The Free Jazz Collective Reviews

Source: The Free Jazz Collective.

Ken Ikeda & Eddie Prévost – The Whole Moon Rests in a Dewdrop on the Grass (Matchless, 2018) ****

Zach Rowden, Jarrett Gilgore & Ian McColm – First Lapse (Raw Tonk Records, 2019) ****

Anthony Braxton – GTM (Syntax) 2017 (New Braxton House, 2019) ***** (Part III)

Anthony Braxton – GTM (Syntax) 2017 (New Braxton House, 2019) ***** (Part II)

Anthony Braxton – GTM (Syntax) 2017 (New Braxton House, 2019) ***** (Part I)

Meet the Experimental Vocalists #3

New Music Dublin 2019 Reviewed

Source: I Care If You Listen.

The new music scene is, thus, very active and interconnected, and came together to celebrate this at New Music Dublin 2019 (Feb. 28-March 3). In some ways, it was the same as other new music festivals; however, as director John Harris noted in his welcoming remarks, “there is something exciting happening in Irish New Music,” and this festival celebrated that in full. There’s a critical mass of work by composers from Ireland making waves beyond the confines of the island—Jennifer Walshe and Ann Cleare are building huge international careers (Cleare was recently named recipient of the Ernst von Siemens prize), Donnacha Dennehy and the Dublin-based Crash Ensemble have become common names within the American scene, as have young composers including Amanda Feery, Finola Merivale, and Emma O’Halloran (who were instrumental in the beginnings of the #HearAllComposers campaign of 2017). But the fact remains that this is just the tip of the iceberg: contemporary music of all strokes is alive and well in Ireland, and New Music Dublin made every effort to proudly share this work.

AMN Reviews: Pita – 20190316 Lampo​@​The Graham Foundation, Chicago, IL (2019; Bandcamp)

The immediacy of the Internet age has its pros and cons. We are tempted to react online without thinking carefully, but we are also provided with information and media with a timeliness that was previously not possible. Case in point, Pita (Peter Rehberg who runs the Editions Mego label) performed a 45-minute set in Chicago on Saturday night and yesterday that recording was released.

Brought to town by the Lampo organization, Rehberg used a combination of analog and digital sources to provide dense layers of moody, crackling drones to an overflowing room of listeners. Pulsing, staccato waves combined with twisted feedback, booming low-frequency lines, and scratchy electronics. Sequenced themes occasionally emerge, lurching beneath distorted samples and sonic elements.  Rehberg manipulated these sources in real time, forming a structured improvisation on the spot with samples and effects as his instruments.

As is the often case with this uncategorizable style of music, the focus was on forms, shapes, and textures built organically from strata of sounds. Nonetheless, I was one of several people who left the performance convinced that this was one of the best shows that Lampo had put on in the last several years. And such praise does not come easy given the overall quality of these events.


AMN Reviews: Pareidolia – Selon le Vent [JACC Records JR035]

Selon le Vent, a set of two long improvisations from the trio Pareidolia, features music that maintains a creative opposition between conventional and extended techniques and consequently, between line and color. The two tracks—Himmelkino, which roughly translates as “Sky Cinema,” and Herzkino, or “Heart Cinema”—were recorded during a residence in Coimbra, Portugal in May and June 2016. The trio—violist João Camões, pianist Yves Arques and reedist Gabriel Lemaire—were joined by double bassist Alvaro Rosso on Herzkino. Perhaps as a result of this additional voice, the music in Herzkino takes on a sound quite different from Himmelkino. This latter piece is largely an exploration of pure timbre as fabricated by prepared and expansively played acoustic instruments. Herzkino, consistent with its title, seems by contrast to mimic a complex clash of affective states as it traces a long dynamic buildup of taut lines emerging from masses of sound, eventually finding release in eddying piano and a gently rhythmic coda. Whether as a trio or a quartet, the musicians display a high degree of synergy.

Daniel Barbiero

Chaya Czernowin in LA

Source: M.E.C.

8pm | Zipper Hall | The Colburn School

Robert Schumann – PIANO QUINTET in E-flat major, Op. 44
Chaya Czernowin – HIDDEN (West Coast premiere)

Of her new work for string quartet and electronics, composer Chaya Czernowin writes:

“HIDDEN is an attempt to get at what is hidden underneath expression or underneath music. It attempts to reach even further where there is a barely audible presence, which is on the edge of our perception. We do not know this presence, and it might be foreign, undecipherable. HIDDEN is a very slow-moving 45-minute experience transforming the ear into an eye. The ear is given space and time to observe and orient itself in the unpredictable aural landscape. It is an underwater, submerged landscape of rocks, inhabited by low vibrations which are felt rather than heard and with layers and layers of peeling away fog. Monolithic groups of sonic ‘rocks’ are seen/heard from various angles. The piece is about observation; it tries to trace/perceive/sense the emergence of expression.”

This piece, performed by the riveting JACK Quartet and IRCAM finds a perhaps unexpected historical companion in Robert Schumann’s transcendental Piano Quintet. Though the Schumann and Czernowin serve as archetypal works of the Romantic and High Modernist eras respectively, they both seem to employ sound as a means of yearning for something beyond.