&lt;ol style=&quot;text-align: left;&quot;&gt;&lt;li&gt;What is your greatest joy in improvised music?&lt;br /&gt;&lt;br /&gt;To play the clarinet&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;What quality do you most admire in the musicians you perform with?&lt;br /&gt;&lt;br /&gt;Swing.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;Which historical musician/composer do you admire the most?&lt;br /&gt;&lt;br /&gt;Charlie Parker.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;If you could resurrect a musician to perform with, who would it be?&lt;br /&gt;&lt;br /&gt;Eric Dolphy.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;What would you still like to achieve musically in your life?&lt;br /&gt;&lt;br /&gt;To play like Benny Goodman.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;Are you interested in popular music and - if yes - what music/artist do you particularly like?&lt;br /&gt;&lt;br /&gt;I don&#39;t like pop-music at all.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;If you could change one thing about yourself, what would it be?&lt;br /&gt;&lt;br /&gt;Nothing.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;Which of your albums are you most proud of?&lt;br /&gt;&lt;br /&gt;All the &quot;Die Enttäuschung&quot; albums.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;Once an album of yours is released, do you still listen to it? And how often?&lt;br /&gt;&lt;br /&gt;I don&#39;t listen to them.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;Which album (from any musician) have you listened to the most in your life?&lt;br /&gt;&lt;br /&gt;n/a&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;What are you listening to at the moment?&lt;br /&gt;&lt;br /&gt;Benny Goodman.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;What artist outside music inspires you?&lt;br /&gt;&lt;br /&gt;None.&lt;/li&gt;&lt;/ol&gt;&lt;div&gt;&lt;b&gt;Reviews on the Free Jazz Blog with Rudi Mahall:&lt;br /&gt;&lt;br /&gt;&lt;/b&gt;&lt;/div&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2023/05/jazzwerkstatt-peitz-50th-anniversary.html&quot;&gt;Jazzwerkstatt Peitz 50th Anniversary (April 27th - 30th, 2023)&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2023/04/fusk-absurd-enthusiasm-why-play-jazz.html&quot;&gt;FUSK - Absurd Enthusiasm (Why Play Jazz, 2022)&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2022/07/rudi-mahall-jan-roder-olaf-rupp-skyhook.html&quot;&gt;Rudi Mahall / Jan Roder / Olaf Rupp - Skyhook (Audiosemantics, 2022)&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2021/09/out-on-intakt-day-1-of-2.html&quot;&gt;Out on Intakt (Day 1 of 2)&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2021/05/paul-lovensflorian-stoffner-tetratne.html&quot;&gt;Paul Lovens/Florian Stoffner - Tetratne (ezz-thetics, 2020) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2021/01/aki-takase-aki-takase-plays-fats-waller.html&quot;&gt;Aki Takase - Aki Takase Plays Fats Waller at Babylon Berlin 2009 (Jazzwerkstatt, 2020) ***(*)&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2020/01/aki-takase-and-rudi-mahall-fifty-fifty.html&quot;&gt;Aki Takase and Rudi Mahall – Fifty Fifty (Trouble in the East, 2019) ***½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2019/09/rudi-mahall-olaf-rupp-kasper-tom-st.html&quot;&gt;Rudi Mahall Olaf Rupp Kasper Tom - s/t (Barefoot Records, 2019) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2018/12/ivo-perelman-and-rudi-mahall-kindred.html&quot;&gt;Ivo Perelman and Rudi Mahall - Kindred Spirits (Leo, 2018) *****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2018/04/alexander-von-schlippenbach-and-rudi.html&quot;&gt;Alexander von Schlippenbach and Rudi Mahall - So Far (Relative Pitch, 2018) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2017/10/flo-stoffnerpaul-lovensrudi-mahall-mein.html&quot;&gt;Flo Stoffner/Paul Lovens/Rudi Mahall - Mein Freund der Baum (Wide Ear Records, 2017) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2017/10/uwe-oberg-rudi-mahall-and-michael.html&quot;&gt;Uwe Oberg, Rudi Mahall and Michael Griener – Lacy Pool 2 (Leo, 2017) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2017/07/meet-danes-4-part-1-of-2.html&quot;&gt;Meet The Danes #4 (part 1 of 2)&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2017/06/jr3-happy-jazz-relative-pitch-2017.html&quot;&gt;JR3 - Happy Jazz (Relative Pitch, 2017) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2016/12/meet-danes-3.html&quot;&gt;Meet the Danes #3&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2016/09/rotozaza-zero-leo-records-2016.html&quot;&gt;Rotozaza - Zero (Leo Records, 2016) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2016/03/berlin-and-beyond.html&quot;&gt;Berlin ... and Beyond&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2016/02/meet-danes.html&quot;&gt;Meet The Danes&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2013/12/the-deciders-we-travel-airwaves.html&quot;&gt;The Deciders - We Travel The Airwaves (Jazzland, 2013) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2013/04/die-enttauschung-vier-halbe-intakt-2012.html&quot;&gt;Die Enttäuschung - Vier Halbe (Intakt, 2012) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2010/01/die-enttauschung-5-intakt-2009.html&quot;&gt;Die Enttäuschung - 5 (Intakt, 2009) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2007/10/die-enttuschung-intakt-2007.html&quot;&gt;Die Enttäuschung (Intakt, 2007) ****&lt;/a&gt;&lt;/li&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/rudi-mahall-sunday-interview.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjppfkJZbvYALRTVus0fisK1thLOy9qalJUPeHSQnUEyih9EjM8E3EcMwrsRcaEBms8buw2D2rTSF6-XHRdWEPIKzfgYQuv7BIyJavwzGnB1fo3Lc1zfhjIGUhxZXNaCtj8viqI29RTgSgH5znaxlrTeCDdD0hHj64flac8iEC3CJuxechHYgHAsmVI3yu5/s72-w400-h266-c/mahall2.jpg" height="72" width="72"/><thr:total>2</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-5070401346676840113</guid><pubDate>Sat, 20 Apr 2024 10:02:00 +0000</pubDate><atom:updated>2024-04-20T13:30:41.860+02:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Festival</category><title>(Ne)poslušno / Sound (Dis)Obedience 2024, Ljubljana</title><description>&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiez8Wx8mFl2LbIFYHrWlGEpb-qyCzKRHhDvaKyGsWRu_9ZwagkiVfUnExJv4gtkX8KGedMSq_D4lMQD8RDHi6bD3V5-dijSSMc8XOYcUcpKcGeU1d9u3N85fqly1FQuROxnAkGDPSjCy5MrfnNJOwAXlHsV68KO4nLVsxau7HWfUn5S6ZW4d0XeV9aaJ6O/s2551/Sound%20Disobedience%202024%20poster.jpg&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;400&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiez8Wx8mFl2LbIFYHrWlGEpb-qyCzKRHhDvaKyGsWRu_9ZwagkiVfUnExJv4gtkX8KGedMSq_D4lMQD8RDHi6bD3V5-dijSSMc8XOYcUcpKcGeU1d9u3N85fqly1FQuROxnAkGDPSjCy5MrfnNJOwAXlHsV68KO4nLVsxau7HWfUn5S6ZW4d0XeV9aaJ6O/w400-h400/Sound%20Disobedience%202024%20poster.jpg&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;div&gt;&lt;/div&gt;&lt;p&gt;By &lt;a href=&quot;https://www.freejazzblog.org/2010/11/david-cristol.html&quot;&gt;David Cristol&lt;/a&gt;&lt;/p&gt;&lt;p&gt;
  186.    &lt;strong&gt;
  187.        From March 28 to 30, the 2024  edition of (Ne)poslušno / Sound
  188.        (Dis)Obedience took place in&amp;nbsp;&lt;/strong&gt;&lt;b&gt;Ljubljana&lt;/b&gt;&lt;strong&gt;, in the  Španski borci cultural
  189.        center housing different rooms for rehearsals and  performances, a bar,
  190.        terrace and records stand, in the center of Slovenia’s  capital.
  191.        Programmed by musician Tomaž Grom – who also operated as a  good-humored
  192.        and entertaining MC throughout – the festival is produced by the Zavod
  193.        Sploh organization, dedicated to sound performance and associated
  194.        research,  education and publishing (through a record label) of acts
  195.        that fit under the  “free improvised” or “creative music” monikers, with
  196.        co-producers including the  Zavod En-Knap dance company and support from
  197.        the country’s Ministry of Culture  and the City of Ljubljana.&lt;/strong&gt;&lt;/p&gt;
  198. &lt;p&gt;
  199.    It was a long trip to Ljubljana, and an even longer and adventurous return
  200.    journey, through soulless and nondescript “landscapes” of concrete from
  201.    France  to Slovenia through Italy, before reaching the destination in the
  202.    nick of time  for the opening show. Forget all the hassle: from the first
  203.    notes emitted, the  fest appeared as an islet of sanity in a crackpot world.
  204.    Small-sized it may be,  but heavy and consistent in content. A relaxed
  205.    atmosphere prevailed in the full  house, and the ever-mindful audience was a
  206.    welcome bonus (the idea of producing a mobile phone to film or photograph
  207.    didn’t occur to anyone; while official  photographers were doing their
  208.    thing). I hadn&#39;t attended a mostly improvised  music fest in quite some time
  209.    and it felt like a welcome change of pace, even a  return to my beginnings
  210.    in music reviewing. Whether one likes a particular  project or not,
  211.    integrity was a thread running through every act, with  logistics to match
  212.    and an easygoing aspect to the proceedings. Nine concerts  were presented to
  213.    audiences over three evenings.&lt;/p&gt;&lt;table align=&quot;center&quot; cellpadding=&quot;0&quot; cellspacing=&quot;0&quot; class=&quot;tr-caption-container&quot; style=&quot;margin-left: auto; margin-right: auto;&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td style=&quot;text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs9ID-97UX-BsUTj3XEdbZtvQ5tx5y09LnbqO_PWuWMRGZbLpFVz-uphjcbtjRa4Vfr66sUhYPlmuMeYHaOFlyu9Jr6_Zjf75LTNiIVfoyXLP2Dem3N012dU_WUKIZaF3_4F7uUtZ-0mspIei3kdAXs0hjp5smhcK1P7wTG2zYI-s35dpeeEOla_VAhcQ8/s2250/MAS_0297-%20DARA.jpg&quot; style=&quot;clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgs9ID-97UX-BsUTj3XEdbZtvQ5tx5y09LnbqO_PWuWMRGZbLpFVz-uphjcbtjRa4Vfr66sUhYPlmuMeYHaOFlyu9Jr6_Zjf75LTNiIVfoyXLP2Dem3N012dU_WUKIZaF3_4F7uUtZ-0mspIei3kdAXs0hjp5smhcK1P7wTG2zYI-s35dpeeEOla_VAhcQ8/w400-h266/MAS_0297-%20DARA.jpg&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td class=&quot;tr-caption&quot; style=&quot;text-align: center;&quot;&gt;&lt;span style=&quot;font-size: x-small;&quot;&gt;All ph&lt;span&gt;otos by&amp;nbsp;&lt;/span&gt;&lt;span&gt;Marcandrea&lt;/span&gt;&amp;nbsp;&lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;table align=&quot;center&quot; cellpadding=&quot;0&quot; cellspacing=&quot;0&quot;&gt;&lt;/table&gt;Opener &lt;strong&gt;DARA  Strings&lt;/strong&gt; is an all-women string quartet
  214.    consisting of two cellos (&lt;strong&gt;Elisabeth&lt;/strong&gt;&lt;strong&gt;Coudoux&lt;/strong&gt;,
  215.    &lt;strong&gt;Isidora&lt;/strong&gt; &lt;strong&gt;Edwards&lt;/strong&gt;)  and two violins
  216.    (&lt;strong&gt;Biliana Voutchkova, Joanna Mattrey&lt;/strong&gt;), the players coming
  217.    from modern classical, composed works, improvisation,  electronics, each of
  218.    them boasting an impressive list of collaborations,  releases, commissions
  219.    and performances: musical partners include Susana Santos  Silva, gabby
  220.    fluke-mogul, Camila Nebbia, Andrea Parkins, Frances-Marie Uitti, Pascal
  221.    Niggenkemper… The show appeared as a combination of composition and improv,
  222.    probably  more of the former than the latter. No scores in sight but
  223.    rhythmic or motivic  cues delivered by one cello and small speakers on the
  224.    floor sending  pre-recorded landmarks directing the process. Other devices
  225.    included rubbed  paper on the strings and wood on the part of Coudoux, and
  226.    bowing, plucking and  strumming from the homogeneous ensemble. Voutchkova
  227.    appeared as a leader of  sorts and at times whispered in a timbre close to
  228.    the strings’ own. What we heard was a kind of considered  ritualistic seance
  229.    rather than a bristling improvisation set, although extended  techniques
  230.    were put to use at most times, resulting in sounds of creaking metal  to
  231.    birds chirping and other twisted effects. Often it was hard to discern who
  232.    was doing what, and that didn’t matter as the point seemed to immerse
  233.    oneself  into a teeming underworld, of flying and crawling creatures and
  234.    other lifeforms  of various sizes, textures and dwelling places.
  235.  
  236.  
  237. &lt;br /&gt;&lt;br /&gt;&lt;div style=&quot;margin-left: 1em; margin-right: 1em; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkTmp49Dpuo0CO1aTL-GufzEe2eEjrDZHTROEGGCeP8EjaRUxIFGZ6ZF644JXuS8AiHrpOKQRoRmsGVN3Y9_exe6iehoa5qfjfOhjjLg_b2ODvtmpXR28cNVFwei7kAGuB0-QG_uimm0TAJLM9hpF0hN-W9PDbWQCD0rWoP9rhOEhVd6p-XX9HaGNTgrDK/s2250/31201bc3-e3eb-48b4-8070-1b6a59fe4809.jpeg&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkTmp49Dpuo0CO1aTL-GufzEe2eEjrDZHTROEGGCeP8EjaRUxIFGZ6ZF644JXuS8AiHrpOKQRoRmsGVN3Y9_exe6iehoa5qfjfOhjjLg_b2ODvtmpXR28cNVFwei7kAGuB0-QG_uimm0TAJLM9hpF0hN-W9PDbWQCD0rWoP9rhOEhVd6p-XX9HaGNTgrDK/w400-h266/31201bc3-e3eb-48b4-8070-1b6a59fe4809.jpeg&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;p&gt;Next was a trio of &lt;strong&gt;Luka  Zabric, Margaux Oswald, Aurelijus Užameckis,
  238.        &lt;/strong&gt;for some “traditional” improv if  there is such a thing, from piano, bass and alto sax.  A bustling intro swiftly led to silence,
  239.    then fluttering on the alto began a  cautious process of layering clatter,
  240.    Oswald adopting an opposite approach to  the wild surges she displayed at
  241.    Lisbon’s Causa Efeito fest last year.  Cardboard objects were inserted in
  242.    the sax bell, and that instrument as well as  the bass probed at their
  243.    furthest reaches, producing vibrating harmonics and  dissonances outside of
  244.    the ways taught in schools. The unbroken performance  opened up to unbridled
  245.    pianism, rapid, swarming climbs following the oblique explorations.  The
  246.    power was felt throughout, but restrained. Every strike, breath, stroke was
  247.    charged with inner intensity and optimal focus. The trio embodied a complete
  248.    commitment to listening and reacting in real time, that produces the best
  249.    results in that genre. Constantly on the edge, a music of the threshold,
  250.    perched between sound and silence.&lt;/p&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7cNvC1Ti_bXhJp8blKwbYpEfTGFN2T5i5XC3pl5Kmy48Y8_MwIozUX6z-tcCJIYHIMoyUZzXIxtJywi6wuMYkyDVS9TFQbmEu3Yf8dmuSJFyATwJbXYgSJwaWbkcgeH2s_vjvf7clsHebYXMre7ORPrtwZbtaYmVt5uewgHCfU_F0QAWcrsq1NN88kT0v/s2250/MAS_0384%20-%20vogel.jpg&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1500&quot; data-original-width=&quot;2250&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7cNvC1Ti_bXhJp8blKwbYpEfTGFN2T5i5XC3pl5Kmy48Y8_MwIozUX6z-tcCJIYHIMoyUZzXIxtJywi6wuMYkyDVS9TFQbmEu3Yf8dmuSJFyATwJbXYgSJwaWbkcgeH2s_vjvf7clsHebYXMre7ORPrtwZbtaYmVt5uewgHCfU_F0QAWcrsq1NN88kT0v/w400-h266/MAS_0384%20-%20vogel.jpg&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  251. &lt;p&gt;
  252.    &lt;strong&gt;Sabine Vogel and  Emilio Gordoa&lt;/strong&gt;’s &quot;LandStages/Sonic
  253.    relocations&quot; premiered the  year before in Berlin&lt;strong&gt;.&lt;/strong&gt;The
  254.    multimedia  50-minutes piece included video projection and was presented as
  255.    a love letter to  natural environment, stemming from a desire for the great
  256.    outdoors after the  infamous lockdown(s) of not so long ago. Gordoa made use
  257.    of the drums,  vibraphone, electronics and mixing desk, while also appearing
  258.    onscreen, in the  middle of a field for example, presenting us with a double
  259.    image of the artist.  Vogel played clarinets, flutes and small percussions.
