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).
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).
TZADIK | PET BOTTLE NINGEN
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).
My 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.
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.
Corvo Records has released a split LP featuring sound artists Thorsten Soltau and Preslav Literary School.
Moonjune Records has a new release out from Boris Savoldelli titled Insanology.
Francois Carrier plays tonight at London’s Vortex (11 Gillett Square, London N16 8AZ).
William Parker’s Organ Quartet is reviewed.