Amina Claudine Myers Interviewed by George Lewis

Source: BOMB Magazine.

Amina Claudine Myers is one of the major first-wave members of the Association for the Advancement of Creative Musicians, an experimental music collective that included Leo Smith, Muhal Richard Abrams, Fred Anderson, Anthony Braxton, Leroy Jenkins, Thurman Barker, Henry Threadgill, and the future members of the Art Ensemble of Chicago. This group of young working-class artists of the 1960s barged into standard music histories by creating a hybrid of improvisation and composition that redefined the premises of experimental music-making. A virtuoso pianist and organist whose work is presented internationally and appears on scores of recordings, Myers draws upon her backgrounds in classical music and the music of the black church of her native rural South to create a recombinant sensibility within improvisation-imbued extended compositions. Her work is insistently post-genre at a moment when reinscriptive collage pretends to postmodern transgression.

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The Story of Hector Zazou

Source: Red Bull Music Academy Daily, the most detailed overview of Zazou I’ve yet seen.

It was September 8, 2008. Somewhere between the dying moments of the night and the early morning hours, Pierre Job, who most of his colleagues and friends called Hector Zazou, “Zaz,” or “Zazou,” passed away at the age of 60. He was a musician, producer, director, journalist and activist. Worldly, idealistic, intellectual and a dreamer. Autumnal, tormented, pragmatic… A father, friend and enemy, he was a man of elusive dualities.

AMN Picks of the Week: Marco Oppedisano / Jacob Garchik / Will Mason Ensemble / Smith and Lindberg / INNERrOUTe / Bell Witch

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.

Marco Oppedisano – Resolute (2015)
Jacob Garchik – Ye Olde (2015)
Will Mason Ensemble – Beams of the Huge Night (2015)
Wadada Leo Smith / John Lindberg – Celestial Weather (2015)
INNERrOUTe – Fourmation (2015)
Bell Witch – Four Phantoms (2015)

The Free Jazz Collective Reviews

English: John Abercrombie playing at Bratislav...

Source: The Free Jazz Collective.

John Dikeman /Steve Noble / Dirk Serries – Obscure Fluctuations (Trost, 2015) ***½*
Fantoom – Sluimer (A New Wave of Jazz, 2015) ****
Dirk Serries/Martina Verhoeven/Colin Webster – Cinepalace (A New Wave of Jazz, 2015) ***½
N(42) + Dirk Serries – Kehr (Devonali, 2015) ***
John Abercrombie – The First Quartet (ECM, 2015) ****½
Scott Dubois – Winter Light (ACT, 2015) ****
Aram Bajakian – Music Inspired by the Color of Pomegranates (s/r, 2015) ****½
Raoul Bjorkenheim Ecstasy – Out of the Blue (Cuneiform, 2015) ****½
Ross Hammond – Mean Crow (Prescott Records, 2015) ****
Bill MacKay’s Darts and Arrows – Altamira (ears&eyes Records, 2015) ***½
Harvey Valdes – Roundabout (s/r, 2015) ****
Jeff Henderson, Tom Callwood, Anthony Donaldson – The Voice Of An Angle (iii Records/, 2015) ****½
Will Mason Ensemble – Beams of the Huge Night (New Amsterdam, 2015) ****½

Matthew Shipp’s ‘Conduct Of Jazz’ Audio Review

Source: NPR.

In the last 25 years, New York pianist Matthew Shipp has led his own bands and played with leading lights of new jazz, including William Parker, David S. Ware, Roscoe Mitchell and Evan Parker. Shipp has a new trio record out. Jazz critic Kevin Whitehead says Shipp’s music can be heavy in a good way, like a holiday dinner.

Performance of Stockhausen Hymnen Reviewed

English: Karlheinz Stockhausen October 1994 in...

Source: The Guardian.

Though it has never received the attention that Gesang der Jünglinge – Stockhausen’s first landmark electronic score – has done over the past 60 years, Hymnen, the vast canvas, part electronic music, part musique concrète, based on a collection of national anthems from around the world, which he assembled in the mid-60s, seems to me an equally extraordinary achievement. The four parts, or regions as Stockhausen calls them, play for over two hours, and perhaps it’s the sheer scale of the work that has discouraged performances of what in its original version existed purely on tape.