  260.    On the screen, we see a  large valley swept by the wind, dead leaves, earth,
  261.    blades of grass, a big tree  and other static shots while electronically
  262.    treated flute and percussion are  heard. Likewise, wooden flutes are
  263.    suspended from the metal flute as played in  the room, while onscreen the
  264.    same flute is hanging from a branch, swinging in  the air. Maybe the video
  265.    had a distracting effect, because musically I didn’t  find the piece to be
  266.    particularly compelling, nor did it leave much of a trace  in memory. A
  267.    reason to rejoice, anyway, is that some people are trying to bring  back a
  268.    sense of contemplation and wonder to a world in sorrow, musicians among
  269.    them.&lt;br /&gt;&lt;/p&gt;&lt;div style=&quot;text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi44JsQSytvB5uM9JjQkfVMVMbnDNkFKqWZz0oH8R6VKO1hnlmHMv6iQzoJVy68eal1caZbgQMmzLzfCHanvSuVaGjMSpqNiG-7JXKg7GZaTCZUIzmmOgicq1CBj1EYDOp8icSHI33c9jKdwTQWumMOLDpbIwN5DI9uN4wUEfjRfFB_XSG8TFj7CW8FI1Xe/s2250/MAS_0490%20-%20Taito.jpg&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi44JsQSytvB5uM9JjQkfVMVMbnDNkFKqWZz0oH8R6VKO1hnlmHMv6iQzoJVy68eal1caZbgQMmzLzfCHanvSuVaGjMSpqNiG-7JXKg7GZaTCZUIzmmOgicq1CBj1EYDOp8icSHI33c9jKdwTQWumMOLDpbIwN5DI9uN4wUEfjRfFB_XSG8TFj7CW8FI1Xe/w400-h266/MAS_0490%20-%20Taito.jpg&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;br /&gt;On Friday, the  trio of
  270.    &lt;strong&gt;
  271.        Taiko Saito (vib), Jan Roder  (b) and Michael Griener (dm) &lt;/strong&gt;ushers in the
  272.        evening. Usher is not quite right as  listeners are hurled without delay
  273.        into a whirlwind of high-octane improv.&lt;strong&gt;
  274.    &lt;/strong&gt;
  275.    Which comes almost as a shock as our host primarily proceeded to a plastic
  276.    nose flutes distribution to all audience members, with successful and
  277.    not-so-successful attempts by everyone at playing it, a moment of hilarity
  278.    from  all. Back to our trio. I had enjoyed Griener with Christian Weber and
  279.    Ellery  Eskelin on an old jazz repertoire onstage and on a corresponding
  280.    album on  Intakt. Here we have fast improvised music, with a sense of flow,
  281.    the trio running  at full steam for most of the time, with huge conviction.
  282.    If every effort is  made to avoid making &quot;music&quot; in the sense of
  283.    predetermined forms or  predictable patterns, the trio’s instrumental
  284.    mastery is obvious, even in a style  where virtuosity is rarely the point.
  285.    The fortissimo approach means that mallets  and cymbals fly dangerously
  286.    before spilling on the floor. Textures are also a  major part of the
  287.    proceedings, with tiny bells from Saito, bowing on the  vibraphone blades,
  288.    and odd tools used by Griener, while Roder relentlessly fuels  the engine.
  289.    Jaw-dropping unaccompanied solo features from each member bring  even more
  290.    twists to the busy affair.&lt;br /&gt;&lt;br /&gt;&lt;div style=&quot;clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfKy2Nx65WiUMW5jNJrzuYkmJfBYrPDNlovzsVCp9vcjCJy329im-vYCBJO6aPB8aLQGKb-4WBSQKmXPOaLAZLqhfIwqnfgUqywXVaQYDt6wcX11VQz9mjktSeUC8PylgDbAqJzKFR4uTaSx2xZ_INQ6jyHmo8W1AaTnWsekoSb4u-eRQOBTS4LJfKMzZQ/s2250/MAS_0712%20-%20pitsiokos.jpg&quot; style=&quot;clear: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfKy2Nx65WiUMW5jNJrzuYkmJfBYrPDNlovzsVCp9vcjCJy329im-vYCBJO6aPB8aLQGKb-4WBSQKmXPOaLAZLqhfIwqnfgUqywXVaQYDt6wcX11VQz9mjktSeUC8PylgDbAqJzKFR4uTaSx2xZ_INQ6jyHmo8W1AaTnWsekoSb4u-eRQOBTS4LJfKMzZQ/w400-h266/MAS_0712%20-%20pitsiokos.jpg&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  291. &lt;p&gt;
  292.    We’re directed downstairs for &lt;strong&gt;Chris Pitsiokos’&lt;/strong&gt;&lt;strong&gt;&lt;/strong&gt;solo
  293.    piece in quadraphonic sound, and invited to sit around him and his
  294.    apparatus. The one-man-band of computer + sax + pedals + flickering lights
  295.    had  much in common by Julien Desprez&#39;s projects, which Pitsiokos admits to
  296.    having  taken some inspiration from. The artist appeals to photographers to
  297.    remain  calm. No need to fret, as most of the piece consists of massive
  298.    noise à la  Merzbow, with high-pitched sax shrieks to boot. Hard to tell
  299.    what&#39;s  improvisational and what comes from preparation, as Pitsiokos seems
  300.    to follow  the diagrams on his computer screen quite closely. Phrases are
  301.    looped so as to  form a rhythm, and squawks trigger the lightbulbs with
  302.    varying speed and vehemence. A full-on assault on the senses, a test of
  303.    endurance  maybe, that not everyone in the audience is ready to confront,
  304.    even with ears  protected. Ten minutes in and the door of the  windowless
  305.    room opens for some people to exit. In the first part, no more than three or
  306.    four notes were  drily ejected from the instrument. In the next part, on the
  307.    contrary, long  notes were superimposed on each other. Can&#39;t say I enjoyed
  308.    it, but am sure  enjoyment wasn&#39;t the purpose here, and rarely is it art&#39;s.
  309. &lt;/p&gt;&lt;div style=&quot;clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvDriI6YRWbr1gYwCNHbwDuLOZk6XRfcLKvKLXPkFMm5wYN2-NO3i8oGOWlb7GCz1VPQ4yKVcnQ8hdp_RaCcOp5_DtrfWuTLFrwXm8wrdpB3cGPlR3vyyqwSZmi1rFG7HLjwMyWEbQCf6QfDtZdWIO6PmNhxbt1UW0CzvxcEZHcva2HiMQaKJXrpj5km_u/s2250/04ef15da-7372-4f68-a892-4a5e45ff7b3e.jpeg&quot; style=&quot;clear: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvDriI6YRWbr1gYwCNHbwDuLOZk6XRfcLKvKLXPkFMm5wYN2-NO3i8oGOWlb7GCz1VPQ4yKVcnQ8hdp_RaCcOp5_DtrfWuTLFrwXm8wrdpB3cGPlR3vyyqwSZmi1rFG7HLjwMyWEbQCf6QfDtZdWIO6PmNhxbt1UW0CzvxcEZHcva2HiMQaKJXrpj5km_u/w400-h266/04ef15da-7372-4f68-a892-4a5e45ff7b3e.jpeg&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  310. In her duet with&lt;b&gt; Joke  Lanz &lt;/b&gt;(originating in a trio with Michael
  311.        Vatcher)&lt;b&gt;, Sophie Agnel &lt;/b&gt;offers a  different aspect of her work than that
  312.        heard last year in the contemporary-tinged  six-piano band Pianoise and
  313.        the long-running free jazz trio with John Edwards  and Steve Noble. The
  314.        fun factor is more immediate with turntablist Lanz (of  noise-industrial
  315.        project Sudden Infant), although it may be a side effect of
  316.    
  317.    the combination of  piano and turntables, and of both the visual and choppy
  318.    characteristics of the  latter equipment. Agnel  plays on the whole
  319.    instrument as she is prone to do: motivic patterns and  clusters on the keys and striking the wooden frame (with a yet-unseen repeated
  320.    lightning-fast closing-opening of the keyboard lid!), more often than not
  321.    standing bent over the strings, with self-made tools applied over them,
  322.    whether  caressingly or vigorously. We’re hearing a cut-up aesthetics with
  323.    scratched  blasts reminding of cartoons’ rapid-fire honks or even
  324.    advertisement’s  sloganeering strategies. It’s not all stop-and-go though, and we are treated to some  moments of aggregation, due to Agnel’s ability
  325.    to catch anything thrown at her  and make it sound good. A contrasts-based
  326.    performance, just the right side of theatricality,  a mostly jolting set
  327.    rather than an idea of continuity here. Having reached a climax,  Agnel
  328.    slows things down a notch. Not for long, as the last minutes see Lanz play
  329.    with ultra-rhythmic LPs (likely drum’n’bass beats) with enthusiastic
  330.    prowess,  Agnel hitting the lowest keys with floor-crunching vigor, before
  331.    they jointly  decide to end their run with a burst of laughter.&lt;div&gt;&lt;br /&gt;&lt;div style=&quot;clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_CqiAWBY-NDw5VrnDFIqRO87M-2K_6eVs-H6z-pL6t4xQ6015L7iBm3FLuEoGB4Qs9wQDsu-Ahz2ERhyxgroQyFh3fLOh3HqpjoMLDiuqnd1fqoVlnOUqols2KN6P0UcTFL5Tx4GGlGRgeDst2Xwpts7a5VF8rhzhMFa94pfHMc-uznXF9UxUS08VdquY/s2250/MAS_0819%20-%20pitII.jpg&quot; style=&quot;clear: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_CqiAWBY-NDw5VrnDFIqRO87M-2K_6eVs-H6z-pL6t4xQ6015L7iBm3FLuEoGB4Qs9wQDsu-Ahz2ERhyxgroQyFh3fLOh3HqpjoMLDiuqnd1fqoVlnOUqols2KN6P0UcTFL5Tx4GGlGRgeDst2Xwpts7a5VF8rhzhMFa94pfHMc-uznXF9UxUS08VdquY/w400-h266/MAS_0819%20-%20pitII.jpg&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;p&gt;The last night  opens with a concert by the participants to the New
  332.        York-born, Berlin-based &lt;strong&gt; Chris Pitsiokos workshop,&lt;/strong&gt; not playing here but
  333.        introducing the set and being a  watchful coach.&lt;strong&gt;
  334.    &lt;/strong&gt;
  335.    About fifteen musicians took part in a 3-hour a day  workshop, with fruitful
  336.    results judging from the evening’s music. Nine short  pieces are played by
  337.    small ensembles (mostly trios and quartets), swiftly  assembling and
  338.    dismantling, with some recurring players along the way. A little bit like
  339.    Derek Bailey’s Company split in  short sections rather than long form, the
  340.    balance between players not  threatened and the sounds leading the way in
  341.    satisfactory fashion, whether it’s  a tenor/sax/synth trio, a more
  342.    aggressive soprano/elg/dm trio or a relatively  gentle quartet of two basses
  343.    and two vocalists. Musicians both seasoned or  barely in their twenties
  344.    achieve convincing song-length sets. The nose flute even  makes an
  345.    appearance.&lt;/p&gt;&lt;div style=&quot;clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTSWVbUbVSmyudLyJEfxTvmDiAUfiheCunVIS54uBUTVnwQ0Ww-qPkUuK7mVDqd7sPNyNBySM8Y1LEpmBlsTQ3iQ52kk70UqWKTSy0ztpo8f8alzTkU2jgg3yEVlTTqknStiqr2lnTQGzRG9qvkICo1a5bTsuckq1O2bZpbh39KY1R6HXUj5A3-Ktoaj93/s2250/MAS_0898%20-%20solo%20drum.jpg&quot; style=&quot;clear: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTSWVbUbVSmyudLyJEfxTvmDiAUfiheCunVIS54uBUTVnwQ0Ww-qPkUuK7mVDqd7sPNyNBySM8Y1LEpmBlsTQ3iQ52kk70UqWKTSy0ztpo8f8alzTkU2jgg3yEVlTTqknStiqr2lnTQGzRG9qvkICo1a5bTsuckq1O2bZpbh39KY1R6HXUj5A3-Ktoaj93/w400-h266/MAS_0898%20-%20solo%20drum.jpg&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/div&gt;This was followed by the most attention-commanding set courtesy  of &lt;strong&gt;
  346.    Lê Quan  Ninh’s&amp;nbsp;&lt;/strong&gt;&lt;strong&gt;&lt;/strong&gt;solo performance. A single bass
  347.    drum stands in front of  the musician, surrounded by a number of tools and
  348.    devices, wooden, metallic, mineral  and earthy, on the floor or attached to
  349.    the frame. The utmost effects are  reached by the simplest means and
  350.    awe-inspiring focus on the part of the artist.  Stones are hit, one blow at
  351.    a time, while he moves about space. It&#39;s all about  the sound projection.
  352.    Intensity never flags, and the artist resembles a painter, the assured grip
  353.    of the hands on the objects  he pushes on the drum skin an integral part of
  354.    either the thunderous rattle or  soft rumor thus obtained. In the darkened
  355.    room, the white circle of the drum  skin can also evoke an ice-skating ring
  356.    over which the fingers are dancing. Huffing  on shaken cymbals also delivers
  357.    a mighty murmur, as does the bow played against  the frame of the drum.
  358.    Mesmerized, musicians and audiences were curious to ask  Ninh about his
  359.    approach to playing. He certainly garnered new admirers that evening.&lt;br /&gt;&lt;br /&gt;
  360.      
  361.      &lt;div style=&quot;clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy1GGJe8aY2cT-ih_FfTbfYJQuevUcPXuYvyzhXis1o6jCuFt-SX41HXw4OwMp6LI7I36XAn3-Z1djTobmkYAyUYhA9X-87rvVg1LInolmf9JU_9awrbmopxE99tEFhza4l2J8S2eMj4P4uQnlt-N0ike6UHmXqS9ycc0P6_5zzS5im4ysVTHatHCEsixp/s2250/MAS_1043%20-%20draxler.jpg&quot; style=&quot;clear: left; margin-bottom: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;266&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgy1GGJe8aY2cT-ih_FfTbfYJQuevUcPXuYvyzhXis1o6jCuFt-SX41HXw4OwMp6LI7I36XAn3-Z1djTobmkYAyUYhA9X-87rvVg1LInolmf9JU_9awrbmopxE99tEFhza4l2J8S2eMj4P4uQnlt-N0ike6UHmXqS9ycc0P6_5zzS5im4ysVTHatHCEsixp/w400-h266/MAS_1043%20-%20draxler.jpg&quot; width=&quot;400&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  362. &lt;p&gt;
  363.    Don’t search for their album, it hasn’t been recorded yet.
  364.    &lt;strong&gt;
  365.        matter 100
  366.    &lt;/strong&gt;
  367.    is a project of Slovenia’s &lt;strong&gt;Kaja Draksler&lt;/strong&gt; and the same band
  368.    (three women and three men:
  369.    &lt;strong&gt;
  370.        Draksler, Lena  Hessels, Marta Warelis, Andy Moor, Samo Kutin, Macio
  371.        Moretti
  372.    &lt;/strong&gt;
  373.    ) and instrumentation that played at the latest edition of Berlin’s
  374.    Jazzfest. They haven&#39;t reconvened as a sextet since, only benefiting from
  375.    partial rehearsals, due to geographical dispersion. Their next gig will be
  376.    at  the Unerhöert festival in Zurich in a few months. The same repertoire,
  377.    with slightly  modified arrangements and a different song order, is
  378.    presented. Spectators on  the floor lie down in various positions, on
  379.    cushions spread with that purpose. A  richly layered music, that makes
  380.    heterogeneous elements (rock rhythms, Vocoder  vocals, electric guitar punk
  381.    toiling, droney hurdy-gurdy, spoken word, live  sampling), cohere and serve
  382.    the common work. Hessel&#39;s voice is both fragile and  confident, maybe
  383.    reminiscent of Karen Mantler, on a repertoire of wildly  original and
  384.    unformatted songs. Moretti knocks his drumsticks together, getting  up and
  385.    moving away from the stage and exiting into the corridor and out of  sight,
  386.    where he continues to maintain a rhythm for a while. On the lengthy  &quot;True
  387.    or false&quot;, Andy Moor&#39;s answers to Hessel’s questions are  hampered by a
  388.    mixing that doesn&#39;t always allow to grasp the lyrics. While the tune&#39;s
  389.    humorous dimension made its mark on the audience in Berlin, the feeling this
  390.    time is different, the absurdity of the words taking a darker aspect, tragic
  391.    even. This change in perception was perhaps due to the physical distancing
  392.    of  the group, placed at the back of the auditorium rather than close to the
  393.    audience. Towards the end, Warelis is left alone for a synth solo, listened
  394.    to silently  by band members and audience alike.
  395. &lt;/p&gt;
  396. &lt;p&gt;
  397.    &lt;strong&gt;Thank you: Brigita Gračner&lt;/strong&gt; &lt;strong&gt;&lt;/strong&gt;
  398. &lt;/p&gt;
  399. &lt;p&gt;
  400.    &lt;a href=&quot;https://sploh.bandcamp.com/music&quot;&gt;
  401.        &lt;strong&gt;https://sploh.bandcamp.com/music&lt;/strong&gt;
  402.    &lt;/a&gt;
  403.    &lt;strong&gt;&lt;/strong&gt;
  404. &lt;/p&gt;
  405. &lt;p&gt;
  406.    &lt;strong&gt;&lt;/strong&gt;
  407. &lt;/p&gt;&lt;/div&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/neposlusno-sound-disobedience-2024.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiez8Wx8mFl2LbIFYHrWlGEpb-qyCzKRHhDvaKyGsWRu_9ZwagkiVfUnExJv4gtkX8KGedMSq_D4lMQD8RDHi6bD3V5-dijSSMc8XOYcUcpKcGeU1d9u3N85fqly1FQuROxnAkGDPSjCy5MrfnNJOwAXlHsV68KO4nLVsxau7HWfUn5S6ZW4d0XeV9aaJ6O/s72-w400-h400-c/Sound%20Disobedience%202024%20poster.jpg" height="72" width="72"/><thr:total>1</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-7325567068820421117</guid><pubDate>Fri, 19 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-20T13:16:26.852+02:00</atom:updated><title>Satya - Songs of the Fathers: A Celebration of the Music of Abdullah Ibrahim (Resonant Artists, 2024)</title><description>&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZo5r0J7KeKgV6QfwUcz9E_jSqTMfYjc6vy8sDHESAapBL1mSt-E4egJi86sxg7gzJptQxmJgthHhnmDansgOBFoppzbbiPJUmkNgc35sVSZkIZIeuEUulNaz_y4EiicYZBJh_MZ2RQ7f6OkrptAAGpMdtL9s9g3lMZ29PEGSsMvm9g1EC-ldw2c__32kJ/s1200/Songof.jpg&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1200&quot; data-original-width=&quot;1200&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZo5r0J7KeKgV6QfwUcz9E_jSqTMfYjc6vy8sDHESAapBL1mSt-E4egJi86sxg7gzJptQxmJgthHhnmDansgOBFoppzbbiPJUmkNgc35sVSZkIZIeuEUulNaz_y4EiicYZBJh_MZ2RQ7f6OkrptAAGpMdtL9s9g3lMZ29PEGSsMvm9g1EC-ldw2c__32kJ/s320/Songof.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;p&gt;By &lt;a href=&quot;https://www.freejazzblog.org/2010/01/sammy-stein.html&quot;&gt;Sammy Stein&lt;/a&gt;&lt;/p&gt;&lt;p&gt;&lt;i&gt;Songs Of The Fathers&lt;/i&gt;&amp;nbsp;is a recording  by Phil Raskin and Frank Doblekar,
  408.    the duo at the core of the Satya  collaboration, here enhanced by Synthesist Neil Alexander and&amp;nbsp;Paul Antonell who&amp;nbsp;created the orchestral feel the duo
  409.    wanted. It should be mentioned there is a caveat here. I was  asked to write
  410.    the liner notes for this album and readily agreed.
