Musique Machine Reviews

From Musique Machine:

The Incredible String Band
Cover of The Incredible String Band

Husere Grav – You Are Transparent
Love Katy – Cinematic & Dramatic
Dead Body Collection – Vaginal Anomalies
Diane Pitre – Feel Free
Moon – The Nine Gates
Christian Winther & Christian Meaas Sven – WM
The Incredible String Band – EarthSpan / No Ruinous Feud
Vilgoc/ Abyzm – Split
The Vomit Arsonist – An Occasion For Death
Hail Spirit Noir – Oi Magoi

Sofia Gubaidulina’s Symbolic Sonorous World

From Extended Techniques:

Sofia Gubaidulina
Cover of Sofia Gubaidulina

music is highly symbolic and unusual in timbre, both in terms of instrumental combinations and use of extended techniques. The symbolism behind the sounds often carries spiritual connotation; in 1998 the composer even stated that all her works were religious, which in her understanding had nothing to do with the church. This is one of the reasons why some of her music banned in the USSR and some were not performed until its fall.

5049 Records Podcast: Matt Bauder

From 5049 Records:

Matt Bauder
Matt Bauder (Photo credit: michaelz1)

Matt Bauder is without question one of the most talented, proficient and soulful musicians that I know. He does things on the saxophone that make me want to quit music forever. He’s also a handsome cat (look at this mug). For this talk Matt and I examine a lot of our own frustrations with trying to build a life around music as well as look back at Matt’s high school years with Wolf Eyes, Colin Stetson and Andrew WK.

Cafe OTO in February

From London’s Cafe OTO:

Thomas Lehn
Cover of Thomas Lehn

FULL OF NOISES AT CAFE OTO: DAY 2 – LAUREN REDHEAD + GAIL BRAND + ORE
SAT 1 FEBRUARY ’14 • 8:00PM • £8 adv / £10 on the door

THE LONDON IMPROVISERS ORCHESTRA
SUN 2 FEBRUARY ’14 • 8:00PM • £6 door / £4 conc.

ALEXANDER HAWKINS’ ONE TREE FOUND (FT. PETER EVANS, OREN MARSHALL, BYRON WALLEN, MARK SANDERS, HANNAH MARSHALL, PETE MCPHAIL, CHRISTOPHER CUNDY)
MON 3 FEBRUARY ’14 • 8:00PM • £8 adv / £10 on the door

FILM SCREENING: JANDEK ON CORWOOD
TUES 4 FEBRUARY ’14 • 7:30PM • £2 adv / £3 on the door

BLEED PRESENTS… SPECTRUM SPOOLS FT OUTER SPACE (JOHN ELLIOTT/ANDREW VERES)
WED 5 FEBRUARY ’14 • 8:00PM • £9.50 adv / £TBA on the door

EAT YOUR OWN EARS PRESENTS: FIMBER BRAVO (WITH ALEXIS TAYLOR (HOT CHIP), SUSUMU MUKAI (ZONGAMIN), LEO TAYLOR (THE INVISIBLE, GRACE JONES) AND THE SENEGALESE GRIOT, KADIALY KOUYATE ON KORA)
THU 6 FEBRUARY ’14 • 8:00PM • £7.50 adv / £TBA on the door

BE PREPARED PRESENTS… LOSCIL + FIELDHEAD + DYNOOO
FRI 7 FEBRUARY ’14 • 8:00PM • £12 adv / £14 on the door

BOAR COLLECTIVE AND FRIENDS (HANNAH MARSHALL, DIMITRA LAZARIDOU-CHATZIGOGA, KOSTIS KILYMIS, TOM MUDD, GAIL BRAND)
FRI 7 FEBRUARY ’14 • 7:00PM • OTO PROJECT SPACE • £8 adv / £10 door / £15 2-day pass
Concert of first encounters between members of BOAR and invited artists
SAT 8 FEBRUARY ’14 • 4:00PM • OTO PROJECT SPACE • FREE ENTRY
Discussion centred on practice based experiences and aesthetic / social questions
SUN 9 FEBRUARY ’14 • 7:00PM • £8 adv / £10 door / £15 2-day pass
Concert featuring new groups exploring the themes developed

