Taran’s Free Jazz Hour Podcast 15/2015

English: Richard Nunns in 2011 playing a kū, a...

From Taran’s Free Jazz Hour:

Satoko Fujii Orchestra Berlin

Yamiyo Ni Karasu: Natsuki Tamura, Tp/ Satoko Fujii, P/ Todd Nicholson, B/ Takashi Itani, Dr, Perc

the Elephant’s Journey: Joachim Badenhorst, Cl, Bcl/ Susana Santos Silva, Tp, Flghrn/ Goncalo Almeida, B/ Greg Smith, Dr

Firehouse: Gard Nilssen‘s Acoustic Unity

the Bridge
Sonic Communion: Jean Luc Cappozo, Tp, Fghrn/ Douglas Ewart, Woodwinds/ Joelle Léandre, B/ Bernard Santacruz, B/ Michael Zerang, Dr, Perc

Neither Nor Records
Reflections on an Introspective Path: Frantz Loriot, Viola

David Panton
One Music Ensemble: D Panton, as, P/ Anthony Pither, P/ Jan Steele, S, FL

to Absent Friends: One Music Ensemble

Tuhonohono: Richard Nunns, Taonga Puoro/ Judy Bailey, P, Steve Garden, Arrangements

Donated by Canton Fitzgerald: Amy Rempel, P/ Tim Hopkins, Ts/ Colin Hemmingsen, Bcl/ Jorge Sosa, Elec/ Dave Lisik, Elec

Hommage to John Coltrane: Paul Dunmall, Ts, FL, Saxello/ Tony Bianco, Dr

Rich Halley
Creating Structure: R Halley, Ts/ Clyde Reed, B/ M Vlatkovich, Tbn, Perc, Etc/ Carson Halley, Dr

AMN Reviews: Chris Dingman – The Subliminal and The Sublime (2015)

600x533xcover_wo_border-e1428805281293.jpg.pagespeed.ic.Jz53Jxf-kMMusic composed by Chris Dingman

responsive review and poem by Monique Avakian

(CD artwork and design by Shoko Tagaya)

I was lucky enough to attend the CD Release Party for, The Subliminal and The Sublime, held June 26, 2015 at the Jerome L. Greene Performance Space at 44 Charlton Street, NYC. The evening began with bassist Garth Stevenson performing his own compositions during an opening set. In keeping with the tone of the evening, Mr. Stevenson shared stories involving his creative process, heavily influenced by interactions with the natural world, scientists and artists. Mr. Stevenson’s involving sound~poem creations were enhanced by narrative details that included his movingly successful search for ways to get his bass to sound like layered whale songs, wild wind and frozen ice flows.

Following Mr. Stevenson’s meditative grounding appeared the sextet of: Chris Dingman on vibraphone; Loren Stillman on alto sax; Fabian Almazan on piano; Ryan Ferreira on guitar; Linda Oh on bass; and Justin Brown on drums. The work entitled, The Subliminal and the Sublime, was composed by Mr. Dingman, sponsored by the Inner Arts initiative and commissioned by Chamber Music America with funding from the Doris Duke Foundation.

Audience members (seated in the theatre that is also home to radio station WNYC) were treated to the five-part suite in its entirety with a continuous flow and no breaks, followed by a short Q&A session with the composer.

The Subliminal and the Sublime aims at cross-genre pollination. The combination of jazz, electronica, contemporary chamber music, minimalism and layers of pattern inspired by the natural world all blended to create a feeling of meditative incubation.

Highlights of June 26th:

* Seamless sound transitions between piano and vibraphone, all very difficult to achieve live! In juxtaposition there were moments of Almazon soloing at the piano where he took small, well-timed risky excursions out and then further out. This adventurousness resulted in a kind of underpinning that simultaneously felt like an unraveling that somehow was not…

* Masterful dynamics and nuanced voicings at the vibraphone showed a deep ease and grace on the part of Mr. Dingman. Demonstration of complex technique was equally matched by a superior integrity during improvisation. Considering that the album employs a significant degree of electronics, this live version was especially satisfying.

* Ferreira’s ethereal guitar filled with a hefty degree of appropriate space generated a beautiful and simultaneous ground full of lilt that truly felt magical at times.

* An engaging and lengthy bass solo by Linda Oh underscored how an original voice could pull the flow of the structure to bend considerably without ever breaking the unifying thread(s)…

* Stillman’s characteristic harmonic adventurousness and warm tone shone through without dominating. His thoughtful push and pull of restraint also served as an anchor for the group flow.

* A highly restrained and pivotal anchoring was offered from the drum throne, particularly in the cymbal work. Justin Brown’s approach carried a haiku-like sensibility, with plenty of space and close choices—all of which echoed the deeper philosophical underpinnings of the work as a whole with clarity and charm.

Enticingly, and endearingly, one can not only buy the CD, but also receive various individualized packages of “inside information” via regular mail as well as through free downloads and pdfs. My particular treasure-trove included a lengthy hand-written note filled with interesting details about the recording process as well as stunning photos taken by the composer on the nature-based excursions that inspired his creative process. Interacting with these thoughtful and fun material augments results in a deeper multi-modal relationship with the music.