  411. &lt;/p&gt;
  412. &lt;p&gt;
  413.    The recording is a mindful tribute  to Abdullah Ibrahim, one of music’s
  414.    great masters. Each track is a first-take  recording apart from one, which
  415.    felt right for Raskin, who was keen to impart a  sense of an ‘of the moment’
  416.    atmosphere to the improvised elements of the  recording.
  417. &lt;/p&gt;
  418. &lt;p&gt;
  419.    ‘Mannenberg’ opens the album.  The number was written during the 1970s and
  420.    is very much of its time, with Ibrahim  funneling the chaotic, busy, feral
  421.    sounds of urban life in Cape Town during the  time of oppressive apartheid.
  422.    It opens with a trinkling piano and the voices of  the crowd before the
  423.    deep-voiced drums enter, with the continuous background  rhythm that
  424.    pervades the track. Like the spirit of the African people during this  time,
  425.    the rhythm is never drowned, and its strength continues no matter what is
  426.    laid across the top of it. It creates the underlying tension in the piece,
  427.    as  it is overlaid with kinetic rhythms and melodic lines that work against
  428.    each  other, yet briefly conjoin to create harmonies. The melody tops out
  429.    across all  the noise, gentle, yet distinct. It is a dynamic, vibrant track
  430.    that includes marketplace,  and the occasional vehicle sounds which add to
  431.    the sense of being immersed in a  village square. The number has hints of
  432.    blues, jazz, and marabi – an African music that  evolved during the
  433.    urbanization of Africa during the 1920s. For Raskin, the  rhythm patterns
  434.    were influenced by his time spent in African villages. There is  this
  435.    wonderful swing between delicacy, a frothy effervescence of activity, and
  436.    the harsh at times, gentle at others, continual melodic input across the top
  437.    from Doblekar’s sax.
  438. &lt;/p&gt;
  439. &lt;p&gt;
  440.    ‘Song For Sathima’ was written in dedication  to Ibrahim’s wife and was on
  441.    his ‘Water From An Ancient Well’ album. It is  strong, melodic, and
  442.    powerful, giving the listener a hint of the character of  this woman. With a
  443.    gentle sway here, a touch of sweetness, a hint of sadness,  and a
  444.    love-filled tribute played here with more force than on the original  album
  445.    but just as powerful to listen to as Doblekar’s sax calls the melody line
  446.    out over solid backing.
  447. &lt;/p&gt;
  448. &lt;p&gt;
  449.    ‘The Wild Rose’ is the perfect vehicle for  the ensemble’s improvisation and
  450.    on this track, the orchestral feel the band  wanted to create for the
  451.    recording comes to the fore. Raskin adds instruments  he has collected,
  452.    including an African djembe, to his drum kit, and, together  with the
  453.    synthesizer and sax, the ensemble creates a multi-textured arrangement.
  454.    Doblekar and Raskin excel in eerie, improvised saxophone phrases backed by
  455.    guttural phrasing from the percussion and piano. At times, a whale-song
  456.    keening  is heard, while at others, the sax wheedles its way around a
  457.    central note,  finding connecting microtones, proving no single note is an
  458.    island, introducing  an Eastern essence to the music. It is quite different
  459.    from Ibrahim performing  on the piano with his distinctive off-set
  460.    harmonics, but this track has wonders  all of its own, introduced by the
  461.    ensemble’s imagination.
  462. &lt;/p&gt;
  463. &lt;p&gt;
  464.    ‘Hamba Khale’ means ‘go well’ in the Zulu  language and this track is the
  465.    only one on the album that is a second take. The  intricate, energy-filled
  466.    patterns of the percussion contrast with the winsome  melody. The different
  467.    rhythmic patterns, changes, and melody feel at once  conflicting with
  468.    counterpoints, yet they are linked by keys, times when they  merge.
  469. &lt;/p&gt;
  470. &lt;p&gt;
  471.    ‘Tone Poem 2’ is the only track that is  not an Ibrahim composition. By
  472.    Doblekar, it is inspired by Ibrahim’s compositions  and forms a melodic cycle,
  473.    representative of how melody can shift under a  relatively static harmonic
  474.    background. This shifting movement, pitched against soaring  melody lines
  475.    works well.&lt;/p&gt;
  476. &lt;p&gt;
  477.    Ibrahim’s ‘Blue Bolero’ closes the album,  and this beautiful ballad leaves
  478.    the listener in awe of Ibrahim’s compositional  skills and artistry. Satya
  479.    does justice to Ibrahim’s music and remains  respectful while applying their
  480.    skill sets to the work. Ibrahim’s presence is  felt in the music. Raskin
  481.    comments, “We felt we needed to be respectful of this  great artist Abdullah
  482.    Ibrahim and we hope you will enjoy this music. For those  familiar with
  483.    Ibrahim&#39;s music, we hope you feel we gave it justice, and for  others, we
  484.    hope the music will reach out to you and that you will become  familiar with
  485.    his music and be able to share in its joy as well.”
  486. &lt;/p&gt;
  487. &lt;p&gt;
  488.    Worth noting too is the incredible cover  art by Peter Koppenall.
  489. &lt;/p&gt;
  490. &lt;p&gt;
  491.    Resonant Artists is a label with a  mission to reach out and demonstrate the
  492.    power of music to others. Created by  Raskin and a platform for the release
  493.    of improvisational music by both  established and emergent artists, this
  494.    recording will be followed by more. Raskin’s’  connections in the music
  495.    world go long and deep and his contact bring a depth  and breadth with them
  496.    that is difficult to surpass. More is here on this  platform
  497.    &lt;a href=&quot;https://www.freejazzblog.org/2023/02/resonant-artists-new-force-in.html&quot;&gt;
  498.        Resonant  Artists – A New Force in Improvised Music ~ The Free Jazz
  499.        Collective  (freejazzblog.org)
  500.    &lt;/a&gt;
  501. &lt;/p&gt;
  502. &lt;p&gt;
  503.    So, expect more but meantime, enjoy this  beautiful recording.
  504. &lt;/p&gt;&lt;iframe seamless=&quot;&quot; src=&quot;https://bandcamp.com/EmbeddedPlayer/album=2261574684/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/&quot; style=&quot;border: 0; height: 42px; width: 100%;&quot;&gt;&lt;a href=&quot;https://satyaworld.bandcamp.com/album/songs-of-the-fathers-a-celebration-of-the-music-of-abdullah-ibrahim&quot;&gt;Songs of the Fathers - A Celebration of the Music of Abdullah Ibrahim by Satya&lt;/a&gt;&lt;/iframe&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/satya-songs-of-fathers-celebration-of.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZo5r0J7KeKgV6QfwUcz9E_jSqTMfYjc6vy8sDHESAapBL1mSt-E4egJi86sxg7gzJptQxmJgthHhnmDansgOBFoppzbbiPJUmkNgc35sVSZkIZIeuEUulNaz_y4EiicYZBJh_MZ2RQ7f6OkrptAAGpMdtL9s9g3lMZ29PEGSsMvm9g1EC-ldw2c__32kJ/s72-c/Songof.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-6783137318302682107</guid><pubDate>Thu, 18 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-18T06:00:00.308+02:00</atom:updated><title>Emad Armoush’s Duos – Electritradition (Drip Audio, 2023)</title><description>&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg767z64mQLhWeWIALZ6SeUN3ZSuxQrmmz45UxknY9ylyWvOWlzWBjI4vJggeNssEFxCMn0FbJNsJpgEBSBwOZbiY1xId86eoVBm3bNalyCLTSatyTeg_xh2tQ-zys2C1XcNcBg-5DlBbU_Al9fJMUqAykioJ3HM_bgP6oYq1sYKXK5uUIq3JS2Dg4i1ikF/s1200/emad.jpg&quot; imageanchor=&quot;1&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1200&quot; data-original-width=&quot;1200&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg767z64mQLhWeWIALZ6SeUN3ZSuxQrmmz45UxknY9ylyWvOWlzWBjI4vJggeNssEFxCMn0FbJNsJpgEBSBwOZbiY1xId86eoVBm3bNalyCLTSatyTeg_xh2tQ-zys2C1XcNcBg-5DlBbU_Al9fJMUqAykioJ3HM_bgP6oYq1sYKXK5uUIq3JS2Dg4i1ikF/s320/emad.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  505. &lt;p&gt;
  506.    By &lt;a href=&quot;https://www.freejazzblog.org/2010/01/nick-ostrum.html&quot;&gt;Nick Ostrum&lt;/a&gt;&lt;/p&gt;
  507. &lt;p&gt;
  508.    Damascene Vancouverite Emad Armoush has been at it for  almost 25 years,
  509.    now, bringing Arabic and Iberian oud, ney, guitar and vocal  traditions to
  510.    ears across the globe. When I say “tradition,” however, I do not  mean
  511.    conventional or faithful to some decontextualized, staid practice. Rather,
  512.    Armoush first came to my ears in Gordan Grdina’s Haram ensemble (reviewed
  513.    &lt;a href=&quot;https://www.freejazzblog.org/2012/09/middle-east-jazz.html&quot;&gt;
  514.        here
  515.    &lt;/a&gt;
  516.    and
  517.    &lt;a href=&quot;https://www.freejazzblog.org/2022/12/gordon-grdinas-haram-nights-quietest.html&quot;&gt;
  518.        here
  519.    &lt;/a&gt;
  520.    ).  The tradition is there, but in new contexts and new forms and
  521.    necessarily with  new meanings. Hence, the title &lt;em&gt;Electritradition&lt;/em&gt;,
  522.    a portmanteau that  joins the new and old, the faithful and the divergent.
  523. &lt;/p&gt;
  524. &lt;p&gt;
  525.    &lt;em&gt;Electritradition&lt;/em&gt;consists of a series of duos  with  François Houle
  526.    (clarinet and  electronics), Jesse Zubot (violin and electronics), JP Carter
  527.    (trumpet and  electronics), Kenton Loewen (drums and percussion) and Marina
  528.    Hasselberg (cello).  As the liner notes point out, the duo is extremely
  529.    intimate, and that intimacy  comes through effortlessly in these pieces.
  530.    Each is fully fleshed out, and the  artists seem sympatico. In fact, that
  531.    sympathy, that collective feeling, sets  the mood for
  532.    &lt;em&gt;
  533.        Electritradition
  534.    &lt;/em&gt;
  535.    , as well. This music is deeply moving,  often somber, sometimes discordant,
  536.    sometimes hopeful, but always appealing to  that range of yielding and
  537.    interpersonally connective emotions.
  538. &lt;/p&gt;
  539. &lt;p&gt;
  540.    One could spend a great deal of time focusing on the other  side of the
  541.    duos: Houle’s impeccable tone and precision, Zubot and Carter’s  blending of
  542.    their acoustic techniques and electronic distortions into Armoush’s  vision,
  543.    Loewen’s responsively rhythmic but also wandering drums, or  Hasselberg’s
  544.    weeping waves of sound.   However, Armoush stands out throughout all of
  545.    this, not only in his oud  and guitar, which are both so rooted but also, at
  546.    points, defy conventions, but  also in his deeply soulful singing.  One
  547.    hears this in pieces such as Labshi, when his singing entangles with both
  548.    oud  and Carter’s trumpet, or the sweetly and mournfully bucolic duet with
  549.    Hasselberg, Hala Lala Layya, or the vamped middle of the final and possibly
  550.    most mesmerizing track, Eye to Eye, the second duo with Houle.
  551. &lt;/p&gt;
  552. &lt;p&gt;
  553.    This album is a real achievement. It brings to mind  legendary figures such
  554.    as Anouar Brahem and incredible contemporary units such  as, well, Haram.
  555.    And, in the sense of the latter, it embraces, defies and  furthers
  556.    tradition, making what one must hope is a new lasting tradition of  this
  557.    Syrio-Iberico-Canadian-et al. music that really defies close
  558.    categorization, but somehow – or maybe just because of that - fits perfectly
  559.    on  the pages of FJB.
  560. &lt;/p&gt;
  561. &lt;p&gt;
  562.    &lt;em&gt;Electritradition&lt;/em&gt;is available as a CD or download on&amp;nbsp;&lt;a href=&quot;https://dripaudio.bandcamp.com/album/electritradition&quot;&gt;Bandcamp.&lt;/a&gt;&lt;/p&gt;&lt;p&gt;&lt;a href=&quot;https://dripaudio.bandcamp.com/album/electritradition&quot;&gt;&amp;nbsp; &amp;nbsp; &amp;nbsp;&lt;/a&gt;&lt;iframe seamless=&quot;&quot; src=&quot;https://bandcamp.com/EmbeddedPlayer/album=84178509/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/&quot; style=&quot;border: 0; height: 42px; width: 100%;&quot;&gt;&lt;a href=&quot;https://dripaudio.bandcamp.com/album/electritradition&quot;&gt;Electritradition by Emad Armoush&amp;#39;s Duos&lt;/a&gt;&lt;/iframe&gt;
  563.    .
  564. &lt;/p&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/emad-armoushs-duos-electritradition.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg767z64mQLhWeWIALZ6SeUN3ZSuxQrmmz45UxknY9ylyWvOWlzWBjI4vJggeNssEFxCMn0FbJNsJpgEBSBwOZbiY1xId86eoVBm3bNalyCLTSatyTeg_xh2tQ-zys2C1XcNcBg-5DlBbU_Al9fJMUqAykioJ3HM_bgP6oYq1sYKXK5uUIq3JS2Dg4i1ikF/s72-c/emad.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-879848464663317770</guid><pubDate>Wed, 17 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-17T06:00:00.315+02:00</atom:updated><title>Amalie Dahl/Henrik Sandstad Dalen/Jomar Jeppsson Søvik- Live in Europe (Nice Thing Records, 2024)</title><description>&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh460KZ9E3UeqDVd60VpODbi7Kzqvt2l9OyWPQhyphenhyphenwiI3idR8FFHl443W1cVkIZerrTdZY0RJxIJbUBoOs-fgjIxBz3qXsP5qKLwYg-WQiqCB6S0ZbhQ4HXtDn_MNKc2zv6O2D4dFEdvL7KgTZDrfYYOUqWRSzuTNro_jv4S29aFFiuxZ4qHjyiUpQHLnVF5/s1200/dahl.jpg&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1200&quot; data-original-width=&quot;1200&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh460KZ9E3UeqDVd60VpODbi7Kzqvt2l9OyWPQhyphenhyphenwiI3idR8FFHl443W1cVkIZerrTdZY0RJxIJbUBoOs-fgjIxBz3qXsP5qKLwYg-WQiqCB6S0ZbhQ4HXtDn_MNKc2zv6O2D4dFEdvL7KgTZDrfYYOUqWRSzuTNro_jv4S29aFFiuxZ4qHjyiUpQHLnVF5/s320/dahl.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  565. &lt;p&gt;
  566.    &lt;strong&gt;&lt;/strong&gt;
  567. &lt;/p&gt;
  568. &lt;p&gt;By &lt;a href=&quot;http://freejazz-stef.blogspot.com/2010/01/martin-schray.html&quot;&gt;Martin Schray&lt;/a&gt;&lt;/p&gt;
  569. &lt;p&gt;
  570.    Free jazz trios consisting of  saxophone, bass and drums have a hard time
  571.    these days, because - let’s be  honest - the paths on which they travel are
  572.    largely explored: whether it’s  classic free jazz like that of Alberts
  573.    Ayler’s legendary Spiritual Unity Trio,  which revolutionized the genre for
  574.    this line-up, the finely chiseled playing  of the Evan Parker Trio, David
  575.    S. Ware’s trio with William Parker and Warren  Smith, which combines
  576.    tradition with modernity, Peter Brötzmann’s various  projects, most of which
  577.    used an iconoclastic philosophy and influenced newer  trios such as The
  578.    Thing and Ballister - detecting something new with this  line-up is almost
  579.    impossible. But Amalie Dahl (alto saxophone), Henrik Sandstad  Dalen (double
  580.    bass) and Jomar Jeppsson Søvik (drums) actually succeed in  finding
  581.    something at least slightly different. Their approach is diametrically
  582.    opposed to power trios such as those of Brötzmann, Rempis and Gustafsson
  583.    (which  are mentioned above), because they don’t rely on energy and don’t
  584.    accelerate  non-stop. Instead, they remain consistently on the brakes. Like
  585.    a minimalist  painter, they sometimes add a splash of color here, sometimes
  586.    a brushstroke  there. However, they always leave some space. Dahl plays
  587.    ballad-like lines, but  the results aren’t truly ballads, because the bass and
  588.    drums pursue completely  different interests. The same applies to the
  589.    moments when she tries to break  out. Sandstad Dalen and Jeppsson Søvik
  590.    never lose their nerve and maintain  their line, which is particularly true
  591.    of the bassist. The trio continuously  creates tension potentials, but the
  592.    energy of the process is constantly kept in  check, no fires explode, the
  593.    flame is always low, yet dangerously concentrated.  The improvisation appears
  594.    as a momentum of radical limitation, its purpose is  self-imposed reduction,
  595.    which his why the fusion reactor seems to be on the  verge of bursting.
