The Free Jazz Collective Reviews

Source: The Free Jazz Collective.

Michael Coleman and Ben Goldberg – Practitioner (BAG Production Records, 2018) ****

Matthew Shipp – Zero (ESP-Disk, 2018) *****

Roscoe Mitchell & Matthew Shipp – Accelerated Projector (RogueArt, 2018)****½

Matthew Shipp – Sonic Fiction (ESP-Disk, 2018)****

Matthew Shipp – Magnetism(s) (RogueArt, 2017)****

Vilhelm Bromanders Initiativ – Allt åt Alla (Signal and Sound Records, 2017) ****

Mattias Risberg – Stamps (Clean Feed, 2018) ***½

Erik Carlson and Aleck Karis – Morton Feldman: For John Cage (Bridge, 2017) ****1/2

Erik Carlson and Greg Stuart – Eva-Maria Houben: Duos (s/r, 2018) ****1/2

Sergio Sorrentino – Dream: American Music for Electric Guitar (Mode, 2018) ***½

Joëlle Léandre & Elisabeth Harnik – Tender Music (Trost, 2018) ****½

Elisabeth Harnik – Ways Of My Hands: Music for Piano (Klopotec, 2018) *****

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New Blank Forms Releases

Source: Blank Forms.

Blank Forms has two new vinyl records forthcoming from our publishing imprint Blank Forms Editions. On September 7th, both Catherine Christer Hennix’s Selected Early Keyboard Works and Earth To Momma by the band formerly known as Haribo, now Hairbone, will hit stores and mailboxes.

Catherine Christer Hennix: Selected Early Keyboard Works 2xLP
Selected Early Keyboard Works is the first in a series of planned archival records of the unheard music of Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. It comes hot on the heels of Traversée Du Fantasme at the Stedelijk in Amsterdam, Hennix’s first solo museum exhibition in over 40 years, and will coincide with both Blank Forms’ publication of Poësy Matters and Other Matters, a two-volume collection of her writing, and the closing of Thresholds of Perception, a retrospective archival show of Hennix’s visual work at The Empty Gallery in Hong Kong. The record also marks the first time Hennix’s own music has been given a full-length vinyl issue.

Hairbone: Earth To Momma LP
Hairbone is a New York-based power trio of artists Raúl de Nieves, Jessie Stead, and Nathan Whipple, formerly known as Haribo. Functioning mainly in the art world, Hairbone has inflicted audiences from museums to decrepit basements with their carnivalesque live shows for nearly a decade. Each unique, thematically pointed multimedia performance narrative features frontman de Nieves inhabiting new personae in a sculptural actionist mode, brandishing oversized text-emblazoned props as if they were picket signs before their eventual destruction as Hairbone’s near-opera burlesque freak shows unfurl. Obliquely political, theirs is a protest music without didacticism.

Ecstatic Music Festival Lineup Announced

Source: Ecstatic Music Festival.

WILD UP, ZOLA JESUS
& WILLIAM BRITTELLE
Monday, January 07, 2019 | 7:30pm
A New Sounds Live co-presentation hosted by John Schaefer & streamed live on NewSounds.org
Zola Jesus brings her unmistakably powerful, Gothic-electronic songwriting into dialogue with William Brittelle’s “silo-bombing music that is at once free-ranging, formally adventurous, unconventionally beautiful, and a joyful thrill to experience” (The Nation), in a special collaboration with the “raucous, grungy, irresistibly exuberant” (New York Times) chamber orchestra, wild Up.

IRREVERSIBLE ENTANGLEMENTS,
AMINA CLAUDINE MYERS
& NICOLE MITCHELL
Thursday, February 28, 2019 | 7:30pm
From Copenhagen to Brooklyn, the “revolutionary” (Shadowproof.com) free jazz collective Irreversible Entanglements has shared its message of liberation, starting with its first appearance at a Musicians March Against Police Brutality in New York City in early 2015. Comprised of mesmerizing vocalist Camae Ayewa (a.k.a. Moor Mother) – whose searing poetic narrations of Black trauma, survival and power drive each work, alto saxophonist Keir Neuringer, trumpeter Aquiles Navarro, double bassist Luke Stewart and Tcheser Holmes on drums, this quintet will join forces for a unique evening of music-making with two equally powerful artists: Legendary pianist/vocalist/improviser Amina Claudine Myers, a member of the Association for the Advancement of Creative Musicians (AACM) since 1966; and the “furiously inventive” (Los Angeles Times) composer/flutist Nicole Mitchell. A member of the AACM since 1965, her influences are multi-dimensional, across generations and genres. She received a 2011 Herb Alpert Award in the Arts, and has been named “the most important jazz flutist of her generation” (Allaboutjazz.com).

