Seattle Scene: November 17 – December 3, 2016

From Seattle’s Wayward Music Series:

Chapel Performance Space at Good Shepherd Center
4th Floor, 4649 Sunnyside Ave. N, Seattle 98103 (corner N 50th St. in Wallingford)

Every month, Nonsequitur and a community of like-minded presenters and artists offer ten concerts of adventurous music in an informal yet respectful all-ages setting: contemporary classical, free improvisation, the outer limits of jazz, electronic music, microtonal/new instruments, sound art, and other extraordinary sonic experiences.

Medina/Walsh + Mará + Darto
Thu. Nov. 17, 7:30 PM; $10 at the door

Debacle Records celebrates Seattle duo Medina/Walsh’s new LP, Vault of Angels — atmospheric drone and industrial sounds with American primitive guitar and psych influences. Mára is the solo project of Faith Coloccia, highlighting her delicate piano and ethereal voice. Darto is a brother-sister-brother trio inspired by the creepy woods and rural farmland of their native Duvall.

Diad + Contact Cult + KillingFrenzy
Fri. Nov. 18, 8 PM; $5 – $15 at the door

Further Records’ final production of the year features three northwest musicians. DIAD is Timm Mason (Master Musicians of Bukkake, Mood Organ) and Chloe Harris (Raica) – oceanic drones, celestial vibrations, blooming melodies, euphoric wonder. Contact Cult (PDX’s Troy Micheau) brings devotional drones indebted to the transcendent spirit of early electronic music. Leo Mayberry is KillingFrenzy Visuals.

The Invisible Wind
Sat. Nov. 19, 8 PM; $5 – $15 at the door

Greg Campbell (percussion) and Beth Fleenor (clarinet, voice and percussion) join Butoh dance artist Vanessa Skantze for an evening of free improvisation. The actions of deep listening and intuitive visceral response provoke forms and sounds unforeseen; arising in twin spirals of experience and beckoned openness to the moment erupting out of time.

THU. 12/1 – Rahikka (Cason Rennekamp) – sound/video artist exploring ideas of color, movement, and repetition

FRI. 12/2 – Nonsequitur presents Smokestack Arias by Wayne Horvitz, with pianist Cristina Valdes and soprano Maria Mannisto

SAT. 12/3 – Brian Fergus & Rob Angus, electronic music with ukulele (!)

Improvising Beings New Releases

Source: Improvising Beings.

Christian Bucher, Simon Tan, Rick Countryman: Acceptance-Resistance

This album is just about what Jazz was supposed to be: a “true life drama”, that’s what Sonny Simmons calls life stories. Rick Countryman, alto sax supremo trained by no less than Bert Wilson, and as it happens, of course, a disciple of Simmons, and myself, have been Facebook pen-friends for years. He’s been living in the Philippines for decades. There, he turned the local scene’s attention towards Free Jazz. Heated nights not unlike anything out of an early ESP-Disk’ session started at club Tago, where he hit a friendship with a local, Simon Tan, a very strong double bass player. Visiting swiss drummer (and visual artist) Christian Bucher, a student of Pierre Favre, gave the incentive to create a record. This is what it is, the jazziest album I ever published. Unashamedly, joyfully jazz, “in the tradition” of 1960s Free – and I’m grateful individuals such as Rick keep the idiom much alive, and kicking.

Augustin Brousseloux, Jean-Marc Foussat, Quentin Rollet: Qui A Vu Ce Mystère…

This is also a friendship story. My mentor Jean-Marc Foussat, electro-acoustic / electronic maverick, producer at Fou Records and celebrated sound engineer, introduced me two years ago to guitarist Augustin Brousseloux, then aged… 16. And oh boy, what a concept the kid had. He quickly became a protégé of Noël Akchoté. And of the infamous french bard Jean-Louis Costes. And of everybody who has ears. Enter Quentin Rollet, another Akchoté sibling (remember Rectangle Records? he was the other half, and now runs Bisou Records), on saxophones. It was one of these nights in Paris. The music was so overwhelming – the washes and electronic nightmares born out of Foussat’s VCS3, the unpredictable arpeggios and fuzz of Brousseloux, topped by Rollet’s faultless jazz deconstructions – I couldn’t resist, and earmarked the session for release 5 minutes after the end of the performance. I dug the “anything goes” approach – free improvisation, noise, electro-acoustic instant composition, psychedelia of a kind – and the cohesion of it all. It is a world of its own.

Unseen Worlds Label Profiled

Source: Bandcamp Daily.

The idiosyncratic label Unseen Worlds began as a reissue project, releasing an eclectic variety of “art music” that ranged from electronic to classical to pop. It was launched by Tommy McCutchon, who had been making private bootlegs of old recordings for himself while working at an audio/visual library in Austin, Texas, with the help of his friend Neil Fauerso. That hobby eventually transformed into a more above-board, public-facing operation, and its focus shifted from archival material to include new releases that would be peculiar in this or any other time.

The label builds on McCutchon’s early devotion to krautrock, electronic music, prog, Cuneiform Records, and experimental Japanese sounds. “At one point, I owned every Keiji Haino CD—which was a lot,” McCutchon says. His adventurous listening habits informed the development of Unseen Worlds, and today he describes the label’s aesthetic as, “revolutionary avant-garde music that’s highly accessible—music that might seem alien or other, but is also familiar.”