  596.    Rarely has chamber music sensibility been so concentrated and  energetic.
  597. &lt;/p&gt;
  598. &lt;p&gt;
  599.    This mainly goes for the first  part of this album, which is simply entitled
  600.    “Prague, March 8, 2023“. The  second part, “Brussels, March 10, 2023“, then
  601.    lets the reins slip a little and  the tempo increases. Again, bass and drums
  602.    are primarily responsible for this.  They even provide hints of a groove and
  603.    allow Dahl to gallop off in some  places. In these moments the saxophonist
  604.    shows her full potential of expressive  possibilities, from clicking noises
  605.    to fragmented wails and overblown howls.  But here, too, the charm lies in
  606.    the detail, in the nuances that make the music  spin like it was in a
  607.    high-speed particle accelerator.
  608. &lt;/p&gt;
  609. &lt;p&gt;
  610.    Live in Europe is like a large-scale camouflage,  many things are not as
  611.    they seem. Turns are made, the listeners are lured onto  false trails. In
  612.    any case, we are dealing with musicians here who you have to  keep an eye
  613.    on. Absolutely exciting.
  614. &lt;/p&gt;
  615. &lt;p&gt;
  616.    The album is available as a  &lt;a href=&quot;https://henriksandstaddalen.bandcamp.com/album/live-in-europe-2&quot; rel=&quot;&quot; target=&quot;_blank&quot;&gt;download&lt;/a&gt;. You can buy and listen to &lt;i&gt;Live in Europe&lt;/i&gt; here:&lt;/p&gt;
  617. &lt;p&gt;&lt;iframe seamless=&quot;&quot; src=&quot;https://bandcamp.com/EmbeddedPlayer/album=2020640067/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/&quot; style=&quot;border: 0; height: 42px; width: 100%;&quot;&gt;&lt;a href=&quot;https://henriksandstaddalen.bandcamp.com/album/live-in-europe-2&quot;&gt;Live in Europe by Amalie Dahl, Henrik Sandstad Dalen, Jomar Jeppsson Søvik&lt;/a&gt;&lt;/iframe&gt;&lt;/p&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/amalie-dahlhenrik-sandstad-dalenjomar.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh460KZ9E3UeqDVd60VpODbi7Kzqvt2l9OyWPQhyphenhyphenwiI3idR8FFHl443W1cVkIZerrTdZY0RJxIJbUBoOs-fgjIxBz3qXsP5qKLwYg-WQiqCB6S0ZbhQ4HXtDn_MNKc2zv6O2D4dFEdvL7KgTZDrfYYOUqWRSzuTNro_jv4S29aFFiuxZ4qHjyiUpQHLnVF5/s72-c/dahl.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-6118083358936208004</guid><pubDate>Tue, 16 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-16T06:00:00.582+02:00</atom:updated><title>Chad Fowler – Birdsong (Mahakala, 2024)</title><description>&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9tnUcVKilWDARgvd54dJglFw1mO-HOo0FjJIl73LcwTr7LLUEqpsmCzSaMoYu3BitzRaWOhN3tDoGKS92hclyyYWaIJWO4H3qGtpnze3yCf5QuUwoxurqo_QTuyovcYftbr2B48jsotZFHpSspC35B9fLC5wu7F-rf9BngbLXBw0HKSXvnIj6Ur_bjYph/s1200/birdsong.jpg&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1200&quot; data-original-width=&quot;1200&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9tnUcVKilWDARgvd54dJglFw1mO-HOo0FjJIl73LcwTr7LLUEqpsmCzSaMoYu3BitzRaWOhN3tDoGKS92hclyyYWaIJWO4H3qGtpnze3yCf5QuUwoxurqo_QTuyovcYftbr2B48jsotZFHpSspC35B9fLC5wu7F-rf9BngbLXBw0HKSXvnIj6Ur_bjYph/s320/birdsong.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  618. &lt;p&gt;
  619.    By &lt;a href=&quot;https://www.freejazzblog.org/2010/01/don-phipps.html&quot; target=&quot;_blank&quot;&gt;Don Phipps&lt;/a&gt;&lt;/p&gt;
  620. &lt;p&gt;
  621.    Complexity is at times its own virtue. And the music on Chad  Fowler’s
  622. &lt;i&gt;Birdsong&lt;/i&gt;&amp;nbsp;certainly is complex. Take its instrumentation – Fowler on  sax
  623.    and bass flute, Shanyse Strickland on French horn, flute and vocals, Sana
  624.    Nagano on violin, Melanie Dyer on viola – and a standard rhythm section (Ken
  625.    Filiano on bass and Aders Griffen on drums). French horn is most certainly
  626.    rare  in jazz and combined with the violin and viola lines, the result is a
  627.    modern but  uneasy interweaving of soulful bluesy jazz with abstract modern
  628.    music.
  629. &lt;/p&gt;
  630. &lt;p&gt;
  631.    Experimentation is a hallmark of modern free jazz. A  willingness to take
  632.    chances is certainly to be admired. But risk is always  present that the
  633.    experiment may not work out. And so it is with this album,  where Fowler
  634.    achieves uneven results from his unusual selection of voicings,  bandmates,
  635.    and compositions.
  636. &lt;/p&gt;
  637. &lt;p&gt;
  638.    Fowler pens only two of the numbers on &lt;i&gt;Birdsong.&lt;/i&gt;&amp;nbsp;Three  more are composed
  639.    by Griffen (there are two takes of Griffen’s composition  “Good and
  640.    Tomorrow”). The remaining three are group improvisations. Each of the
  641.    numbers allow Fowler to generate heat – abstract, bluesy, soulful heat – and
  642.    this atop a string section, whose lines seem to reflect a mix of idioms –
  643.    think  Charles Ives meets Duke Ellington.
  644. &lt;/p&gt;
  645. &lt;p&gt;
  646.    Strickland’s French horn solo on the opening number  “Traditional Funeral
  647.    Dance” bellows and blats precise articulation, but the  piece doesn’t find
  648.    its footing until Fowler’s powerful sax exhortations take  over.
  649. &lt;/p&gt;
  650. &lt;p&gt;
  651.    Griffen’s Ellingtonian “Out of Town,” meanders along like a  slow barge on
  652.    the Mississippi. And the two versions of his tune “Good and  Tomorrow”
  653.    explore a gentle sprawling phrase, with strings and a swooping bowed  bass
  654.    line. In Take Two” of this piece, Fowler enters with a bluesy soulful line
  655.    which accelerates before returning to the gentle sprawl. Strickland offers
  656.    up  long legato French horn phrases while Filiano plucks and twists bass
  657.    notes  beneath. And it’s a joy to hear Fowler harmonize with Nagano’s violin
  658.    near the  end. Likewise, “Take One” uses the same gentle sprawling theme,
  659.    but in this  version, there’s a kind of remote grandness– as if gazing at an
  660.    urban landscape  from a vantage point across a river – the orange sun
  661.    bathing the buildings in  dark and light. Fowler’s solo is lighter here,
  662.    while Filiano bows beneath.
  663. &lt;/p&gt;
  664. &lt;p&gt;
  665.    Fowler certainly exhibits command of the saxophone. On the  group
  666.    improvisation “Theme for Someone I Probably Wouldn&#39;t Like,” Fowler cuts
  667.    loose  with strong blows atop the string section. And his and Strickland’s
  668.    duet on  “Crossing the River” has a Zen quality. Perhaps the most
  669.    interesting song is  Griffen’s  “N-Beam,” which highlights his  animated and
  670.    fluid drumming and Filiano’s energetic bass. Fowler adds an elated  running
  671.    solo as the piece skips happily along.
  672. &lt;/p&gt;
  673. &lt;p&gt;
  674.    The group certainly challenges itself on the improvisation  “Turnoutbreak,”
  675.    but the odd Strickland vocals actually seem to work against the  flow of the
  676.    piece, with its exciting and tumbling lines. Fowler’s talent is  obvious –
  677.    for example, the solo he delivers on “Turnoutbreak” sparkles. But  overall,
  678.    the mix of tunes, the odd instrumentation, and a juxtaposition of  jarring
  679.    and gentle phrases within a few of the numbers seem problematic. The  music
  680.    might have been more compelling if the arrangements weren’t so dense,
  681.    allowing individual contributions to stand out more. As the liner notes
  682.    state: “This  diverse ensemble is made up of musicians with unique origins
  683.    and backgrounds  and a few of them were meeting for the first time.”
  684.    Notwithstanding the group’s talent, &lt;i&gt;Birdsong&lt;/i&gt;&amp;nbsp;proves that making
  685.    significant music while learning what makes each musician  tick is a
  686.    challenging task.
  687. &lt;/p&gt;&lt;iframe seamless=&quot;&quot; src=&quot;https://bandcamp.com/EmbeddedPlayer/album=2986923914/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/&quot; style=&quot;border: 0; height: 42px; width: 100%;&quot;&gt;&lt;a href=&quot;https://mahakalamusic.bandcamp.com/album/birdsong&quot;&gt;Birdsong by Chad Fowler, Shanyse Strickland, Sana Nagano, Melanie Dyer, Ken Filiano Anders Griffen,&lt;/a&gt;&lt;/iframe&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/chad-fowler-birdsong-mahakala-2024.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9tnUcVKilWDARgvd54dJglFw1mO-HOo0FjJIl73LcwTr7LLUEqpsmCzSaMoYu3BitzRaWOhN3tDoGKS92hclyyYWaIJWO4H3qGtpnze3yCf5QuUwoxurqo_QTuyovcYftbr2B48jsotZFHpSspC35B9fLC5wu7F-rf9BngbLXBw0HKSXvnIj6Ur_bjYph/s72-c/birdsong.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-1821055008273186022</guid><pubDate>Sun, 14 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-14T06:00:00.297+02:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Sunday Interview</category><title>Christoph Gallio – Sunday Interview</title><description>&lt;table align=&quot;center&quot; cellpadding=&quot;0&quot; cellspacing=&quot;0&quot; class=&quot;tr-caption-container&quot; style=&quot;margin-left: auto; margin-right: auto;&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td style=&quot;text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhViLoI950Rn123S7vA-z6WBKRhqTcDjVkZnrie9rfwlMHWvkYskuEBQD-C14VEEUW2XZ4_Mpbj6yV7Uz-bV4ZP782P001_XxDQOhD8EwZyslh9M8U-SU3vRd47P_kqF-VH6Mgj-BdJs-c86O1A7S9HY6lvhczYHbBEUWNO2kmGAW_ErnE-qmtxd0d3a5UR/s780/gallio.jpg&quot; imageanchor=&quot;1&quot; style=&quot;margin-left: auto; margin-right: auto;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;520&quot; data-original-width=&quot;780&quot; height=&quot;213&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhViLoI950Rn123S7vA-z6WBKRhqTcDjVkZnrie9rfwlMHWvkYskuEBQD-C14VEEUW2XZ4_Mpbj6yV7Uz-bV4ZP782P001_XxDQOhD8EwZyslh9M8U-SU3vRd47P_kqF-VH6Mgj-BdJs-c86O1A7S9HY6lvhczYHbBEUWNO2kmGAW_ErnE-qmtxd0d3a5UR/s320/gallio.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td class=&quot;tr-caption&quot; style=&quot;text-align: center;&quot;&gt;&lt;span style=&quot;font-size: x-small;&quot;&gt;© Beat Streuli, Zürich 2013&lt;/span&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;
  688. &lt;p&gt;&lt;/p&gt;&lt;ol style=&quot;text-align: left;&quot;&gt;&lt;li&gt;
  689.    What is your greatest joy in improvised music?&lt;br /&gt;&lt;br /&gt;&lt;i&gt;The greatest joy is  that you can move freely musically - without taboos
  690.        and restrictions that could  come from outside. The freedom also becomes
  691.        greater and greater - it grows with  experience.&lt;br /&gt;&lt;br /&gt;&lt;/i&gt;&lt;/li&gt;&lt;li&gt;
  692.    What quality do you most admire in the musicians you perform  with?&lt;br /&gt;&lt;br /&gt;&lt;i&gt;That&#39;s her ability,  her musicality - her flexibility but also her
  693.        humanity...we have to understand  each other - I don&#39;t mean that we
  694.        think the same or something - but a basic  trust has to be there for
  695.        me...I have to be an accomplice in certain moments...&lt;br /&gt;&lt;br /&gt;&lt;/i&gt;&lt;/li&gt;&lt;li&gt;
  696.    Which historical musician/composer do you admire the most?&lt;br /&gt;&lt;br /&gt;&lt;i&gt;That&#39;s a difficult  question...it&#39;s less about admiration - more about
  697.        recognition of an artistic  achievement or position...there are many
  698.        musicians and composers who I think  are very good and who definitely
  699.        have the potential to inspire me...;-)...&lt;br /&gt;&lt;br /&gt;&lt;/i&gt;&lt;/li&gt;&lt;li&gt;
  700.    If you could resurrect a musician to perform with, who would  it be?&lt;br /&gt;&lt;br /&gt;&lt;i&gt;Urs Voerkel&lt;br /&gt;&lt;br /&gt;&lt;/i&gt;&lt;/li&gt;&lt;li&gt;What would you still like to achieve musically in your life?&lt;br /&gt;&lt;br /&gt;&lt;i&gt;More freedom!&lt;br /&gt;&lt;br /&gt;&lt;/i&gt;&lt;/li&gt;&lt;li&gt;
  701.    Are you interested in popular music and - if yes - what  music/artist do you
  702.    particularly like&lt;br /&gt;&lt;br /&gt;&lt;i&gt;Yes, I&#39;ve always been  interested in pop music! I like a lot of it! I
  703.        have CDs and LPs lying around  from the following artists: Patty Davis,
  704.        Jimi Hendrix, The Meters, Wetleg,  Geese, Black Midi, Brian Eno, Nadine
  705.        Shah, Joan as a police woman, St. Vincent,  Yoko Ono, Joni Mitchell, The
  706.        Slits, Unknown Mix, Fela Kuti, Talking Heads....&lt;br /&gt;&lt;br /&gt;&lt;/i&gt;&lt;/li&gt;&lt;li&gt;
  707.    If you could change one thing about yourself, what would it  be?&lt;br /&gt;&lt;br /&gt;&lt;i&gt;My impatience&lt;br /&gt;&lt;br /&gt;&lt;/i&gt;&lt;/li&gt;&lt;li&gt;
  708.    Which of your albums are you most proud of?&lt;br /&gt;&lt;br /&gt;&lt;i&gt;Well, there&#39;s no album  that I couldn&#39;t stand more...I think everything
  709.        is pretty good, quite  immodestly. I recently listened to one of my
  710.        first releases. I wanted to check  the validity, see if this position
  711.        and aesthetic was still right for me. I was  pleasantly surprised! It&#39;s
  712.        Christoph Gallio // certainty sympathy (1988)...&lt;br /&gt;&lt;br /&gt;&lt;/i&gt;&lt;/li&gt;&lt;li&gt;
  713.    Once an album of yours is released, do you still listen to  it? And how
  714.    often?&lt;br /&gt;&lt;br /&gt;&lt;i&gt;No, very rarely. I&#39;m  not one of those people who first introduce a
  715.        guest to their latest  record...;-)...I often have trouble listening to
  716.        myself. In retrospect. Sure,  when I&#39;m editing I&#39;m forced to listen to
  717.        myself and everyone else .... until I  can&#39;t hear it anymore.&lt;br /&gt;&lt;br /&gt;&lt;/i&gt;&lt;/li&gt;&lt;li&gt;
  718.    Which album (from any musician) have you listened to the  most in your life?&lt;br /&gt;&lt;br /&gt;&lt;i&gt;It sounds cheesy, but  I think it&#39;s Coltrane Love Supreme - a
  719.        masterpiece in itself!&lt;br /&gt;&lt;br /&gt;&lt;/i&gt;&lt;/li&gt;&lt;li&gt;
  720.    What are you listening to at the moment?&lt;br /&gt;&lt;em&gt;&lt;br /&gt;The above pop  productions and new music from the late 60s: Cardew,
  721.        Berio, Kagel, Ferrari,  Alois Zimmermann, Lutoslawski, Schnebel,
  722.        Holliger, Brown, Cage, Stockhausen...also  a lot of jazz too…&lt;br /&gt;&lt;br /&gt;&lt;/em&gt;&lt;/li&gt;&lt;li&gt;
  723.    What artist outside music inspires you?&lt;br /&gt;&lt;br /&gt;&lt;i&gt;Art! The whole Fluxus  scene, the Middle Ages, the Renaissance,
  724.        Vallotton, Silvia Bächli, Dieter Roth,  Fischli/Weiss, Thomas Schütte,
  725.        Alex Katz, Friedrich Kuhn, Muz Zeier, woodcuts  (Japanese from the Edo
  726.        period, but also from turn-of-the-century Europe)...and  many more!&lt;br /&gt;&lt;/i&gt;&lt;em&gt;&lt;br /&gt;But also poetry:  Gertrude Stein, Friederike Mayröcker, Paul Celan,
  727.        Robert Filliou etc.&lt;br /&gt;&lt;br /&gt;&lt;/em&gt;&lt;/li&gt;&lt;/ol&gt;&lt;b&gt;Recordings by  Christoph Gallio reviewed on the Free Jazz Blog:&lt;/b&gt;&lt;br /&gt;&lt;ul style=&quot;text-align: left;&quot;&gt;&lt;li&gt;&lt;a href=&quot;https://www.freejazzblog.org/2024/04/christoph-gallio-dominic-lash-mark.html&quot; target=&quot;_blank&quot;&gt;Christoph Gallio, Dominic  Lash, Mark Sanders –
  728.    &lt;em&gt;
  729.        Live at Café Oto London
  730.    &lt;/em&gt;
  731.    (ezz-thetics, 2023)&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;https://www.freejazzblog.org/2022/12/markus-eichenberger-christoph-gallio.html&quot;&gt;Markus  Eichenberger and Christoph Gallio –&lt;i&gt; Unison Polyphony&lt;/i&gt;
  732.        (ezz-thetics, 2022)
  733.    &lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;https://www.freejazzblog.org/2022/04/day-taxi-christoph-gallio-silvan-jeger.html&quot;&gt;
  734.        Day &amp;amp; Taxi – &lt;i&gt;Run, the Darkness Will  Come!&lt;/i&gt; (Pergaso, 2021)
  735.    &lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;https://www.freejazzblog.org/2010/09/christoph-gallio-soziale-musik-vexer.html&quot;&gt;
  736.        Christoph  Gallio – &lt;i&gt;Soziale Musik &lt;/i&gt;(Vexer Verlag, 2010)
  737.    &lt;/a&gt;&lt;/li&gt;&lt;/ul&gt;&lt;p&gt;&lt;/p&gt;
  738.  
