Archive for November 7, 2012


From Boreal Electro-Acoustic Music Society (BETA):

The Boreal Electroacoustic Music Society (BEAMS) in conjunction with New Music Edmonton’s Edmonton New Music Festival will present two evenings of performance on November 15th and 16th at Bohemia (10217-97 Street) that somehow relate to the two themes Improvise/Synthesize and MediaX.

The Sea of Sound Festival3 is an event that celebrates the symphony of sounds happening around us that we take for granted in our daily lives. We hope it acts like a 12,000 km oil change and tune-up for the ears, re-tuning the way we listen and hear the world around us. BEAMS wishes to explore this theme by presenting works that present the audience, participants or performers with new or innovative approaches to sound art performance.

At the NME Festival – Sea of Sound nights, BEAMS members will be performing at Bohemia on November 15, 2012 and November 16, 2012.

The Sea of Sound nights occur over two evenings and the prelimary lineup includes:
Improvise/Synthesize – Thursday, November 15, 2012
Don Ross – Zizivoodoo
Wilf Kozub – I’m in Love with the City
Everybody (?) – Untitled
Shawn Pinchbeck – Cell
Vipers Without Vapours – Sound
Media X – Friday, November 16, 2012
Phil Jagger – Hertitagauzen
John Osborne – Line for Clarinet
Gene Kosowan – e is for wEbber
John Osborne – Raga Marwa
Wayne DeFehr – Untitled
Skruntskrunt (Abram Hindle) – Interactive
Doors around 9pm, Music at 10pm sharp.

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Touching Extremes Reviews

Posted: November 7, 2012 by Mike in Reviews

From Touching Extremes:

DARREN TATE – When An Insect Visits Your Window
GILLES AUBRY – s6t8r
LORIN BENEDICT & SAM OSPOVAT – Passwords
QUENTIN SIRJACQ – La Chambre Claire
SULT – Bark
PETER VAN HUFFEL’S GORILLA MASK – Howl!
MONOS – Age And Transformation + Aged And Transformed
VALGEIR SIGURÐSSON – Architecture Of Loss


English: Phil Minton Français : Phil Minton

English: Phil Minton Français : Phil Minton (Photo credit: Wikipedia)

Extended Techniques has a podcast up featuring Phil Minton.

The Haunt, and album featuring Bobby Naughton on vibraphone, Wadada Leo Smith on trumpet, and Perry Robinson on clarinet is being reissued.

On November 28th, 2012 at 8:00pm, Roland Ramanan: trumpet, Roberto Sassi: electric guitar, Alex Hawkins: keyboard, Tom Greenhalgh: drums will play at the Cowley Club, 12 London Road Brighton, UK.

Bassoonist Katherine Young’s Pretty Monsters, featuring Mike Pride, play the Douglass Street Music Collective on December 1st.

Joel Garten writes of composing avant-garde piano music during Hurricane Sandy.

Free Jazz Blog Reviews

Posted: November 7, 2012 by Mike in Reviews

English: Mats Gustafsson, moers festival

English: Mats Gustafsson, moers festival (Photo credit: Wikipedia)

From Free Jazz:

Nicole Mitchell – Arc of O (Rogue Art, 2012) ****½
Job Irabagon’s Outright – Unhinged – (Irrabagast, 2012) ****½
I Don’t Hear Nothing But the Blues – Volume 2: Appalachian Haze (Irrabagast, 2012) ***½
Nicola Ratti – Streengs (Senufo Editions, 2012) ****
Black Music Disaster – Untitled (Thirsty Ear, 2012) ***½
Mats Gustafsson: Mats G plays Gullin (Sagittarius A-Star, 2012) ****
PascAli – Suspicious Activity (Creative Sources, 2012) ****
Bester Quartet: Metamorphoses (Tzadik, 2012) ****


Elliott Carter

Elliott Carter (Photo credit: ccho)

From NYTimes.com:

Mr. Carter died in Manhattan on Monday at 103, and it is impossible to overstate the significance of his astonishing longevity. Here was a towering contemporary composer enjoying a renewed burst of creativity that started in his 90s and kept him going almost to the end. Mr. Carter had long been a formidably complex modernist who never expected to win popularity with the general public. Many of his densely intricate and rhythmically pathbreaking pieces from the 1960s through the ’80s, the decades of his greatest influence, could confound musicians as well as audiences.

Jenny Q Chai at Le Poisson Rouge Reviewed

Posted: November 7, 2012 by Mike in Performances, Reviews

From NYTimes.com:

Ms. Chai opened her program with an atmospheric rendition of Satie’s “Three Gymnopédies,” followed by a thoughtfully conceived interpretation of Schoenberg’s Three Piano Pieces (Op. 11), about which the composer wrote that he had “no formal, architectural or other artistic intentions (except perhaps of capturing the mood of a poem), no aesthetic intentions.” Ms. Chai played two Scarlatti sonatas with a deft, light touch and concluded the first half of the program with the multilayered textures of “Innige Cavatina” by the Italian composer Marco Stroppa.