Newsbits: Maneri, Parker, and Ban / Carla Bley / Brian Marsella / Susan Alcorn / Magma / Jaimie Branch

English: Susan Alcorn

The latest from Mat Maneri, Evan Parker, and Lucian Ban is reviewed.

Carla Bley is interviewed and profiled.

The Chicago Reader covers Brian Marsella’s treatment of John Zorn.

Susan Alcorn was recently awarded $40,000.

Seventh Records is releasing a new version of Magma’s Wurdah Itah with 25 minutes of new takes.

Jaimie Branch’s Fly or Die is reviewed by Bandcamp and the Village Voice.

Jack O’ The Clock West Coast Tour

Source: Jack O’ The Clock, a rare opportunity to see one of the country’s most innovative ensembles in action.

6/2/17 – 8PM
Rocketboy Arts House Concert
(open to public, all ages)
840 West Third Avenue,
Eugene, OR
w/ Mood Area 52

6/3/17 – 8PM
Ash Street Saloon
225 SW Ash St,
Portland OR
w/Mercury Tree, Volcanic Pinnacles

6/4/17 – ALL DAY,
we go on last at 9PM
SeaProg Festival
Columbia City Theater
4916 Rainier Ave. S.
Seattle, WA, 98118

6/17/17 – 9PM
Starry Plough,
3101 Shattuck Avenue,
Berkeley, CA
w/Atomic Ape, Hedersleben

The Free Jazz Collective Reviews

Bill Frisell

Source: The Free Jazz Collective.

Vision Festival 2017 – Day 2: The Resistance Begins
Vision Festival 2017 – Day 1: Calling All Visions
Bill Frisell / Thomas Morgan – Small Town (ECM, 2017) ****
Jack Wright – The Free Musics (Spring Garden Music Editions, 2017)
Noah Kaplan Quartet – Cluster Swerve (HatHut, 2017) ****
Jaimie Branch – Fly or Die (International Anthem, 2017) *****
Matthias Müller – Solo Trombone (Mamü, 2017) ****

The Roulette in June

Source: New York’s Roulette.

FRIDAY, JUNE 2, 2017 @ 8:00 PM
New songs by Dick Connette, Rachelle Garniez, and Mimi Goese, featuring vocals by Suzzy Roche and Ana Egge.

MONDAY, JUNE 5, 2017 @ 8:00 PM
Saxophonist James Brandon Lewis and drummer Chad Taylor honor the great saxophone + drum duos.

TUESDAY, JUNE 6, 2017 @ 8:00 PM
Hans Tammen’s Third Eye Orchestra performs Clepsydra, a score produced from electronic sample and hold procedures.

WEDNESDAY, JUNE 7, 2017 @ 8:00 PM
Tomeka Reid continues her 2016-2017 residency at Roulette.

THURSDAY, JUNE 8, 2017 @ 8:00 PM
Ensemble Connect celebrates the voices of immigrants in our nation.

MONDAY, JUNE 12, 2017 @ 7:00 PM
Face the Music performs “Tell Me Everything” by Julia Wolfe and music by fellows of Luna Composition Lab’s inaugural year!

TUESDAY, JUNE 20, 2017 @ 8:00 PM
Premieres by composer Brendon Randall-Myers for soprano Eliza Bagg of Pavo Pavo, vocalist Doug Moore of Pyrrhon, and Dither Quartet.

THURSDAY, JUNE 22, 2017 @ 8:00 PM
A multimedia song cycle adapted from Afghan women’s folk poems collected in Eliza Griswold’s book, “I Am the Beggar of the World.”

FRIDAY, JUNE 30, 2017 @ 8:00 PM
Guitarist Bill Frisell and bassist Thomas Morgan present a program of duets from their new album, Small Town.

AMN Reviews: Carlo Mascolo – My Tubes [Creative Sources cs409]; Vilde&Inga – Silfr [Sofa559]

Given enough curiosity and skill on the part of its player, any instrument can reveal itself as containing sonic multitudes. Part of what made the avant-garde and experimental music of the last century so compelling was the exploitation, by composers and performers alike, of orchestral and other instruments’ potential for producing diverse and sometimes uncanny worlds of sound. Far from having exhausted itself in the creative burst of the postwar period, interest in the sonic potential of acoustic orchestral instruments continues, often with quite exciting results.

Italian trombonist Carlo Mascolo’s My Tubes is an intriguing set of fifteen brief pieces—most running between one and three-and-a-half minutes long—for prepared trombone. All emphasize the physical process of creating sound through a brass instrument with breath, mouth, tongue and voice. For example, Slided takes a single pitch divided by micro-variations and embellishes it with vocalizations mimicking the rhythms of speech, traces of unpitched breath, and durations embodied in quasi-Morse code divisions of time. As its title announces, Mouthpiece emphasizes the role of the trombone’s mouthpiece as it captures and slightly distorts Mascolo’s humming. LFO’s approximates an electronic effect by staging multiple sounds in a kind of out-of-phase,  autocounterpoint. One of Mascolo’s intentions with My Tubes was to make his acoustic instrument sound like a synthesizer or oscillator, and on this piece he does just that.