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  764.  
  765.  
  766.  
  767. &lt;p&gt;
  768.    &lt;em&gt;&lt;/em&gt;
  769. &lt;/p&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/christoph-gallio-sunday-interview.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhViLoI950Rn123S7vA-z6WBKRhqTcDjVkZnrie9rfwlMHWvkYskuEBQD-C14VEEUW2XZ4_Mpbj6yV7Uz-bV4ZP782P001_XxDQOhD8EwZyslh9M8U-SU3vRd47P_kqF-VH6Mgj-BdJs-c86O1A7S9HY6lvhczYHbBEUWNO2kmGAW_ErnE-qmtxd0d3a5UR/s72-c/gallio.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-1562840980724288859</guid><pubDate>Sat, 13 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-13T06:00:00.139+02:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">solo flute</category><title>Bill McBirnie - Reflections (for Paul Horn) (EF, 2024)</title><description>&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5qYTgwMEpbfJU-pjMiW2CCTdpdi4shhIEyu2QYgdJPBliaTnK0KKSurz7AuHl7V1xWyZ7fpQmvvPl2vdZJUDyn5F2mRa0MR012tNKIXTs-6kjVnG0oJea25bfvE6V0KGHME0GEw8gqqaRGNYXIpEs5DVowj9at__NIto-GozJ1omb9eX61F1IyB3V_TJt/s1200/reflections.jpg&quot; imageanchor=&quot;1&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1200&quot; data-original-width=&quot;1200&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5qYTgwMEpbfJU-pjMiW2CCTdpdi4shhIEyu2QYgdJPBliaTnK0KKSurz7AuHl7V1xWyZ7fpQmvvPl2vdZJUDyn5F2mRa0MR012tNKIXTs-6kjVnG0oJea25bfvE6V0KGHME0GEw8gqqaRGNYXIpEs5DVowj9at__NIto-GozJ1omb9eX61F1IyB3V_TJt/s320/reflections.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  770. &lt;p&gt;
  771.    By &lt;a href=&quot;https://www.freejazzblog.org/2010/01/don-phipps.html&quot;&gt;Don Phipps&lt;/a&gt;&lt;/p&gt;
  772. &lt;p&gt;
  773.    A Japanese Zen rock garden is majestic in its own right. The  stones,
  774.    manicured and ordered yet free and flowing, seem to reflect a cosmic
  775.    calendar where infinite time can be experienced within the confines of
  776.    bounded  space.
  777. &lt;/p&gt;
  778. &lt;p&gt;
  779.    In the 60s, New York born Paul Horn, a jazz flutist noted  for his
  780.    contribution to the “cool jazz” movement (a movement ushered in by  Miles
  781.    Davis and his album “Birth of the Cool” and which reached its musical  apex
  782.    with the classic and much-beloved Davis album “Kind of Blue”), began to
  783.    explore transcendental meditation. He was joined in these explorations by
  784.    the  Beatles, among other rock notables of the period. Horn decided to take
  785.    his  flute to India with the goal to recreate meditation within music. Thus
  786.    was  created the unique and recommended 1968 album “Inside,” where Horn used
  787.    the actual  Taj Mahal as a studio! Interestingly, he later recorded inside
  788.    the  Great Pyramid at Giza, the  Kazamieras cathedral in Lithuania, and in
  789.    the magnificent  Monument Valley (with the excellent Native American
  790.    flautist R Carlos Nakai).
  791. &lt;/p&gt;
  792. &lt;p&gt;
  793.    Horn’s gentle yet profound music has been reborn in Bill  McBirnie’s album
  794. &lt;i&gt;Reflections (for Paul Horn).&lt;/i&gt;&amp;nbsp;McBirnie uses Horn’s free form and
  795.    unstructured improvisational technique to create music of innate beauty –
  796.    with an  intrinsic quality that seems to exist outside of time. Think of
  797.    light appearing  and disappearing through branches swaying in the wind on a
  798.    sunny afternoon. McBirnie’s  flute captures this fluid languid motion while
  799.    simultaneously retaining  the serenity of a Zen garden.
  800. &lt;/p&gt;
  801. &lt;p&gt;
  802.    McBirnie uses cascades of notes, running up and down the  flute registers,
  803.    and combines this with short staccato phrases and silent  spaces. One can
  804.    certainly embrace the peaceful breathing on the title cut  “Reflections.”
  805.    It’s like waking up in a verdant and fragrant forest. Or the  dreamy “Masada
  806.    Sunrise,” which brings to mind Monet’s 250 water lily paintings,  and the
  807.    stunning variations they reveal of a pond at different  times of day and
  808.    different seasons. Or take  “Kitten &amp;amp; Moth,” and its impressionistic
  809.    playfulness. And with “Monk’s  Strut,”  McBirnie even honors Horn’s cool
  810.    period. One can envision a smiling Thelonious listening to the skipping
  811.    happy  pace.
  812. &lt;/p&gt;
  813. &lt;p&gt;
  814.    Recorded at his own studio, McBurnie writes in his liner  notes, that “Paul
  815.    Horn is unquestionably the earliest, the strongest and the  most enduring of
  816.    all my influences on this instrument, regardless of idiom.” Those  who
  817.    believe jazz can explore an inner voice will do well to experience
  818.    McBirnie’s reflections.
  819. &lt;/p&gt;
  820. &lt;iframe seamless=&quot;&quot; src=&quot;https://bandcamp.com/EmbeddedPlayer/album=3599608241/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/&quot; style=&quot;border: 0; height: 42px; width: 100%;&quot;&gt;&lt;a href=&quot;https://billmcbirnie-extremeflute.bandcamp.com/album/reflections-for-paul-horn&quot;&gt;Reflections (for Paul Horn) by Bill McBirnie&lt;/a&gt;&lt;/iframe&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/bill-mcbirnie-reflections-for-paul-horn.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5qYTgwMEpbfJU-pjMiW2CCTdpdi4shhIEyu2QYgdJPBliaTnK0KKSurz7AuHl7V1xWyZ7fpQmvvPl2vdZJUDyn5F2mRa0MR012tNKIXTs-6kjVnG0oJea25bfvE6V0KGHME0GEw8gqqaRGNYXIpEs5DVowj9at__NIto-GozJ1omb9eX61F1IyB3V_TJt/s72-c/reflections.jpg" height="72" width="72"/><thr:total>1</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-2900094785531792459</guid><pubDate>Fri, 12 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-12T06:00:00.255+02:00</atom:updated><title> Science Friction - No Tamales on Wednesday (Screwgun, 2024)</title><description>&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM4jtJ4PSRooDmsa0DvGdSmlsMKc7TnsSYJ0SXTlFhdYoIPZwgYJpgowoXG3Y_qQVoTHbbCvH_gbEZ3vuRdop98ygNsDzyjWEDt1WvNnBzV3GggLbttKOZdQUHPmwygXt-TLspmrrj-4rMNBez_CeTU1nVIHQ8iTYd_tZSSUfipubeB5vsp7S36r3k_K0f/s624/tb1.png&quot; imageanchor=&quot;1&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;624&quot; data-original-width=&quot;624&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM4jtJ4PSRooDmsa0DvGdSmlsMKc7TnsSYJ0SXTlFhdYoIPZwgYJpgowoXG3Y_qQVoTHbbCvH_gbEZ3vuRdop98ygNsDzyjWEDt1WvNnBzV3GggLbttKOZdQUHPmwygXt-TLspmrrj-4rMNBez_CeTU1nVIHQ8iTYd_tZSSUfipubeB5vsp7S36r3k_K0f/s320/tb1.png&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;p class=&quot;MsoNormal&quot;&gt;By &lt;a href=&quot;https://www.freejazzblog.org/2010/01/gary-chapin.html&quot;&gt;Gary Chapin&lt;/a&gt;&lt;/p&gt;
  821.  
  822. &lt;p class=&quot;MsoNormal&quot;&gt;&lt;span lang=&quot;EN&quot;&gt;I feel shallow sometimes about how strongly I
  823. react to the timbre of things. Like, forget the ideas or the improvisation or
  824. the composition, sometimes just the &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;sound&lt;/i&gt;
  825. gets me. The first notes on &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;No Tamales on
  826. Wednesday&lt;/i&gt; are from Craig Taborn’s electric piano and those &lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;sounds&lt;/i&gt; brought a smile to my face and
  827. wave of associations. “Oh, yeah,” I thought, “We’re going to get some of that!”&lt;/span&gt;&lt;/p&gt;
  828.  
  829. &lt;p class=&quot;MsoNormal&quot;&gt;&lt;i style=&quot;mso-bidi-font-style: normal;&quot;&gt;&lt;span lang=&quot;EN&quot;&gt;No
  830. Tamales on Wednesday&lt;/span&gt;&lt;/i&gt;&lt;span lang=&quot;EN&quot;&gt; is an archival concert recording
  831. coming from one of my absolute favorite periods of Berne’s work. Science
  832. Friction features Berne, Tom Rainey on drums, Marc Ducret on guitar, and Craig
  833. Taborn on keys. It was recorded somewhere by someone in 2008, and is a very
  834. counterpointy set of pieces. It’s not technically counterpoint, of course, but
  835. you can definitely see sunlight between all the pieces. There is space.&lt;/span&gt;&lt;/p&gt;
  836.  
  837. &lt;p class=&quot;MsoNormal&quot;&gt;&lt;span lang=&quot;EN&quot;&gt;Rainey plays as melodically as I’ve ever
  838. heard. Berne is an unending font of song. And Ducret does Ducret. He’s always
  839. been an utterly unique specimen, playing not in washes or broad strokes, but in
  840. particulate, jangle-i-fied abandon. Again, the melodies he comes up with! And
  841. then Craig Taborn. Kind of a magician. He opens the record and then infuses the
  842. whole proceedings with levitation throughout.&lt;/span&gt;&lt;/p&gt;
  843.  
  844. &lt;p class=&quot;MsoNormal&quot;&gt;&lt;span lang=&quot;EN&quot;&gt;The tunes are expansive Berne works, many
  845. heard in other settings. At a listening party on Bandcamp, Berne pointed out
  846. that most of this material showed up later played by his Snakeoil team, and the
  847. tune “Adobe Probe,” has been heard before on the album of the same name. It’s
  848. all knotty composition that doesn’t end where it starts, and sometimes you
  849. don’t even know how you got there from here. A wonderful mystery solved by
  850. improvisation.&lt;/span&gt;&lt;/p&gt;
  851.  
  852. &lt;p class=&quot;MsoNormal&quot;&gt;Available on Bandcamp: &lt;a href=&quot;https://screwgunrecords.bandcamp.com/album/no-tamales-on-wednesday&quot;&gt;https://screwgunrecords.bandcamp.com/album/no-tamales-on-wednesday&lt;/a&gt;&lt;/p&gt;&lt;p class=&quot;MsoNormal&quot;&gt;&lt;span lang=&quot;EN&quot;&gt;&lt;o:p&gt;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;&lt;p class=&quot;MsoNormal&quot;&gt;&amp;nbsp;&lt;/p&gt;
  853.  
  854. &lt;p class=&quot;MsoNormal&quot;&gt;&lt;span lang=&quot;EN&quot;&gt;&lt;o:p&gt;&amp;nbsp;&lt;/o:p&gt;&lt;/span&gt;&lt;/p&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/science-friction-no-tamales-on.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM4jtJ4PSRooDmsa0DvGdSmlsMKc7TnsSYJ0SXTlFhdYoIPZwgYJpgowoXG3Y_qQVoTHbbCvH_gbEZ3vuRdop98ygNsDzyjWEDt1WvNnBzV3GggLbttKOZdQUHPmwygXt-TLspmrrj-4rMNBez_CeTU1nVIHQ8iTYd_tZSSUfipubeB5vsp7S36r3k_K0f/s72-c/tb1.png" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-4109076564790159790</guid><pubDate>Thu, 11 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-11T22:20:47.713+02:00</atom:updated><title>New Old Luten Trio - Something New, Something Renewed</title><description>&lt;h3&gt;New Old Luten Trio - Trident Juncture (Euphorium, 2023)&lt;/h3&gt;
  855. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIouPBSwcyGaugmyAWMh-EP2Z8zTYknkhFsKcuiVkHnuI1KB_JMobeqmkSkjOTS0wSJ4ercshC1Adl-svonhJ0v2XFAgbSjvt0V3yIZBCDKBMhv_HQBbzG51kmRS8UOCLPxvy3h890t7Kpg06w1RQipY0kzyZ9LY6R49Biev4CUvT6BZow9o0VCu0fZxyH/s1200/tridentjuncture.jpg&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIouPBSwcyGaugmyAWMh-EP2Z8zTYknkhFsKcuiVkHnuI1KB_JMobeqmkSkjOTS0wSJ4ercshC1Adl-svonhJ0v2XFAgbSjvt0V3yIZBCDKBMhv_HQBbzG51kmRS8UOCLPxvy3h890t7Kpg06w1RQipY0kzyZ9LY6R49Biev4CUvT6BZow9o0VCu0fZxyH/s320/tridentjuncture.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;div&gt;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;
  856. &lt;div&gt;By &lt;a href=&quot;https://www.freejazzblog.org/2010/01/paul-acquaro.html&quot;&gt;Paul Acquaro&lt;/a&gt;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;
  857.  Leipzig based pianist Oliver Schwerdt, along with Berlin based drummer
  858.  Christian Lillinger, have been over several years developing a series of recordings based on
  859.  encounters with legends of the avant-garde. Most recently, the two worked with
  860.  Japanese saxophonist Akira Sakata in what was named the
  861.  &lt;a href=&quot;https://www.freejazzblog.org/2023/10/great-sakata-trio-siren-sticks-circus.html&quot;&gt;Great Sakata Project&lt;/a&gt;. Prior to this was an intense pairing with the late Peter
  862.  Brötzmann that&amp;nbsp;resulted in some&amp;nbsp;&lt;a href=&quot;https://www.freejazzblog.org/2020/01/big-bad-brotzmann-quintet-karacho.html&quot;&gt;impressive&amp;nbsp;recordings&lt;/a&gt;. The precursor, however, was their wonderful and uncanny connection with German woodwindist Ernst Ludwig Petrowsky
  863.  - the &lt;i&gt;Luten &lt;/i&gt;of the New Old Luten Trio.
  864. &lt;/div&gt;
  865. &lt;div&gt;&lt;br /&gt;&lt;/div&gt;
  866. &lt;div&gt;
  867.  The music on &lt;i&gt;Trident Juncture&lt;/i&gt;, Schwerdt&#39;s recent release of the New Old
  868.  Luten Trio&#39;s music, was pulled from their last concert at Leipzig&#39;s naTo club in 2016. This date also happens to be the bittersweet occasion of Petrowsky&#39;s last appearance
  869.  before he became too ill to perform.
  870. &lt;/div&gt;
  871. &lt;div&gt;&lt;br /&gt;&lt;/div&gt;
  872. &lt;div&gt;The album&#39;s main track,
  873.  &#39;Trident Juncture,&#39; ebbs and flows generously for an hour. Starting with the precise clatter of Lillinger&#39;s drums, Schwerdt and
  874.  Petrowsky join seconds later with abrupt musical statements. A cluster of notes from
  875.  the piano, a smeared note from the saxophone and they are off and running. The rules of interactions have
  876.  been long agreed upon by the trio, so there is no need for exploratory playing and testing of the perimeters, rather as the drums begin to splinter the pulse,
  877.  the energy erupts in colorful chord tones and shredding melodic statements.&lt;/div&gt;
  878. &lt;div&gt;&lt;br /&gt;&lt;/div&gt;
  879. &lt;div&gt;
  880.  The music is hardly one dimensional. Contrasting with the fierce, free
  881.  interactions are moments of reflective playing. For example, around 10-minutes in, the piano has been swapped out for some &#39;small instruments&#39; out and Petrowsky engages in an abstract passage with Lillinger, who, while keeping the structure of time, seems to be defying it at the same time. The saxophonist&#39;s tone is yearning, it is
  882.  melodic, but also at times confrontational. This fascinating section lasts
  883.  nearly fifteen minutes until Schwerdt returns to the piano with a passage that
  884.  shifts the energy in a whole new direction.
  885. &lt;/div&gt;
  886. &lt;div&gt;&lt;br /&gt;&lt;/div&gt;
  887. &lt;div&gt;
  888.  The celebrated saxophonist passed away in 2023 (See:&amp;nbsp;&lt;a href=&quot;https://www.freejazzblog.org/2023/07/ernst-ludwig-luten-petrowsky-1933-2023.html&quot;&gt;Ernst-Ludwig (“Luten“) Petrowsky (1933 – 2023)&lt;/a&gt;),&amp;nbsp;so, any chance to hear a new recording is welcome, and this final set is an exemplary addition to a storied catalog.
