AMN Reviews: Festival de Musique Actuelle de Victoriaville, May 22

IRWIN BLOCK

VICTORIAVILLE, Que. – Joined by four percussionists, trombonist/composer George Lewis might have been expected to play something explosive, in keeping with the (false) image of Chicago’s Association for the Advancement of Creative Musicians (AACM).

GeorgeLewis-3Instead, the 62-year- old Lewis, a Yale philosophy graduate, Columbia University prof. and 1992 recipient of a MacArthur “genius” grant, offered Calder, named, appropriately, for module sculptor Alexander Calder.

In excellent French, Lewis promised an early afternoon audience at the Festival de Musique Actuelle a meditative piece, befitting a glorious sun-filled afternoon in this placid, off-the-beaten track city, 100 miles northeast of Montreal.

And like a Calder mobile, the piece, first played last year in Rome to mark the AACM’s 50th anniversary, was light and airy, balanced with the varied and unconventional sounds of a creative orchestra that strives to go beyond the linear.

Lewis led off with a muffled wah wah sound on his trombone, as the percussionists joined in with such noisemakers as a gragger, gongs, scrapes on piano strings – the “bells-and- whistles” devices that are the tools of creative musicians.

It was a truly participatory effort – a collective approach to a chart that allows and expects band members to be free, walking around the stage from one instrument to another and taking turns playing some of them. Band members were percussionists Thurman Barker, Eli Fountain, Tyshawn Sorey, who also played piano, and special guest, chamber musician Aiyun Huang, a percussion prof. at McGill University.

The piece as played was an invitation to explore, but provided balance and integrity. Vibraphonist Barker played first without the sustain pedal, then with it, as part of the evolving first segment, as pianist Sorey intensified his piano offerings. Trombonist Lewis played without mouthpiece to get that Out sound.

Later, musicians held up sheets of paper with notations for band members to see – the equivalent of road maps indicating where the music should go. From the tingle of the triangle to the reverberations of big drums, the musicians covered a broad sonic and emotional range – an hour-long exploration both unique and captivating.

The next session was a double bill. First was a sound-and-light performance by Montrealer Myriam Bleau, who spins four acrylic tops equipped with gyroscopes and accelerometers connected wirelessly to a computer that feeds various data (speed, wobbling of the tops, and acceleration spikes) to musical algorithms. Light emitting diodes (LEDs) inside the tops illuminate the objects in counterpoint to the music. A camera from above provides a video feed – a pleasant if somewhat monotonous half-hour experience. Part II was Martin Messier’s Field, where sound from surrounding magnetic fields is generated from two panels of connection patches. His rumbling sounds, electric explosions, and flickering lights provided a somewhat more refreshing half-hour.

The early evening feature was the drone-rock sound of Laniakea – Italian electric bassist Massimo Pupillo and British organist/vocalist Daniel O’Sullivan, with Canadian cellist Peggy Lee and violinist Jessica Moss. Its moody sound combined with O’Sullivan’s hard-to- make-out lyrics made for a murky outing.

MusicaElettronica-4Much more interesting was the reunion of three American improvised music pioneers in Musica Elettronica Viva: composers Alvin Curran and Richard Teitelbaum, both 77, and pianist Frederick Rzewski, 78. Mixing the satirical and the serious, Curran at one point began playing notes from a ram’s horn, used typically in synagogues on the Jewish Day of Atonement, then picked up a few harmonicas to add sonic variety. Rzewski told the story of his grandfather being kidnapped by Cossacks in Galicia in 1914, never to be heard from again. “Now it’s 100 years later and the same thing is happening,” he intoned.

The last of 25 concerts featured the post-rock group called Big Brave, with its saturation approach on slow to mid-tempo tunes.

Wrapping it up, festival director Michel Levasseur declined to reveal figures for paid attendance, but judging from the crowds in the many hundreds for each of three concerts of John Zorn’s bagatelles, and good crowds in all the others, the attendance met expectations.

Artistically, it again covered a broad range of styles as it has for 32 seasons, and Levasseur said he had booked the hockey arena as the main venue for the next five years, indicating that this showcase of experimental and innovative music will
continue.

irblock@hotmail.com

This Week in Buenos Aires

NUNTEMPRESource: Buenos Aires,su Nueva Musica.

