Taran’s Free Jazz Hour Podcast 36/2011

From Taran’s Free Jazz Hour Podcast 36/2011:

relative pitch records
take your time: Vinny Golia (tenor, alto, soprano saxophones), Bobby Bradford (cornet), Ken Filiano (bass), Alex Cline (drums).

that overt object of desire: Joelle Leandre (bass), Phillip Greenlief (reeds).

intonema records
bewitched concert: Thomas Buckner, Edyta Fil, Ilia Belorukov, Alexey Lapin, Juho Laitinen.

nwjc | daniel ian smith
breaking news: new world jazz composers octet

live at the connexions gallery 3: Gary Hassay (alto sax, tibetan singing), Tatsuya Nakatani (percussion).

tactic: Gunnar Lettow (electric bass), Umut Çaglar (guitar, electronics).

vocuhila: Maxime Bobo (sax, keyboards), Etienne Zemniack (drums).

speed date: Deric Dickens (drums) duos with Matt Wilson, Ben Cohen, Kirk Knuffke, Jeff Lederer, Jon Crowley, and Jeremy Udden.

will redman | friends records
microkingdom: is a psychosonic curatorial adventure led by Dr. Will Redman (percussion) and Marc Miller (OXES) (guitar), and usually John Dierker (reeds).

pet bottle ningen: Dave Scanlon (guitar), Dave Miller (drums, percussion), Nonoko Yoshida (alto sax).

reciprocal uncles: Gianni Mimmo (soprano sax), Gianni Lenoci (piano).

bootstrap paradox: Alberto Collodel (clarinet), Alessio Faraon (trumpet), Davide Lorenzon (tenor, alto saxophones),? Ivan Pilat (baritone saxophone, trumpet, voice), Oreste Sabadin (clarinet).

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Interview with Orthrelm And Krallice’s Mick Barr

OrthrelmFrom Sound of the City:

Barr—whose dizzyingly gnarly six-string fingerfucks earned him an unrestricted grant from the Foundation for Contemporary Arts a few years back—is indeed in Brooklyn black metal wizards Krallice, and he’s also half of Orthrelm, the sole mastermind behind Octis and Ocrilim, and a veteran of stints with Weasel Walter‘s brilliant “brutal prog” freaks the Flying Luttenbachers. Among others.

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Dave Douglas: A Creative Consciousness

Dave DouglasMy friend, Dave Wayne, has interviewed Dave Douglas for All About Jazz:

Considering trumpeter Dave Douglas’ musical career, one word that comes to mind is “consistency.” Sure, he’s led a dizzying variety of bands playing in all sorts of styles. Yet, of the 30-odd recordings he’s led, not one veers from the central mission of presenting challenging, original jazz. An inveterate musical risk taker, Douglas has always led several different bands simultaneously. Back in the mid-1990s, he had Parallel Worlds, Tiny Bell Trio, and the Dave Douglas Sextet—each with different instrumentation and personnel, each playing its own book of all-original material. Not one to stay in one place too long, Douglas then formed Charms of the Night Sky (a drummer- less quintet with accordionist Guy Klucevsek), Sanctuary (a double quartet featuring two trumpeters, two samplers, two bassists, drums, and reeds), and a piano-less quartet. After signing a major label record deal in 2000, Douglas’ music became even more challenging, encompassing elements of electronica, fusion, post- bop, and various traditional ethnic musics.

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December 4, 2011
David Torn and David King, The Stone
David King David Torn Tim Berne

December 4, 2011
Goldfinger, The Stone
Ches Smith David Torn Tim Berne

December 3, 2011
Carl Michael von Hausswolff Solo, Issue Project Room
Carl Michael von Hausswolff

December 3, 2011
Ikue Mori & Ida Lunden, Issue Project Room
Ida Lunden Ikue Mori

December 3, 2011
Mats Gustafsson Solo, Issue Project Room
Mats Gustafsson

December 3, 2011
Mats Lindstrom & Anna Koch, Issue Project Room
Anna Koch Mats Lindstrom

December 3, 2011
The Skull Defekts, Issue Project Room
Asa Osborne C Spencer Yeh Daniel Higgs Henrik Rylander Joachim Nordwall

December 2, 2011
Harris Eisenstadt and Canada Day Octet, IBeam
Chris Dingman Dan Peck Garth Stevenson Harris Eisenstadt Jason Mears Matt Bauder Nate Wooley Ray Anderson

December 1, 2011
Berne Ducret Smith Mithcell play The Music of Marc Ducret, The Stone
Ches Smith Marc Ducret Matt Mitchell Tim Berne

December 1, 2011
Dan Weiss Marc Ducret and Tim Berne Trio, The Stone
Dan Weiss Marc Ducret Matt Mitchell Tim Berne

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AMN Reviews: Mural – Live at the Rothko Chapel

Mural: Live at the Rothko Chapel (Rothko Chapel Publications)

The Rothko Chapel in Houston, TX, is a space dedicated to nondenominational reflection with a hermetic ambience all its own. Standing in muted light, the visitor is situated in a largely empty and plain octagonal room defined on all sides by fourteen of painter Mark Rothko’s large, late-period paintings of dark earth-tones and purple-blacks. The sound on this release by Mural—guitarist/zitherist Kim Myhr, wind instrumentalist Jim Denley, and percussionist Ingar Zach—recorded at the Rothko Chapel in March 2010, is the perfect complement to the architecture and artwork that surrounded and inspired it.

In their day, Rothko’s paintings were often interpreted in terms of the then-fashionable existentialism of Sartre, Camus and Kierkegaard—that is, as depicting an inner grappling with the radical freedom arising from the necessity of one’s having to exist in the absence of a pre-given essence. Forty years after the artist’s death it is possible to see them as emptinesses the viewer has to fill—as invitations to introspection with no predetermined content. (In a sense they always were Rorschach tests of a sort.) The Rothko Chapel is conducive to this more recent view, and Myhr seems to see its paintings this way when he describes them as being “like resonant chambers… [or] pulsating spaces you can be in.” This is the starting point for Mural’s work as captured on this disc.

The CD contains one long track of finely nuanced sound. The timbres produced by the ensemble create contrasting colors which, much like the prototypical Rothko painting, are layered in varying tones and saturations. Pitch functions largely as a supplement to color rather than as an independent factor existing in its own right. All three musicians draw on a broad palette that, with the exception of an ebow on the zither, is entirely acoustic.

Zach’s gran cassa—a low-tuned drum–provides a dark undertone that serves as the foundation for the brighter colors of the winds and strings. Myhr’s guitar and zither provide a spectrum of effects ranging from percussive strikes to indeterminate chords strummed on open strings. Denley’s flute is often more revealing of the breath at the heart of it than of pitch, although at times it can sound thick with rounded tones. Sometimes a deep silence usurps the anchoring function of the gran cassa, offering a cleared ground out of which pitched percussion, strings and winds can emerge. The musicians’ work is subtle, creating an apt sonic portrait of the Rothko Chapel’s intimate, meditative atmosphere.


Morton Feldman at Bargemusic Reviewed

Morton FeldmanFrom NYTimes.com:

No performance of Feldman’s music, particularly the vast, placid expanses of his later pieces, is a task undertaken lightly. Mr. McMillen, who played the work at Bargemusic in July, had the measure of his surroundings. He brought a commendably tender touch to a score marked at extra-pianissimo and quieter; applied just the right amount of gauzy pedaled resonance; and coaxed an almost jazzy sway from some of the work’s repeating gestures.

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