  889. &lt;/div&gt;
  890. &lt;div&gt;&lt;br /&gt;&lt;/div&gt;
  891. &lt;div&gt;&lt;/div&gt;
  892. &lt;div&gt;&lt;br /&gt;&lt;/div&gt;
  893. &lt;h3&gt;New Old Luten Trio - Wild Flower Juice (Euphorium Records, 2008/2023)&lt;/h3&gt;
  894. &lt;div&gt;&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV2SLI2jkTjNeaTRikCGFG9AfPT5p64c-hTvOSlzwo3zy5_v9AZuZVPW7F1lJ9SalqIGtEci6p-AB8q-g-eKUnIm_qFj-9IRqal0F43x0b0VAjYwepE_O0IRWVqrrBGifBrGLVooKbEtgX_1SfA7DPxjndJGhoGmGMHro_na3nDo5j9qWB2Jmrf23CSBI_/s1200/wildflower.jpg&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhV2SLI2jkTjNeaTRikCGFG9AfPT5p64c-hTvOSlzwo3zy5_v9AZuZVPW7F1lJ9SalqIGtEci6p-AB8q-g-eKUnIm_qFj-9IRqal0F43x0b0VAjYwepE_O0IRWVqrrBGifBrGLVooKbEtgX_1SfA7DPxjndJGhoGmGMHro_na3nDo5j9qWB2Jmrf23CSBI_/s320/wildflower.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;div&gt;&lt;/div&gt;&lt;br /&gt;On the occasion of &lt;i&gt;Trident Juncture&#39;s&lt;/i&gt; release, Schwerdt has re-released the trio&#39;s very first meeting from 2008, also
  895.  recorded at Club naTo in Leipzig. At the time of the release, it was given a rather unfortunate name that has been rethought and now appears as &lt;i&gt;Wild Flower Juice&lt;/i&gt;&amp;nbsp;on Schwerdt&#39;s &lt;a href=&quot;https://newoldlutentrioquintetseptet.bandcamp.com/music&quot; rel=&quot;nofollow&quot; target=&quot;_blank&quot;&gt;Euphorium Records Bandcamp site&lt;/a&gt;. (Just FYI, Schwerdt has a tendency to use pseudonyms and on this recording is listed as Elan
  896.  Pauer).&amp;nbsp;&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;div&gt;Made when Petrowsky was 75 and both Lillinger and Schwerdt were
  897.  still larvea (ok, they weren&#39;t all&amp;nbsp;&lt;i&gt;that&lt;/i&gt; young, I&#39;m obviously exaggerating for effect), the recording offers clear evidence that age is an unreliable indicator of artistic vigor. Petrowsky is a fountain of youthful energy, provoking and reacting, sparring with the other two at an infectiously creative level. From
  898.  the opening statement of &#39;Vitalisierende Gesichtscreme&#39; (Vitalizing Face
  899.  Cream) to the closing moments of &#39;Wild Flower Juice&#39; there is a freshness and vitality
  900.  to Petrowsky&#39;s playing and a palpable rapport between him and the younger
  901.  players.&lt;/div&gt;
  902. &lt;div&gt;&lt;br /&gt;&lt;/div&gt;
  903. &lt;div&gt;Simply put, &lt;i&gt;Trident Juncture&lt;/i&gt; and
  904.  &lt;i&gt;Wild Flower Juice&lt;/i&gt; are two wonderful recordings that bookend the excellent &lt;a href=&quot;https://www.freejazzblog.org/2018/03/the-new-old-luten-project.html&quot;&gt;New Old  Luten Project series&lt;/a&gt;, which featured Schwerdt, Lillinger and Petrowsky in trio, quintet and septet
  905.  formations.&lt;/div&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;
  906. &lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/new-old-luten-trio-something-new.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIouPBSwcyGaugmyAWMh-EP2Z8zTYknkhFsKcuiVkHnuI1KB_JMobeqmkSkjOTS0wSJ4ercshC1Adl-svonhJ0v2XFAgbSjvt0V3yIZBCDKBMhv_HQBbzG51kmRS8UOCLPxvy3h890t7Kpg06w1RQipY0kzyZ9LY6R49Biev4CUvT6BZow9o0VCu0fZxyH/s72-c/tridentjuncture.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-8134462708065036078</guid><pubDate>Wed, 10 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-10T06:00:00.258+02:00</atom:updated><title>Antistatic – Relics (Cuneiform Records, 2024)</title><description>
  907. &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwbygpeLpfvs1YzEWTDkHtPMJN5EajMJRLZf-5kXK3p1lFx_mlUdP4v8McqGuumVUyihDe46XCPOPlSUzqi-qlEtVm12se_rvOXgmuW1r2ObHQJ62oIfDE-IYDX8eICOMX9PX72plw-JxQZ2_K7VDrySUUIYNaDNk5Cfan8rrivZoz1BASkn1f_z1Z6DBW/s1200/relics.jpg&quot; imageanchor=&quot;1&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1200&quot; data-original-width=&quot;1200&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwbygpeLpfvs1YzEWTDkHtPMJN5EajMJRLZf-5kXK3p1lFx_mlUdP4v8McqGuumVUyihDe46XCPOPlSUzqi-qlEtVm12se_rvOXgmuW1r2ObHQJ62oIfDE-IYDX8eICOMX9PX72plw-JxQZ2_K7VDrySUUIYNaDNk5Cfan8rrivZoz1BASkn1f_z1Z6DBW/s320/relics.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;p&gt;By &lt;a href=&quot;https://www.freejazzblog.org/2010/01/guido-montegrandi.html&quot;&gt;Guido Montegrandi&lt;/a&gt;&lt;/p&gt;
  908. &lt;p&gt;
  909.    Cuneiform  record is celebrating its 40th year with an impressive series of
  910.    releases and&amp;nbsp;&lt;em&gt;Relics&amp;nbsp;&lt;/em&gt;by&amp;nbsp;Antistatic is no exception.
  911. &lt;/p&gt;
  912. &lt;p&gt;
  913.    This  is the first full length work that the Copenhagen-based band has released, and the  result is quite powerful. Though the line up of the band - two
  914.    guitars, bass  and drums- could lead into rock-something territories, the
  915.    percussive style that  characterizes the four musicians has its roots in the
  916.    minimalist experience and   also in the post-industrial  soundscape. “Our
  917.    music wouldn’t have been  made if it hadn’t been for drum machines, or
  918.    industrial machines in general,”  says guitarist Laust Moltesen Andreassen
  919.    in an interview contained in the press  release. It is worth noting,
  920.    however, that the band do not use any kind of drum-machine  or looper in
  921.    developing their intricate repetitive patterns. Guitarist, Mads  Ulrich
  922.    observes: “To me, the act of physically repeating all of these parts and
  923.    rhythms instead of using loopers or other sorts of machines is a sort of
  924.    meditation. It’s keeping body and mind active enough that thoughts just kind
  925.    of  disappear... It’s about having time to enter a kind of meditative,
  926.    trance-like  state while playing” (again, from the press release interview).&lt;/p&gt;
  927. &lt;p&gt;
  928.    The  first piece &#39;Angels vs Peasants&#39; introduces the listener into the mood of
  929.    the  work - again Mads Ulrich: “We think we’re creating a logic in a
  930.    composition  just by repeating stuff, It’s quite common throughout our
  931.    songs—and that draws  a thread back to the ‘classical’ vibe of composers
  932.    like Steve Reich and  compositions that are just purely about repetition, or
  933.    about some kind of  simple rhythm.”  (once more from the  press release
  934.    interview). The instruments find a common voice and a texture  that develops
  935.    throughout the piece into different sections of interweaving  rhythms.
  936. &lt;/p&gt;
  937. &lt;p&gt;
  938.    As  the work develops, the focus remains on carefully planned rhythmic
  939.    textures  with every musician contributing seamlessly to the final effect,
  940.    it is all  about sharing and the result leaves space to a variety of
  941.    solutions and  atmospheres that make listening to this music a pleasure. &#39;Hive I and Hive II&#39;&amp;nbsp;are  based on the same rhythmic pattern
  942.    but represent very different approaches - dry  and essential &#39;Hive I&#39;
  943.    - energetic and  rocking &#39;Hive II.&#39; The title track &#39;Relics,&#39; in its different sections, sums  up the attitude of the band producing a
  944.    many-sided sonic itinerary.
  945. &lt;/p&gt;
  946. &lt;p&gt;
  947.    Definitely  not free jazz or improvised music but creative music nonetheless
  948.    and absolutely  worth listening.
  949. &lt;/p&gt;
  950. &lt;p&gt;
  951.    The  booklet associated to this work, apart from the usual photos of the
  952.    band,  includes nine black and white pictures associated to each track that
  953.    further  enhances the link with minimalism and makes the listening
  954.    suggestions even more  stimulating. Something for the eye too.
  955. &lt;/p&gt;
  956. &lt;p&gt;
  957.    You  can buy and download it on bandcamp
  958. &lt;/p&gt;
  959. &lt;p&gt;
  960.   &lt;iframe seamless=&quot;&quot; src=&quot;https://bandcamp.com/EmbeddedPlayer/album=4057695585/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/&quot; style=&quot;border: 0; height: 42px; width: 100%;&quot;&gt;&lt;a href=&quot;https://cuneiformrecords.bandcamp.com/album/relics-2&quot;&gt;Relics by Antistatic&lt;/a&gt;&lt;/iframe&gt;
  961. &lt;/p&gt;
  962. &lt;p&gt;
  963.    And  you can also watch two live sessions (without public) on Youtube:&lt;/p&gt;
  964. &lt;p style=&quot;text-align: center;&quot;&gt;
  965.   &lt;iframe allow=&quot;accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share&quot; allowfullscreen=&quot;&quot; frameborder=&quot;0&quot; height=&quot;237&quot; referrerpolicy=&quot;strict-origin-when-cross-origin&quot; src=&quot;https://www.youtube.com/embed/B2gmFnF67Mw?si=EGfWlxAujCdPUyp7&quot; title=&quot;YouTube video player&quot; width=&quot;420&quot;&gt;&lt;/iframe&gt;
  966. &lt;/p&gt;
  967. &lt;p style=&quot;text-align: center;&quot;&gt;
  968.   &lt;iframe allow=&quot;accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share&quot; allowfullscreen=&quot;&quot; frameborder=&quot;0&quot; height=&quot;237&quot; referrerpolicy=&quot;strict-origin-when-cross-origin&quot; src=&quot;https://www.youtube.com/embed/HaCP060xNq4&quot; title=&quot;YouTube video player&quot; width=&quot;420&quot;&gt;&lt;/iframe&gt;
  969.  
  970. &lt;/p&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/antistatic-relics-cuneiform-records-2024.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwbygpeLpfvs1YzEWTDkHtPMJN5EajMJRLZf-5kXK3p1lFx_mlUdP4v8McqGuumVUyihDe46XCPOPlSUzqi-qlEtVm12se_rvOXgmuW1r2ObHQJ62oIfDE-IYDX8eICOMX9PX72plw-JxQZ2_K7VDrySUUIYNaDNk5Cfan8rrivZoz1BASkn1f_z1Z6DBW/s72-c/relics.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-6627769232356570598</guid><pubDate>Tue, 09 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-09T06:00:00.280+02:00</atom:updated><title>Christoph Gallio, Dominic Lash, Mark Sanders – Live at Café Oto London (ezz-thetics, 2023)</title><description>&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6RHEt9n78QHmkIB1ZBMbyXO240eX3dkWsVYM5ATSqg4XPmyFO9STuOHxp1hUfoIjMZfC9PreoHSHKtp6TPCYxSp61ZRfN5Chhjb_IynTyRaWlg2LdtEqMLa3XzxyzFZckkwjC37NhRct2I_9W-uBr-7DzB4DvMJFqLUHUDK4WW-m9VChEHUlC83JFM1CA/s1200/oto.jpg&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1200&quot; data-original-width=&quot;1200&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6RHEt9n78QHmkIB1ZBMbyXO240eX3dkWsVYM5ATSqg4XPmyFO9STuOHxp1hUfoIjMZfC9PreoHSHKtp6TPCYxSp61ZRfN5Chhjb_IynTyRaWlg2LdtEqMLa3XzxyzFZckkwjC37NhRct2I_9W-uBr-7DzB4DvMJFqLUHUDK4WW-m9VChEHUlC83JFM1CA/s320/oto.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  971. &lt;p&gt;
  972.    By &lt;a href=&quot;https://www.freejazzblog.org/2010/01/nick-ostrum.html&quot;&gt;Nick Ostrum&lt;/a&gt;&lt;/p&gt;&lt;p&gt;Recorded live December 18, 2022, &lt;em&gt;Live at Café Oto London&amp;nbsp;&lt;/em&gt;is one of
  973.    those  live masterpieces. I am sure any night this trio played would be
  974.    enrapturing.  This one, however, just sounds special. It starts with energy.
  975.    Christoph Gallio  barks fat alto lines (evoking Brötzmann and late Coltrane
  976.    albeit on a different  horn) over the churning thrum that drummer Mark
  977.    Sanders and bassist Dominic  Lash lay beneath him, steeped in the free
  978.    improv tradition that implies rhythm  but only by abandoning it for sound on
  979.    sound on sound. Then, space opens and  things get really abstract. (Lash,
  980.    for his part, has had one foot in minimalism  as long as he has had one in
  981.    free jazz.)   The trio then lets this opening ride for a bit, adding some
  982.    embellishing  scrapes and rummaging, as Sanders and Lash take over.
  983. &lt;/p&gt;
  984. &lt;p&gt;
  985.    Gallio rejoins, or at least steps to the front, in the  second track, &#39;Wildlife-Part 2,&#39; a continuation rather than clean break from &#39;Wildlife –
  986.    Part 1.&#39;&amp;nbsp; The energy and pluck  are still there, though Gallio extends his
  987.    notes just a little longer and Lash  switches to arco.  Sanders plays a
  988.    little  more quietly, but still with that cluttered clatter. &#39;Wildlife – Part
  989.    3&#39; is the  departure. This has more space, and a long droning bass backbone
  990.    at first, but  eventually falls into that the dexterous clunk and angularity
  991.    that introduces  the album.  The two parts of Homelife  meditate on a soft
  992.    folky rhythm, harkening back to that Sonny-Rollins-on-a-bridge  tradition,
  993.    but with more haze, distortion and serration. Then, things start to  build.
  994.    Then, they tumble.
  995. &lt;/p&gt;
  996. &lt;p&gt;
  997.    &lt;em&gt;Live at Café Oto&lt;/em&gt;is exceptional. It is some of the  best tensile
  998.    scorched-earth, time-warp 60s-rooted free improv that I have hear  for a
  999.    long while.  This is all the more  impressive given the intergenerational
  1000.    line-up, which pulls from a range of  aesthetic backgrounds yet coheres
  1001.    around the same gravitational enter.  Despite its many detours and
  1002.    divergences over  the last half century, that center, that vivacious
  1003.    tradition of harnessing and  directing force away from melody, harmony,
  1004.    tonalism, and be-bop plaiting, a  style that braces the crag and stumble as
  1005.    a form in itself, is alive and well.
  1006. &lt;/p&gt;
  1007. &lt;p&gt;
  1008.    &lt;em&gt;Live at Café Oto London&lt;/em&gt; is available as a digital  download from
  1009.    &lt;a href=&quot;(https://now-ezz-thetics.bandcamp.com/album/live-at-cafe-oto-london&quot; rel=&quot;nofollow&quot; target=&quot;_blank&quot;&gt;Bandcamp&lt;/a&gt; and as a CD from choice music stores around the world. Take your pick.&lt;/p&gt;&lt;iframe seamless=&quot;&quot; src=&quot;https://bandcamp.com/EmbeddedPlayer/album=1626954868/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/&quot; style=&quot;border: 0; height: 42px; width: 100%;&quot;&gt;&lt;a href=&quot;https://now-ezz-thetics.bandcamp.com/album/live-at-cafe-oto-london&quot;&gt;Live At Cafe Oto London by Christoph Gallio, Dominic Lash, Mark Sanders&lt;/a&gt;&lt;/iframe&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/christoph-gallio-dominic-lash-mark.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6RHEt9n78QHmkIB1ZBMbyXO240eX3dkWsVYM5ATSqg4XPmyFO9STuOHxp1hUfoIjMZfC9PreoHSHKtp6TPCYxSp61ZRfN5Chhjb_IynTyRaWlg2LdtEqMLa3XzxyzFZckkwjC37NhRct2I_9W-uBr-7DzB4DvMJFqLUHUDK4WW-m9VChEHUlC83JFM1CA/s72-c/oto.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-5950662306673288922</guid><pubDate>Mon, 08 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-08T06:00:00.166+02:00</atom:updated><title>Matthew Shipp Trio - New Concepts In Piano Trio Jazz (ESP-Disk’, 2024)</title><description>&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGrIoB0yFORmdqENr08iL2UlQLb8y63D5Q0n6YzrotYoAxMEBxOgK2JXNzZf4zhZVTxev7kHRBRuPByeZ3KE5LQIhclNIRgCcpNMUxq4dnr56tOAlh69EhORBrZPhMZ_5abtFbxt_RIeMhQG8aC1MnCtEfjtDjQiO1Jt9-JJzeG2L_Ly8PYn7-2H4Vt61G/s1200/newconcept.jpg&quot; imageanchor=&quot;1&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1156&quot; data-original-width=&quot;1200&quot; height=&quot;308&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGrIoB0yFORmdqENr08iL2UlQLb8y63D5Q0n6YzrotYoAxMEBxOgK2JXNzZf4zhZVTxev7kHRBRuPByeZ3KE5LQIhclNIRgCcpNMUxq4dnr56tOAlh69EhORBrZPhMZ_5abtFbxt_RIeMhQG8aC1MnCtEfjtDjQiO1Jt9-JJzeG2L_Ly8PYn7-2H4Vt61G/s320/newconcept.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;p&gt;By &lt;a href=&quot;https://www.freejazzblog.org/2010/01/lee-rice-epstein.html&quot;&gt;Lee Rice Epstein&lt;/a&gt;&lt;/p&gt;
  1010. &lt;p&gt;
  1011.    Almost certainly, every review of this album will gesture in some  way
  1012.    towards the title, it’s both too easily referenced and too validly
  1013.    applicable. I spent the past several weeks primarily listening Matthew Shipp
  1014.    Trio music, almost exclusively featuring the current lineup of Shipp,
  1015.    bassist  Michael Bisio, and drummer Newman Taylor Baker.
