Free Jazz Blog Reviews


Myra Melford

Cover of Myra Melford

From Free Jazz:

Boots Brown – Dashes to Dashes (Häpna, 2014) ****
Kris Davis – Massive Threads (Thirsty Ear, 2013) ****
Myra Melford – Life Carries Me This Way (Firehouse 12, 2013) ****
Christine Wodrascka – Linéaire (Mr Morezon, 2013) ****
Matthew Shipp – Piano Sutras (Thirsty Ear, 2013) ****½
Pat Thomas – Al-Khwarizmi Variations (Fataka, 2013) ****
Joana Sá – Elogia Da Desordem (Shhpuma, 2013) ****
Otomo Yoshihide – Piano Solo (OTOroku, 2013) ***½
Johanna Borchert – Orchestre Idéal (WhyPlayJazz, 2012) ****
Marc Hannaford – Liminal (Marchon, 2013) ***½
Paul Bley – Play Blue – Oslo Concert (ECM, 2014) ***½
Umberto Petrin – Traces And Ghosts (Leo, 2014) ***½
Gianni Lenoci – Morton Feldman – For Bunita Marcus (1985) (Amirani, 2013) ****½
John Tilbury – Cornelius Cardew – Piano Music 1959-70 (Matchless, 2013) ****½
Eva-Maria Houben – Decay (Diafani, 2013) ****
Eva​-​Maria Houben – Piano Music – By R. Andrew Lee (Irritable Hedgehog, 2013) ****
Marcin Masecki – Scarlatti (ForTune, 2013) ***½
Pi-Hsien Chen – Changes (HatHut, 2013)
Michael Vincent Waller – Five Easy Pieces (Bandcamp, 2014)
Tracy Silverman and the Calder Quartet – Between the Kiss and the Chaos (Delos, 2014) ****½
Marco Eneidi – For Our Children (Botticelli, 2014) *****
Harry Miller: Different Times, Different Places (Ogun, 2013) ****½

Coming to Seattle


From Seattle’s Wayward Music Series:

Mark Hosler + Noel Brass, Jr.
Thu., April 17, 8 PM; $5 – $15 at the door

Negativland co-founder Mark Hosler ditches the band but steals their boopers for a solo set of highly idiosyncratic homemade low-fi electronic noise. Seattle’s Noel Brass, Jr. (Afrocop) dons his Soulgazer hat, playing improvisational psych-ambient soundscapes inflected with twisted bits of gospel, jazz, sci-fi and film noir.

DX ARTS & UW Composers
Sat., April 19, 8 PM; $5 – $15 at the door

An evening of electronic music featuring a variety of new works for electronics, video, and interactive media. Included are new and recent works by Hector Bravo Benard, Marcin Pączkowski, Abe King, Josh Archibald-Seiffer, Jeff Bowen and Gérard Pape.

Carlson + Kurek + Suzuki
Fri., April 18, 8 PM; $5 – 15 at the door

Portland’s Matt Carlson (Golden Retriever), Warsaw-based Piotr Kurek, and Seattle’s Kaori Suzuki mine varied and virtuosic takes on electronic music; timeless yet very contemporary, often turning the idea of “electronic music” inside out, going against expected tropes. Three uncompromising, singular approaches.
Upcoming Events (subject to change)

FRI. 4/25 – Jay Hamilton & the Turtling Dithers: Love Songs & Other Fairy Tales
SAT. 4/26 – Ivan Arteaga & Kromer, music for saxophone quartet
FRI. 5/2 – Seattle Composers’ Salon, artists TBA
SAT. 5/3 – Sue Ann Harkey and friends

5049 Records Podcast: Hank Shteamer


From 5049 Records:

Hank Shteamer is a musician and author who has been living in New York City for the better part of fifteen years. He plays drums in the band STATS and is the senior music editor for Time Out New York. For this talk, Hank and I discuss his time at WKCR, adversarial relationships between musicians and critics, and his current campaign to raise funds to reissue the first three records by his favorite band, Craw.

Robert Ashley’s Work Lives On at the Whitney Biennial


From NYTimes.com:

Followers of Ashley’s work — a rich, edifying, idiosyncratic mix of directness and ambiguity, singsong vocals and complex technologies, the mythic and the mundane — know that a kind of preservative transformation has been mounting for a while. His oeuvre includes plenty of works created expressly for other performers and ensembles, but Ashley typically performed in his operas with a close-knit cadre of collaborators, including the vocalists Jacqueline Humbert, Joan La Barbara, Sam Ashley (the composer’s son) and Thomas Buckner, and the sound designer Tom Hamilton. Self-agency resulted in a canon of remarkable consistency, despite myriad topical concerns and a gradual evolution toward simpler surfaces and interpretive liberty.

AMN Reviews: Adriano Orrù – Palimpsest [pyr106]


A palimpsest—a manuscript page scraped of existing writing in order to receive new writing—represents something of an adaptation of old materials to new purposes. As such, it’s an appropriate image for this new release from Sardinian double bassist Adriano Orrù. Once an electric bassist, Orrù here takes up his old instrument again and puts it to new uses in this set of ten improvised duets created through file-sharing.

The duets collected here embrace a diversity of instrumentation: Three are with Silvia Corda on prepared piano and toy piano; three feature Mauro Sambo on gongs and other percussion and electronics; and four match Orrù with Paolo Chagas on bass clarinet, soprano saxophone, and flute. Each pairing is characterized by its melding of distinctive voices into a cohesive whole. The duets with Sambo tend toward a kind of ineffably angular atmospherics, with the exception of Scrape Off, a cut up and multitracked sound collage Sambo constructed from samples of Orrù’s bass. Exploiting her instruments’ sometimes chiming, sometimes muted timbres, Corda sets out deliberately paced chords, displaced accents and percussive dissonances that provide an apt framework within which Orrù’s drones and upper register, atonal lead lines can flourish. Chagas, even when playing out, brings an inherent sense of lyric narrative to his parts. His interactions with Orrù are especially provocative, whether it’s a matter of his shakuhachi-like flute being recontextualized by Orrù’s subtly changing harmonic support, or his soprano sax offsetting the electric bass’s chromatic melodies and microtonal glissandi. Throughout the set Orrù stretches the electric bass’s voice while still maintaining its essential qualities. His sound is notable for its clear highs and resonant lows, which impart a crispness and depth to his quick runs, chords and arpeggios.

http://www.panyrosasdiscos.net