Ahleuchatistas on Tour

June 5, 2011 — Mike

From Ahleuchatistas:

Jun 5, 2011 @
The Blind Tiger w/ Eszett & The Farwell Monument
2115 Walker Avenue
Greensboro, NC 27403
US
(336) 272-9888

http://theblindtiger.com

Jun 7, 2011 @ 9:30pm
Nightlight w/ Savage Knights & Cantwell, Gomez and Jordan
405 1/2 W Rosemary St
Chapel Hill, NC 27516
US

http://dyss.net/nightlight

Jun 8, 2011 @ 9pm
Velvet Lounge with Funland Super Quest
915 U Street N.W.
Washington, DC 20002
US

http://www.velvetloungedc.com

Jun 9, 2011 @ 7:30pm
Highwire Gallery with Electric Simcha, Yapp & Duckmandu
2040 Frankford Ave
Philadelhpia, Pennsylvania

http://museumfire.com

Jun 10, 2011 @ 10pm
Ahleuchatistas + Trevor Dunn
Douglass Street Music Collective with Gareth Flowers & Doug Detrick quartet
295 Douglass St.
Brooklyn, New York 11217

http://295douglass.org/

A special improvised electric collaboration with bassist Trevor Dunn

Jun 11, 2011 @ 8pm
Coco 66 with STATS, MULTITUDES, WINTER’S WOMB (Darius Jones, Mike Pride, Chuck Bettis), DEN SVARTA FANAN (Ron Anderson, Weasel Walter, Nonoko Yoshida, Joe Merolla)
66 Greenpoint Ave
brooklyn, ny 11222
Price: $10

Jun 17, 2011 @
Roxaboxen Exhibitions
Chicago, Illinois

http://www.roxaboxenminicastle.com/

Jun 18, 2011 @
Floating Laboratories
4528 Ohio St.
Saint Louis, Missouri 63111

http://www.floatinglaboratories.com/

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Newsbits

June 5, 2011 — Mike

Konstrukt has a new collaboration with Peter Brötzmann out.

Desire Path Recordings has a new release out from Kyle Bobby Dunn, titled Ways of Meaning.

The New York City Jazz Record has a new issue out with a Cooper-Moore interview, a Billy Bang memoriam, and a lot more.

Free music from Darmstadt Institute 2011 artists is available from the WFMU Free Music Archive.

Space Genetics is an experimental duo with a couple of free tracks from their latest release available.

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Tim Berne, Jim Black and Nels Cline Release on Cryptogramophone

June 5, 2011 — Mike

From Cryptogramophone:

The BB&C group dynamic veers far from the trio tradition. Although Black, known for his work with Dave Douglas, does his share of evil slogging and funky jerking, he demonstrates why one of his groups is called Alasnoaxis: More than a groover, he uses his kit as a cement mixer and a catapult, sometimes hand-triggering spacy effects or electronic bass on computer. Cline says Black inspires him toward the feel of I Sing the Body Electric-era Weather Report and the energy of Slayer: The guitarist scrambles, crunches and spiels, one minute drifting into nebulas of early Tangerine Dream, the next melting with Berne into peaceful Coltrane-like figures. Few saxists other than Berne would say, “I’ve always wished I’d been a bass player, so I try to think like one onstage”; fewer still could back it up with this display of uniting geometry — he spins repetitions like an electron around a nucleus, or ricochets within a defined space to delineate a listening field.

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Out on Tzadik

June 5, 2011 — Mike

New releases from Tzadik:

Artichaut Orkestra
T For Teresa

George Lewis
Les Exercices Spirituels

Les Rhinocéros
Les Rhinocéros

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Ron Anderson's PAK on Tour in June

June 5, 2011 — Mike

From Ron Anderson:

5 – – Bowery Poetry Club – 308 Bowery, New York , NY – PAK is playing with our friends Gato Loco. 8pm Stefan Zeniuk will also be sitting in with PAK which will the trio: Anderson, Abrams and Byrnes.

11 – Coco 66 – 66 Greepoint Ave, Brooklyn, NY – Den Svatra Fanan (Ron Anderson, Weasel Walter, Nonoko Yoshida, Joe Merolla) This is a great bill with Ahleuchatistas, Stats, Multitudes, Winter’s Womb (Darius Jones, Mike Pride, Chuck Bettis) 8:00pm

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Trumpeter Stephen Haynes brings his trio Parrhesia back to Real Art Ways on June 11

June 5, 2011 — Mike

From hartfordadvocate.com:

When it comes to improvisation, “free” is a thorny word. In the context of avant-garde jazz, pioneered in the 1960s by Ornette Coleman, Cecil Taylor, Albert Ayler, John Coltrane, Archie Shepp, Sun Ra and others, it means free-form group improvisation: individuals with highly personal styles, conversing in a musical language unconstrained by predetermined chord progressions or a steady pulse, distorting the natural sounds of their instruments through shrieks, mutes or electronics, or creating new instruments. Instrumental vocalese replaces coolly mechanical timbres, and drummers scroll through meters, sometimes finding more than one. Pieces last until the players’ energies flag, not when some sort of artificial structural endpoint is reached.

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