Like Mascolo, the Norwegian duo of violinist Vilde Sandve Alnaes and double bassist Inga Margrete Aas play a music of timbre that draws extensively on extended technique. And as with My Tubes, Silfr consists of a set of fairly compact individual pieces each of which is centered on a fairly well-defined set of sounds or techniques. The opening track is a rough-edged pulse piece that foregrounds the raw bite and bounce of bowhair on the strings; another pulse-based track, Sprø Glimmer, features the glassy, skidding sounds of sul ponticello bowing. For nearly purely pitchless sound, there is Røykkvarts, whose irregularly rhythmic antiphony is played on the breathy rasp of muted bowed strings. Other pieces work within the close intervals of a semi-tone or less, with very widely spaced pizzicato notes, or build an icy lattice of densely-packed harmonics.

Daniel Barbiero

5049 Records Podcast – Episode 117, Missy Mazzoli 

Source: 5049 Records.

Missy Mazzoli is an incredibly gifted and prolific composer/performer who has been living in New York since 2006. A Pennsylvania native, her music has been performed all over the world by the Kronos Quartet, eighth blackbird, pianist Emanuel Ax, Opera Philadelphia, LA Opera, New York City Opera, the LA Philharmonic, JACK Quartet, cellist Maya Beiser, and others. She is a deeply thoughtful and inventive composer whose work is marked by clarity of vision and depth of experience. For this talk we go way back, starting with her early days at the piano, her introduction to riot grrrl all the way up to the present. This is a good talk.



May 28, 2017
Steve Swell, Thomas Heberer, Pascal Niggenkemper, Jeremy Carlstedt, Legion Bar
Jeremy Carlstedt Thomas Heberer Pascal Niggenkemper Steve Swell

May 28, 2017
Jeb Bishop, Yoni Kretzmer, Damon Smith, Tom Rainey, Legion Bar
Jeb Bishop Yoni Kretzmer Tom Rainey Damon Smith

May 28, 2017
Assif Tsahar & Jeremy Carlstedt, Legion Bar
Jeremy Carlstedt Assif Tsahar

May 28, 2017
Bookish Abasement Matinee, Unnameable Books
Carlo Costa Amy Mills Joe Moffett Pascal Niggenkemper Sam Weinberg

May 27, 2017
Peter Evans & Levy Lorenzo, Gallery 456
Peter Evans Levy Lorenzo

May 27, 2017
Ingrid Laubrock Solo, Gallery 456
Ingrid Laubrock

May 27, 2017
Joe Morris & Charmaine Lee, Gallery 456
Charmaine Lee Joe Morris

May 27, 2017
Assif Tsahar Solo, Downtown Music Gallery
Assif Tsahar

Coming to Philadelphia

A shot from a 2006 performance by Peter Brötzm...

Source: Ars Nova Workshop.

Saturday, June 3 – 8:00pm
with Brian Marsella, piano; Trevor Dunn, double-bass; and Kenny Wollesen, drums

Philadelphia Art Alliance, 251 S. 18th Street
$20 General Admission

Ars Nova Workshop is pleased to present Philadelphia native Brian Marsella and his trio, performing songs from John Zorn’s second Masada book, “The Book of Angels,” as recorded on their new Tzadik release, Buer.

Collecting 16 Masada compositions performed by a dynamic piano trio, Buer (Volume 31 of “The Book of Angels”) features three remarkable musicians well-versed in the Zorn canon: Brian Marsella, the astonishing and passionate pianist from Banquet of the Spirits, Zion80 and The Flail who also leads his own project, the sinic theater group Imaginarium, and appears regularly with Philly jazz supergroup the Fresh Cut Orchestra. Marsella is joined on the album by the classic Masada rhythm section of bassist Trevor Dunn, known for his wide-ranging playing with Mr. Bungle, Tomahawk, Fantômas, the Nels Cline Singers and his own Trio Convulsant; and drummer Kenny Wollesen, familiar as a founding member of Sex Mob and the New Klezmer Trio as well as for his work with Bill Frisell, Tom Waits, Julian Lage, John Lurie and countless others.


Thursday, June 8 – 8:00pm
with Peter Brötzmann, reeds; and Heather Leigh, pedal steel guitar

FringeArts, 140 N. Columbus Blvd. (at Race St.)
$18 General Admission

Ars Nova Workshop is honored to present the return of saxophonist Peter Brötzmann and pedal steel guitarist Heather Leigh.

Peter Brötzmann (b. 1941) has been a polarizing figure in global free jazz since the late 1960s. A painter by trade, Brötzmann applied lessons learned from Sidney Bechet, the proverbial American holy trinity — Coltrane, Sanders, Ayler — and Fluxus (he was a card-carrying member) to a primordial tenor sax caterwaul that even Bill Clinton couldn’t deny. Nate Chinen writes, “Mr. Brötzmann is famous for a hardheaded, fulminating style devoid of any trace of bathos. Trying to describe it sends you grasping for overheated metaphors: blowtorches, hellfires, certain Congressional libidos.”

Heather Leigh is a Houston-bred coal miner’s daughter who lives and works in Glasgow. Equally informed by her Appalachian roots, Albert Ayler, and Harry Pussy, Leigh’s approach to the pedal steel guitar could be interpreted as a fractured survey of American culture’s deeply troubled heritage. Dusted Magazine writes, “All notions of the pedal steel’s laid-back, country harmony are shattered as Leigh extols jagged notes and blocks of electric noise that seem to rail against rock, jazz and other notions of freedom music.” Leigh’s collaborations with Charalambides, Chris Corsano, Jandek, Thurston Moore, and Smegma illuminate connections and eliminate distinctions between noise rock, free jazz, and what Arthur Magazine dubbed “New Weird America” in the mid-oughts.ötzmann-heather-leigh-06-08-2017