RIP Bebe Barron

A pioneer in electronic music has passed on.

Louis (1920–1989) and Bebe Barron (1925–2008) were two American pioneers in the field of electronic music. They are credited with writing the first electronic music for magnetic tape, and the first entirely electronic film score for Forbidden Planet.

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Free Jazz Blog Reviews

From Free Jazz:

Thursday, April 24, 2008
Paul Dunmall/Trevor Taylor/Paul Rogers – Zoochosis (FMR, 2006) ****

Tuesday, April 22, 2008
Fieldwork – Door (Pi Recordings, 2008) ****
Vijay Iyer – Tragicomic (Sunnyside, 2008) ****½
Los Dorados – Incendio (Intolerancia, 2008) ***½

Monday, April 21, 2008
Francesco Bearzatti Tinissima Quartet – Suite For Tina Modotti (Parco Della Musica, 2008) ****½

Sunday, April 20, 2008
Steve Moore – Stebmo (Self Published, 2008) ****

Jazz Listings From The New York Times

Jazz in the Times:

BILLY BANG QUARTET (Saturday) The well-traveled violinist Billy Bang favors astringency and formal tension, qualities that come naturally to his band mates: the pianist Andrew Bemkey, the bassist Todd Nicholson and the drummer Newman Taylor Baker. At 8 and 10 p.m., Creole Restaurant, 2167 Third Avenue, at 118th Street, East Harlem, (212) 876-8838, creolenyc.com; cover, $20. (Chinen)

BEYONDO (Friday and Thursday) Eric Biondo, best known in some circles as a trumpeter with the Antibalas Afrobeat Orchestra, has long been making oddly arresting music as a singer-songwriter. He indulges that interest best with colleagues like the violinist Caleb Burhans and the bassist Rob Jost, two of the seven sidemen here. Friday at 9 and 10:30 p.m., Tea Lounge, 837 Union Street, between Sixth and Seventh Avenues, Park Slope, Brooklyn, (718) 789-2762, tealoungeny.com; suggested donation, $5. Thursday at 11 p.m., Spike Hill, 184 Bedford Avenue, at North Seventh Street, Williamsburg, Brooklyn, (718) 218-9737, spikehill.com; no cover. (Chinen)

★ CRYPTONIGHTS (Friday through Sunday) This mini-festival of artists on the Cryptogramophone label concludes with smartly exploratory groups led by the drummer Scott Amendola (Friday at 7:30 p.m.); the guitarist Nels Cline (Friday at 9:30 and 11:30 p.m.); and the pianist Myra Melford with the clarinetist Ben Goldberg (Saturday at 7:30 p.m.). Also on tap is the working quintet of the well-traveled multireedist Bennie Maupin, promoting a shadowy new album, “Early Reflections” (Saturday at 9:30 and 11:30 p.m.; Sunday at 7:30 and 9:30 p.m.). Jazz Standard, 116 East 27th Street, Manhattan, (212) 576-2232, jazzstandard.net; cover, Friday and Saturday, $30; Sunday, $25. (Chinen)

DIFFERENT DRUMMERS: DAFNIS PRIETO/BILLY MARTIN (Monday) As the title implies, this concert spotlights two percussive bandleaders, each with a distinct approach. Mr. Prieto, an adventurous Cuban drummer and composer, presides over his dynamic Absolute Quintet; Mr. Martin, of Medeski Martin & Wood renown, presents IOOi, his new-music ensemble with D.J. Olive, the electronic artist Ikue Mori and the cellist Okkyung Lee. At 8 p.m., Merkin Concert Hall, 129 West 67th Street, (212) 501-3330, kaufman-center.org; $25 in advance, $30 at the door.

