Archive for January 9, 2013


John Zorn (cropped version)

John Zorn (cropped version) (Photo credit: Wikipedia)

From Herald Scotland:

This Saturday, to celebrate his 60th birthday, the BBC Scottish Symphony Orchestra and their principal guest conductor Ilan Volkov devote an entire evening to the comparatively classical side of Zorn. Though he began composing in the 1970s, the programme focuses on music from the last couple of decades: there are two pieces from 1996 – Kol Nidre and Orchestra Variations; there’s a song for soprano and orchestra, La machine et de l’être, written in 2000; there’s the sprawling Aporias (1994), originally a 40-minute studio album for piano, children’s choir (here voices from St Mary’s Cathedral, Edinburgh) and orchestra; and there’s a new piece, suppôts et suppliciations, which has been specially commissioned by the BBC and receives its world premiere on Saturday.

The article also provides a nice profile of Zorn and his music.

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English: *description: Joe McPhee at the Empty...

A release from Decoy with Joe McPhee will be out soon, featuring Alexander Hawkins / Hammond B3, John Edwards / Double Bass, Steve Noble / Drums, Joe McPhee / Pocket Trumpet, Alto Sax.

Another review of the David S. Ware memorial concert is available.

Tomorrow at New York’s MOMA, the music of Tone Yasunao will be featured.

The Boston Modern Orchestra Project has two new releases: Paul Moravec: Northern Lights Electric and Thomas Oboe Lee: Six Concertos.

Interview with Mary Halvorson

Posted: January 9, 2013 by Mike in Interviews

English: Mary Halvorson with Tom Rainey and An...

English: Mary Halvorson with Tom Rainey and Anti-House at Club W71, Weikersheim. Deutsch: Mary Halvorson mit Tom Rainey und Anti-House im Club W71, Weikersheim. (Photo credit: Wikipedia)

From Spectrum Culture:

The New York Times has described guitarist Mary Halvorson as “an improviser of sly, beguiling logic” while the Wall Street Journal went on to declare Mary Halvorson “one of the most exciting and original guitarists in jazz.” Heady praise, indeed—and well deserved, as anyone who has heard her can attest. Halvorson regularly plays over 100 gigs a year in the U.S. and Europe and has built up an impressive discography over the past decade, totaling some 40 recordings in various configurations, including three widely acclaimed CDs under her own name for Firehouse 12. The most recent, Bending Bridges, features her usual quintet with Jonathan Finlayson on trumpet, Jon Irabagon on alto saxophone, John Hébert on bass and Ches Smith on drums—but a new septet recording with Ingrid Laubrock on saxophones and Jacob Garchik on trombone is due out next summer. I had an opportunity to chat with Ms. Halvorson before her quintet’s performance at the Wexner Center for the Arts at Ohio State University on December 1, 2012.

Touching Extremes Reviews

Posted: January 9, 2013 by Mike in Reviews

Rhodri Davies Singes Harp Parts

Rhodri Davies Singes Harp Parts (Photo credit: Mot)

From Touching Extremes:

Rhodri Davies – Wound Response
Chora(s)san Time-court Mirage – Live at the Grimm Museum Volume One
Gianni Mimmo / Daniel Levin – Turbulent Flow

Free Jazz Blog Reviews

Posted: January 9, 2013 by Mike in Reviews

Eivind Aarset at Moers Festival 2006, Germany

Eivind Aarset at Moers Festival 2006, Germany (Photo credit: Wikipedia)

From Free Jazz:

Ivo Perelman / Joe Morris / Gerald Cleaver – Living Jelly (Leo, 2012) ****½
Jooklo Danish Group – Mixture of Energies (Holiday Records, 2012) ****
Frank Rosaly – Centering And Displacement (Utech, 2012)****
Eivind Aarset – Dream Logic (ECM, 2012) ****
Peter Van Huffel’s Gorilla Mask – Howl! (Between the Lines, 2012) ***½
JD Allen Trio – The Matador and the Bull (Savant 2012) ***
John Butcher – Bell Trove Spools (Northern Spy, 2012) ***½


David S. Ware, A World Of Sound

David S. Ware, A World Of Sound (Photo credit: pheezy)

From NYTimes.com:

The memorial — organized by his manager and producer, Steven Joerg, and his widow, Setsuko S. Ware — was a bittersweet confirmation of his legacy, in words and images but especially in music. Inevitably, it felt like a satellite distillation of the Vision Festival, an annual gathering built around the aesthetic that Mr. Ware championed and the artistic circle (and core audience) that he helped galvanize. Free improvisation, strenuous and illuminated, plays a crucial role in that aesthetic, and so it did here. What immediately followed the slide show was a duet consisting of the drummer Muhammad Ali, who played with Mr. Ware in recent years, and the alto saxophonist Darius Jones, who studied his example. They began prayerfully and built to a superheated trance, Mr. Jones rushing columns of air through his horn.