Coming to the Vortex Jazz Club

Source: Vortex Jazz Club.

THU 16 AUGUST 2018
Maestro Evan Parker invites for his monthly residency John Edwards, the master bassist and drummer Roger Turner, known for some of the most imaginative band partnerships of the past 40 years.
Time: 8 – 11PM

SUN 19 AUGUST 2018
An annual gathering of free improvising musicians put together by guitarist John Russell Fête Quaqua aims for old friends to get together and meet new ones in the moment.
Time: 2 – 5.30PM

MON 20 AUGUST 2018
The Line Up over the next three days: Mark Browne (sax / percussion) Phil Durrant (mandolin / electronics) Max Eastley (self made instruments) Sylvia Hallett (violin / electronics) Matt Hutchinson…
Time: 8 – 11PM

TUE 21 AUGUST 2018
The Line Up over the next three days: Mark Browne (sax / percussion) Phil Durrant (mandolin / electronics) Max Eastley (self made instruments) Sylvia Hallett (violin / electronics) Matt Hutchinson…
Time: 8 – 11PM

Daniel Carter Profiled

Source: Jazz Right Now.

Daniel Carter, born in Wilkinsburg, Pennsylvania, in 1945, is a musician and writer. Since coming to New York City, in 1970, he has sought out musicians and situations that encourage free expression. Carter is a renowned multi-instrumentalist, playing tenor, alto and soprano saxophones, clarinet, flute, and trumpet, as well as voice. In the 1950s he sang in so-called doo-wop groups, took clarinet lessons, played in school bands (into the 60s), and the 49th Army Band (ca. 1967-69). When he first came to NYC, he played in soul bands as well as avant-garde jazz groups. He has always tried to transcend genre-boundaries, which is, today, as daunting a challenge as ever, but he’s found that the many musicians he’s met and played with, and the invaluable treasure of a huge, ever-growing, number of recordings and videos (so many, readily available on the internet, cable TV, and radio), have recharged and renewed him, all along the way. He lives in Manhattan with his wife, visual artist, Marilyn Sontag, and their two cats, Minnie and Sophie.

Jazz Concerts in N.Y.C. This Weekend 

Source: The New York Times.

BIG HEART MACHINE at the Jazz Gallery (Aug. 16, 7:30 and 9:30 p.m.). Led by the versatile reedist Brian Krock and conducted by Miho Hazama, this 18-piece ensemble works by stealth and swarm and accrual. The suspenseful, layered music can sound like migration in motion or a wisp of twisting smoke. And if you’re looking for musical-historical references, there are plenty — from progressive metal to Carnatic music to late-20th-century Western classical. At this show, Big Heart Machine celebrates the release of a self-titled debut album, which was produced by the esteemed big-band leader Darcy James Argue.

URI CAINE, MARK HELIAS AND CLARENCE PENN at Mezzrow (Aug. 15, 8 and 9:30 p.m.). Here’s the upside of the August slump: Some artists who might otherwise be busily touring abroad or gigging as side musicians have a bit of time to kill at home in New York. This week you can chase your late-summer luck down to Mezzrow, a tight Greenwich Village basement, where the pianist Mr. Caine, the bassist Mr. Helias and the drummer Mr. Penn will be playing together. They recorded a strong album in 2016, “Calibrated Thickness,” but don’t reunite often enough. All three are improvisers with a stony command and a silvery spill of constant new ideas; they’re well suited to one another but never seem to get too comfortable.

KIRK KNUFFKE TRIO AND MICHAEL FORMANEK QUARTET at Nublu 151 (Aug. 15, 9 p.m.). The chipper and discursive playing of Mr. Knuffke, a cornetist, has never sounded more alive than it did on “Cherryco,” a record out last year celebrating Don Cherry’s legacy. Another recent highlight was “Lamplighter,” from 2015, featuring a different small group. He’ll appear here with a version of that band: Stomu Takeishi on bass and Bill Goodwin on drums. Also on the bill is the expert avant-garde bassist Michael Formanek, leading a quartet.

