Finley Martin, Lost Civilizations, and Utenzil in DC March 16

On March 16, the Lost Civilizations experimental music project, Utenzil and Finley Martin will appear at Adams Morgan’s Black Squirrel. The performance is part of the Indie Adams Morgan series (http://www.indieadamsmorgan.com/).

The Black Squirrel (http://www.blacksquirreldc.com/) is located at 2427 18th Street NW Washington, D.C. 20009 (202) 232-1011. The event starts at 8 pm.

Finley Martin:

Growing up in a fishing village on the southeast tip of Prince Edward Island, Canada, Finley Martin (http://www.finleymartinmusic.com/) developed an early appreciation for the great Celtic tradition of storytelling that surrounded him.

In the early years, he drove a forklift at the local fish plant, hitchhiked around Europe, sold toy helicopters in San Francisco, and busked on the streets of Halifax, Nova Scotia. One August, he hitched a ride in an 18-wheeler hauling lobster down to the States.

After arriving in Washington, D.C., he joined area post-punk veterans Gist, co-founded Red Stapler Records, toured up & down the East Coast of North America in an old church van, and released four albums: Pretest Retest, Art is Now Human, Diesel City, and Conversations Expectations. He also played & toured for 5 years as bass player with local noise-art rock band The Chance releasing the EP Dimensions.

Backtracks is Finley’s first solo acoustic album. Its a collection of stories about leaving the rural life behind in search of adventure in the city. He blends his Scotch-soaked Slovak roots with the DIY attitude of D.C.s fiercely independent music scene.

The Lost Civilizations experimental music project

The Lost Civilizations experimental music project (http://lost-civilizations.tumblr.com/; http://goo.gl/WfSs5) is a collaboration between Mike Sebastian (tenor sax, saxello and bass clarinet) and T. A. Zook (basscello and misc. instruments). Although essentially a duo, when schedules permit, it is joined by Jerry Busher (drums); Amanda Huron (percussion); Doug Kallmeyer (bass and electronics), Nate Scheible (percussion) and Emily Chimiak (violin). For the March 16 performance, the Lost Civilizations experimental music project will be accompanied by drummer Mark Pry (The Mariner Project; Dead Women).

Utenzil

Utenzil will wrap-up the evening. Utenzil (http://www.utenzil.com/), the solo project of Michael McMorris, which brings together fitful decades of musical experience/experiments plus software, laptops, mixer and instruments which include various controllers, a DIY double neck midi guitar, live guitar and voice.

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AMN Reviews: Rodrigues Laurain Rodrigues Guerrero – Alba [cs248]; Rodrigues Gauguet Guerrero – Early Reflections [cs258]

Although differing in their instrumentation, both of these new releases from Portugal’s Creative Sources label share a concern with sound color powerful enough to verge on the overtly visual.

Begin with Alba, which contains four improvisations by Ernesto Rodrigues on viola, Louis Laurain on trumpet, Guilherme Rodrigues on cello and Ricardo Guerreiro on computer. All four pieces exist within a sonic space of subtle movement. The basic sound shape running throughout most of the recording is a slowly mutating, ambiguously dissonant chord wrapped in an outer shell of electronic white noise. Although the identity of individual instruments is largely submerged, here and there their signature traces emerge, such as slow, pressure-heavy bowstrokes; a rush of breath; the scrape of hair or the tap of wood against strings. Somehow, it’s hard not to hear Alba through the impressions suggested by its title. “Alba” is Portuguese for “white”, and the four improvisations individually and collectively bring to mind Kandinsky’s or Ryman’s white-on-white paintings. As with the paintings these four tracks seem at first to be monochromatic, but on closer attention they reveal a spectrum of shadings in their details.

Early Reflections again features Ernesto Rodrigues and Ricardo Guerreiro, who are joined by Bertrand Gauguet on alto saxophone. Both of the release’s two long improvisations are abstract in the manner of the best abstract paintings, where form is a function of the relationships among colors. Through a series of plucked notes, key clicks, microtones, multiphonics and more, Rodrigues and Gauguet draw a rich range of timbres from their instruments, while Guerreiro’s electronics provide the canvas on which these colors are ranged. Together, the three juxtapose and overlap planes of sound, pushing and pulling at each other and allowing each piece to develop through shifts of density and dynamics.

