June 30, 2010 Leave a comment
From Music and More:
MONDAY, JUNE 28, 2010
Bryan and the Haggards – Pretend It’s the End of the World (Hot Cup, 2010)
MONDAY, JUNE 21, 2010
Nobu Stowe – Confusion Bleue (Soul Note, 2010)
A source for news on music that is challenging, interesting, different, progressive, introspective, or just plain weird
DC’s Sonic Circuits has a Kickstarter project looking for donations to support their upcoming festival.
Erik Friedlander has released a new single on his web site in honor of his 50th birthday.
Glows in the Dark has released a free download of a recent show.
This past season, Ms. Du’s calling cards in New York concert halls have included the New Juilliard Ensemble’s reading of “Vicissitudes No. 3,” an energetic but traditional orchestral score; several scores for silent films by Alice Guy Blaché, in which Ms. Du played synthesizer with a jazz-rock ensemble; “Air Glow,” a complex work for the International Contemporary Ensemble and electronics; and a freewheeling collaboration with the cellist Matt Haimovitz. Each inhabited its own musical world.
On September 21st, Creative Nation Music will release Sound Particle 47 (CNM016), the second release from veteran Boston-based guitarist/composer Garrison Fewell’s Variable Density Sound Orchestra. The group brings together a flexible cast of improvisers from Boston, New York and beyond that includes Eric Hofbauer (guitar), Roy Campbell (trumpet), Achille Succi (bass clarinet and alto saxophone), Kelly Roberge (tenor saxophone), Steve Swell (trombone), Dmitry Ishenko (bass), John Voigt (bass) and Miki Matsuki (drums). Sound Particle 47, the follow-up to the band’s self-titled 2009 debut (CNM014), documents both its continued musical evolution, including new compositions by members of the band as well as frequent collaborator John Tchicai, and its expansion from a sextet to a nonet.
The programmatic rationale was referred to by the composer and clarinetist Evan Ziporyn just before a midafternoon performance by his Gamelan Galak Tika: “things that I love, taking place at the same time.” Mr. Ziporyn was referring specifically to his own contribution, “Tire Fire,” a flamboyant fusion of Balinese gamelan and rock guitars into something new, personal and exhilarating. But his observation applied equally to the whole affair.
Just before Mr. Ziporyn’s piece, the Jack Quartet played Xenakis’s jagged, bracing “Tetras” from a position atop a staircase behind the audience. “There’s something about doing Xenakis next to gamelan and guitars that kind of sums up Bang on a Can,” Mr. Ziporyn said.
Yoshi’s San Francisco will host a Zorn extravaganza toward the end of August.
John Zorn- Bay Area Connection
Aug 26-Aug 28, 2010
Fred Frith- guitar
Trey Spruance guitar
Scott Amendola- Drums
Kenny Wollesen- Drums
William Winant – Percussion
Rob Burger- Piano
Dave Slusser- keys
Mike Patton Vox- Electronics
Chris Brown- Electronics
David Rosenboom- Electronics
Timb Harris- violin
Joan Jeanrenaud -cello
Mark Dresser – bass
Trevor Dunn – bass
John Zorn -prompter
Native New Yorker and enfant terrible John Zorn has had very deep ties with San Francisco since his first visit here in 1974. His yearly visits have deepened his connection with local musicians and venues and many of his closest collaborators still live right here in the Bay Area. This special three night series showcases him performing with many of San Francisco’s best musicians in improvisational units, and includes the world premiere performance of his popular tribute to the Bay area ALHAMBRA LOVE SONGS, his first ever duo concert with California’s Guru extraordinaire Terry Riley and of course his legendary game piece COBRA, featuring an all-star Bay Area lineup.
Each show will have a different lineup.
Thursday August 26
8PM: TERRY RILEY / JOHN ZORN duo
10PM: FRED FRITH, MIKE PATTON, JOHN ZORN trio
Friday August 27
8PM: ALHAMBRA LOVE SONGS with Rob Burger piano , Trevor Dunn bass, Kenny Wollesen drums,
10PM: ALEPH TRIO plays for Wallace Berman… with John Zorn sax , Trevor Dunn bass, Kenny Wollesen drums and films by Wallace Berman
Saturday August 28
8PM: JOHN ZORN with the ROVA SAX QUARTET— game pieces and improvisations
From ESP Disk:
A native of Paris, from a Martinican family, trumpeter Jacques Coursil came to New York in the mid-1960s and plunged into the free jazz scene. He recorded on dates led by drummer Sunny Murray as well as saxophonist Frank Wright, both for ESP, and even made a record of his own for the label in 1967, which went unreleased. Visiting Paris in 1969, he made two records as a leader (one with Anthony Braxton) and appeared on a Burton Greene date, all for the BYG label. Among other projects in New York, where he remained for the next several years, in 1969–70 he played alongside Sam Rivers in the city-funded Afro-American Singing Theatre, featuring operatically-trained singers in such works as “The Black Cowboys” (music by Rivers), performed all over the city. Then, for the next three decades, he left his music career to the side and became a university professor, teaching literature and linguistics. In 2004, he made a solo record, Minimal Brass, for John Zorn’s Tzadik label, followed by Clameurs (2007), recorded in Martinique for Universal France. On his new album, Trails of Tears (Universal, 2010)—an oratorio that commemorates the forced deportation in 1838 of the Cherokee nation from their native Georgia to reservations in Oklahoma—he employs two ensembles, one recorded in Martinique and the other in New York and Paris which reunites him with some old free jazz associates, including Sunny Murray, Alan Silva, and Perry Robinson. Since retiring from teaching, he has been living in Aachen, Germany.
From JJA News reviews this recent book.
From time to time Broomer has turned his attention to the ever-challenging music of Anthony Braxton, and relevant material from his reviews, articles and liner note essays has been revised and greatly expanded to shape this book’s theme. To this end, Broomer explores various means of relating Braxton and his music to time in both its external (that is, historical/chronological) and internal (or durational, as a musical component) representation. He suggests that our individual perception of time is manipulated by music – which colors it, inhabits it, stretches or shrinks or even suspends it, gives it an identity and significance – and explains how Braxton’s distinctive, multifaceted music may focus our attention on and increase our awareness of the cultural, scientific, philosophical and spiritual affinities and relationships that serve to humanize time.