Have We Reached the End of Jazz Itself?

From The Nation:

Let’s pick up this conversation, arbitrarily, in a 1966 interview that Albert and his brother, trumpeter Donald Ayler, are having with Nat Hentoff, who asks how best to listen to the “free jazz” they’re playing. “One way not to,” Don says, “is to focus on the notes and stuff like that. Instead, try to move your imagination toward the sound. It’s a matter of following the sound.”

“You have to relate sound to sound inside the music,” Albert says. “I mean you have to try to listen to everything together.”

“Follow the sound,” Don repeats, “the pitches, the colors. You have to watch them move.”

“This music is good for the mind,” Albert continues. “It frees the mind. If you just listen, you find out more about yourself.”

Remembering Tod Dockstader (1932-2015)

From NewMusicBox:

I’ve been connected to Tod Dockstader and his extraordinary music for nearly 40 years. In fact, issuing his classic works for the first time on CD directly inspired me to create my Starkland label, and indeed Starkland’s first two CDs are devoted to Tod’s music. It’s been a rewarding, moving experience to trace the zigzagging path of his career, see the blossoming recognition for his accomplishments, and work with Tod as he transitioned from the world of analog tape and razor blade to the era of computer and software. What’s striking to me is that Tod’s composing, for most of his life, was always an avocation, something he did part-time, outside of his day job, earning him little income.

Oneohtrix Point Never brings ambient experimentalism to ASU West

From Arizona State University Press:

Thursday night, the Sun Devil Fitness Complex at ASU West campus was transformed from a young bro’s heaven into a West Coast avant-garde experiment in electronic music. The mad scientist, Daniel Lopatin, stage name Oneohtrix Point Never, performed at what he called “one of the weirdest shows (he’s) ever played.” The artist filled the converted basketball court in the complex with the cutting edge of performance art. It truly felt like the future was now.

To Eighth Blackbird, ‘new classical’ means everything, nothing

From CentreDaily.com, a preview of the April 2nd Eight Blackbird show.

If “contemporary classical music” gives you pause, it shouldn’t. According to flutist Tim Munro, it’s a nonfactor. “The wonderful thing about ‘contemporary classical music’ or ‘new classical music’ is that it means absolutely nothing,” Munro said, “In other words, it means all things and everything. As an ensemble, we’re excited to reflect the diversity of the musical world in 2015, whether that is indie rock, African drumming, ’70s funk, folk ballads or 18th-century music.” Munro said Eighth Blackbird has been fighting the stuffy notions of the classical music genre since the group started.

The IBeam Brooklyn in April

From the IBeam Brooklyn:

Carol Liebowitz / Ryan Messina Duo
Friday, April 3rd 8:00 PM $10 Suggested Donation
Carol Leibowitz – Piano & Voice
Ryan Messina – Trumpet
2 sets at 8 and 9 pm

Emilio Teubal
Saturday, April 4th 8:30 PM $15 Suggested Donation
Two sets 8:30 and 10 pm
Moto Fukushima: Electric Bass
Sam Sadigursky: Tenor Sax and Clarinet
Josh Deutsch: Trumpet and Flugehorn
Adam Fisher: Cello
Sebastian Noelle: Guitar
Emilio Teubal: Piano and Compositions
Drummer TBA
New York-based Argentinean pianist/composer Emilio Teubal has released three albums as a bandleader. His latest, “Música Para Un Dragon Dormido,” released on Brooklyn Jazz Underground Records, has been chosen as 2013 best album by several specialized media, and has been placed in the top 100 albums on the digital online store E-Music. The album features some of Teubal’s longtime collaborators, Moto Fukushima, Sam Sadigursky and John Hadfield, plus special guests Erik Friedlander and Satoshi Takeishi.

Sean Noonan Residency (Part 1)
Friday, April 10th 8:30 PM $15 Suggested Donation
“Brewed by Noon” Afro-Celtic Trio
Alex Marcelo piano
Peter Bitenc bass
Sean Noonan drums/compositions
“Pavees Dance”
Brandon Seabrook guitar/banjo
Alex Marcelo piano
Peter Bitenc bass
Sean Noonan drums/compositions

Sean Noonan Residency (Part 2)
Saturday, April 11th 8:30 PM $15 Suggested Donation
“Eye to Eye”
Kirk Knuffke cornet Christof Knoche bass clarinet Sean Noonan drums
“Man No Longer”
Kirk Knuffke cornet Jonathan Moritz sax
Alex Marcelo piano Peter Bitenc bass Sean Noonan drums/compositions
Drummer, composer, storyteller Sean Noonan describes himself as an ‘Irish griot,’ one who collects tales, legends, and life stories over the course of his journeys and transforms them into the raw material that informs not only his drumming, but the entirety of the music he creates; as if Samuel Beckett were on drums.

