From DMG:
Louis Moholo-Moholo Unit! Derek Bailey DVD and CD! Eskelin/Parkins/Black Live! Polwechsel John Tilbury! Evan Parker Electro-Acoustic Ensemble! Louis Sclavis New Quintet! Miroslav Vitous with Michel Portal!
Steve Kuhn with Joe Lovano & Joey Baron! Jon Balke & Amina Alaoui with Jon Hassell! Eleni Karaindrou! Graham Collier new recordings 2CD set! Allen Toussaint with Marc Ribot & Don Byron! King Crimson ’72!
From the Talea Ensemble:
FLUID SOUNDSCAPES
Thursday, July 9, 2009, 8:30PM (note later start time)
43A W. 13th St., NYC (5th and 6th Ave.)
$15/10 (students) tickets at the door
www.taleaensemble.orgJames Dillon: Siorram (1992) for viola
Jean-Luc Hervé: Rêve de vol I (1996) for clarinet and viola (US premiere)
Pierluigi Billone: Mani.MONO (2008) for solo springdrum (World premiere)
Tristan Murail: Les ruines circulaires (2006) for clarinet and violin
Helmut Lachenmann: Trio Fluido (1966) for clarinet, viola, and percussionperformed by Rane Moore (clarinet), Alex Lipowski (percussion), Elizabeth Weisser (viola), and Joshua Modney (guest violinist)
Don’t miss the Talea Ensemble’s only summer appearance this season! “Fluid Soundscapes” centers around Helmut Lachenmann’s early masterpiece, Trio Fluido, the oldest and in many ways still the most radical work of the evening. The timbral investigations of Lachemann find their way into the music of one of his most acclaimed students, and one of the most admired composers working in Europe today, Pierluigi Billone. In a unique world premiere performance of a new piece for solo springdrum (Mani.MONO), the sounds emitted from a simple tube the size of one’s forearm with an attached spring are endlessly manipulated into a unique sonic universe unto itself. James Dillon’s Siorram (Gaelic for “in an enchanted sleep”) is moving and affecting, with a strong, folk-like lyrical pull amidst bursts of almost vocalized intensity. Jean-Luc Hervé, whose music is being played in the U.S. for the first time on this concert, plays on the pairing of viola and clarinet through contrapuntal and coloristic imitations and deviations. In a similarly microtonal harmonic world, Tristan Murail’s Les ruines circulaires generates momentum and continuity through arcs of expanding and contracting cycles, overlapping and overreaching between the duo of clarinet and violin.
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From Sonomu:
Christopher DeLaurenti, Favorite Intermissions (GD Stereo)
“I adore listening”. That heart-felt declaration comes from guerilla field-recordist Christopher DeLaurenti, whose Favorite Intermissions is actually the result of an illegal act, at least in the eyes of the American Musician´s Union (the same union that back in the eighties attempted to ban the… [read]
Posted by Stephen Fruitman at 06:42, 09 Jul 2009Now Ensemble, Now Ensemble (New Amsterdam)
The Now Ensemble is a septet showcasing compositions by its own members on this, its debut album. Plus one piece by Nico Muhly, the current darling of an inspiring form of urban pastoralism within “loft and gallery pop/art” music. Its members include Judd Greenstein (who also mans the record label)… [read]
Posted by Stephen Fruitman at 13:26, 07 Jul 2009Mantis, Dubious (Tiltloose)
Mantis are a Japanese duo consisting of Moss and La-Pachu who have spent several years honing their craft unveiling themselves to the world on this cleverly-titled debut (which has already been championed by Rob Smith of Smith & Mighty). The cover art by one Drawize is a kick too, a mind-boggling… [read]
Posted by Stephen Fruitman at 04:55, 05 Jul 2009
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From Open Ears Music:
This is the audio archive from 30 June 09. The files are 128k VBR mp3s.
Musicians:
Jeff Albert (trombone & laptop), Dan Oestreicher (on set 1 only) (bari sax & analog modular synth), Jesse Morrow (bass & effects), Justin Peake (percussion & laptop)
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NPR has an interesting piece on this topic.
Yesterday, NPR’s All Songs Considered posed the question: do record labels matter? For the fearsome foursome of Bob Boilen, Robin Hilton, Carrie Brownstein and Stephen Thompson, indie rock labels like Kill Rock Stars and Sub Pop dominated the discussion. Manfred Eicher‘s ECM label was also mentioned. The proclivity toward the indie is telling, and more and more, the same case can be made for jazz.
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