FREESTYLE JAZZ (Sunday) The bassist Joe Fonda claims the prime slot here (9 p.m.) with his free-improvising Nu Band, featuring Roy Campbell on trumpet, Mark Whitecage on saxophones and Lou Grassi on drums. The preceding slot (at 7) will go to a trio led by the young saxophonist Dan Blake. Jimmy’s, 43 East Seventh Street, East Village, (212) 982-3006, freestylejazz.com; cover, $10, with a one-drink minimum. (Chinen)

DAVID MURRAY BLACK SAINT QUARTET (Wednesday and Thursday) A spirited, sometimes blustery tenor saxophonist, David Murray draws here from his politically charged recent album, “Sacred Ground” (JustinTime). Along with his regular pianist, Lafayette Gilchrist, he works with the drummer Malik Washington and the bassist Jaribu Shahid. (Through May 3.) At 8:30 and 11 p.m., Birdland, 315 West 44th Street, Clinton, (212) 581-3080, birdlandjazz.com; cover, $30 and $40, with a $10 minimum. (Chinen)

BOBBY PREVITE AND THE NEW BUMP (Thursday) Marking the release of an atmospherically groovy new album, “Set the Alarm for Monday” (Palmetto), the drummer Bobby Previte reconvenes the core of its versatile cast: the tenor saxophonist Ellery Eskelin, the vibraphonist Bill Ware and the bassist Brad Jones. At 9 and 10:30 p.m., Tea Lounge, 837 Union Street, near Sixth Avenue, Park Slope, Brooklyn, (718) 789-2762, tealoungeny.com; suggested donation, $5. (Chinen)

★ TYFT (Wednesday) This adventurous trio — the guitarist Hilmar Jenssen, the alto saxophonist and bass clarinetist Andrew D’Angelo and the drummer Jim Black — fashions a roughly contoured music out of grainy texture and surging propulsion. The group’s appearance here is especially notable for the participation of Mr. D’Angelo, who has been waging a very public battle with a brain tumor. At 10 p.m., the Stone, Avenue C and Second Street, East Village, thestonenyc.com; cover, $10. (Chinen)

★ JOHN ZORN’S COBRA (Tuesday) Among the many compositions introduced to the world by John Zorn, few have been attacked more often or with greater relish than “Cobra,” a flexible conundrum often described in terms suggestive of a game. Mr. Zorn presides over the piece here in a benefit for the arts space Roulette, with a large group of nimble improvisers like the violinist Mark Feldman, the electronic programmer Ikue Mori and the trombonist Jim Staley. At 8:30 p.m., Roulette, 20 Greene Street, at Grand Street, SoHo, (212) 219-8242, roulette.org; $20.

May at Roulette

From New York’s Roulette:

Thursday, May 1st @ 8:30pm
ANASTASIYA OSIPOVA w/ TWISTYCAT

Friday, May 2nd @ 8:30pm
REUBEN RADDING STRING QUARTET

Saturday, May 3rd @ 8:30pm
BROWN WING OVERDRIVE

Sunday, May 4th @ 8:30pm
LENORE VON STEIN

Thursday, May 8th @ 8:30pm
SYLVIE COURVOISIER ³LONELYVILLE² feat Ikue Mori, Mark Feldman, Vincent
Courtois and Gerald Cleaver

Friday, May 9th @ 8:30pm
HA-YANG KIM new chamber work (Van Lier Fellowship)

Saturday, May 10th @ 8:30pm
ERIK FRIEDLANDER

Sunday, May 11th @ 8:30pm
JANE RIGLER w/ c forth, S Nagai, A Waterman, Vodstrup

Monday, May 12th @ 8:30pm
CARL MAGUIRE w/ FLORICULTURE

Friday, May 16th @ 8:30pm
JEN SHYU w/ Mat Maneri, Jennifer Choi, Thomas Morgan, Miles Okazaki, Rubin
Kodheli, Satoshi Haga

Saturday, May 17th @ 8:30pm
TOTEM: Bruce Eisenbeil + Tom Blancarte + Andrew Drury

Sunday, May 18th @ 8:30pm
ANDREA PARKINS: Ob-jest, the jettisoned

Thursday, May 22nd @ 8:30pm
TYSHAWN SOREY (Jerome Foundation and Van Lier Fellowship)

