Too Much Music: A Failed Experiment In Dedicated Listening 

English: Logo of NPR News.

Source: NPR, a situation we all find ourselves in…

And then one day, a revelation: It occurred to me that it was no longer just difficult to hear all the music I’d amassed, but impossible. I mean literally, mathematically impossible: I calculated that if I lived another, say, 40 years, and spent every minute of those next 40 years — that’s no sleeping, no eating — listening to my collection of music, I would be dead before I could make it all the way through. That means there are records I own today that I will definitely never hear again. It was a sobering thought. Toward the end of David Foster Wallace’s 2001 short story “Good Old Neon,” the narrator recognizes the “state in which a man realizes that everything he sees will outlast him.” With one single calculation, made on a whim, I had placed myself in this very state.

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The Free Jazz Collective Reviews

Rudresh Mahanthappa

Source: The Free Jazz Collective.

Barry Altschul’s 3Dom Factor – Live in Krakow (Not Two, 2017) ****

Hans Peter Hiby/Michael Bardon/Paul Hession – Roots (NotTwo, 2017) **** ½

Mark Dresser – Modicana (NoBusiness, 2017) ****½

Tom Chant – Stripped Abstract (Hairy Ear, 2017) ***½

Carl Ludwig Hübsch – Rowetor 04 | Rowetor 03 (Tour de Bras, 2017) ****

The Pitch – Frozen Orchestra (Berlin) (Arbitrary, 2017) ****

Lotte Anker – Plodi (Klopotec, 2017) ****½

Martin Küchen – Lieber Heiland, laß uns sterben (Sofa, 2017) *****

Rudresh Mahanthappa’s Indo-Pak Coalition – Agrima (Self-released, 2017) ****½

Holly Bass and Ted Zook at Capital Fringe in DC, January 19

On Friday, January 19,  Capital Fringe will host another installment in the Directed Actions series.   Directed Actions is a live video series that consists of short films, new media, activism, and discussion connecting participants on issues and solution-oriented action hosted at the Capital Fringe.

The series aims to highlight dynamic work as inspiration and an anchor for continued community building.
Featured Guests:
Holly Bass
Holly Bass is a multidisciplinary performance and visual artist, writer and director. She creates solo and ensemble performances with professional collaborators as well as public art happenings and socially engaged art with untrained members of the community. Her performance work, which combines dance, theater and writing, has been presented at respected regional theaters and art spaces such as the Kennedy Center, the Smithsonian National Museum of African Art, the Seattle Art Museum, Art Basel Miami Beach (Project Miami Fair) and the South African State Theatre. Her visual art work spans photography, installation, video and performance and can be found in the collections of the Corcoran Gallery of Art and the DC Art Bank, as well as private collections. A Cave Canem fellow, she has published poems in numerous journals and anthologies. She studied modern dance (under Viola Farber) and creative writing at Sarah Lawrence College before earning her Master’s from Columbia University’s Graduate School of Journalism. As an arts journalist early in her career, she was the first to put the term “hip hop theater” into print in American Theatre magazine. She has received numerous grants from the DC Arts Commission and was one of twenty artists nationwide to receive Future Aesthetics grant from the Ford Foundation/Hip Hop Theater Festival. Since 2014, she has directed a year-round creative writing and performance program for adjudicated youth in DC’s Department of Youth Rehabilitation Services.
Ted Zook
Ted Zook is primarily a nylon-string guitarist, but he also plays basscello through digital signal processors and a variety of digitally-processed, non-traditional analog instruments such as bowls, rainsticks, slidewhistle, whistle-flutes, oceanharp, etc. He began his study of the guitar in Chile and Uruguay (the latter under the guidance of Luis Acosta), and continued upon his return to the U.S. in the early 1960s under Sophocles Papas (classical) and Frank Mullen (jazz).  Since 1999, Ted’s mentor in improvisation has been David Darling.  In addition to his appearances as a basscello soloist, Ted plays regularly plays experimental music in Heterodyne and the Sarah Hughes Ensemble in the Baltimore/Washington DC area.  Ted performed in the 2017 presentation of Directed Actions; a free download of his performance is posted at  https://goo.gl/qUtJTC.
Capital Fringe is located at 1358 Florida Ave NE, Washington DC ; the event is 7:30 PM – 10:30 PM; tickets ($10): https://web.ovationtix.com/trs/pe/10237484/

Interview with Sam Weinberg 

Source: Jazz Right Now.

CB: What was your entry into the New York improvisational/experimental music scene?

SW: The summer before my freshman year of high school, my family moved from Los Angeles to Nassau County, Long Island. Fortunately for me, that summer, my mom enrolled me in a jazz program at Queens College which impacted my path enormously, or if nothing else, exposed me to a number of things that I likely wouldn’t have sought out for myself. The faculty was comprised of a number of people who have gone on to be quite successful in NYC in the intervening years, and they approached the education in a somewhat unique way which concurrently exposed us to canonical jazz records and younger musicians, mostly living in NYC, all of whom were writing their own material. This made me aware of a host of people who I then began checking out live most weekends in high school – Tony Malaby, Tim Berne, Jim Black, etc. The confluence of seeing my teachers at the time play us their original music, and seeing these shows outside of that, made me want to write my own music, which I began doing around that time too – mostly kind of bizarre chromatic heads with vamps. At the same time I was checking out tons of records by John Coltrane, Cecil Taylor, Ornette Coleman, Art Ensemble of Chicago, Albert Ayler, etc. all of which I was getting en masse from the library and ripping onto my computer.

Two Views From the Winter Jazzfest Marathon

Source: WBGO.

“Art hurts. Art urges voyages — and it is easier to stay at home.” Gwendolyn Brooks wrote those words just over 50 years ago, for her poem “Chicago Picasso.” They resurfaced late on Friday night at the New School Tishman Auditorium, as part of the 2018 Winter Jazzfest Marathon. This was during Art and Anthem: For Gwendolyn Brooks, a chamber-jazz affair conceived by the flutist Nicole Mitchell and featuring the pianist Jason Moran. With Brooks’ verse entrusted to the poet Erica Hunt and the singer Shana Tucker, the project held a place of prominence on the marathon, and in one sense summed up the spirit of this roving and expansive yet often introspective event.