Seattle Scene: May 25 – June 2, 2018

Lou Harrison

From Seattle’s Wayward Music Series:

WAYWARD MUSIC SERIES

Chapel Performance Space at Good Shepherd Center

4th Floor, 4649 Sunnyside Ave. N, Seattle 98103 (corner N 50th St. in Wallingford)

Every month, Nonsequitur and a community of like-minded presenters and artists offer ten concerts of adventurous music in an informal yet respectful all-ages setting: contemporary classical, free improvisation, the outer limits of jazz, electronic music, microtonal/new instruments, sound art, and other extraordinary sonic experiences.

Inverted Space: Cimbalom & Beyond
Fri. May 25, 8 PM; $5 – $15 donation at door

Inverted Space Ensemble presents works that feature the Cimbalom and Beyond. The concert will feature works by György Kurtág for the cimbalom, including Scenes From A Novel, Lou Harrison’s Music for Violin and Various Instruments, European, Asian, and African, and James Tenney’s Quintext, which pays homage to many of Tenney’s influences, including Morton Feldman and Harry Partch.

Daniel Webbon
Tue. May 29, 8 PM; $5 – $15 donation at door

Daniel Webbon presents recent works for piano and voice, solo flute, string quartet, and a collaboration between drummer Matt Carr and dancer Alethea Alexander. The evening will conclude with the premier of Daniel’s most recent work, This vast southern empire, a sprawling improvisational score for mixed ensemble and voice that draws on academic and historical texts dealing with Southern reconstruction and identity.

Christian Asplund & Melissa Heath
Thu. May 31, 8 PM; $5 – $15 donation at door

Melissa Heath and Christian Asplund perform an eclectic mix of works for soprano with piano and viola. The program includes mysteriously lyrical songs by Ligeti and Lutoslawski, an early cycle by Messiaen, characteristically laconic selections from Webern’s Op. 12 cycle, works by Cage and Ives, a Javanese tinged-song by Jarrad Powell, and a characteristically eclectic mini-opera by Asplund.

FRI. 6/1 – Kestrel + LA LUNGS + Blessed Blood + Kole Galbraith/Matt Pollack

SAT. 6/2 – Gift Tapes/DRAFT presents electronic music by Arun Chandra and Scott Goodwin

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The Free Jazz Collective Reviews

Français : Andrzej Przybielski

Source: The Free Jazz Collective.

Dave Holland, Evan Parker, Craig Taborn, and Ches Smith – Uncharted Territories (Dare2 Records, 2018) *****

Dinosaur – Wonder Trail (Edition, 2018) ****

Didi Kern & Philipp Quehenberger – Linz (Shameless, 2018) ***½

Mats Gustafsson & Didi Kern – Marvel Motor (Rock is Hell Records, 2018) ****

Dave Liebman & Joe Lovano – Compassion – The Music Of John Coltrane (Resonance Records, 2017)

Sky Music – A Tribute To Terje Rypdal (Rune Grammofon, 2017)

Various Artists – Celebrate Ornette (Song X Records, 2017)

Various Artists – Tribute To Andrzej Przybielski Vol. 1 (Jazz Poznan, 2016)

Big Bold Back Bone – Emerge (Wide Ear Records, 2018) ****

Samuel Blaser with Marc Ducret & Peter Brunn – Taktlos Zürich 2017 (Hatology, 2018) ****½

Sons of Kemet – Your Queen Is A Reptile (Impulse, 2018) ****

Sonar with David Torn – Vortex (RareNoiseRecords, 2018) ****

Clean Feed Records News Releases

Marty Ehrlich

Source: Clean Feed Records.

Caterina Palazzi – Sudoku Killer – ASPERGER

Fake Humans – EXEGESIS

Sean Conly – HARD KNOCKS

Lynn Cassiers – IMAGINARY BAND

Alberto Pinton Noi Siamo – OPUS FACERE

Angles 3 – PAREDE

CP Unit – SILVER BULLET IN THE AUTUMN OF YOUR YEARS

Rafael Toral – SPACE QUARTET

Chrome Hill – THE EXPLORER

Scott Clark – TONOW

Honest John with Ab Baars – TREEM

Marty Ehrlich – TRIO EXALTATION

Lana Trio – WITH SOFIA JERNBERG

Bob Lord of Parma Recordings Interviewed

Source: I Care If You Listen.