GODSPEED YOU! BLACK EMPEROR at the Prospect Park Bandshell (Aug. 10, 7:30 p.m.). In the beginning, this Montreal noise collective started small — with the nucleus of Efrim Menuck, Mike Moya and Mauro Pezzente — then within a short time tripled in size to add layers of rhythm, guitar and strings. (In 2010, returning from a seven-year hiatus, they even added a projectionist and video artist, Karl Lemieux, to their ranks.) Much of the music they have created over the past 20-plus years mirrors their origin story: A song will start with a single element — be it a smattering of background noise, a lone note or a snippet of rhythm — emerging slowly from silence, tickling your interest. As this element strengthens, it is bolstered by continually erupting peels of melody, harmony and percussion, building upon one another until the entirety is a dazzling behemoth that inundates you with its mellifluence or cacophony or both. Listen carefully to last year’s “Luciferian Towers” and a wordless message comes through — one of fear and longing and hope and glory. The Tunisian vocalist Emel Mathlouthi, who was absolutely mesmerizing at last year’s Basilica SoundScape, opens this free BRIC Celebrate Brooklyn! show.

Classical Music Concerts in N.Y.C. This Weekend

Source: The New York Times.

ALARM WILL SOUND at the DiMenna Center for Classical Music (Aug. 15, 8 p.m.). The Time Spans festival has quickly carved out a valued place on the contemporary-music calendar, bringing together leading ensembles over five nights. Alarm Will Sound by now need little introduction as one of our foremost new-music ensembles. Here they give the world premiere of Alex Mincek’s “Chimeras,” the American premiere of Zosha Di Castri’s “Phonotopographie” and the New York premiere of “The Intention,” a collaboration between Chris Stark and King Britt. Alan Pierson conducts.

IGOR LEVIT at Tanglewood in Lenox, Mass. (Aug. 15, 8 p.m.). If you can make it to the Berkshires in the middle of the week, you’ll be rewarded with an uncommonly interesting program, one dedicated to ideas of freedom. Mr. Levit, an increasingly political pianist, plays Beethoven’s “Eroica” Variations. He is then joined by the JACK Quartet for Schoenberg’s “Ode to Napoleon” and finishes with Frederic Rzewski’s enormous “The People United Will Never Be Defeated!”

‘IN THE NAME OF THE EARTH’ at the Cathedral of St. John the Divine (Aug. 11, 3 p.m.). Mostly Mozart is making a habit of commissioning large-scale choral works. Following David Lang’s “The Public Domain” in 2016, this year’s comes from a composer with a special relationship to the world beyond the concert hall — the environmentalist composer John Luther Adams. In all, about 800 participants in four separate choruses — North, South, East, West — will come together for “In the Name of the Earth,” under the guidance of Simon Halsey.

TALEA ENSEMBLE at the DiMenna Center for Classical Music (Aug. 16, 8 p.m.). James Baker conducts two works for this hourlong Time Spans program: Felipe Lara’s “Fringes” and Oscar Bettison’s “Livre des Sauvages.”

The Otherworldly Tape Collages of Graham Lambkin

Source: Bandcamp Daily.

In Graham Lambkin’s world, the sound of water is like a melody that everybody knows by heart. “It’s such a relatable sound,” he says during our email conversation, when asked why so much of his deeply experimental tape collage work over the last two decades has so prominently featured the sound of water running, splashing, and dripping. “It’s variable, textural, dynamic, atmospheric, and it can hold otherwise disparate sounds together and give them a sense of cohesion,” he says. “However abstract the work is, water provides a familiar grounding to anchor the listener’s attention.” When you consider Lambkin’s penchant for stitching together cryptic, unrecognizable, even frightening sonic environments out of completely ordinary noises (crunching pinecones, swaying wind chimes, a person snoring), it makes sense why the soothing tone of water would strike a welcoming chord.