MAY 26 @ una casa *22 hs
szkieve+ reche / calarco + laprida (ambient electronics noise )

MAY 27 @ Al Escenario – 22 hs * 2 sets
– ORQUESTA DIPTICA LODIGIANI-SHALEV
Marcelo Lodigiani ,Piano + Amijai Shalev, Bandoneon,
– DE ROTAS CADENAS:
Mariano Bustos contrabass
Julio Coviello , Bandoneón
Nicolás Di Lorenzo , piano

MAY 27 @ jazz a la vuelta , 22hs 2 sets
*Juan Pablo Hernández & Rodrigo Dominguez. duo (guitarra / saxophone duo ).
*Pía Hernández Trío:
Pía Hernandez: piano, Nacho Szulga: contrabass ,Nico del Aguila:drums

MAY 27 @ vicente el absurdo , 22 hs
ELSTEIN6.
Emma Famin: alto sax , clarinet
Lucas Goicoechea: alto sax
Vio Garcia: cello.
Juan Bayon: contrabass
Maximiliano Kirszner: contrabass
Andrés Elstein: drums

MAY 28 @ teatro Payro – 17 hs
NUNTEMPE ENSAMBLE ( classical contemporary guitar quartet )
Pablo Boltshauser, Andrés Vaccarelli, Ariel Elijovich y Manuel Moreno , guitars

MAY 28 @ Roseti ,21 hs
NICOTINA ES PRIMAVERA
ioleta Garcia cello
Juan Olivera trumpet
Camilo Ángeles flute
Pía Hernández piano
arlos Quebrada bass
Nicolas de Águila , drums

 

Santa Sangre Reviews

Source: Santa Sangre.

Reutoff ‎– No One’s Lullabies
Lupi Gladius ‎– De Sideribus
Corrina Repp ‎– The Pattern of Electricity
Område ‎– Edari
Von Zachinsky – In Sepulchra Regionum
Sapphirine Phlant – Until the Light Takes Us

DOWNTOWNMUSIC.NET Photos

Source: DOWNTOWNMUSIC.NET.

May 22, 2016
Ikue Mori, Craig Taborn, Lotte Anker, Ches Smith, The Stone
Lotte Anker Ikue Mori Ches Smith Craig Taborn

May 22, 2016
Ikue Mori, Lotte Anker, Anthony Coleman, The Stone
Lotte Anker Anthony Coleman Ikue Mori

May 20, 2016
Sun of Goldfinger, IBeam
Tim Berne Ches Smith David Torn

May 18, 2016
Chris Abrahams Solo, ISSUE Project Room
Chris Abrahams

May 17, 2016
Satoko Fuji Orchestra, IBeam
Dave Ballou Nels Cline Ellery Eskelin Joe Fiedler Satoko Fujii Curtis Hasselbring Andy Laster Tony Malaby Oscar Noriega Herb Robertson Joey Sellers Ches Smith Stomu Takeishi Natsuki Tamura

May 15, 2016
Lotte Anker, Craig Taborn, Okkyung Lee, The Stone
Lotte Anker Okkyung Lee Craig Taborn

May 14, 2016
FEN, Japan Society
Ryu Hankil Yan Jun Yuen Chee Wai Otomo Yoshihide

Musique Machine Reviews

Merzbow, prominent Japanoise musician, in 2007

Source: Musique Machine.

Iain Shirley – Never Known Questions : Five Decades of The Reside
Marek x Marchof – Funeral Musik For You And Me
See Through Buildings – The Waters Turned The Body
New Class Identities – Follow Along in Wonderment
Steeleyed Span – Ten Man Mop, or Mr. Reservoir Butler Rides Again
Mike Heron – Smiling Men with Bad Reputations
Merzbow – Life Performance
Moloch – Die Isolation

Moogfest Review

Source: The New York Times.

The music that ended the first night of Moogfest 2016 here late Thursday was patient and slowly evolving, an ambient blend of billowing sustained tones — floating in and out of dissonance — with the natural sounds of birds and insects, that was layered together onstage for nearly eight hours by the composer Robert Rich. There were passages that sounded like distant choirs and gentle patters of percussion; there were slow washes of harmonic tension and resolution. There was also another natural sound: audience members snoring.