MILES OF SMILES AND CAFE OTO PRESENT: VIBRACATHEDRAL ORCHESTRA + BLOOD STEREO
SAT 8 FEBRUARY ’14 • 8:00PM • £8 adv / £10 on the door

FILM SCREENING: NO IDEAS BUT IN THINGS – THE COMPOSER ALVIN LUCIER
MON 10 FEBRUARY ’14 • 8:00PM • £5 adv / £6 on the door

BRUISE: TONY BEVAN, ORPHY ROBINSON, ASHLEY WALES, MARK SANDERS & JOHN EDWARDS
TUES 11 FEBRUARY ’14 • 8:00PM • £8 adv / £10 on the door

JOHN TILBURY / JOHN EDWARDS / MARK SANDERS
WED 12 FEBRUARY ’14 • 8:00PM • £8 adv / £10 on the door

RESONANCE FM GALA FUNDRAISING CONCERT: JANEK SCHAEFER + OSCILLATORIAL BINNAGE + YURI SUZUKI + BEATRICE DILLON & RUPERT CLERVAUX
THU 13 FEBRUARY ’14 • 8:00PM • £8 adv / £10 on the door

GUILLAUME VILTARD: 7 PICTURES OF A BASS
FRI 14 FEBRUARY ’14 • 6:00PM • £5 a night / £10 series pass – on the door only

JANDEK: THREE DAY RESIDENCY
FRI 14 FEBRUARY ’14 • 8PM • £12 adv / £14 on the door / £32 3-day pass
Support from Pat Thomas (solo)
SAT 15 FEBRUARY ’14 • 8PM • £12 adv / £14 on the door / £32 3-day pass
Support from xomaltesc tbobhni (Paul Abbott + Seymour Wright)
SUN 16 FEBRUARY ’14 • 8PM • £12 adv / £14 on the door / £32 3-day pass
Support from Cam Deas (solo)

SACHIKO M + EDDIE PRÉVOST + ANGHARAD DAVIES / JOHAN ARRIAS / LISA ULLÉN
MON 17 FEBRUARY ’14 • 8:00PM • £10 adv / £12 door

JOZEF VAN WISSEM + STEREOCILIA + JACK ALLETT
TUES 18 FEBRUARY ’14 • 8:00PM • £8 adv / £10 door

MATTHEW SHIPP: THREE DAY RESIDENCY
WED 19 FEBRUARY ’14 • 8PM • £12 adv / £14 on the door / £32 3-day pass
With John Butcher and Thomas Lehn
THU 20 FEBRUARY ’14 • 8PM • £12 adv / £14 on the door / £32 3-day pass
With Paul Dunmall, John Edwards and Mark Sanders
FRI 21 FEBRUARY ’14 • 8PM • £12 adv / £14 on the door / £32 3-day pass
Matthew Shipp solo

GUILLAUME VILTARD: 7 PICTURES OF A BASS
FRI 21 FEBRUARY ’14 • 6:00PM • £5 a night / £10 series pass – on the door only

MULTIPLETAP: DORAVIDEO / HIJOKAIDAN / T.MIKAWA (FROM INCAPACITANTS) / TOSHIMARU NAKAMURA / JOJO HIROSHIGE / JUNKO / HATSUNE KAIDAN / MAKOTO KAWABATA (FROM ACID MOTHERS TEMPLE) / TETSUZI AKIYAMA / ATSUHIRO ITO / TANAKA YUMIKO / MIHO WAKABAYASHI / KO ISHIKAWA / MAKOTO OSHIRO / PAINJERK / TAKAHIRO KAWAGUCHI / KATSURA MOURI / KEN IKEDA / KATSUYOSHI KOU
SAT 22 FEBRUARY ’14 • 6:30PM • SOLD OUT
SUN 23 FEBRUARY ’14 • 6:30PM • £16 adv / £18 on the door