With both of these recordings, one can almost visualize the plasticity of sounds as they respond to each other across the surfaces of audio space. A rewarding listen individually and taken together.

http://www.creativesourcesrec.com/

Taran’s Free Jazz Hour Podcast 07/2014

From Taran’s Free Jazz Hour:

Jimmy Bennington
One More Beautiful Ballad: Jb, Dr/ Daniel Carter, Reeds/ Ed Schuller, B

the Walk to Montreuil: Jb, Dr/ Benjamin Buboc, B/ Jobic Lemasson, P

Sad Drums: Jb, Dr/ Seth Paynter, Sax

Cleanfeed
Night Shades: Mat Bauder, Ts/ Nate Wooley, Tp/ Kris Davis, P/ Jason Ajmian, B/ Tomas Fujiwara, Dr

Leo
Soundhousing: Hanuman Jazz Quartet- Fabio Martini, Cl/ Marco Francheschetti, Sax/ Stefano Solani, B/ Danilo Sala, Dr

Paragone D’archi: Charlotte Hug, Viola/ Stefano Pastor, Vln

Rattle
Trio: Roger Manins, Sax/ Reuben Bradley, Dr/ Mostyn Cole, B

Michael Vlatkovich
Multitudes Telepathic: Mv, Tbn, Perc/ Clyde Reed, B/ Dave Wayne, Dr/ Mark Weber, Poetry

You’re Too Dimensional: Mv, TN/ Jim Knodle, Tp/ Phil Sparks, B/ Greg Campbell, Dr, Fr Horn

Slam
Karszt: Szilard Mezei Intl Improvisers Ensemble

Burton Green
Burton’s Time: Bg, P/ Michael Attias, as/ Reut Regev, Tbn/ Adam Lane, B/ Igal Foni, Dr

Muriel Grossmann
Awakening: M Grossmann, as, Ss, FL/ Radomir Milojkovic, G/ Robert Lanfermann, B/ Christian Lillinger, Dr

All About Jazz Reviews

From All About Jazz:

Marilyn Crispell
Cover of Marilyn Crispell

Vijay Iyer extended analysis
Vijay Iyer: Mutations (ECM Records)

Raymond MacDonald & Marilyn Crispell
Parallel Moments (Babel Label)

Ken Vandermark Resonance Ensemble
Head Above Water / Feet Out Of The Fire (Not Two Records)

Peter Evans + Raleigh Dailey
Measure From Zero (Llama Records)

Farthest South
Spheres & Constellations (Self Produced)

Greg Cohen
Golden State (Relative Pitch Records)

Max Johnson Trio
The Invisible Trio (Fresh Sound New Talent)

Chicago Underground Duo
Locus (Northern Spy)

Ich Bin N!ntendo
Look (Va Fongool)

Achim Kaufmann & Michael Moore
Furthermore (Ramboy)

Gerry Hemingway
Kernelings (Auricle Records)

Dominic Lash
Opabinia (Babel Label)

John Zorn is Adelaide Festival’s most exclusive ingredient

From The Advertiser:

John Zorn
Cover of John Zorn

John Zorn doesn’t give interviews. The New York jazz saxophone player and composer, a cult figure in jazz and contemporary music, is the 2014 Festival’s most expensive, exclusive and core ingredient. His distrust of the media extends to using one reporter in New York who interviews him and then offers the article around the world, an option newspapers prefer not to abide by for ethical reasons.

The extent of Zorn’s influence on the jazz world is huge, and the Adelaide Festival, through David Sefton’s very cliquey and cult-like contacts in the music world, will be offering something unlikely to ever be experienced in Australia again, and never heard anywhere before. The four John Zorn concerts at Festival Theatre are not just four concerts, but the entire history of one phenomenal musical spirit, with a truckload of leading New York musicians coming on a kind of travelling circus of droppable names.