A recent article discusses the Bang on a Can ensemble and gives a nice overview of the history of the members and their other projects.
Ipecac has a string list of releases and are putting out new material at an impressive pace. Artists include The Melvins, Fantomas, Trevor Dunn, Eyvind Kang, Ruins, and more.
As expected the Guelph Jazz Festival lineup is very strong. Say no more, just follow the link…
As always, DMG offers reviews of new releases that they’re carrying:
NEW THINGS from GARY LUCAS, CHRIS SPEED, SHRIMP BOAT, BLUE COLLAR, PAUL MURPHY TRIO, PATRICK BRENNAN, ANDREAS WILLERS, O. BLAAT, AMM, KATHLEEN SUPOVE, 2 from JOHN BUTCHER and 3 BECHEGAS DUOS w/ ALEX SCHLIPPENBACH, DEREK BAILEY and PETER KOWALD!
Count on the Squid for more timely reviews:
The Jeff Kaiser Ockodektet – 13 Themes for a Triskadekaphobic
people band – 1968
Mount Washington – Mount Washington
R. Stevie Moore – Nevertheless Optimistic
Jacqueline Humbert – Chanteuse
psi – Black American Flag
Ernesto Diaz-Infante/Chris Forsyth – as is stated…before known
Chris Forsyth/Chris Heenan – Chris Forsyth/Chris Heenan
Terry Hall & Mushtaq – The Hour of Two Lights
Total Music Meeting 2002 – Audiology II: 11 Groups Live in Berlin
Phil Kline – Zippo Songs
Charlie Kohlhase Quintet – Play Free or Die
J.A. Granelli & Mr. Lucky – Gigantic
Gao Hong – Flying Dragon
Kamran Ince – In White
Urs Leimgruber, Gunther Müller & Arte Quartet: artist1 – e_a.sonata.02;
Ambarchi_Müller_Samartzis – strange love label: FOR 4 EARS
Raoul Bjorkenheim & Lukas Ligeti – Shadowglow
Sylvie Courvoisier – Abaton
Helen Stapinski – Baby Plays Around
Black Dice – Miles of Smiles
Buckethead – Bucketheadland 2
Kyle Bruckmann Ernesto Diaz-Infante, John Shiurba, Karen Stackpole-Grand Mal
The next few Cryptonight shows in Los Angeles feature the best of the west coast avant jazz performers.
July 1 – Michael Vatcher, Vinny Golia, and Steuart Liebig
July 8 – Phillip Greenlief solo & duo w/ g.e. stinson
July 15 – Vinnie Golia Quintet
July 22 – Cosmologic
July 29 – Steuart Liebig
August 5 – Don Preston
August 12 – Phillip Greenlief-Lost Trio
August 19 – Jeff Gauthier Goatette
Another bunch of reviews from One Final Note are available, including:
RECENT CD REVIEWS
25 June 2004
Peter Brötzmann Chicago Tentet Images + Signs (Okka Disk)
by Jay Collins
22 June 2004
Jazz Composers Alliance Orchestra Celebration Of The Spirit (CIMP)
by Jay Collins
17 June 2004
Spring Heel Jack The Sweetness Of The Water (Thirsty Ear)
by Jay Collins
9 June 2004
John Butcher 13 Friendly Numbers (Unsounds)
by Jason Bivins
8 June 2004
Rashied Ali & Arthur Rhames The Dynamic Duo Remember Trane & Bird (Ayler)
by Derek Taylor
4 June 2004
Paul Dunmall & Paul Rogers Awareness Response + Go Forth Duck (Emanem + CIMP)
by Walter Horn
3 June 2004
Dave Liebman Group In A Mellow Tone (Zoho)
by David Dupont
28 May 2004
Claudia Quintet I, Claudia (Cuneiform)
by Jay Collins
CIMP has released five new titles:
CIMP 305 Patrick Brennan: Sonic Openings Under Pressure (Steve Swell, tbn; Hilliard Greene, b; Newman Taylor Baker, d)
The Drum is Honor Enough
* Listening to Patrick Brennan’s music is a bit like looking at a bowl that has been shattered and reassembled but whose fit isn’t quite right?you know what it is when looking at it, but it requires some reassessment to take it all in. Extensive Artist and Producer Notes may take you one listen just to get through, another listen to digest, but by the third listen the joy and genius of this concert should be evident. A valuable addition to this veteran’s slight but growing discography. Recorded February 17 & 18, 2004.
o hot red – shadow doin’ – rough hue – drums not bombs – permeations gumvindaboloo (section 1) – permeations gumvindaboloo (section 2) – permeations gumvindaboloo (section 3) – permeations gumvindaboloo (section 4).
CIMP 304 John O’Gallagher (alto & soprano saxes) – Masa Kamaguchi (b) – Jay Rosen (d)
Rules of Invisibility Vol.1
* Flowing music circuitously arrived at with almost a minimalist coloring marks the listening experience of this nowhere-to-hide trio. The music here brings up to date a deconstructive tradition pioneered by the likes of Lee Konitz and Warne Marsh 50 years ago. Free associative, fluid, and hip. Recorded February 3, 2004.
o Invisibility – Leakey’s Bag – It’s Very Deep – Folksong – Titans Stride – Point Time – I Love You Two – You Ain’t All That.
CIMP 303 Odean Pope (tenor sax) Quartet – Carl Grubbs (alto sax) – Tyrone Brown (b) – Craig McIver (d)
* Odean Pope is a master, arguably one of a handful of great tenor saxists on the scene today. Always up for the challenge, there is nothing casual or throwawy on a Pope/CIMP encounter and this one is no exception. Hard, thoughtful, and clearly defined, this is classic Bop of the post Bop era. Recorded January 22, 2004.
o Turn Me Loose – The Foliage – Quick – Two Dreams – Seed of the Land – Fifth House – AnDar – Lines for Four.
CIMP 302 Ernie Krivda (tenor sax) – Dominick Farinacci (tpt) – Bob Fraser (g) – Kurt Kotheimer (b) – Carmen Intorre (d)
Plays Ernie Krivda Vol. 2
* Volume 2 of Krivda Plays Krivda – still one of the most identifiable tenor stylists in Jazz. If after all these years you don’t know Ernie’s music?get to it. This is a fine place to start. Recorded July 24 & 25, 2003.
o Beauchamp Ride – Irv’s at Midnight – Three Legged Dance – Dele – Passage – A Winter’s Waltz.
CIMP 301 Jimmy Halperin (soprano & tenor saxophones) – Dominic Duval (bass) – Jay Rosen
Joy & Gravitas
* Jimmy Halperin has made very few records over the past 30 years and, while new, this sounds like nothing he’s done before. Here it gets physical with some of the Jazz liturgy turning it every which way. If you’re a fan of tunes like “Tunisia,” “Don’t Explain,” “‘Round Midnight,” etc., but tired of hearing them, this release will refresh in its new and unafraid perspective. Recorded January 14 & 15, 2004.
o Night in Tunisia – Witch Hunt – Voyage – Love for Sale – My Funny Valentine – Plazma – Don’t Explain (take 1) – Naima – Don’t Explain (take 2) – Spanish Castle Magic – ‘Round Midnight.
A recent article discusses an academic analysis of several pieces of music, focusing on the repetition of certain elements. The basic conclusion is that atonal pieces repeat less and therefore could be harder for the listener to follow. No big surprise to anyone who likes this sort of thing, but its nice to get some form of scientific validity…
A longish article from the NY Times talks about the somewhat dismal economics of classical recordings, including an example of the things that an orchestra has to do (including pay) to have their performances released.