John Zorn At The Met Reviewed

John Zorn / Bill Laswell / Milford Graves

From The Quietus:

John Zorn, wearing an alto sax around his neck, is staring at Jackson Pollock’s Autumn Rhythm (No. 30) as if unaware that we’re all staring at him. Sixty or so people – some cross-legged on the floor, some standing, all reverentially quiet – fill the Metropolitan Museum of Art’s Gallery 921. Next to Zorn is a Rothko and a Marca-Relli, as well as Milford Graves, the free jazz pioneer, who is busy creating a tornado of tom rolls and cymbal crashes from his psychedelically painted drum kit.

The Squid’s Ear Reviews

Evan Parker, saxophonist, picture taken in Jaz...
Evan Parker, saxophonist, picture taken in Jazz club “Unterfahrt” in Munich/Germany (Photo credit: Wikipedia)

From the The Squid’s Ear:

John Coxon / Evan Parker / Eddie Prevost – Cinema (Fataka)

Alessandro Bosetti / Chris Abrahams Alessandro Bosetti / Chris Abrahams – We Who Had Left (Mikroton Recordings)

Chris Abrahams and Magda Mayas Chris Abrahams and Magda Mayas – Gardener (Relative Pitch)

Spontaneous Music Ensemble Spontaneous Music Ensemble – New Surfacing 1978 and 1992 (Emanem)

AMN Picks of the Week: Claudia Quintet / Anthony Braxton / If, Bwana / Chrome Hoof / Tatvamasi

Chrome Hoof
Chrome Hoof (Photo credit: Russ Garrett)

Here is where I post, at a frequency of about once a week, a list of the new music that has caught my attention that week. All of the releases listed below I’ve heard for the first time this week and come recommended.

The Claudia Quintet – September (2013)
Anthony Braxton – Quartet (London) 1991 – 04.02 – Set 2 (2013)
If, Bwana – 31 (2009)
Chrome Hoof – Chrome Black Gold (2013)
Tatvamasi – Parts of The Entirety (2013)

Interview with Oliver Lake

Olver Lake
Olver Lake (Photo credit: Wikipedia)

From Do The Math:

Yeah I got started when I was in high school. I think I must have been around 17. It would’ve been in the middle of my high school years. And I didn’t really get serious about playing the saxophone until after I flunked out of college.

Then I said – I played a little bit of saxophone in high school when I was 17, now I’m going to really dedicate my time to doing this. And I had friends like Lester Bowie who played trumpet in St. Louis and had started playing when he was, you know, 11 or 12 years old. And I asked Lester, I said, “Man this is really late to start playing the saxophone.” He said, “Well, in ten years no one will know when you started to play if you’re playing your ass off.”

Counter)induction at the Tenri Cultural Institute Reviewed

John Cage with the pianist Maro Ajemian, to wh...


The program opened with a work reimagined for counter)induction’s anniversary, initially composed for three cassette players as an accompaniment for the Merce Cunningham Dance Company. An example of John Cage’s various aesthetics and influences — including electroacoustic and aleatoric music, Buddhism and extended instrumental techniques — the updated piece (rendered here on laptop) by the composer Kyle Bartlett includes snippets of recordings of music by the living composers featured on Sunday’s program.

Remembering Bruno Maderna


The Italian composer and conductor Bruno Maderna died 40 years ago today. He is arguably the most underrated figure of the avant-garde: a larger-than-life personality, the oldest of the young turks who transformed post-war music at the Darmstadt Summer School and beyond, a friend, mentor, and teacher of Luigi Nono, Karlheinz Stockhausen, Pierre Boulez, Luciano Berio, and dozens of others.