We Need No Swords Reviews

Keiji Haino 5268002w

Source: We Need No Swords.

Me, Claudius: Back To The Sweat-Out Tower

Czaszka (Rec.)

Haino Keiji / John Butcher: Light Never Bright Enough

Maurice’s Hotel Death: CO N

Phil Maguire: Brak; Phil Maguire & James L. Malone: Working Title

Benjamin Finger: Scale of Blindness




March 14, 2018
Samantha Riott & Luke Stewart, Legion Bar
Samantha Riott Luke Stewart

March 14, 2018
Maximum Ernst with Daniel Carter, Legion Bar
Erick Bradshaw Daniel Carter Josh Gordon

March 14, 2018
Weasel Walter, Sandy Ewen, Damon Smith, Legion Bar
Sandy Ewen Damon Smith Weasel Walter

March 14, 2018
Michael Foster & Damon Smith, Legion Bar
Michael Foster Damon Smith

March 11, 2018
Terrie Hessels Solo, Sound Cab, St Johann in Tirol
Terrie Hessels

March 11, 2018
Mette Rasmussen Solo, Sound Cab, St Johann in Tirol
Mette Rasmussen

March 10, 2018
Mette Rasmussen Solo, Alte Gerberei, St Johann in Tirol
Mette Rasmussen

March 10, 2017
Ken Vandermark & Terrie Hessels, LLA, Weitau
Terrie Hessels Ken Vandermark

5049 Records Podcast Episode 153 – Tom Rainey 

English: Tom Rainey, jazz drummer; Picture tak...

Source: 5049 Records.

Originally from Santa Barbara, drummer Tom Rainey has been an integral part of the New York jazz and improvised scene since the late 1970s. He’s collaborated closely with artists such as Tim Berne, Kenny Werner, Nels Cline and saxophonist Ingrid Laubrock. In the past ten years he has begun releasing records and leading projects under his own name: The Tom Rainey Trio and Obbligato, the latter of which is an exploration of jazz standards. Tom is an absolute master of his instrument and a super nice dude.

Nils Frahm Live in Philadelphia Reviewed

Source: Echoes.

Walking into the slowing filling Union Transfer in Philadelphia, Nils Frahm’s stage setup immediately grabs your attention. It’s a motley collection of something like a dozen keyboards, acoustic and electronic, from a toy piano to grand piano; pipe organ to synthesizers, plus assorted synthesizer modules and processing units including what looked a couple of old tape delay machines. Some of it looks futuristic. Some looks like he just pulled it out of the attic. He has these set up in two separate cockpits of instruments and in a two-hour performance he danced between them, orchestrating a ballet of movement and sound.

Frahm is a 35-year-old German composer whose works to date have ventured into idiosyncratic solo piano releases, electronic orchestrations and curious experiments. He sits among the new music composers of his generation like Olafur Arnalds, Max Richter and Hauschka. On his latest album, All Melody, he embraces Tangerine Dream-style electronics, ambient chamber music moods, and minimalist momentum. Live, he also brings an exuberance that belies all of those designations.

AMN Reviews: Violet Spin – Spin [Unit Records UTR4829]

Music has changed in radical ways since the string quartet was established in the 18th century, but as a vital force, this fundamental ensemble of two violins, viola and cello endures, and even thrives. So much so that contemporary string quartets, in both their performance practices and choice of repertoire, may inhabit aesthetic worlds more or less removed from that which we ordinarily think of as classical. Violet Spin, a Viennese quartet of eclectic inclinations, blends the influences of jazz improvisation with compositional forms reflecting more recent classical usages.

Founded in 2012 by violinist Irene Kepl, Violet Spin have performed throughout Europe and in Java. Spin is their first release, and it effectively captures the group’s ability to play within and between genres. The musicians—in addition to Kepl, Andreas Semlitsch on violin; Martina Bischof on viola; and Fabian Jäger on cello–are grounded in the discipline of classical performance and deliver a precise sound when called for, but they can also reach beyond those constraints into the looser language of creative extemporizing.

Improvisation is the predominant element in most of the fifteen pieces included here; in contrast to the conventional string quartet’s reliance on contrapuntal relationships, Violet Spin tend to favor the sound of solo voice soaring over a support of pulsing ostinato, chordal vamps or walking lines. There’s a discernible flavor of gypsy jazz, allusions to Latin rhythms and rock chord progressions, and above all, a rhythmic drive, some of it encoded in craftily changing time signatures. (Dare one tap one’s foot to a string quartet? Violet Spin give permission.) But there is another side to the group as well. The three “Chromalog” tracks are sparsely beautiful pieces in which the negative space of silence plays as important a part as the minimal sounds it surrounds; the aptly titled “Grau” weaves unpitched sounds into an acoustic grey noise. And the a capella “face 2 face” turns a handful of syllables into material for a human beat box.


Daniel Barbiero

RIP Buell Neidlinger

Source: JazzTimes.

Buell Neidlinger, a bassist, cellist and educator who worked within a wide spectrum of jazz styles, from Dixieland to the avant-garde, died suddenly on Friday afternoon at his home on Whidbey Island, Wash. He was two weeks past his 82nd birthday.

Neidlinger was best known for his early collaboration with pianist Cecil Taylor; they appeared together on six albums made between 1956 and 1961. He also recorded frequently with saxophonists Steve Lacy and Archie Shepp and trombonist Roswell Rudd; played in a trio with pianist Herbie Nichols; was the accompanying bassist on Tony Bennett’s hit 1962 recording of “I Left My Heart in San Francisco”; and collaborated prolifically with saxophonist Marty Krystall over a period of nearly 50 years.