Free Jazz Blog Reviews

Mario Pavone

From Free Jazz:

Okkyung Lee – Ghil (Mega, 2013) ****½
Pauline Oliveros – Solo Concert 2001 (Deep Listening, 2012) ****½
Nate Wooley Sextet – (Sit In) The Throne Of Friendship (Clean Feed, 2013) ****½
Mark Dresser – Nourishments (Clean Feed, 2013) ****
Mario Pavone – Arc Trio (Playscape, 2013) ****½
Caspar Brötzmann/Marino Pliakas/Michael Wertmüller – Nohome (Trost, 2013) ****
Looper – Matter (MonotypeRec, 2013) ****½

This Week at the ISSUE Project Room

English: Dror Feiler speaking in Stockholm, Sw...

From the ISSUE Project Room:

Tony Martin: Proximity
Tony Martin’s sturdy roots in light media go back to his compositions of the 1960’s. Arrays of projection equipment were his instruments, the combined imagery filling stages across the country, including visuals for the Grateful Dead and Jefferson Airplane. Tonight ISSUE presents three works concentrating on his signature real-time interactive conditions, including the World Premiere of Proximity, in three acts. Martin is joined by bass clarinetist Lea Bertucci, trombonist Tom Artin, and Steve Cohn playing winds and percussion, who activate theramin-like infra-red sensors in an interactive narrative that takes place before the eyes.

Works by William Engelen
and Aki Onda
ISSUE and The Drawing Center present works by artists William Engelen and Aki Onda. Celebrated percussion ensemble Talujon perform Engelen’s recent work Falten, a hybrid of score and sculpture, in conjunction with the exhibition William Engelen: Falten, on view at The Drawing Center through January. Percussionist Eli Keszler and the Ashcan Orchestra’s Pat Spadine perform Aki Onda’s Damaged, in which slide projections from Onda’s ongoing series of New York street photography serve as visual cues for improvisation.

Coming Up:

Darmstadt’s 9th annual performance:
Terry Riley’s “In C”

Dror Feiler / Kevin Drumm & Joachim Nordwall / Mariam Wallentin / Louise Magnusson / Rune Linblad / DJ Genesis P-Orridge

Hanna Hartman / Mats Lindström & Marina Rosenfeld / Mats Gustafsson / Henrik Rylander & MV Carbon / The Space In Between / DJ Lary 7

Ensemble Pamplemousse: Works by Alvin Lucier & Klaus Lang

Alarm Will Sound Plays Steve Reich’s Version of Radiohead Reviewed

Reich Sextet
Reich Sextet (Photo credit: Laertes)


David Bowie, Tortoise, the Orb, Sufjan Stevens, Dan Deacon: The list of pop and rock performers and groups who have shown the composer Steve Reich’s influence is lengthy and continuing. On Saturday night at the Metropolitan Museum of Art, Mr. Reich turned the tables, as Alarm Will Sound presented the New York premiere of his “Radio Rewrite,” based on two songs by the British rock band Radiohead. The performance was part of this adventurous new-music ensemble’s season-long residency, which includes formal events like this one, as well as unusual programs, like a pop-up concert that would unfold without warning in the museum’s Charles Engelhard Court on Monday at noon.

ensembleTZARA in Chicago, December 19

From Chicago’s Constellation:

ensembleTZARA brings language-based contemporary music to Constellation
Swiss group ensembleTZARA brings contemporary music based on the rhythms of Switzerland’s fourth official language to Constellation

Thursday, December 19, 2013, 7:30 PM
Constellation Chicago
3111 N. Western Ave.
Chicago, IL 60618

Samuel Stoll, horn
Moritz Müllenbach, cello
Simone Keller, synthesizer
Guest Artist: Shanna Gutierrez, flute

Robert Ashley (b. 1930): Mixed Blessings, Indiana
David Sontòn (b.1974): La metta da fein – Solo for violoncello, French horn, and synthesizer
Timothy McCormack (b. 1984): Interfacing with Surface
Mathias Steinauer (b. 1959): Phantasos (oder Pavarotti’s Traum) op. 16 for flute solo and microphone stand

Mixed Blessing, Indiana-ina spada a dus talioms is the result of a collaboration between Swiss trio ensembleTZARA and American composer Robert Ashley. Three world premieres, each inspired by the rhythms and cadences of the Rhaeto-Romanic language (Switzerland’s fourth official language), open up a new perspective on the relationship between continuity and single occurrence, acoustic and electronic sound, creating something new from the interplay between these poles. In Robert Ashley’s Mixed Blessings, Indiana, Rhaeto-Romanic translations of advertising leaflets for trivial contemporary American literature create an impersonal platform on which to showcase the language’s rhythm. Timothy McCormack’s Interfacing with Surface pits an increasingly layered and overpowering synthesizer against its acoustic counterparts, launching an aural assault against the audience. David Sontòn, who was raised in the Grisons region of Switzerland and was exposed to the language from a young age, brings a personal touch to La métta da fein – Solo for violoncello, French horn, and synthesizer, blending the three instruments into one part to represent the voice of the metta da fein, a female ghost from Rhaeto-Romanic legend whose murmur frightens children and keeps them from running through the sensitive new grass in blooming meadows.