2019 BANG ON A CAN
PEOPLE’S COMMISSIONING
FUND CONCERT
Wednesday, March 06, 2019 | 7:30pm
A New Sounds Live co-presentation hosted by John Schaefer & streamed live on NewSounds.org
Bang on a Can’s People’s Commissioning Fund (PCF) is a radical partnership between artists and audiences to commission works from adventurous composers. Founded in 1997, long before crowd-funding became the norm through Kickstarter and the like, Bang on a Can’s PCF has pooled contributions of all sizes from hundreds of friends and fans and since its inception has commissioned over 50 works of music for New York’s electric Bang on a Can All-Stars.

ETHEL & FACE THE MUSIC
Sunday, March 17, 2019 | 5:00pm
Special guest appearance by Todd Rundgren
NYC’s “infectiously visceral” (Pitchfork), “vital and brilliant” (New Yorker) string quartet ETHEL teams up with the dynamic youth ensemble Face the Music for an afternoon of invigorating new music. The performance showcases repertoire commissioned for ETHEL and developed during the quartet’s 2018-19 residency with Face the Music at Kaufman Music Center.

Seattle Scene: July 12-20, 2018

From Seattle’s Wayward Music Series:

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.

Earshot: Cathedral of Trees + Fig
Thu. July 12, 8 PM; $5 – $15 online/at the door

10-string classical guitarist Matthew Anderson (Cathedral of Trees), draws upon the work of Brazilian jazz master Egberto Gismonti and other post-1960s New World composers. Composer/ guitarist Ronan Delisle employs traditional jazz elements in new ways, as he re-examines the roles of instruments, actively re-working how themes and languages are presented. Part of Earshot’s Jazz: The 2nd Century series.

Neil Kosaly-Meyer: Gradus…
Sat. July 14, 8:00 PM; $5 – $15 at the door

In the 17th year of this piano composition in perpetual progress, the pitch palette has begun to become rich. This performance might include A’s, E’s, C#’s, G’s or B’s. Though the selection of pitches used is precise and severe, the actual playing is entirely improvised, responding attentively to the inward and outward requirements of the moment, with an ear to the sounds of the environment.

WED. 7/18 – Gratitude Trio with Dawn Clement (piano, voice), Chuck Deardorf (bass), Matt Wilson (drums)

THU. 7/19 – Earshot Jazz presents Jazz: the Second Century, New Series One + Scrambler

FRI. 7/20 – Project Metamorphosis is Daniel McManus playing solo 8-string guitar with loops and effects combining composition and structured improvisation

The Adventurous World of Brazilian Experimental Music

Source: Bandcamp Daily.

Brazil’s musical culture is so broad, and its traditions so intertwined, that the meaning of “Brazilian experimental music” is pleasantly confounded. In other countries, “experimental music” is often defined against a conservative or less adventurous pop landscape. But in Brazil, “the relation between tradition and vanguard in Brazil is ambivalent,” explains Bernardo Oliveira, a Brazilian teacher, researcher, critic, and producer of experimental music. “We’ve incarnated ‘the vanguard of backwardness and the backwardness of vanguard.” 1960s acts like Os Mutantes and Gal Costa dabbled in fractured experimentation, or combined traditional song structures with psychedelic metal and noise. More recently, the festival music of funk carioca turned Miami bass into hugely popular repetitive abstract rhythms. Other important inspirations for current performers include Tropicália arranger Rogério Duprat, early Brazilian electronic musician Jorge Antunes, and the master of uniquely broken songs, Tom Zé. “We are thinking and conceiving the ‘experimental’ not as a ‘genre’ or a fixed approach or repertoire, but as a practice of invention, experimentation that can be also popular or intuitive,” says Oliveira.