AMN Reviews: Hard Rubber Orchestra – Iguana (2022; Redshift)

Hard Rubber Orchestra is an 18-piece big band that has been around for over 30 years, and Iguana is their first release since 2014. Consisting of five drummers / percussionists, bass, guitar, pianos, synth, cello, violin, voice, and a large horn section, the group produces a thick, dense sound with layered complexity.

The most striking piece on this album is the opener, Source Code. Composer / arranger Harry Stafylakis stated, “This piece is perhaps one of my most explicit attempts at writing contemporary progressive metal music for a non-metal ensemble.” Indeed, the heavy guitar riffs and intricate rhythms are compelling enough, but when combined with contrapuntal lines from the horn and string sections, Stafylakis takes it over the top. And, the track manages to avoid cliches of sounding like metal influences mere grafted on another style – the heaviness here is deeply integrated and a fundamental part of the composition.

Taking things in a different direction, James O’Callaghan’s a bilateral, a symmetry appears to be a pastiche of samples from a subset of the musicians. The result comes across as a blending of musique concrete and techno, with strong beats and rapid jump cuts. In further contrast, we have Peggy Lee’s Dissolver, which begins with an intense and mildly chaotic staccato horn pattern accompanied by a strained electric guitar theme. This evolves into a more conventional set of horn-driven structures.

The final three pieces are from group leader John Korsrud. The title track is a bouncy effort that is actually a reworking of a tune from 1992, with ascending melodic patterns and multiple percussionists. Eventually, its playful nature is somewhat tempered by an intense guitar / horn crescendo. From the Earth is best categorized as chamber music with a pastoral and wistful tone, played on just piano and horns. Rounding things out is Force Majeure, Korsrud’s first composition after the beginning of the pandemic. It is a tension-filled offering, again with multiple percussionists but also thick lines that merge and split apart into controlled disorder.

ATTN:Magazine Reviews

Source: ATTN:Magazine.

REVIEW: PHIL MAGUIRE – RAINSWEET STILLNESS
Near-silence as a conduit of catalyst for ecstatic sensory fullness.

REVIEW: SHOKO IGARASHI – SIMPLE SENTENCES
Charming, intricate electronics running on the liquid logic of jazz.

REVIEW: GEORGE RAYNER-LAW + VINEGAR TOM – OYSTER CARD
Subterranean commute cacphony, four minutes total.

Robert Fripp North American Speaking Tour 

Source: Exclaim!

This fall, Fripp and longtime production and business partner David Singleton — or as the tour billing dubs them, “That Awful Man and His Manager” — will embark on a 16-date trek around North America this September and October.

09/16 Toronto, ON – The Royal
09/17 Montreal, ON – Club Soda
09/18 Quebec City, QC – Imperial Bell
09/19 Syracuse, NY – Carrier Theater
09/21 Ridgefield, CT – Ridgefield Playhouse
09/22 Boston, MA – City Winery
09/23 New York, NY – City Winery
09/24 Albany, NY – Swyer Room
09/27 Red Bank, NJ – The Vogel
09/28 Philadelphia, PA – City Winery
09/30 Washington, DC – City Winery
10/01 Annapolis, MD – Ram’s Head Live
10/02 Oakmont, PA – Oaks Theater
10/05 Cleveland, OH – Music Box Supper Club
10/08 Milwaukee, WI – Wilson Theater-Marcus Center
10/09 Chicago, IL – City Winery

AMN Reviews: Amanda Irarrázabal & gabby fluke-mogul – RAYAS (2022; Bandcamp)

Experimentalists Amanda Irarrázabal (bass, vocals) and gabby fluke-mogul (violin, vocals) team up for the first time on this 2021 live recording from New York’s IBeam venue. Those familiar with fluke-mogul will find much to like here, as their signature form of relentless and gritty free improv is on display. Irarrázabal is a fitting partner for these efforts, as the focus is on creating unpredictable sequences of sound expression from their instruments rather than any reliance on melody or song per se.

Consisting of four tracks each about 10 minutes in length, this unorthodox duo employs generous extended techniques that involve scraping, sawing, scratching, and evoking percussive elements. And they do so at a brisk pace, moving from idea to idea before any wears out its welcome. The result is harsh and textural but exhibits an unusual beauty. As a result, RAYAS is extemporaneous brain candy of the highest form, with dense clusters of bent notes and patternless progressions. Highly recommended.

Henry Threadgill’s Zooid and Anthony Braxton to Appear at the London Jazz Festival

Source: EFG London Jazz Festival 2022.

Composer and woodwind player, Henry Threadgill has been at the forefront of creative improvised music throughout his 40-year-long career leading cutting-edge ensembles. He is only one of three jazz musicians to have been awarded a Pulitzer Prize for In For A Penny, In For A Pound – the latest album by Zooid, his unconventional quintet (reeds, acoustic guitar, cello, tuba, drums) who he performs with in his first London appearance in a decade.

Meanwhile free jazz musician and woodwind improviser and composer, Anthony Braxton is a tireless experimenter in music. He was the first to record an entire album of unaccompanied saxophone music (For Alto, 1968) and has engaged in nearly every conceivable area of creativity throughout his career. For his appearance at the Barbican he will be performing with his New Acoustic Quartet with bassist and multi-instrumentalist Carl Testa, drummer Maria Portugal and trumpeter Susana Santos Silva.

Coming to New York

Source: Downtown Music Gallery.

THE DMG 31st ANNIVERSARY IN-STORE PERFORMANCE CELEBRATION CONTINUES with:

Tuesday, June 28th:
6:30: T.J. BORDEN / BRANDON LOPEZ / JAMES McKAIN / JOEY SULLIVAN – Cello / Bass / Sax / Drums
7:30: CAMILO ANGELES / LAURA COCKS – Flute Duo

Tuesday, July 5, 2022:
6:30: HERY PAZ / NATE WOOLEY / TOM RAINEY!
7:30: HENRY FRASER / CLEEK SCHREY!
8:30: TONED with LEO SUAREZ / NATHAN CORDER / TOM WEEKS!