5 Questions to James Falzone


From I Care If You Listen:

Chicago-based James Falzone is a composer, clarinetist, and educator. He recently founded the Renga Ensemble, which features six highly regarded avant garde reed players: James on Bb and Eb clarinets; Ken Vandermark on Bb clarinet, bass clarinet, baritone saxophone; Keefe Jackson on tenor saxophone, bass clarinet, contra Bb bass clarinet; Jason Stein on bass clarinet, Ben Goldberg on Bb clarinet, contra Eb alto clarinet; and Ned Rothenberg on Bb clarinet, alto saxophone, and shakuhachi. On the eve of the release of the group’s debut recording, The Room Is, and subsequent tour, we talked to James about what makes him and his music tick.

Issue 3 of Surround is Out


Surround focuses on creative and improvised music. Issue 3 contains the following:

Editor’s Note
By Mark Flaum

Lo and Behold! The Basement Tapes
By Matt Krefting

Membrane – Window – Mirror (The folded worlds of Toshiya Tsunoda)
By Michael Pisaro

“Two tones walk into a bar…” Arek Gulbenkoglu
By Jon Dale

Memorable
By C. Spencer Yeh

Memorable
By Dominic Lash

The ErstWand Series Composition of Time, Absence of Place
By Marc Medwin

“Well, it could be interesting to create a label.” Jacques Oger of Potlatch Records
By Brian Olewnick

Ecology and Phonography in the Expanded Field, Walter De Maria as Recording Artist
By Charles Eppley

Muhal Richard Abrams Interview


English: Muhal Richard Abrams, moers festival 2009

Muhal Richard Abrams

From Chicago Tonight:

How did the Association for the Advancement of Creative Musicians originate?

It was a natural progression of musicians doing their thing and working, and the AACM was to do it in a certain way. It was just a continuation of what musicians do. We’re functioning as musicians and decided to make a formal setting for it. Musicians function as individuals, and we just came together to compose and perform original music, and that is the music that would come from the members of AACM.

Moppa Elliott Interview


This is a few months old, but relevant as Elliott’s band is on tour…from PopMatters:

Mostly Other People Do the Killing‘s new album Blue is a note-for-note re-creation of Miles Davis’ classic 1959 recording, Kind of Blue. The audacious project, first conceived by Moppa Elliott and Peter Evans in 2002, intends to challenge the way people listen to jazz. By transcribing and recording what is arguably the greatest jazz album of all time, Mostly Other People Do the Killing affirms the greatness of the original while questioning the direction of jazz in the 21st century. The thought-experiment-cum-album forces to listener to examine what makes jazz actually jazz and brings the non-notatable elements music to the foreground: timbre, articulation and the ineffable nature of tone and feel.

Vijay Iyer Interview


From Oregon Music News:

It’s what draws us in and ultimately makes us willing travelers on his journey. Vijay Iyer offers a brilliant, unexpected, filled with surprise, tenderness and often aching beauty in his approach and execution. Not just in the music but in everything he takes on. You can see him at the 2015 Portland Jazz Festival on Friday, February 20 at the Winningstad Theater.

The Curious Case Of Kew. Rhone. and Peter Blegvad


From The Quietus:

This is Andy Gill, the music critic rather than the Gang of Four guitarist, writing in the NME on 23 April 1977: “It is completely utterly unlike any other album you’re likely to come across. Ever.” He’s talking about Kew. Rhone. And he’s right. The album didn’t exactly establish a year zero; it didn’t try to. But in terms of wiping clean the musical slate, it knocks spots off Never Mind The Bollocks. And yet Kew. Rhone. is not punk at all. It’s closer to an avant-garde musical.

Matana Roberts Interview


From Tiny Mix Tapes:

When we last spoke with Matana Roberts, she had just finished work on Chapter 2 of her mesmerizing Coin Coin series. The albums that make up this exceptionally broad, yet focused work permit the Brooklyn-based saxophonist to meld her interests in American history and oral tradition to her passion for ancestry. Roberts is a prolific artist who works across mediums and techniques; her latest album and third chapter in the Coin Coin series, river run thee, is a dizzyingly complex solo effort that explores alternate methods of recording and processing sound. It’s a superb addition, and quite possibly her most personal release to date — for not only has the work got Roberts thinking about how a solo album might be received, but it also compliments her new living space, rocking back and forth on the waves of the North Atlantic.