Many satisfying listens can begin here (and further down):

“Tectonic Plates” by Chris Dingman: https://soundcloud.com/fullyaltered/sets/chris-dingman-the-sublimal-and

Bandcamp: ‪https://chrisdingman.bandcamp.com/alb…

Chris Dingman: ‪http://www.chrisdingman.com

Chamber Music America: http://www.chamber-music.org

WNYC/The Greene Space: http://www.thegreenespace.org/events/thegreenespace/2015/jun/26/subliminal-and-sublime-album-release-party/

Garth Stevenson: http://garthstevenson.com

Linda Oh: http://lindaohmusic.com

Fabian Almazan: http://www.fabianalmazan.com

Loren Stillman: http://lorenstillman.com

Justin Brown (Jazz Gallery conversational interview with Ben Wolf): http://www.jazzspeaks.org/all-about-love-a-conversation-with-justin-brown/

Ryan Ferreira & Chris Dingman @ SEEDS March 6, 2013


Inner Arts: ‪http://www.inner-arts.org/the-sublimi…

The Inner Arts Initiative is “a non-profit organization dedicated to expanding the role of music and art in our society, and promoting a greater understanding of ourselves and our world through the arts.”

Vital Weekly Reviews 990

John Butcher and Burkhard Stangl

From Vital Weekly:

Alejandro Rojas-marcos – Trip Tracks (Cd by Luscinia Discos) *
L’ecplipse Nue – Negative (Cd by Dorei Recordings)
Majutsu No Niwa – the Night Before (Cd/dvd by Pataphysique)
S.e.t.i. – the Geometry of Night (Cd by Loki-found) *
Chris Pitsiokos and Philip White – Paroxysm (Cd by Carrier Records)
Nicolas Perret &Amp; Silvia Ploner – Nyey (Cd by Unfathomless) *
Zeno Van Den Broek – Divergence (Lp by Moving Furniture Records)
Nikolaienko – the Sounds of Pseudoscience (Lp by Graphical Recordings/muscut)
Mytrip – Empty (7″ by Amek)
Gokkun – Love Hits ’09 (Cassette by Amek)
Lisa Cameron &Amp; Ernesto Diaz-infante – Sol Et Terra (Cdr by Kendra Steiner Editions) *
Rambutan – Remember Me Now (Cdr by Kendra Steiner Editions) *
Burkhard Stangl &Amp; Steve Bates – Hopefullessness (Cdr by the Dim Coast)
Jakob Riis Och Anders Lindsjö – Tack! (Cdr by Setola Di Maiale) *
Kamil Szuszkiewicz – Istina (Cassette by Wounded Knife) *
Gogo (Cassette by Powdered Hearts Records)
O . O துஈசிதிசி திஇல்டூ – Trainable Jukebox Ii: Magical Lemurism (Cassette by Powdered Hearts Records)
Jon Sheffield – Springboards (Cassette by Obsidian Cuts)
Computer Syndrome – Night Recovery (Cassette, Private)

San Francisco Electronic Music Festival in September

The lineup from the San Francisco Electronic Music Festival:

Thursday September 10th 7pm
Kanbar Forum
Alessandro Cortini
Tom Dimuzio

Friday, September 11th 8pm
Lawrence English and John Chantler
Surabhi Saraf

Saturday, September 12th 8pm
Robert Rich
Charles Cohen
Kaitlyn Aurelia Smith

Sunday, September 13th 8pm
Olivia Block
Doug Lynner
Kevin Blechdom & Aqulaqutaqu

Vision Festival Celebrates Jazz, Both Past and Future

English: Photograph of last set of second day ...

From The New York Times:

But in the coming and going of many thousands of tomorrows, a movement that once touted brave ideas about the future can now seem increasingly concerned with the past. This is healthy and reasonable; it supports the notion of an aesthetic continuum. Nowhere does this all come more into focus than at the Vision Festival, an essential summit of experimental jazz and related undercurrents in poetry, dance and visual art, now underway at the Judson Memorial Church in Greenwich Village. Presented by the nonprofit Arts for Art, with support from various foundations but no major corporate sponsors, the festival unfolds every year as both a marathon of forward-thinking music and a series of earnest observances — tributes to the elders, requiems for the departed.

Gyan Riley Begins an Intimate Residency at the Stone

From The New York Times:

t the Stone, the East Village space known for its experimental programming, genre-hopping musicians can avoid the rigid scheduling of performers and repertory common in the classical music world and announce lineups at the last minute. They also have an ideal platform to try out new collaborations, as the guitarist Gyan Riley did on Tuesday evening. Mr. Riley, whose residency at the Stone this week includes 12 sets, performed for the first time on Tuesday evening with Jeffrey Zeigler, the cellist of the Kronos Quartet, and the percussionist David Cossin, a member of the Bang on a Can ensemble.