A review of Plays Braxton from the trio of Crispell, Dresser, and Hemingway is available.
Coming on July 1st is the Alumni Orchestra (Wesleyan) 2005, over 110 minutes of Braxton orchestral music recorded on December 9th, 2005, and beautifully mastered by Jon Rosenberg. The Alumni Orchestra was conducted by Anthony Braxton, Sabrina Schroeder, and Andrew Raffo Dewar, and included Pheeroan Aklaff, James Fei, Steve Lehman, Taylor Ho Bynum, Reut Regev, Aaron Siegel, Carl Testa, and many more (we will post the full personnel list on the product page). Free for monthly members, $11.99 on a la carte basis.
The Tribil Trio, made up of Sandro Carta on trumpet, Michele Spanghero on double bass and Marta Vigna on harp, create improvised music that draws its inspiration from recent avant garde art music for small ensembles. The juxtaposition of harp, double bass and trumpet is uncommon, but the use of brass with plucked and bowed strings allows the trio to explore intriguing contrasts in sound color and duration. Their self-titled release on the Ozkye netlabel consists of three tracks of various lengths, each of which offers a kind of polyphonic pointillism leavened with timbral experimentation. The approach is established immediately in Filicem, the release’s opening track, which features a low-frequency buzzing that could be prepared double bass and/or harp over which a long-toned melody floats. This is followed by Psycho Lullaby, an episodic, dirge-like piece in which the three instruments speak in their more conventional voices. The longest and final track, Rain on Mangroves, is a spacious piece that places a plaintive trumpet melody over bowed harmonics and stabs of the harp. These three efforts add up to a worthy experiment in blending disparate instrumental voices not usually heard alone together.
The last time Henry Grimes played at the Village Vanguard was in 1966 in Albert Ayler‘s group, w/ Albert and Donald Ayler, Call Cobbs, Michel Samson, Bill Folwell, and Beaver Harris, a booking set up by John Coltrane in support of Albert Ayler, whom he very much admired, and the live recording was also set up by John Coltrane, and Mr. Coltrane was in the audience. The recording is still available today on Impulse as “The Village Concerts” and on GRP/Impulse on CD as “Live In Greenwich Village: The Complete Impulse Recordings.”
Trevor Watts and Veryan Weston
Timucua white house
2000 S. Summerlin St., Orlando
7:30 pm, free admission, all ages welcome
One last shot at a CM5 concert and intensive summer improvisation fun before fall and winter beset us, folks. After five diverse and successful 2012 concerts (we saw them all, we get to judge) we’ve saved our most august and experienced crew for last. When a series of WPRK-FM concerts metamorphosed into the Civic Minded 5, a list of wannado artists of all stripes and varying degrees of obscuro-music fame emerged. On the more obscuro side was English pianist Veryan Weston; Cecil Taylor-ish pointillism fluidly merged with modern European classicalism. A few CM5ers have witnessed the diversity inherent in Trevor Watts’ delivery as a wind player in the boldly experimental London Jazz Composers Orchestra and the leader of his lilting, jazz-fused, African percussion-arrayed Moire Music Drum Orchestra. While an English duo composed of saxophone and piano doesn’t immediately bring finger-snapping, suburban Bohemianism to Central Floridians, we offer a far deeper affair. Watts and Weston remind us of the heartening emotionalism fused with the Cinemascope widening of the possibilities that emboldened the inhabitants of the 1960’s artist. Fast-forward to 2012, adding on decades of experiential episodes, Trevor Watts and Veryan Weston offer both their past and present.