BIRD ON THE WIRE PRESENTS: DAWN OF MIDI
MON 24 FEBRUARY ’14 • 8:00PM • £8.50 adv / £10 door

KEITH TIPPETT / JULIE TIPPETS DUO + KEITH TIPPET OCTET
TUES 25 FEBRUARY ’14 • 8:00PM • £10 adv / £12 door

HELM + DAMIEN DUBROVNIK + JFK
WED 26 FEBRUARY ’14 • 8:00PM • £7 adv / £8 door

GUILLAUME VILTARD: 7 PICTURES OF A BASS
FRI 28 FEBRUARY ’14 • 6:00PM • £5 a night / £10 series pass – on the door only

PLASTIC CONCRETE: NEW WORK BY ANTOINE CHESSEX FOR APARTMENT HOUSE & JÉRÔME NOETINGER + STEVE NOBLE/YONI SILVER DUO
FRI 28 FEBRUARY ’14 • 8:00PM • £7 adv / £8 door

Taylor Ho Bynum Interview

From the NEA:

Taylor Ho Bynum Sextet
Taylor Ho Bynum Sextet (Photo credit: John Pham)

Cornetist Taylor Ho Bynum is one of the freshest and most innovative voices composing and playing music today. As a leader, collaborator, sideman, and composer, Ho Bynum continually pushes the outer boundaries of jazz, and his list of collaborators reads like a list of “who’s who” in the avant-garde music scene. He has played with 1990 NEA Jazz Master Cecil Taylor, Wadada Leo Smith, and Bill Dixon, and his long and fruitful collaboration with 2014 NEA Jazz Master Anthony Braxton remains one of the great working musical relationships. Apparently never sleeping, Ho Bynum also leads two bands and has a successful solo career as a cornetist. It’s a formidable schedule, but it’s fueled by the ability to find inspiration wherever it might be. – See more at: http://arts.gov/photos/taylor-ho-bynum-notions-inspiration#sthash.EImAlhGU.dpuf

Snugs Concert Series at 61Local

Snugs is a new concert series in New York taking place at 61Local. Upcoming shows include:

William Parker
Cover of William Parker

Thursday January 30
Amina Claudine Myers in conversation with Tyshawn Sorey
7PM

Saturday February 1
BassDrumBone
8PM & 9:30PM

Sunday February 2
Thomas Buckner
6PM

Sunday February 23
Tom Blancarte
6PM

Sunday March 2
Brandon Seabrook
6PM

Saturday March 29
Peter Evans & Sam Pluta
8PM
Nmperign
9:30PM

Sunday March 30
William Parker
6PM

Sunday April 27
Daro Behroozi
6PM

Sunday May 4
Robert Dick
6PM

 

AMN Interviews: Aram Bajakian

b07dd5d4bcb65e3af2c6c4029a958Aram Bajakian is a New York based guitarist of many styles. He has performed or recorded with Lou Reed, Diana Krall, Yusef Lateef, John Zorn, Marc Ribot, Nels Cline, James Carter, Rufus and Martha Wainwright, Sean Lennon, Steven Bernstein, Billy Martin, Jamaaladeen Tacuma, Mat Maneri, and many others.

Bajakian leads several of his own groups, including Kef, a chamber string trio that plays arrangements of traditional Armenian Songs, “Beat Down”, an Afro Punk Ensemble, and “Killing Floor,” a blues/RnB Project. He also plays in the improvisatory power hardcore band, Pirates, with comedian Ethan Fixell on vocals, and Billy Delgiudice on drums. Bajakian and vocalist Julia Ulehla have a group called Brno, which performs Moravian folk songs transcribed a century ago in Czechoslovakia by Ulehla’s great-grandfather.

His latest album, There Were Flowers Also in Hell, is coming out soon on Sanasar Records.

Guitar has been such a popular instrument over the years and there have been so many iconic guitar players. Do you feel any pressure or incentive to play in a way that makes you stand out in the crowd?