  1016.    &lt;em&gt;
  1017.        New Concepts In Piano Trio  Jazz
  1018.    &lt;/em&gt;
  1019.    is, arguably, the finest thus far of the seven albums they’ve recorded
  1020.    together. This has been a gradual journey, where each album builds upon the
  1021.    developing relationship between the three players, and the depth and
  1022.    richness  of their improvisation expands noticeably.
  1023. &lt;/p&gt;
  1024. &lt;p&gt;
  1025.    The first few albums together were all fantastic, and 2020&#39;s
  1026.    &lt;em&gt;
  1027.        The  Unidentifiable
  1028.    &lt;/em&gt;
  1029.    took the trio to the stratosphere. Something around fall of  2019, when that
  1030.    session was recorded, just brought everyone to a stellar level,  like a
  1031.    change in the atmosphere, a deeper understanding of the unified self.
  1032.    Coming off their session with Nicole Mitchell (documented in
  1033.    &lt;em&gt;
  1034.        Singularity  Codex,
  1035.    &lt;/em&gt;
  1036.    Clifford Allen&#39;s masterful book on Shipp&#39;s RogueArt catalog), the  trio
  1037.    seemed to find a heightened awareness of each other in space and sound.  The
  1038.    following album, &lt;em&gt;World Construct,&lt;/em&gt; built on this evolving state of
  1039.    being. Now, on their newest album, the group presents what seems like the
  1040.    fiercest, most driving statement to date.
  1041. &lt;/p&gt;
  1042. &lt;p&gt;
  1043.    In eight improvisations, spread across 45 minutes, Shipp, Bisio,  and Baker
  1044.    play with a distinctly modernist approach. There’s always been  something of
  1045.    a Stein-ian or Woolf-ish aspect to Shipp’s music, and this is more  apparent
  1046.    than ever on &lt;em&gt;New Concepts In Piano Trio Jazz&lt;/em&gt;, where signs and
  1047.    symbols (in the form of phrases and clusters) are restated, sometimes
  1048.    refracted, and often echoed through Bisio’s bass and Baker’s percussive
  1049.    drumming. It’s a bold and emotionally riveting piano trio album, surely one
  1050.    of  the finest you’ll hear all year.
  1051. &lt;/p&gt;
  1052. &lt;p&gt;
  1053.    Available on Bandcamp
  1054. &lt;/p&gt;
  1055. &lt;p&gt;
  1056.  
  1057.  &lt;iframe seamless=&quot;&quot; src=&quot;https://bandcamp.com/EmbeddedPlayer/album=1271293561/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/&quot; style=&quot;border: 0; height: 42px; width: 100%;&quot;&gt;&lt;a href=&quot;https://matthewshipp.bandcamp.com/album/new-concepts-in-piano-trio-jazz&quot;&gt;New Concepts in Piano Trio Jazz by Matthew Shipp&lt;/a&gt;&lt;/iframe&gt;
  1058.  
  1059.  &lt;/p&gt;
  1060. &lt;p&gt;
  1061.    You can also now purchase Matthew Shipp&#39;s entire ESP-Disk&#39;  catalog for a
  1062.    discounted rate &lt;a href=&quot;https://matthewshipp.bandcamp.com/album/new-concepts-in-piano-trio-jazz&quot; rel=&quot;nofollow&quot; target=&quot;_blank&quot;&gt;here&lt;/a&gt;.
  1063. &lt;/p&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/matthew-shipp-trio-new-concepts-in.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGrIoB0yFORmdqENr08iL2UlQLb8y63D5Q0n6YzrotYoAxMEBxOgK2JXNzZf4zhZVTxev7kHRBRuPByeZ3KE5LQIhclNIRgCcpNMUxq4dnr56tOAlh69EhORBrZPhMZ_5abtFbxt_RIeMhQG8aC1MnCtEfjtDjQiO1Jt9-JJzeG2L_Ly8PYn7-2H4Vt61G/s72-c/newconcept.jpg" height="72" width="72"/><thr:total>0</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-7161861479263323077</guid><pubDate>Sun, 07 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-07T06:00:00.300+02:00</atom:updated><category domain="http://www.blogger.com/atom/ns#">Sunday Interview</category><title>Matt Mitchell - Sunday Interview</title><description>&lt;div&gt;
  1064.    &lt;div&gt;
  1065.        &lt;div&gt;
  1066.            &lt;div&gt;
  1067.                &lt;div&gt;
  1068.                    &lt;div&gt;
  1069.                        &lt;div&gt;
  1070.                            &lt;div&gt;
  1071.                                &lt;div&gt;
  1072.                                    &lt;div dir=&quot;auto&quot;&gt;
  1073.                                        &lt;div&gt;
  1074.                                            &lt;div dir=&quot;auto&quot;&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;table align=&quot;center&quot; cellpadding=&quot;0&quot; cellspacing=&quot;0&quot; class=&quot;tr-caption-container&quot; style=&quot;margin-left: auto; margin-right: auto;&quot;&gt;&lt;tbody&gt;&lt;tr&gt;&lt;td style=&quot;text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQt6suP4f_mtbH7w4ioVg3_JrQLKOpn3P28s4uG4YGXhfNjJYeydwfUnW9n_tvD-vEO5A2_Wv_2Z3W8aiQxn2WrYByNSgPxGYJdiZV6z3hWaxxXXBViUAX6YXPUdeDXyJDE5ez7icgnTq8SEMvMu9IEJV2GWKiSmpAaSxDYFSFJrieQbND00j0c7xVA9vx/s500/mitchell.jpg&quot; style=&quot;margin-left: auto; margin-right: auto;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;375&quot; data-original-width=&quot;500&quot; height=&quot;240&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQt6suP4f_mtbH7w4ioVg3_JrQLKOpn3P28s4uG4YGXhfNjJYeydwfUnW9n_tvD-vEO5A2_Wv_2Z3W8aiQxn2WrYByNSgPxGYJdiZV6z3hWaxxXXBViUAX6YXPUdeDXyJDE5ez7icgnTq8SEMvMu9IEJV2GWKiSmpAaSxDYFSFJrieQbND00j0c7xVA9vx/s320/mitchell.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;tr&gt;&lt;td class=&quot;tr-caption&quot; style=&quot;text-align: center;&quot;&gt;Photo by &lt;a href=&quot;https://downtownmusic.net/&quot; rel=&quot;&quot; target=&quot;_blank&quot;&gt;Peter Gannushkin&lt;/a&gt;&lt;/td&gt;&lt;/tr&gt;&lt;/tbody&gt;&lt;/table&gt;&lt;div&gt;&lt;br /&gt;&lt;/div&gt;&lt;ol style=&quot;text-align: left;&quot;&gt;&lt;li&gt;&lt;b&gt;
  1075.                                                What is your greatest joy in
  1076.                                                improvised music?&lt;/b&gt;&lt;br /&gt;&lt;br /&gt;Perceiving the music as it flows past in
  1077.                                    time, feeling connected, whatever that may
  1078.                                    consist of in context.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;What quality do you most admire
  1079.                                                in the musicians you perform
  1080.                                                with?&lt;br /&gt;&lt;/b&gt;&lt;br /&gt;I value most when musicians exhibit singular
  1081.                                    focus, resulting from intense and continued
  1082.                                    study, to achieve something new.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;Which historical musician/composer
  1083.                                            do you admire the most?&lt;br /&gt;&lt;/b&gt;&lt;br /&gt;Way too many. Xenakis, Cecil Taylor, Zappa,
  1084.                                Miles. Bach, Chopin, Scriabin. Duke Ellington.
  1085.                                Morton Feldman. Monk. Stravinsky. Sun Ra. Also,
  1086.                                deep admiration is probably a prerequisite when
  1087.                                voluntarily studying someone. Herbie Hancock and
  1088.                                Keith Jarrett. Andrew Hill.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;If you could resurrect a musician to
  1089.                                            perform with, who would it be?&lt;br /&gt;&lt;/b&gt;&lt;br /&gt;I’d rather frame it as getting to play with them
  1090.                                when they were still alive but I’m “still me”.
  1091.                                Eric Dolphy, Sam Rivers, Joe Henderson, Tony
  1092.                                Williams, Tony Oxley. Richard Davis, Gary
  1093.                                Peacock. Derek Bailey would have been a hoot. I
  1094.                                feel like I’d have done well in Zappa’s band.
  1095.                                Wayne Shorter is probably an obvious choice but
  1096.                                he was never less than goosebumps-inducing and
  1097.                                being in the midst of that would have been
  1098.                                something.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;What would you still like to achieve
  1099.                                        musically in your life?&lt;br /&gt;&lt;/b&gt;&lt;br /&gt;Lots of things - continuing the search for new forms
  1100.                            and sounds, maximizing what is possible for me to do
  1101.                            in my waking hours.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;Are you interested in popular music and
  1102.                                        - if yes - what music/artist do you
  1103.                                        particularly like?&lt;br /&gt;&lt;/b&gt;&lt;br /&gt;Music often doesn’t do well when money dictates the
  1104.                            content even a tiny bit, which in one sense is the
  1105.                            definition of pop music - music where financial
  1106.                            viability is part of the goal. But there is tons of
  1107.                            pop/rock/soul/ music from the 60s to the present
  1108.                            which I love. Metal and punk probably count as a
  1109.                            special case since they originally had their
  1110.                            popular/populist elements but continue today in the
  1111.                            more underground sense, which is where most
  1112.                            exploration of new things occurs. But creatively
  1113.                            done music in these all these veins abounds and
  1114.                            always has. Today’s actual *pop music* is mostly
  1115.                            dire, though.&lt;br /&gt;&lt;br /&gt;I’d say Prince is an artist who was pretty expert at
  1116.                            being supremely popular and incredibly creative for
  1117.                            a very long time. I love his music.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;If you could change one thing about
  1118.                                        yourself, what would it be?&lt;br /&gt;&lt;/b&gt;&lt;br /&gt;An achievable thing, like “self-improvement”, or
  1119.                                science fiction level? It would be really cool
  1120.                                have scores and recordings of the music I hear
  1121.                                in my dreams, which is of course always music
  1122.                                that my brain is improvising but doesn’t exist
  1123.                                in waking life. Usually this is unbelievably
  1124.                                involved music that is untranscribable. Of
  1125.                                course sometimes dream music is really stupid
  1126.                                too.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;Which of your albums are you most
  1127.                                            proud of?&lt;br /&gt;&lt;/b&gt;&lt;br /&gt;I am very proud of every single one of my
  1128.                                records as a leader or co-leader, they all have
  1129.                                achieved exactly what I hoped they would, in the
  1130.                                macro- and micro- sense.&lt;br /&gt;&lt;br /&gt;That said, my I am exceedingly happy with my
  1131.                                upcoming solo piano album &lt;i&gt;Illimitable&lt;/i&gt;.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;Once an album of yours is released, do
  1132.                                        you still listen to it? And how often?&lt;br /&gt;&lt;/b&gt;&lt;br /&gt;I do, but not often. I’ll “check in” with an older
  1133.                            album a little just to see how I still feel about
  1134.                            this track or that.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;Which album (from any musician) have you
  1135.                                    listened to the most in your life?&lt;br /&gt;&lt;/b&gt;&lt;br /&gt;Really tough to say, this goes back to when I was 12.
  1136.                        Probably something between these albums. These are
  1137.                        albums that I feel a sort of “total recall” with when I
  1138.                        hear them again, and they are all still complete
  1139.                        masterpieces.&lt;br /&gt;&lt;br /&gt;Miles - &lt;i&gt;Nefertiti, In a Silent Way, Bitches Brew&lt;/i&gt;&lt;br /&gt;Eric Dolphy - &lt;i&gt;Out to Lunch&lt;/i&gt;&lt;br /&gt;Herbie Hancock - &lt;i&gt;Thrust, Maiden Voyage, The Prisoner&lt;/i&gt;&lt;br /&gt;Jimi Hendrix - &lt;i&gt;Axis, Bold as Love&lt;/i&gt;&lt;br /&gt;Keith Jarrett - &lt;i&gt;Facing You&lt;/i&gt;&lt;br /&gt;Weather Report - &lt;i&gt;Black Market, Heavy Weather, I Sing the
  1140.                        Body Electric&lt;/i&gt;&lt;br /&gt;Stevie Wonder - &lt;i&gt;Innervisions, Songs in the Key of Life&lt;/i&gt;&lt;br /&gt;Yes - &lt;i&gt;Relayer&lt;/i&gt;&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;
  1141.                                    What are you listening to at the moment?&lt;br /&gt;&lt;/b&gt;Sun City Girls, Gorge Trio, Angelwings Marmalade,
  1142.                        Encenathrakh, Effluence, Vibrations Felt in the Void,
  1143.                        Contagious Orgasm, Roland Kayn, David Lee Myers, Jim
  1144.                        O’Rourke’s Steamroom series, Grant Evans, Chris Weisman.&lt;br /&gt;&lt;br /&gt;&lt;/li&gt;&lt;li&gt;&lt;b&gt;What artist outside music inspires you?&lt;br /&gt;&lt;/b&gt;&lt;br /&gt;John Ashbery, A.R. Ammons, Clark Coolidge, Wallace
  1145.                            Stevens, Pynchon, Nabokov, Beckett, Donald
  1146.                            Barthelme, James Joyce, Joyce Carol Oates, Thomas
  1147.                            Ligotti, Laird Barron, Michael Cisco, Brian Evenson,
  1148.                            Matthew Bartlett. Chris Onstad/Achewood.&lt;/li&gt;&lt;/ol&gt;&lt;div&gt;&lt;b&gt;&lt;br /&gt;Articles with Matt Mitchell on the Free Jazz Blog:&lt;/b&gt;&lt;/div&gt;&lt;div style=&quot;text-align: left;&quot;&gt;&lt;ul&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2023/05/matt-mitchell-oblong-aplomb-out-of-your.html&quot;&gt;Matt Mitchell – Oblong Aplomb (Out of Your Head Records, 2023)&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2022/11/tim-berne-matt-mitchell-one-more-please.html&quot;&gt;Tim Berne &amp;amp; Matt Mitchell - One More, Please (Intakt, 2022)&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2022/08/jazz-em-agosto-2022-part-4.html&quot;&gt;Jazz em Agosto 2022 (Part 4)&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2022/02/sara-schoenbeck-sara-schoenbeck.html&quot;&gt;Sara Schoenbeck – Sara Schoenbeck (Pyroclastic Records, 2021) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2021/08/matt-mitchell-kate-gentile-snark-horse.html&quot;&gt;Matt Mitchell &amp;amp; Kate Gentile - Snark Horse (Pi Recordings, 2021) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2021/08/anna-webber-idiom-pi-recordings-2021.html&quot;&gt;Anna Webber - Idiom (PI Recordings, 2021) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2021/06/mario-pavone-blue-vertical-out-of-your.html&quot;&gt;Mario Pavone - Blue Vertical (Out of Your Head, 2021) *****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2021/06/ches-smith-we-all-break-path-of-seven.html&quot;&gt;Ches Smith We All Break - Path of Seven Colors (Pyroclastic Record, 2021) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2021/05/two-tim-berne-duets.html&quot;&gt;Two Tim Berne Duets&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2021/02/patricia-brennan-maquishti-valley-of.html&quot;&gt;Patricia Brennan - Maquishti (Valley of Search, 2021) ***½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2021/01/piano-sax-duo.html&quot;&gt;Piano sax duo&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2020/12/tim-berne-vowels-have-always-been-sacred.html&quot;&gt;Tim Berne: The Vowels Have Always Been Sacred&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2020/12/three-of-many-tim-berne-records-that-we.html&quot;&gt;Three of the Many Tim Berne Records That We Have Recently Been Blessed With&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2020/05/gordon-grdina-makes-music-that-is.html&quot;&gt;Gordon Grdina Makes Music That Is Important for Humanity&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2020/05/catching-up-with-gordon-grdinaagain.html&quot;&gt;Catching up with Gordon Grdina…again&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2019/12/mario-pavones-dialect-trio-philosophy.html&quot;&gt;Mario Pavone&#39;s Dialect Trio - Philosophy (Clean Feed Records, 2019) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2019/08/matt-mitchell-phalanx-ambassadors-pi.html&quot;&gt;Matt Mitchell - Phalanx Ambassadors (Pi Recordings, 2019) *****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2019/03/anna-webber-clockwise-pi-recordings-2019.html&quot;&gt;Anna Webber - Clockwise (Pi Recordings, 2019) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2019/03/tim-berne-and-matt-mitchell-angel-dusk.html&quot;&gt;Tim Berne and Matt Mitchell – Angel Dusk (Screwgun, 2018) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2018/07/mario-pavone-dialect-trio-chrome.html&quot;&gt;Mario Pavone Dialect Trio - Chrome (Playscape, 2017) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2018/04/dan-weiss-starebaby-pi-recordings-2018.html&quot;&gt;Dan Weiss - Starebaby (Pi Recordings, 2018) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2018/01/chris-speed-trio-platinum-on-tap-intakt.html&quot;&gt;Chris Speed Trio – Platinum on Tap (Intakt, 2017) ***½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2018/01/winter-jazz-fest-18-new-york-city.html&quot;&gt;Winter Jazzfest &#39;18: New York City&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2017/11/matt-mitchell-pouting-grimace-pi.html&quot;&gt;Matt Mitchell - A Pouting Grimace (Pi Recordings, 2017) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2017/10/tim-bernes-snakeoil-incidentals-ecm-2017.html&quot;&gt;Tim Berne’s Snakeoil – Incidentals (ECM, 2017) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2017/10/the-october-revolution-part-2-saturday.html&quot;&gt;The October Revolution Part 2: Saturday and Sunday&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2017/08/mario-pavone-vertical-clean-feed-2017.html&quot;&gt;Mario Pavone – Vertical (Clean Feed, 2017) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2017/08/kate-gentile-mannequins-skirl-2017.html&quot;&gt;Kate Gentile - Mannequins (Skirl, 2017) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2017/03/matt-mitchell-frage-screwgun-records.html&quot;&gt;Matt Mitchell - førage (Screwgun Records, 2017) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2016/12/anna-webbers-simple-trio-binary-skirl.html&quot;&gt;Anna Webber’s Simple Trio - Binary (Skirl, 2016) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2016/08/anna-webbers-percussive-mechanics.html&quot;&gt;Anna Webber’s Percussive Mechanics - Refraction (Pirouet, 2015) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2016/08/tim-bernes-snakeoil-anguis-oleum-sr-2016.html&quot;&gt;Tim Berne’s Snakeoil - Anguis Oleum (s/r, 2016) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2016/04/dan-weiss-sixteen-drummers-suite-pi.html&quot;&gt;Dan Weiss - Sixteen: Drummers Suite (Pi Recordings, 2016) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2015/10/matt-mitchell-vista-accumulation-pi.html&quot;&gt;Matt Mitchell – Vista Accumulation (Pi Recordings, 2015) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2015/08/mario-pavone-blue-dialect-clean-feed.html&quot;&gt;Mario Pavone – Blue Dialect (Clean Feed, 2015) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2015/07/tim-bernes-snakeoil-youve-been-watching.html&quot;&gt;Tim Berne&#39;s Snakeoil - You&#39;ve Been Watching Me (ECM, 2015) *****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2015/05/rudresh-mahanthappa-bird-calls-act-2015.html&quot;&gt;Rudresh Mahanthappa - Bird Calls (ACT, 2015) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2014/11/anna-webber-simple-skirl-2014.html&quot;&gt;Anna Webber - Simple (Skirl, 2014) ****½&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2014/11/video-sunday.html&quot;&gt;Video Sunday: Tim Berne &amp;amp; Keir Neuringer&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2013/10/tim-bernes-sanke-oil-shadow-man-ecm-2013.html&quot;&gt;Tim Berne&#39;s Snakeoil - Shadow Man (ECM, 2013) *****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2013/01/michael-attias-spun-tree-clean-feed-2012.html&quot;&gt;Michael Attias – Spun Tree (Clean Feed, 2012) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2012/05/darius-jones-quartet-book-of-maebul.html&quot;&gt;Darius Jones Quartet - Book of Mae&#39;bul (Another Kind of Sunrise) - (AUMFidelity, 2012) ****&lt;/a&gt;&lt;/li&gt;&lt;li&gt;&lt;a href=&quot;http://www.freejazzblog.org/2012/02/tim-berne-snake-oil-ecm-2012.html&quot;&gt;Tim Berne - Snakeoil (ECM, 2012) *****&lt;/a&gt;&lt;/li&gt;&lt;/ul&gt;&lt;/div&gt;&lt;/div&gt;
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  1442. &lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/matt-mitchell-sunday-interview.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQt6suP4f_mtbH7w4ioVg3_JrQLKOpn3P28s4uG4YGXhfNjJYeydwfUnW9n_tvD-vEO5A2_Wv_2Z3W8aiQxn2WrYByNSgPxGYJdiZV6z3hWaxxXXBViUAX6YXPUdeDXyJDE5ez7icgnTq8SEMvMu9IEJV2GWKiSmpAaSxDYFSFJrieQbND00j0c7xVA9vx/s72-c/mitchell.jpg" height="72" width="72"/><thr:total>3</thr:total></item><item><guid isPermaLink="false">tag:blogger.com,1999:blog-4155637663191071619.post-2909746562225213239</guid><pubDate>Sat, 06 Apr 2024 04:00:00 +0000</pubDate><atom:updated>2024-04-06T08:18:49.747+02:00</atom:updated><title>Big in Japan: Paal Nilssen-Love and Ken Vandermark</title><description>By &lt;a href=&quot;https://www.freejazzblog.org/2010/01/eyal-hareuveni.html&quot;&gt;Eyal Hareuveni&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Soulmates - Norwegian drummer Paal Nilssen-Love and American tenor sax and clarinet player Ken Vandermark, are one of the most productive outfits of free music. They have been working as a duo now for twenty years (their first duo album, &lt;i&gt;Dual Pleasure&lt;/i&gt;, was released by Smalltown Supersound in 2002), but also in the quartet Lean Left (with The Ex’ guitarists) and worked together before in the now defunct Peter Brötzmann Chicago Tentet, the Atomic/School Days, FME trio (with Nate McBride), Fire Room trio (with Lasse Marhaug), 4 Corners (with Magnus Broo and Adam Lane), on Vandermark’s projects like Map Territory and Artifact iTi and in occasional collaborations of The Thing with Vandermark or Vandermark, Nilssen-Love with Dutch reeds master Ab Baars.
