Marc Ribot Overview

Source: Bandcamp Daily.

Ribot is generally classified as a jazz guitarist; he rose to prominence in the 1980s New York Knitting Factory scene loosely centered around composer and alto saxophonist John Zorn. Ribot has never fit easily into any one genre. As a session musician and sideman, he’s played on records by pop-rocker Elvis Costello, industrial electronic noisemaker J.G. Thirlwell, and Zorn himself—perhaps most notably in Zorn’s Masada project, which turns Jewish folk music into jazz noise weirdness. Under his own leadership, Ribot has helmed bands devoted to the Cuban music of Arsenio Rodrigues, to the exploration of Philly soul, and to various mixtures of jazz, rock, and noise. One minute he’s joining saxophonist Ellery Eskelin for a grungy dissection of boss tenor Gene Ammons’s “Twisting the Jug,” the next he’s sneerily deconstructing “While My Guitar Gently Weeps.” And he’s got a new album coming out that addresses the particular political pressures of the moment.

Ribot’s catalog is so extensive and varied that even the relatively small portion available on Bandcamp is a bit overwhelming. Below are some of the highlights of his work, under his own name and assisting other artists.

Harold Budd Residency at the Toledo Museum of Art

Source: The Toledo Museum of Art.

The Toledo Museum of Art (TMA) will welcome genre-defying artist Harold Budd to its classical concert hall and galleries for a one-of-a-kind artist residency this fall. Budd’s infrequent public concerts are intimate events that bring together music, visual art and spoken word within unique architectural settings. Considered a founder of minimalist, avant-garde, ambient and electronic music, Budd will give a master class, a rare career-spanning performance with string ensemble and a gallery talk. The master class will take place at Bowling Green State University Oct. 5, and the TMA programs will take place Oct. 6 and 7.

Great Performances: Harold Budd

Saturday, Oct. 6: 6:30 p.m. artist talk/8 p.m. performance, Peristyle

Tickets are $15 for Museum members, $35 for nonmembers and can be purchased in advance at or by phone during Museum hours at (419) 255-8000 ext. 7448. This concert is supported in part by Robert and Rose Wagner with additional support from the MidAmerican Center for Contemporary Music of the College of Musical Arts at Bowling Green State University. Great Performances is supported in part by the Dorothy MacKenzie Price Fund.

Gallery Talk: Harold Budd

Sunday, Oct. 7: 3 p.m., Gallery 1

The event is free but registration is required; first-come-first-served tickets are available at This program is supported in part by Robert and Rose Wagner.

Edgetone Records Summer Releases

Source: Edgetone Records.

The Equity & Social Justice Quartet, Argle-Bargle or Foofaraw

This project was created to raise awareness and funds for Colorado Immigrant Rights Coalition. The Colorado Immigrant Rights Coalition (CIRC) is a statewide, membership-based coalition of immigrant, faith, labor, youth, community, business and ally organizations founded in 2002 to improve the lives of immigrants and refugees by making Colorado a more welcoming, immigrant-friendly state.

Trouble Ensemble

Inspired by the lyrics “Wade in the water, God’s gonna trouble the water,” the musicians of the avant-gospel Trouble Ensemble enter into musical conversation that creates, listens to, reveres and questions, the melody, rhythm and text derived from spirituals, (and other songs they inspired). They revel in enjoying, discovering and making trouble. The spirituals always illuminated the spiritual force that troubles the waters of injustice and oppression using the power of African and African American music and spirituality. Originally songs of black American slaves, they are rooted in song, dance and drumming of West Africa, the experience of oppression of an uprooted people, and the teachings of a transformative faith. They troubled the dominant narratives, and their message and tradition continue to trouble unjust systems today. Composers and experimenters like Sun Ra, Charles Ives and Pauline Oliveros troubled the musical establishment and its conventions as they envisioned radical new ways of making and listening to sound. Their traditions are a separate musical “voice” from African American spirituality and the two voices cannot merge into one. Instead, they must converse. Listen to one another. Learn from one another. Discover harmony. Enjoy dissonance. Each with our own distinct voices, we create, listen to, revere and question, the melody, rhythm and text derived from spirituals, and other songs they inspired, we revel in our own ways of enjoying, discovering and making trouble.

Bill Noertker, Mark Oi

Guitarist Mark Oi and bassist Bill Noertker first met in Northern California in the mid-90s when Oi was playing with John Tchicai and Noertker was playing with the After the End of the World Coretet. When Tchicai moved to France in 2001, Oi moved to Seattle. That was the same year that Noertker formed his working ensemble Noertker’s Moxie. By 2013 Oi had returned to the San Francisco Bay Area. Since then Oi and Noertker have been meeting weekly to hone their unique musical lexicon through the use of non-standard compositional techniques, improvised harmonic textures, cell structure pieces, juxtapositions of incongruent melodic lines, neo-classical formations, telepathic improvisational dialogues, and the blurring of standard electric guitar/electric bass roles.

Fluid Radio Reviews

Source: Fluid Radio.

Sergio Merce – Three Dimensions of the Spirit

Sam Slater – Wrong Airport Ghost

Richard J Birkin – the Last Outpost of Empire

Caroline Park – Live your Best Factory Life

Machinefabriek – Engel

Julia Kent and Jean Dl – The Great Lake Swallows

Tape Loop Orchestra – Return to the Light

Thomas Shrubsole – Themes and Variations

Hekla – Á

Julien Boulier – a Film Not Yet Made