That’s an interesting question, because I was listening to my 7th grade band a few weeks ago and it hit me that I still pretty much sound the same. Certainly I have more facility now and more awareness, but the energy is pretty similar. That being said, I spent years trying to be Wes or Grant Green or Frisell. I realized at some point that there was no way that would ever be true – it would always sound lame. I had to start trusting my own instincts and doing what I heard. I don’t really make any conscious effort to try and sound a certain way. I just do what I do. And if it’s “on” I know it. And if it’s not, I really know it. I know that a lot of people have compared my playing with Ribot’s and obviously he’s a big influence. How can he NOT be. But I also think that one of the reasons why there’s similarities in our playing is because we both have a real love for old school blues. Hubert Sumlin, Skip James, Steve Cropper.

Combine that with an interest in punk and a love of fuzz pedals and twelve tone rows, and there’s going to be similarities.

But I really don’t know if I stand out in the crowd or not. I’m really just trying to make something beautiful. And trying to wake people up to be aware of that beauty as well. If it makes me stand out, great. If not, that’s great too.

Not only have you played with a wide range musicians, within your latest album, There Were Flowers Also in Hell, there is a mix of styles across or even within tracks. Blues, rock, jazz, funk, noise, surf…and you’re always ready to take it up a notch. When you write do you consciously think of these styles or does it just come out that way?

It just comes out that way. And not to burst any bubbles about deepness, but I wrote a lot of the tunes just a few days before the session. I was so crazy busy with touring last year that I put everything off.

But this is an interesting thing. Because a track like Medicaid Lullaby has this very moving melody. And I wrote that in five minutes on my couch. I wasn’t really emoting or anything, but I recognized that it was a beautiful melody. But it’s an amazing track. So something happened in the studio. It’s not the notes or the melody but the energy behind the notes and melody. The melody and the people playing it somehow enabled something ELSE to happen. There was a transformation. There’s this middle section where it becomes so intense! So that’s what I’m REALLY interested in exploring and practicing. Originally I had just titled it “Lullaby” but when I heard it I realized that this was in fact a “Medicaid Lullaby.” And I think if you listen to it with that in mind, it brings it to a whole other level.

But with some of the songs also, it’s just what seems right. Like Rent Party just HAS to be played that way. Same thing with Orbisonian. Orbisonian is based on this awesome Roy Orbison lick I figured out and Armenia-ized. The music just plays itself in it’s own way. There’s some conscious decisions for sure, but in reality musicians have very little control over what is happening. It’s some other thing that takes over, at least if you’re doing it right. It’s really just a matter of TRUSTING that other thing, and practicing enough so that it can turn on when you’re playing.

Parts of your latest album sounds as if it could be a soundtrack. Is your writing influenced at all by that style of composition?

Not so much, though I’ve secretly always dreamed of hearing my music in a Jim Jarmusch movie. When I was figuring out a way to promote the album, I downloaded these vidoes of the 1920s Queens World Fair and vintage clips from the LES.. They’re beautiful. And the music seemed to work very beautifully with them as a soundtrack.

So I would definitely like to start doing some film scoring at some point.

You can see them here:

You’ve got a free weekend in a secluded cabin. You’ve brought your entire music collection. What do you listen to?

You know, I’d like to say that I’d have all this awesome obscure stuff, but I’d probably pull out the mono version of Revolver I got this summer in France. And then Sgt Peppers. That stuff is just so great, let’s face it. I love the Beatles. And some Tom Waits and Dylan.

I’ve been listening to a ton of Lou since his passing. I was on the subway and broke down listening to Berlin.

But even more than listening to albums, I might just go for a walk and listen to what’s just out there in nature. I remember when I studied with Yusef, he told me that I really need to hear the inner sounds, and if there’s too much other music in your head, it can block that. So while I try and listen to at least one or two new records a day, I also really love going for walks and not listening to anything. Just observing.

Can you summarize the influence that playing with Lou Reed has had on your own work?

I don’t think I’ve ever worked with anyone who really cared as much as Lou. He was just always trying to make things alive and spontaneous. And that pissed people off sometimes, but he wasn’t afraid to wake people up.

Also, I remember one time listening to Don Cherry with him. We listened to the same section over and over for two hours. It was beautiful, his love for that music.

