Jemeel Moondoc Kickstarter

Jemeel Moondoc Studio Rivbea, NYC
Jemeel Moondoc Studio Rivbea, NYC (Photo credit: Wikipedia)

 

From Jemeel Moondoc:

 

I hope to be recording a new CD titled ‘THE ZOO KEEPER’S HOUSE’ this October 2013. This Kickstarter project was started specifically to raise funds, $3,400.00 to pay musicians for the recording session RelativePitch Records will cover to cost of the recording and all post production cost including distribution. However they will not pay musician fees for the recording session. This Kickstarter project will cover this short fall. Understanding the current economic situation and its effect on the recording business. especially in this small Avant-Garde Jazz market. This has become more typical than most people realize. The ‘ZOO KEEPER’S HOUSE’ will be a series of compositions by JEMEEL MOONDOC performed/recorded in a variety of group settings: a duo with bass and alto Sax, trio with bass, drums and alto sax, a quartet with bass, drums, soprano sax and trumpet. a quartet with bass, drums, alto sax and piano. a quintet with bass, drums trombone, trumpet and alto sax and a sextet with the traditional jazz rhythm section with trombone, trumpet and alto sax.

 

Willisau Jazz Festival

The Willisau Jazz Festival is underway with the following lineup:

August 28
LA SUITE
BRANDON ROSS “BLAZING BEAUTY”

August 29
BY LIVING LANTERNS
THIRD REEL

August 30
Donat FISH QUARTET
JOE HENRY

August 31
NELS CLINE & GREG SAUNIER
LUCIEN DUBUIS TRIO
August 31
ON KARL KARL
MARCUS GILMORE SPECIAL PROJECT FEAT. GRAHAM HAYNES

1 SEPT
SQUAKK
ANTHONY BRAXTON TRIO

August 30
VALUE MICHAEL MÜLLER SOLO

August 31
Fredy Studer SOLO

1 SEPT 11
JULIAN SOLO Sartorius

August 30
Evelinn TROUBLE

August 31
TUNICA dartos
ON THE ROAD

August 30
SWING DE PARIS

August 31
FISHING CREW ORCHESTRA

1 SEPT
BABA ROGA

August 29
WILLISAU AND ALL THAT JAZZ

Fifty Years of Electronic and Electroacoustic Music at the Ghent University

English: Karlheinz Stockhausen October 1994 in...

From Decoder Magazine:

The Belgian city of Ghent – now the country’s second-largest city – lies between Paris and Cologne. In 1963, some time after the formation of both the Cologne’s Studio for Electronic Music and the GRM, the Institute for Psychoacoustic and Electronic Music (IPEM) was formed at the Rijksuniversiteit Gent (RUG), with the help of Belgian Radio and Television (BRT). The studio was so named to represent its two purposes: scientific research and artistic discovery. Created to compete with the other public electroacoustic studios across Europe, the IPEM was devoted to the design and creation of electronic devices as well as the production of electronic and acousmatic compositions. In what can only be attributed to sheer coincidence, the IPEM was geographically located between the NWDR and the GRM, and it also freely employed the styles of both famous studios. In fact, an early composition produced by the first IPEM artistic director – Louis De Meester’s “Incantations” – freely combines concrète sound with electronically generated tones. The IPEM borrowed the best of both sound-worlds.

John Zorn Interviewed

English: John Zorn Français : John Zorn
English: John Zorn Français : John Zorn (Photo credit: Wikipedia)

A rare Zorn interview is available.

John Zorn’s East Village apartment is like his music: an exceptionally-concentrated, perfectly composed space celebrating the artistic experience. Thousands of records and tapes and CDs and books, well-ordered, each tug at the visitor’s elbow for attention. For many years, John Zorn — composer, performer, arranger, independent music distributor — has been a major voice in the musical avant-garde in America. Zorn, who recently celebrated his 60th birthday and lately has been performing in tributes to his career, has had a powerful and profound impact on contemporary music, particularly in the expression of the Jewish experience through music.