Friday, May 23rd @ 8:30pm
CHRIS TIGNOR (Jerome Foundation)

Thursday, May 29th @ 8:30pm
TANYA KALMANOVITCH + MYRA MELFORD

Friday, May 30th @ 8:30pm
ZELJKO MCMULLEN / DORON SADJA

Saturday, May 31st @ 8:30pm
ZEENA PARKINS ³the earth on three whales²

New From HatHut Records

Upcoming new material and reissues from HatHut:

hatOLOGY 641
Steve Lantner Trio
What You Can Throw

Total time 55:18, DDD, Barcode: 752156064121

I’m still surprised when I hear new jazz, and Steve Lantner plays it, reconstituting and reinventing the tradition. First hearing this trio, you’ll be struck by its sheer kinetic joy, its ability to swing and to drive in ways that are central to jazz, without simply repeating some specific events in that tradition. The opening of Joe Morris’s New Routine has a collective lope rarely achieved, an off-hand and offkilter movement that is immediate and reaches across time. — Stuart Broomer

hatOLOGY 646
Theo Jörgensmann & Oles´ Brothers
Alchemia

Total time 57:58, DDD, Barcode: 752156064626

Perhaps surprisingly for a conceptualist like Jörgensmann, «straightahead» jazzers Tony Scott and Buddy De Franco now seem even more relevant to our updated perception of Alchemia. Both were powerful clarinetists who brought idiosyncratic phrasing and a harmonic bite to solos that balanced on the cusp of freedom. The most impressive aspect of Alchemia, to my ears, is the trio’s ecstatic, elastic freedom of line and design. Fluid internal tempo changes create spontaneous shapes and intensify momentum, as the three push up against and out of alignment with each other. In moments of nearly transparent texture, their lines hover and revolve like figures in a Calder mobile, but as energy levels rise they thicken and tumble in responsive friction. In the manner of Scott and De Franco, Jörgensmann employs remarkable speed, facility, and inventiveness to escape the suggestion of bar lines as indications of time, while avoiding bop clichés attached to the implied harmonies. Alchemia is aptly titled—the process of transforming something common into something precious is audible in every choice, every gesture, every move the trio makes. — Art Lange

hatOLOGY 649
Paul Bley
12 (+6) In A Row

Total time 59:08, DDD, Barcode: 752156064923

As in any improvised music, there are challenges accepted, risks taken. Bley himself has suggested, as a measure of the success of free spontaneous music, asking «Is it eventful?» The next step, I propose, would be to ask oneself if each event is meaningful? (with the understanding that each listener will apply his/her own definition of that word to their personal response). For me, the music on this disc is beautiful, humorous, provocative, confusing, even at times elegiac. All of which makes it undeniably human, and worth sharing. — Art Lange

hatOLOGY 650
John Zorn
George Lewis
Bill Frisell
News For Lulu

Total time 78:12, DDD, Barcode: 752156065029

The trio’s selection of material was not only inspired by musical considerations, but to rattle a few historical perspectives—to introduce, or reacquaint, an audience with distinctive compositions that had undeservedly been lost in the cracks of time. Of course, once chosen, the next, necessary, step was even more difficult and decisive—to play them. And there is a sense of play in the trio’s attack, a joy that emerges from confidence, commitment, and freedom. — Art Lange

hatOLOGY 651
Russ Lossing
John Hebert
Line Up

Total time 55:43, DDD, Barcode: 752156065128

It’s a rich and varied tradition in which Lossing and Hebert locate themselves, and their duets are both an incidental celebration of the tradition and a commemoration of their working partnership. John Hebert remarks of these duos, «This was a project that we put together as a document of years of playing together in various ensembles. I have known and played with Russ for just about 10 years now, and there aren’t too many musicians that I have such a unique bond with.» Russ Lossing adds, «John and I have developed a very close musical kinship, and friendship too. So, finally we recorded the duo after years of talking about it.» The relationship is apparent in all the ways Lossing and Hebert find to both interact and prod one another here, and the special ways they find to contrast their instrumental voices, from the fleet evenness of Lossing’s piano to the gritty expressiveness of Hebert’s bass. — Stuart Broomer

