Taran’s Free Jazz Hour Podcast 21/2015

Benoît Delbecq, synthetizers + computers

Source: Taran’s Free Jazz Hour.

Hotend: Dan Clucas, Cor/ Mark Weaver, Tba/ Dave Wayne, Dr, Elec

Live Atangelica: Nicola Guazzaloca, P

Boris Hauf
the Peeled Eye: Boris Hauf, Bari Sax/ Martin Siewert, G/ Christian Weber, B/ Steve Heather, Dr

Red Toucan
the Ten Thousand Things: Simon Rose, Bari S, as/ Stefan Schultz, P

Beating the Teens: Ideal Bread-josh Sinton, Bari S/ Kirk Knuffke, Cor/ Adam Hopkins, B/ Tomas Fujiwara, Dr

Skull Sessions: Rob Mazurek Octet

Ecstasy: Raoul Bjorkenheim, El G/ Pauli Lyytinen, S, Kba/ Jori Huhtala, B/ Markku Ounaskari, Dr

Noah Preminger
Live at the 55 Bar: Noah Preminger, Ts/ Jason Palmer, Tp/ Kim Cass, B/ Ian Froman, Dr

If Nothing Else: Susana Santos Silva, Tp, Flghrn/ Torbjorn Zetterberg, B/ Hampus Lindwall, Org

Ticonderoga: Joe Mcphee, Ts, Ss, P/ Jamie Saft, P/ Joe Morris, B/ Charles Downs

Ink: Benoit Delbecq, P/ Miles Perkin, B/ Emile Biayenda, Dr, Perc

Art Turk Burton
Spirits Then &Amp; Now: Art Turk Burton and Congo Square, Featuring Ari Brown

AMN Reviews: Francesco Sani – Of Cosmic Bodies and Infinite [xylem records]

Francesco Sani, a musician living and working in Aberdeen, Scotland, brings a multifaceted, cosmopolitan perspective to experimental music. A violinist with a background in the standard repertoire of Western art music, he also plays folk music of the Celtic countries, Scandinavia and the Middle East. And he creates experimental music, as he does with the release Of Cosmic Bodies and Infinite.

The four pieces in the collection seem to have been inspired by the desire to create soundscapes that appear to have been cut as discrete segments from a longer, unending flow of music. Each track is constructed of long lines arising from Sani’s use of circular bowing; whether through multitracking or other electronic enhancement or simply through the cumulative emergence of natural harmonics over the course of the line, the tracks take on a rich, latently chordal texture. As befits finite images of the infinite, all of the tracks develop to lengths that facilitate the listener’s immersion—and what could be more immersive than the infinite?—in their wash of overtone. The often-invoked visual analogue of music like this, which is made up of floating tones, timbres and harmonies shading into one another, is the color field paintings of Mark Rothko, which Sani quite aptly in fact does allude to with the title of the final piece.

Daniel Barbiero

Long Out of Print Free-Jazz Compilation For Example Released and Reviewed

Derek Bailey playing the guitar

Source: Burning Ambulance.

For Example was originally released in December 1978. The first disc was devoted to solo performances, the second to small groups (nothing larger than a quintet), and the third to large ensembles. All the material is otherwise unavailable, and the vast majority of it is blazingly awesome.

The first album contains eight tracks, performed by (in order) Steve Lacy on soprano saxophone, Paul Rutherford on trombone, Hans Reichel on guitar, Tristan Honsinger on cello, Fred Van Hove on piano, Derek Bailey on guitar, Albert Mangelsdorff on trombone, and Johnny Dyani on upright bass.

All About Jazz Reviews

English: Jon Irabagon, moers festival 2009

Source: All About Jazz.

Chris Dingman
The Subliminal and the Sublime (Inner Arts Initiative)

Jon Irabagon
Behind The Sky (Self Produced)

Slobber Pup
Pole Axe (RareNoiseRecords)

Gidon Kremer And Keith Jarrett
Arvo Part: Musica Selecta: A Sequence By Manfred Eicher (ECM Records)

Jonah Parzen-Johnson
Remember When Things Were Better Tomorrow (Primary Records)

Rodrigo Amado
This Is Our Language (Not Two Records)

Jon Irabagon
Inaction is An Action (Self Produced)

Birmingham New Music Festival Schedule 

Source: artsBHAM.

BIRMINGHAM NEW MUSIC FESTIVAL, Oct. 8-11, 2015 (free admission to all events)

Thursday, Oct. 8, 7:30 p.m., Samford University, Brock Recital Hall

Ronald Clemmons, “Phases” (Adam Bowles and Kathryn Fouse, pianists)
Robert Patterson, “The Soldier’s Ale” (Craig Hultgren, cello/amplification)
Lori Ardovino, “Eloquence II” (Katie York, clarinet)
Monroe Golden, “Vestiges” (Seth Noble, vibraphone/fixed media)
Melissa Grey, “I understand you perfectly” (Craig Hultgren, e-cello/fixed media)
Robert Voisey, “Harmonic Explorations” (Craig Hultgren, e-cello)
Kenneth Kuhn, “Two Nostalgic Melodies” (Katie York, clarinet; Laurie Middaugh, piano)
James A. Jensen, “… towards the pebbled shore” (Kathryn Fouse, piano; Craig Hultgren, cello)