But I think what it really did was to make me hyper aware of when something is happening or not. I remember leaving a show at the Stone last year. It just wasn’t happening. It was boring because the musicians weren’t playing as if their lives depended on it. They had their heads in the charts. It was so complex musically, but it was empty and dead. No spirit. Nothing that was ALIVE! Going outside and seeing just life on Ave C was more interesting.

And trying to keep yourself to that same standard is a whole other process. So I kind of still feel like Lou is looking down at me, kicking my ass. Saying, “Do you really want to do that Aram?” And the thing is, sometimes I say, “You know Lou you’re right. It’s lame.” And other times I’m like, “Lou, fuck off, this is my work not yours!”

But in both instances, there’s a real love there, both from me and him.

This year I lost Lou and Yusef Lateef (my teacher for four years at Umass) in a matter of months.

And I think the best way to honor them both is to make more beautiful music. We can NEVER live up to what they did. But it’s the effort and spirit behind our new work that matters.

Aside from the album release, what have you got coming up in 2014?

So much!

Abraxas is touring in February, and then I have some Masada Marathons in March and at the Newport Jazz Festival in August.

In May or June I’m releasing another album of obscure Moravian folk songs that I recorded last year with my wife. Her great grandfather was friends with Henry Cowell and Janacek and amassed a book of over 200 songs. We arranged them and it’s AMAZING.

And I hope to release a solo guitar record at the end of the year. I have lots and lots of beautiful little pieces I’ve written. I call them Nocturnes. I used to send them to my wife when she was in Italy and I was sad at night. They would just come out very quickly but they’re BEAUTIFUL! So I want to share them with people.

And I’m also working on a record of hip hop beats. It’s a bit of a secret, but I love making beats. And my beats are pretty cool. When I was playing in Diana Krall’s band I had the honor of playing with Karriem Riggins on drums. He’s worked with everyone in the jazz world and was also really close with Jay Dilla. So we would stay up every night on the bus listening to unreleased Dilla beats. It was so inspiring! So I decided I need to put out my own beats. But that will probably be for 2015.

I’m also writing a book of music called Sasna Tsrer for my other band, Kef (tzadik 2011) with Shanir Blumenkranz and Tom Swafford on Violin. Next year is the 100th Anniversary of the Armenian Genocide. So this book of music will be to commemorate that. Should hopefully be out on Tzadik sometime in 2015.

So it’s a lot of stuff, but what the hell, you only live once!!!!

AMN Picks of the Week: Irabagon / Bajakian / Peter Kerlin Octet / Palermo Big Band

English: Jon Irabagon, moers festival 2011
Jon Irabagon, 

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.

Jon Irabagon – It Takes All Kinds (2014)
Aram Bajakian – There Were Flowers Also in Hell (2014)
Peter Kerlin Octet – Salamander (2014)
Ed Palermo Big Band – Oh No! Not Jazz!! (2014)

AMN Reviews: Hannes Lingens – Four Pieces for Quintet

Hannes Lingens: Four Pieces for Quintet [insub rec01]

Berlin composer Hannes Lingens’ Four Pieces for Quintet contains realizations of four of Lingens’ graphic scores as performed by Koen Nutters and Derek Shirley on double basses, Johnny Chang on viola, Michael Thieke on clarinet, and Lingens on accordion. The scores, which happily are included with the release, are elegantly simple designs consisting of rectangles and squares of four different colors plus white, arranged in five rows. For this performance each color was associated with a tone, to be held for a length of time presumably varying with the length of the square or rectangle in which the color occurs. The duration of each of the four realizations was set at five minutes.

The music that results from these performances is pure harmony; despite the instrumental variety had by mixing reeds and bowed strings, timbre comes across as something of a neutral value. Each musician plays long tones or pauses which overlap in such a way that chords of varying complexity and length arise and mutate. For example, the first of the quintets on the release, No. 2, has a predominantly lighter, consonant sound built on major thirds. No. 3 is more discordant, featuring minor seconds, while No. 4 mixes consonances and dissonances, with pitches held against one another in an unresolved tension eventually giving way to a startling ending on a major chord.

http://insub.org/