AMN Podcast: Land of Kush – Against the Day

Charlemagne Palestine still pushes his keyboard to the limit

From the Los Angeles Times:

Palestine, known in music circles for his marathon all-night concerts in the 1970s (they were often so intense that he bled on the keys) is returning to the Los Angeles stage tonight after an 11-year absence. As part of the Monday Evening Concerts series, he will perform one of his seminal works, “Schlingen-Blängen,” on one of the world’s largest church pipe organs at the First Congregational Church.

“I can’t say, at 61 years old, that I can be maximal every day,” he added. “But when I play this big organ, it’s going to resound like Armageddon come home.”

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Phase 3 w/ Vanessa DeWolf + Bill Horist in Seattle

From WAYWARD MUSIC:

Seattle guitar maniac Bill Horist opens.

PHASE 3 is three smart men on computers and various other audio technology. I meet them in a cramped warehouse in Georgetown on a hot summer evening, we walk in parallel to traintracks and arrive past rows and rows of sturdy shelves and tons and tons of tech equipment. They are gentle and kind. finding me a clean cup of water. They settle into their nests in this jam-packed space, they can see each other and me. They place a set of headphones on me and either have their own draped around their neck or already in place around their ears. I’m not sure what to expect. Then suddenly and gradually I’m submerged in a new world. A modern, electronic sound that strangely intertwines with sounds of a kind of nostalgia, old mechanisms, manual typewriters, the voices of the moon-space program or some kind of manual…in moments the warehouse, the three men, and Georgetown are gone. Eerie quiet sounds repeating softly like a carpet of ants, a tiny bell rings or a gear turns in the far distance then emerges in a loud vibrant suddenness in the foreground only to get smashed and vanish into the sounds in the distance of an airport. I felt like I was both in a natural world and one that reflected on our own urban one. Insects and typewriters, loudspeakers, feedback and the sounds of dishes being washed mix and emerge, vanish and reappear. I felt bathed, intimately moved yet surrounded. After a couple hours they each gradually became silent and the warehouse and the three men all returned and I took off my headphones and I felt a bit stunned on my trip home in a van filled with more tech equipment and I fall into deep sleep with weird dreams.

DMG Newsletter March 13th, 2009

Better late than never, this week’s listing fro DMG:

Burnt Sugar! Steve Gauci/Nels Cline Qt! Drury, Melford & Krauss! Tomas Ulrich Cargo Cult! Trevor Watts & Peter Knight! Sophia Domancich/William Parker/Hamid Drake! Frederik Nordstrom! Magnus Broo! Marc Copland! Nicolas Thys with Chris Cheek!

Weasel Walter/Paul Flaherty/Greg Kelley/Forbes Graham! Kyle Bruckmann! Morton Feldman! Conlon Nancarrow! Makigami Koichi’s Hikashu! Trio Sowari: Durrant/Denzler/Beins!

Historic Discs from Dizzy Reece & John Gilmore, Keith Tippett, Ted Curson, Abbey Lincoln, Roy Harper, Kevin Drumm, Mighty Baby, The Open Mind and even more!

Also, Time Out NY has a brief article about their new home.

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Free Jazz Blog Reviews

From Free Jazz:

Monday, March 16, 2009
Matthew Shipp & Mark O’Leary – Labyrinth (FMR, 2009) ****½

Saturday, March 14, 2009
Platz Quintet – Live At Internationales Jazz Festival Münster 2007 (Konnex, 2008) ****

Friday, March 13, 2009
Trinity – Breaking The Mold (Clean Feed, 2009) ****

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Curtis Clark, Connie Crothers, and Joe Bonner: Exploring the World of Piano in Northampton, MA

An article from our friend, Lyn Horton.

Sitting at the piano before playing it is somewhat like sitting at a drawing table in front of a blank piece of paper before drawing on it. The keyboard is like the piece of paper. Until a pianist touches the keyboard (or not, i.e. John Cage, 4’33,”1952) or the artist makes a mark (or seems to not, i.e. Robert Rauschenberg, “White Paintings,” 1951), nothing happens: the emptiness is brimming with potential (which implies “substance” to Cage because Cage was exploring the meaning of silence as itself and Rauschenberg was reacting to the overdone-ness of Abstract Expressionist Painting).

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