The Squid’s Ear Reviews

Paul Dunmall

Paul Dunmall (Photo credit: Wikipedia)

From The Squid’s Ear:

Ingrid Lee – Mouth To Mouth (Another Timbre)
Paul Dunmall / Mark Hanslip / Philip Gibbs / Ed Ricart – Weeping Idols (FMR)
Thomas Heberer and Achim Kaufmann – Knoten (Red Toucan)
Various Artists – To Live and Shave in L.A. — The Grief That Shrieked to Multiply (Monotype)
Kristoff K. Roll / Daunik Lazro – Chants du Milieu (Creative Sources)

Free Jazz Blog Reviews

Myra Melford

Cover of Myra Melford

From Free Jazz:

Boots Brown – Dashes to Dashes (Häpna, 2014) ****
Kris Davis – Massive Threads (Thirsty Ear, 2013) ****
Myra Melford – Life Carries Me This Way (Firehouse 12, 2013) ****
Christine Wodrascka – Linéaire (Mr Morezon, 2013) ****
Matthew Shipp – Piano Sutras (Thirsty Ear, 2013) ****½
Pat Thomas – Al-Khwarizmi Variations (Fataka, 2013) ****
Joana Sá – Elogia Da Desordem (Shhpuma, 2013) ****
Otomo Yoshihide – Piano Solo (OTOroku, 2013) ***½
Johanna Borchert – Orchestre Idéal (WhyPlayJazz, 2012) ****
Marc Hannaford – Liminal (Marchon, 2013) ***½
Paul Bley – Play Blue – Oslo Concert (ECM, 2014) ***½
Umberto Petrin – Traces And Ghosts (Leo, 2014) ***½
Gianni Lenoci – Morton Feldman – For Bunita Marcus (1985) (Amirani, 2013) ****½
John Tilbury – Cornelius Cardew – Piano Music 1959-70 (Matchless, 2013) ****½
Eva-Maria Houben – Decay (Diafani, 2013) ****
Eva​-​Maria Houben – Piano Music – By R. Andrew Lee (Irritable Hedgehog, 2013) ****
Marcin Masecki – Scarlatti (ForTune, 2013) ***½
Pi-Hsien Chen – Changes (HatHut, 2013)
Michael Vincent Waller – Five Easy Pieces (Bandcamp, 2014)
Tracy Silverman and the Calder Quartet – Between the Kiss and the Chaos (Delos, 2014) ****½
Marco Eneidi – For Our Children (Botticelli, 2014) *****
Harry Miller: Different Times, Different Places (Ogun, 2013) ****½

Robert Ashley’s Work Lives On at the Whitney Biennial


Followers of Ashley’s work — a rich, edifying, idiosyncratic mix of directness and ambiguity, singsong vocals and complex technologies, the mythic and the mundane — know that a kind of preservative transformation has been mounting for a while. His oeuvre includes plenty of works created expressly for other performers and ensembles, but Ashley typically performed in his operas with a close-knit cadre of collaborators, including the vocalists Jacqueline Humbert, Joan La Barbara, Sam Ashley (the composer’s son) and Thomas Buckner, and the sound designer Tom Hamilton. Self-agency resulted in a canon of remarkable consistency, despite myriad topical concerns and a gradual evolution toward simpler surfaces and interpretive liberty.