Keir Neuringer, Brandon Lopez, Gerald Cleaver
Sunday, April 12th 8:30 PM $15 Suggested Donation
Keir Neuringer – Alto Saxophone
Brandon Lopez – Bass
Gerald Cleaver – Drums

Elena and Khabu Duo + Wonton Lapse
Friday, April 17th 8:30 PM $15 Suggested Donation
Elena and Khabu Duo (8:30)
Elena Camerin, voice
Khabu Doug Young, baritone guitar, ukulele, cavaquinho
The duo of Elena and Khabu explores originals composed specifically for this instrumentation incorporating quirky lyrics written in Italian and English, odd time signatures, extended and 12-toneesque harmonies, and soaring instrumental melodies. The wide range differences between Khabu’s baritone guitar, ukulele, and cavaquinho and Elena’s voice accentuate a colorful palette of musical timbres and textures inspiring endless pathways of improvisational expression.
Wonton Lapse (10PM)
Jacob Varmus, trumpet & cornet
Leonard Thompson, piano
Prompted by a child’s curiosity for pressing beyond the conventions of music, Wonton Lapse exists as an heretofore unknown plane in the space-time continuum of pork-stuffed noodles. Connected series of miniature improvised pieces are thoughtful and deliberate answers to children’s questions and demands i.e., ‘go higher’, ‘play only the 1st button’, ‘play a snake’, ‘how far is that piece?’ Thru such inquiries they push forth into a realm of questioning yet unanswerable dream music, where for a designated length of time there are no wontons, at all, not anywhere.

Old & New : Circles and Lines
Saturday, April 18th 8:30 PM $15 Suggested Donation
Daniel Carter – Horns & Reeds
Mara Rosenbloom – Piano
Billy Mintz – Drums
Michael Attias – Alto Saxophone
Mara Rosenbloom – Piano
Sean Conly – Bass
Billy Mintz – Drums
Mara Rosenbloom brings together two different groups of folks, for a set each, of improvised music. The music will bring together a combination of old friends & first time collaborations, balancing the unexpected and familiar. “Melody may be what brings us together,” says Mara.

Jim Hobbs & Andria Nicodemou
Sunday, April 26th 8:30 PM $15 Suggested Donation
Jim Hobbs – Alto Saxophone
Andria Nicodemou – Vibraphone
& Guests TBA
Sets at 8:30 and 10:00

Pierre Boulez Picks 10 Great Works of the 20th Century

Pierre Boulez in 2004
Pierre Boulez

From Soundcheck:

Over the years, Boulez would come on my various other shows (Around New York in the 1990s, Soundcheck in the 00s), but one of the most memorable visits he paid us was early in 2000. Rather than just interview him, again, I asked if he’d make a list of what he considered the ten most important pieces of music in the just-concluded 20th century. I’m not sure what I was thinking – just trying to do something different, I guess, but to my surprise and delight, he agreed. Over the course of a week, we broadcast his Top 10, two pieces each day, with Boulez himself explaining why he chose each piece. Read on to find out what he chose and why.

AMN Reviews: If, Bwana – The Joy of Photography [2014; Bandcamp]

a2962225004_2If, Bwana’s The Joy of Photography isn’t about literal photographic images, but it’s liable to provoke vivid mental images in the receptive listener. Originally issued as a three-cassette box set on Barcelona’s 8eminis label in 2014, it’s now been reissued as a download from Bandcamp.

If, Bwana’s brand of musique concrète is quickly recognizable in that it reveals its sources by keeping instruments identifiable, if enhanced or otherwise modified. As in much If, Bwana work, many of the source recordings selected for manipulation on The Joy of Photography feature acoustic instruments, the better to bring out their natural sonic qualities through unnatural means.

The tracks find Margolis manipulating time, drawing impossibly elongated lines out of wind instruments and voice. With musical movement thus rendered glacially slow, ordinarily overlooked nuances of pitch and timbre move to the foreground. The buzz of Steve Norton’s reeds becomes the focus in The Norton Variations, sounding at times like mechanical saws or a swarm of insects. In Brent Bari Sax Margolis’s sound stretching brings out microtonal variations in pitch as it extends over the course of saxophonist John Korchak’s breath, as it does with Alfrun Schmidt’s voice on Alf Runs and Runs. Solo Duet 3 for Violin and Viola—an overdubbed recording of Margolis on both instruments—is all about timbre, its scrapes and squeals an accurate report of changes of pressure on bow and strings. The same is true of Solo Duet 1 for Alto & Tenor Recorders, once again played by Margolis using extended techniques that seem to depict air and wood as sonic raw elements.

The Bandcamp release includes two bonus tracks originally issued in 2007’s Ghost of Reality 3” CDr. A bonus track of sorts is an extended version of It Is Bassoon, featuring Leslie Ross on the title instrument, proving that more of a good thing is, well, better.