  1443. &lt;br /&gt;
  1444. &lt;h3 dir=&quot;ltr&quot;&gt;
  1445.    Paal Nilssen-Love / Ken Vandermark - Japan 2019 (PNL / Audiographic, 2024)
  1446. &lt;/h3&gt;
  1447. &lt;div style=&quot;margin-left: 1em; margin-right: 1em; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvWRtJojEsbRXcdieRssbQNAmxu00kVH6RB_5kkvp3kw0uVPe2MGhwWPa8YHdjkKmc8LPFvEH34nGTVGBYJyh5qZCF5cQ03mAthX8IKkB-Vhem5n-fghW-qy8YMpdDO5cItddVcsQGgQVeFZBLcZZJnhjrylcKlLmakMJ70JlFO-z3l28FudeSLSkf01C0/s1200/Japan%202019.jpg&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1200&quot; data-original-width=&quot;1200&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvWRtJojEsbRXcdieRssbQNAmxu00kVH6RB_5kkvp3kw0uVPe2MGhwWPa8YHdjkKmc8LPFvEH34nGTVGBYJyh5qZCF5cQ03mAthX8IKkB-Vhem5n-fghW-qy8YMpdDO5cItddVcsQGgQVeFZBLcZZJnhjrylcKlLmakMJ70JlFO-z3l28FudeSLSkf01C0/s320/Japan%202019.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;
  1448. &lt;p dir=&quot;ltr&quot;&gt;
  1449.    Nilssen-Love and Vandermark’s extensive experiences of working together and
  1450.    in many independent projects just make their music better, as the box set, a
  1451.    limited-edition of  7-disc &lt;i&gt;Japan 2019&lt;/i&gt; (with a download option) proves. It
  1452.    was collected from their 16-date concert tour of Japan in December 2019, and
  1453.    released just before another duo tour in Japan. &lt;i&gt;Japan 2019&lt;/i&gt; documents two duo
  1454.    performances, as well as new collaborations with legendary Japanese
  1455.    musicians -  reeds player-vocalist Akira Sakata (who plays with Nilssen-Love
  1456.    in the Arashi trio), and pianists Masahiko Satoh (now 83 years old, who
  1457.    recorded before with Brötzmann and with Nilssen-Love), and Yuji Takahashi
  1458.    (now 86 years old, known for his seminal recordings of the works of John
  1459.    Cage, Iannis Xenakis and Toru Takemitsu).&lt;/p&gt;
  1460. &lt;p dir=&quot;ltr&quot;&gt;
  1461.    The box set offers 20 untitled, free improvised pieces that highlight the
  1462.    boundless, primal energy, utmost freedom and spontaneity of Nilssen-Love and
  1463.    Vandermark as well as the richness of their dynamics as well as their
  1464.    creative intensity. The first disc documents the first duo set performance
  1465.    in this tour at Tokyo’s Koen-Dori Classics, and already this set shows how
  1466.    the music of Nilssen-Love and Vandermark is always evolving, shifting, and
  1467.    changing, constructing and deconstructing ideas and themes organically, and
  1468.    moving seamlessly between the infectious rhythmic and playful to the lyrical
  1469.    and the contemplative. No matter how many times you have listened to or
  1470.    experienced Nilssen-Love and Vandermark live, they never repeat themselves,
  1471.    always pushing forward but wise enough to balance and contrast each other
  1472.    and add more nuances and sonic dimension to their languages. The second disc
  1473.    documents the second set at the same club of Nilssen-Love and Vandermark
  1474.    with Takahashi, who sounds like he embodies the whole history of jazz,
  1475.    injecting ideas that correspond with Duke Ellington and Cecil Taylor’s
  1476.    aesthetics. Nilssen-Love and Vandermark cleverly alternate between pushing
  1477.    Takahashi to totally free and explosive trio dynamics and supporting his
  1478.    brilliant solos, including a mid-piece, most beautiful solo that precedes a
  1479.    delicate duo with Vandermark who plays the clarinet.&lt;/p&gt;
  1480. &lt;p dir=&quot;ltr&quot;&gt;
  1481.    The third disc was recorded a day later at the same club and features the
  1482.    trio of Nilssen-Love with Satoh and Takahashi. It was originally planned as
  1483.    a duo between the pianists, but at the soundcheck, Nilssen-Love’s
  1484.    interaction with them sounded so good there was no question about a trio
  1485.    performance. Vandermark describes this set in his insightful tour diary as
  1486.    centered on a dialog of the pianists, that was so in sync it sounded like
  1487.    one person who could play with four hands, while Nilssen-Love supported them
  1488.    with nuanced and layered percussive patterns that varied the pianists’
  1489.    discourse and highlighted their rare dynamics. The second set of this
  1490.    performance is a quartet with Vandermark joining Satoh, Takahashi and
  1491.    Nilssen-Love. It suggests an even deeper and more exciting dynamics of this
  1492.    ad-hoc quartet, and the interplay sounded natural, effortless and kinetic at
  1493.    the same time, even a chamber one at the encore, with enough space for
  1494.    introspection and individual solos.&lt;/p&gt;
  1495. &lt;p dir=&quot;ltr&quot;&gt;
  1496.    The fifth disc documents the third, consecutive night at Koen-Dori Classics
  1497.    with Satoh joining Nilssen-Love and Vandermark for a super intense free jazz
  1498.    set, in volume and energy. The three improvisers chase each other on the
  1499.    first two pieces in a manic and ecstatic race but with a strong sense of
  1500.    where they are going. Satoh alters these dynamics at the beginning of the
  1501.    third piece and introduces a delicate, openly emotional spirit before the
  1502.    trio returns to its cathartic mode. Satoh is an inspiring, idiosyncratic
  1503.    master of free improvisation but you can find in his piano echoes of the
  1504.    work of Alexander von Schlippenbach, with its Monk-ish cyclical syntax. The
  1505.    sixth disc was recorded eleven days later at the traditional Jyosenji Temple
  1506.    (Vandermark thought of the locations as belonging to Akira Kurosawa’s
  1507.    Kagemusaha film) in Onomichi with Sakata, with whom Nilssen-Love and
  1508.    Vandermark performed together in their previous tour at Tokyo’s Shinjuku
  1509.    Pit-Inn club. This performance became a miraculous climax of this tour, with
  1510.    a profound, spiritual level of natural and effortless communication, beauty
  1511.    and elegance as if Sakata, Nilssen-Love and Sakata were serving a higher
  1512.    force with their music, or if the music was creating itself and the three
  1513.    musicians were fortunate to witness this creative process. A special moment
  1514.    in this performance happened when Sakata began reciting passages from the
  1515.    epic, 14th century Heike Monogatari ( The Tale of the Heike, Sakata’s album
  1516.    released by Trost in 2016) with the reserved playing of Nilssen-Love and
  1517.    Vandernark but with an unbelievable, electrifying intensity, that fitted
  1518.    perfectly with the unique location.&lt;/p&gt;
  1519. &lt;p dir=&quot;ltr&quot;&gt;
  1520.    The last, seventh disc documents the last performance of this tour at
  1521.    Environment Øg in Osaka and Vandermark mentions that often the “last gig of
  1522.    a tour always has a different, specific tension surrounding it. There is an
  1523.    inherent desire to somehow make it the strongest performance of the trip:”.
  1524.    Luckily, despite the fatigue of such a demanding tour, Vandermark and
  1525.    Nilssen-Love still had a lot of things to talk and laugh about, off stage
  1526.    and on stage, and were in top form, sharp and powerful but also emotional
  1527.    and contemplative, exhausting all they had. Vandermark remembers this
  1528.    performance as reaching a ”new and different area of communication”,
  1529.    parallel to the spontaneous, melodic and rhythmic flow of Don Cherry and Ed
  1530.    Blackwell. “When music and comradeship come first, extraordinary things take
  1531.    place”, Vandermark concludes.&lt;/p&gt;
  1532. &lt;p dir=&quot;ltr&quot;&gt;
  1533.    The tour ended but Nilssen-Love and Vandermark extended their stay in Japan
  1534.    to see the legendary Yosuke Yamashita Trio perform at the Shinjuku Bunka
  1535.    Center in Tokyo, exploring its rich history with many guests, including
  1536.    Sakata, Ryuichi Sakamoto and Takeo Moriyama. There are many more enchanting
  1537.    stories about this tour, the unique clubs and the food in the booklet of
  1538.    this great, indispensable box set.
  1539. &lt;/p&gt;
  1540. &lt;br /&gt;
  1541. &lt;p dir=&quot;ltr&quot;&gt;
  1542.    &lt;iframe seamless=&quot;&quot; src=&quot;https://bandcamp.com/EmbeddedPlayer/album=2692169237/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/&quot; style=&quot;border: 0; height: 42px; width: 100%;&quot;&gt;&lt;a href=&quot;https://pnlrecords.bandcamp.com/album/japan-2019&quot;&gt;Japan 2019 by Paal Nilssen-Love / Ken Vandermark&lt;/a&gt;&lt;/iframe&gt;
  1543. &lt;/p&gt;
  1544. &lt;br /&gt;
  1545. &lt;h3 dir=&quot;ltr&quot;&gt;
  1546.    Paal Nilssen-Love / Ken Vandermark - Japan Tour 2024: Live in Osaka
  1547.    (Catalytic Artist Album, 2024)&lt;/h3&gt; &lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;a href=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO_JWsub-cvEpXW1Hemj2rmPLDTCnQUD1Q-BsEHEVRc3Cmift3zPQ_b_LaHo6DFK_wihn3mKQFKWFz8DzR3_38OYJhV-68501JOik8ushQe0_u38aOly0pvdj9YIJrhubrz_rxP5iZVXoDNLO51gEF7w7grXckgnCoANLzKayUBbiq0hyphenhyphenkothEfnzln3OK/s1500/Live%20in%20Osaka.jpg&quot; style=&quot;margin-left: 1em; margin-right: 1em;&quot;&gt;&lt;img border=&quot;0&quot; data-original-height=&quot;1500&quot; data-original-width=&quot;1500&quot; height=&quot;320&quot; src=&quot;https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgO_JWsub-cvEpXW1Hemj2rmPLDTCnQUD1Q-BsEHEVRc3Cmift3zPQ_b_LaHo6DFK_wihn3mKQFKWFz8DzR3_38OYJhV-68501JOik8ushQe0_u38aOly0pvdj9YIJrhubrz_rxP5iZVXoDNLO51gEF7w7grXckgnCoANLzKayUBbiq0hyphenhyphenkothEfnzln3OK/s320/Live%20in%20Osaka.jpg&quot; width=&quot;320&quot; /&gt;&lt;/a&gt;&lt;/div&gt;&lt;br /&gt; Apparently, the box set alone can not satisfy that addicted ones. So if you are wise enough and already subscribed to Catalytic Sound, you can enjoy the first document, hopefully, from many more, of the three-week tour in January 2024 in Japan. This album features two sets of the duo at Environment Øg in Osaka, the seventh performance of this 15-date tour, and where the last disc of the box set was recorded. Nilssen-Love and Vandermark still search and evolve, still offer unpredictable dynamics and still have the high-velocity power that can electrify any major Japanese city. But this incendiary duo has also the wisdom and experience to vary its ideas and turn from the chaotic and cacophonic to the austere, lyrical and understated. It does not get better than this performance.&lt;div class=&quot;separator&quot; style=&quot;clear: both; text-align: center;&quot;&gt;&lt;br /&gt;&lt;/div&gt;&lt;br /&gt;&lt;div class=&quot;blogger-post-footer&quot;&gt;&lt;p&gt;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;&lt;img src=&quot;http://www.feedburner.com/fb/images/pub/feed-icon16x16.png&quot; alt=&quot;&quot; style=&quot;vertical-align:middle;border:0&quot;/&gt;&lt;/a&gt;&amp;nbsp;&lt;a href=&quot;http://feeds.feedburner.com/blogspot/vEnU&quot; rel=&quot;alternate&quot; type=&quot;application/rss+xml&quot;&gt;Subscribe&lt;/a&gt;&lt;/p&gt;&lt;/div&gt;</description><link>http://www.freejazzblog.org/2024/04/big-in-japan-paal-nilssen-love-and-ken.html</link><author>noreply@blogger.com (Paul)</author><media:thumbnail xmlns:media="http://search.yahoo.com/mrss/" url="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvWRtJojEsbRXcdieRssbQNAmxu00kVH6RB_5kkvp3kw0uVPe2MGhwWPa8YHdjkKmc8LPFvEH34nGTVGBYJyh5qZCF5cQ03mAthX8IKkB-Vhem5n-fghW-qy8YMpdDO5cItddVcsQGgQVeFZBLcZZJnhjrylcKlLmakMJ70JlFO-z3l28FudeSLSkf01C0/s72-c/Japan%202019.jpg" height="72" width="72"/><thr:total>0</thr:total></item></channel></rss>

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