PARMA Recordings CEO Bob Lord is a producer, composer, and bassist. Founded on the notion that the various services a record company can offer composers could be usefully consolidated under a single roof, PARMA’s labels include Navona Records, Ravello Records, Big Round Records, and Ansonica Records. On the occasion of PARMA’s tenth birthday, we’ve asked Bob five questions about the state of contemporary music on record today.

AMN Reviews: FIMAV 34 – Sunday Performances

By IRWIN BLOCK

VICTORIAVILLE, Que. – With her bass clarinet, Lori Freedman tells stories and evokes emotion in a unique, highly personal way and that is what an early afternoon audience heard in a loving and well-planned solo performance on the fourth and final day of concerts at this town’s Festival international de musique actuelle. Improvising on her own compositions and those written for her, there is a playful and mischievous aspect to her music, reflecting humanity and wonderment as she plays her clarinets in unconventional ways, evoking sounds as a sculptor works clay. Freedman breathes and whispers sounds as she creates textures, vocalizing now and then, or tapping the keys to create a sound without blowing into the mouthpiece, or simply removing the mouthpiece and using it as an instrument, exploiting its unique timbre. Freedman’s performance is planned with plenty of room to improvise and communicate with her audience as they become part of her aural universe. The century-old St. Christophe Roman Catholic church was an ideal setting, with its ceiling frescoes, gilded columns, and natural light pouring in from neo-classical stained-glass windows along the nave, where she played her final notes.

In contrast with the subtlety and nuances of the solo clarinet, the mid-afternoon concert brought together three powerhouse players in a Noise session: Danish alto saxophonist Mette Rasmussen, Toshimaru Nakamura, with his no-input mixing board (using feedback without any synthesizer), and Martin Taxt on C microtonal tuba. It was a supercharged performance with Nakamura and Taxt providing a dense textural canvas and Rasmussen soaring above it with her powerful alto. She can make her instrument talk and draws from it an unforgettable burnished tone. Beyond the wall of sound, we heard subtlety in Taxt’s tuba, half and quarter tones that nuanced this high-volume, high energy trip.

The later afternoon show was called Breadwoman – performance art conceived by American vocalist Anna Homler, with dancer Maya Gingery. and Jorge Martin at the analogue synthesizer. As Homler chanted mysterious-sounding melodies with words from some unknown language of her own creation, the veiled Gingery walked on stage like an apparition from another world, her face covered in a weird mask that looked like folds of bread, slowly moving to sit down, then got up and eyed what look like loaves of bread sitting on tables in front of the other performers. It all happened in slow motion and toward the end, she took one rounded loaf, grabbed chunks of it and dropped the contents on the floor – which turned out to be feathers. It’s a weird world filled with dream-like and moody music, and the audience is expected to figure out what it all means. I’m still working on it.

The big evening concert at the downtown auditorium was another curio. It was called Phurpa, the brainchild of Russian musician Alexey Tegin, who emerged from the Russian industrial music scene to discover and become a devotee of bön, a pre-Buddhist tradition from Tibet where practitioners enter a quasi-religious and meditative state by low and rumbling chanting. Among fans were those who follow sledge metal. With Daniil Zotov and Dmitry Globa-Mikhaylenko, all veiled and wearing conical hats and Tibetan cloaks, they entered the stage and sat on the floor, chanting, with heavy amplification, burning incense, and sipping tea, then started playing traditional Tibetan horns, which emit similar extremely low-register rumbling sounds. They added clanging sounds from various pots, gongs, and shorter higher-pitched horns, the entire show framed by continuous rumbling sounds from loops. We’re left to make meaning from it all.

The last show was a powerhouse noise outing featuring Sweden’s Mats Gustafsson on baritone saxophone and electronica, Hungarian drummer Balázs Pándi, and Japan’s black-clad Merzbow on computer and electronica. The first piece consisted of 50 intense minutes, at times surprisingly varied in texture and tone. In the ten-minute follow-up, Gustafsson switched to tenor sax with a solo that morphed into intense unison playing. There was no call for an encore.

In his festival post-mortem, artistic director and general manager, Michel Levasseur, said he was happy with the festival’s content and ticket sales, about five per cent above last year’s total.

irblock@hotmail.com