Ten Freedom Summers Night One in London Reviewed

Wadada (Photo credit: andynew)

From thebluemoment.com:

His Ten Freedom Summers may have been shortlisted for this year’s Pulitzer Prize, but that doesn’t mean Wadada Leo Smith has stopped work on the epic composition which he began writing more than three decades ago… During last night’s performance at Cafe Oto in London, the first of three across which he will deliver the entire sequence, he inserted an entirely new movement, and it turned out to be the most memorable of the lot.

Joe McPhee: Expanding The Nation

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From Burning Ambulance:

Saxophonist Joe McPhee‘s Nation Time is one of the wildest, most mind-blowing free-jazz-funk monster jams of all time. Recorded on December 12 and 13, 1970 and released the following year on the tiny CjR label, it quickly vanished from sight, but not before establishing McPhee’s reputation as a fierce blower and a man with a unique, forward-looking take on free jazz. Indeed, his music was so ahead of its time that five years later, Werner Uehlinger launched his Hat Hut label with Black Magic Man, an album recorded at the same concert and recording session that yielded Nation Time. Three decades later, when Chicago-based critic John Corbett established the Unheard Music Series to reissue rare avant-jazz titles through Atavistic Records, Nation Time was the first disc to get the treatment.

Classical Music Listings From The New York Times

From NYTimes.com:

Calder Quartet (Friday) In a three-concert series, this excellent young ensemble has been offering the six quartets of Bartok alongside new works and guest artists. This final installment features Bartok’s Quartets No. 2 and No. 6. The musicians will be joined by the Czech singer, violinist and composer Iva Bittova for music by Janacek and Bartok, as well as improvisations for voice and string quartet. At 7 p.m., Grace Rainey Rogers Auditorium, Metropolitan Museum of Art, (212) 535-3949, metmuseum.org/tickets; $40. (Vivien Schweitzer)

So Percussion (Saturday) This program features “the so-called laws of nature,” a major work for percussion by David Lang and an apt one for this Brooklyn quartet, which endlessly questions and reinvents its musical compass. Here the ensemble adds newly developed string instruments to its arsenal for a new piece by Bryce Dessner, the guitarist of the rock band the National. Mr. Dessner joins in for a remix of his own and Mr. Lang’s work by Matmos that also includes newly commissioned videos. At 9 p.m., Zankel Hall, Carnegie Hall, (212) 247-7800, carnegiehall.org; $43 to $50. (da Fonseca-Wollheim)

21C Liederabend (Friday and Saturday) Now in its third year, the Next Wave Festival celebrates the art song in a variety of guises and reincarnations, some drawing on photography, film and digital wizardry. Friday’s program features premieres by Paola Prestini, Missy Mazzoli, Mohammed Fairouz, Ted Hearne, David T. Little and Marie Incontrera as well as works by Tom Cipullo and Tod Machover. Saturday brings another slew of new works, with pieces by Judd Greenstein, Anna Clyne, Michel van der Aa, Nico Muhly and others. Singers, conductors and instrumental ensembles are drawn from New York’s lively new-music scene. At 7:30 p.m., Harvey Theater, Brooklyn Academy of Music, 651 Fulton Street, Fort Greene, Brooklyn, (718) 636-4100, bam.org; $20 to $50. (da Fonseca-Wollheim)

OZ Nashville, a New Performance Space

OZ Nashville’s 2014 debut season is profiled by Nashville Scene:

New York string quartet ETHEL arrives April 11 with its multimedia performance Documerica, which juxtaposes environmental photographs from a 1971 EPA project with music by Mary Ellen Childs, jazz drummer Ulysses Owens Jr., Chickasaw Nation composer Jerod Impichchaachaaha’ Tate, and activist/blues musician James “Kimo” Williams. Staged by award-winning playwright-director Steve Cosson, it features visual design by Deborah Johnson, whose Brooklyn studio CandyStations has done impressive visuals for Wilco, Sufjan Stevens and Nashville’s Lambchop.

The season concludes June 20-21 with intimate duet performances featuring composer Philip Glass — last seen here with his dynamic 2007 ensemble at the Schermerhorn — with violinist Tim Fain. So, to recap: One of the world’s leading choreographers, one of the world’s leading theater directors, and Philip freakin’ Glass will be among those presenting work in an industrial-park zone once devoid of even a Waffle House.