hatOLOGY 652
Pandelis Karayorgis
Nate McBride
Curt Newton
Betwixt

Total time 65:45, DDD, Barcode: 752156065227

Over the course of nearly 20 years and approximately that many recordings, Karayorgis has established himself as one of the singular, and significant, pianists of his generation. One of his trademarks has been to examine and illuminate the irregular edges of the jazz piano repertoire, as he does here … along with original pieces that venture into peripheral terrain. But there’s an unexpected ingredient in the mix of Betwixt—his choice of instrument. — Art Lange

hatOLOGY 653
Daniel Levin Quartet
Blurry

Total time 59:49, DDD, Barcode: 752156065326

For anyone hearing the Daniel Levin Quartet for the first time, there’s apt to be a dual response, a sense of something at once familiar and very different, a sound in which chamber music sonorities promise an unexpected emotional possibility, an invocation of something lost that is also an intimation of what is to come.
The cumulative effect of the quartet’s music is particularly vivid, as if its vocabulary of precise timbres is gleaned from the density of our past listening, as if high frequencies previously consumed by cymbals have been restored to us. It seems to operate on a principle of exchange in which all those things formerly adjudged hot and cool in the jazz tradition have temporarily traded identities. — Stuart Broomer

hatOLOGY 654
David Liebman & Ellery Eskelin
Renewal

Total time 62:26, DDD, Barcode: 752156065425

There is a common understanding that we all share of freedom and spontaneity framed within underlying structures accompanied by a loving nod to the jazz legacy. The compositions heard on this CD evidence a diversity of idioms and styles unified by a common aesthetical approach. This is a group where straight ahead and free jazz clearly intersect with a feeling of immediacy and urgency that is palpable. Enjoy the music. — David Liebman

We covered a lot of ground on Different But The Same (hatOLOGY 615) but due to the fact that Tony and Jim are now contributing compositions I think Renewal has even more scope and is a more personal statement from the group. Tony’s «Palpable Clock» is a ten bar blues and Jim’s «Cha» is a melodic essay written in 7/4. Dave’s «Dimi and the Blue Men” reflects his recent trip to Mauritania while «Renewal» is one of his signature deep ballads. Of my own pieces, «The Decider» is a multi-sectioned composition while «Instant Counterpoint« begs the question of whether it is written or completely improvised. Even I don’t know for sure. — Ellery Eskelin

hatOLOGY 656
Matthew Shipp Trio
The Multiplication Table

Total time 60:47, DDD, Barcode: 752156065623

Shipp’s music displays his own thought processes, and in trio lays out a physical trail reflecting the way the three players think along with each other. Following those thoughts leads us deep into a new jazz style that has sprung, like Athena from the brow of Zeus, out of the body of jazz preceding it. The new relative in the family looks fine already, and seems likely in the future to astonish us with further mighty feats. — Steve Holtje

hatOLOGY 659
Manuel Mengis Gruppe 6
The Pond

Total time 53:33, DDD, Barcode: 752156065920

When Manuel Mengis’ debut disk Into the Barn came out in late 2005, it took listeners by surprise. Here was a triple storm: strong instrumentalists, killer compositions, and the kind of tight ensemble playing that only comes from loads of time working things out together. Mengis and his Gruppe 6 delivered a combination of post-Bop acumen and rollicking audacity with a wily ability to blur the lines between compositional form and intrepid improvisation … Two and a half years have gone by, and finally the young Swiss trumpet player and his musical partners are back with a resplendent follow-up. Mengis has never been one to rush things … So dig in to this arresting follow-up. Let’s hope that we don’t have to wait another three years to hear from Gruppe 6 again. But rest assured that Mengis will take his time, planning out his next moves and executing them with the resolve and inventiveness that stamps this music as truly original. And that sort of measured deliberation is something that is all too rare these days. — Michael Rosenstein