Friday, Oct. 9, 7:30 p.m., The Dance Foundation (formerly Children’s Dance Foundation, 1715 27th Ct. South, Homewood)

Marvin Johnson, “Eldorado” (Craig Hultgren, cello; Doff Procter, narrator; Rita Snyder, choreographer; dancers TBD)
Rusty Banks, “Liquid Fire” (Craig Hultgren, e-cello)
David Morneau, “Shoemongering” (David Morneau, gameboy)
Andrew Raffo Dewar, “Presto Variations” (Andrew Raffo Dewar, modular synth and found recordings)
Davey Williams, “Opus 9.10.15” (Davey Williams, electric guitar)
Holland Hopson, “Glacial Erratics” (Tim Feeney, percussion; Wendy Richman, viola/voice)
Charles Norman Mason, “American Prisoner” (Tim Feeney, percussion; Wendy Richman, viola/voice)

Saturday, Oct. 10, 1 p.m., Alabama Piano Gallery; Jacob Mason, pianist

William Price, “A Southern Prelude”
Mark Lackey, “Piano Sonata: Lasker”
Matthew Scott Phillips, “Trio for Piano Alone”
Dorothy Hindman, “Forward Looking Back”

Saturday, Oct. 10, 4 p.m., Richard Arrington Jr. Auditorium, Birmingham Public Library-Central

Sarah Nordlund Dennis and Pei-Ju Wu, violinists; Wendy Richman, violist; Laura Usiskin, cellist
Ron Wray, “for to catch a whale” (string quartet)
Thomas Reiner, “Tempus Fugit” (string quartet)
Joseph Landers, “A Dream in Winter” (Hillary Tidman, flute/viola/cello)
Michael Coleman, String Quartet No. 1
Cynthia Miller, “Bird Quartet”
Alan Goldspiel, “Slippery Slope (Pei-Ju Wu, violin, Alan Goldspiel, guitar)
Raphael Crystal, “Ye spotted snakes: a Shakespeare song cycle” (string quartet; Emily Herring, mezzo-soprano)
Brian C. Moon, “Lines and Curves” (string quartet)

Saturday, Oct. 10, 7:30 p.m., Hulsey Recital Hall, UAB

Mark Lackey, “Particles” (Brian Viliunas, Nathan Howard, Alina Pitman and Will Featherston, clarinetists)
Jessica Meyer, “Getting Home (I Must Be…) / Hello / Into the Vortex / Touch / Source of Joy” (Jessica Meyer, viola and electronics)
Joe L. Alexander, “Dialog #4” for Euphonium & Tuba (Joe L. Alexander, tuba; Cody Ford, euphonium)
William Price, “Triptych: Three Studies in Gesture and Noise” (fixed media)
Rick Nance, “Ti(gh)tan” (fixed media)
Gene Pritsker, “Modified #2” (Gene Pritsker, electric guitar and Samplestra) / “Sonnet #55 ReMix” (Gene Pritsker, solo Di.J.)
Dorothy Hindman, “Sound/Water” (Craig Hultgren, cello/fixed media)

Sunday, October 11, 3 p.m., Hill Recital Hall, Birmingham-Southern College

Joel Scott Davis, Duet for Guitar and Violin (Sarah Nordlund Dennis, violinist; Alan Goldspiel, guitarist)
Christopher Steele, Suite No. 1 (Jim Zingara, trumpet; Denise Gainey, clarinet; Chris Steele, piano)
Drew Pendergrass, Sonata in G (Adam Bowles, piano)
Ed Robertson, “Music for Cello and Piano” (Anthony Pattin, piano/Laura Usiskin, cello)
Bryan Page, “Blackout In Eden” (Charles Woods, baritone/Adam Bowles, piano)
Matthew Scott Phillips, “The Socratic Problem” (Michael Fernandez, viola/Adam Bowles, piano)
Aurelia Gooden, “Avalanche (Aurelia Gooden, piano)
Michael Angell, “Prig and the Pig (Caroline Nordlund, violin/Chris Steele, piano)

Wadada Leo Smith Exhibition in Chicago

Wadada Leo Smith

Source: The Renaissance Society.

The Renaissance Society presents the first comprehensive exhibition of Smith’s Ankhrasmation scores. The more than 45 works on paper include the first of Smith’s scores to use non-standard visual directions, The Bell, which was debuted on Anthony Braxton’s seminal 1968 recording, Three Compositions of New Jazz. A number of scores from the exhibition will be performed by Smith’s Golden Quartet in a concert on October 24, and Smith will perform solo in the gallery on October 25.

Lustmord Interview

Source: Red Bull Music Academy Daily.

Not many artists have performed at private gigs for the Church of Satan, but then again, few artists have a career that looks anything like what Lustmord, AKA Brian Williams, has been doing over the past few decades. Born and raised in Wales, Williams relocated to London as a teenager and got involved in the city’s early post-punk and industrial scene, befriending the likes of Throbbing Gristle’s Chris & Cosey and eventually making his own music as Lustmord.