The Best Jazz on Bandcamp: March 2019 

Source: Bandcamp Daily.

Well, hell. February’s deluge of excellent new music has carried right on into March, which means your wishlist is just gonna keep getting longer. That’s not a complaint; there’s no such thing as too much good stuff. If there’s one quality that all of this month’s selections have in common, it’s the idea of statement—saying something sonically that transcends the music theory behind it.

AMN Reviews: Splinter Reeds – Hypothetical Islands [New Focus FCR222]

Extended technique long ago lost its shock value, which is all to the good. For many composers as well as performers, extended technique is a resource that can be drawn on as a matter of course—as one musical device among many, rather than as novelty or anomaly. As their fine second album demonstrates, the music written for and performed by the extraordinary reed quintet Splinter Reeds—oboist Kyle Bruckmann, clarinetist Bill Kalinkos, saxophonist David Wegehaupt, bass clarinetist Jeff Anderle and bassoonist Dana Jessen—shows how artfully extended technique can serve as the organizing principle for stimulating works that are challenging to performer and listener alike.

An excellent example of this is composer Sky Mackley’s Choppy, which was written in 2017 for Splinter Reeds and premiered at the Berkeley Art Museum that November. The piece weaves together a dense tissue of multiphonics, microtonal detuning, overblowing and the non-musical sounds of disturbed water (a sonic allusion to the title’s evocation of windblown water, perhaps). It’s a piece that inhabits extremes of register and dynamics and might be something we could imagine the Furies listening to when not out pursuing transgressors.

Like Choppy, Eric Wubbels’ Auditory Scene Analysis II, written for the group in 2016, employs multiphonics as a significant element. Also like Choppy, it contains jarring dynamic contrasts as well as harsh, massed sound clusters. Some of the percussive effects in Wubbels’ piece find an amplified echo in Theresa Wong’s Letters to a Friend, which uses key clicks and slap-tongue to set up a complex set of rhythms and counterrhythms.

The title track, by Yannis Kyriakides, augments the sound of the acoustic winds with electronics. The piece begins with a wind-like background rumble that, rising and falling in prominence, runs as an undercurrent throughout. On top of it the reeds carve out dissonant islands of sound—short, discordant fragments of ensemble work that take the guise of tantalizing, because deliberately incomplete, hints of melody.

The album also includes the gleefully stuttering polyphony of Matthew Shlomowitz’s Lines and Length, and the Cara Haxo’s alternately pointillistic and movingly lyrical Exercises I and II.

Daniel Barbiero

All About Jazz Reviews

Source: All About Jazz.

Axel Dörner/Agustí Fernández/Ramon Prats
Venusik (Multikulti Project)

Stephen Gauci / Sandy Ewen / Adam Lane / Kevin Shea
Live at the Bushwick Series (GauciMusic)

Ran Blake / Claire Ritter
Eclipse Orange (Zoning Recordings)

Club D’Elf
Night Sparkles (Face Pelt Records)

AACM Great Black Music Ensemble
Live at The Currency Exchange, Volume 1 (AACM Chicago Productions)

Izumi Kimura, Barry Guy, Gerry Hemingway
Illuminated Silence (Fundacja Sluchaj)

Robert Burke, Tony Malaby And Mark Helias
Head Under Water (FMR Records)

Michael Attias
échos la nuit (Out Of Your Head Records)

Greg Ward Presents Rogue Parade
Stomping Off From Greenwood (Greenleaf Music)

This Week in New York 


The Austrian Cultural Forum New York presents the Austrian violinist and vocalist Mia Zabelka with experimental video artist Katherine Liberovskaya. The evening also features the legendary intermedia artist Phill Niblock performing his signature hypnotic compositions.
Monday, April 8 at 7:30 PM
Austrian Cultural Forum New York, 11 East 52nd Street, New York, NY

The International Contemporary Ensemble performs the world premieres of works by NYU graduate student composers Fabian Beltran, Michael Seltenreich, Vasiliki Krimitza, Aine Eva Nakamura, and Michael Rose.
Monday, April 8 at 8:00 PM
Abrons Arts Center, 466 Grand Street, New York, NY

Bearthoven premieres new works by Katherine Balch and Sarah Hennies. Opening the evening will be the premiere of a new duo featuring vocalist Luisa Muhr and guitarist Wendy Eisenberg.
Tuesday, April 9 at 7:00 PM
Tickets $10 advance, $15 doors
Pioneer Works, 159 Pioneer Street, Brooklyn, NY

The String Orchestra of Brooklyn‘s annual String Theories Festival focuses on music for strings written in the 21st century. This year’s festival opens with a double bill of chamber ensembles that push the boundaries of traditional chamber music to include influences of jazz, noise, and metal.
Tuesday, April 9 at 8:00 PM
Tickets $18 online, $25 doors
Roulette, 509 Atlantic Avenue, Brooklyn, NY

The International Contemporary Ensemble presents an event featuring artists from the ICEcommons composer-discovery database—Merche Blasco, Sofy Yuditskaya, and David Coll—in collaboration with the Radical 2 percussion duo. Guest performers include Shelley Hirsch, Dafna Naphtali, Jess Rowland, and Margaret Schedel.
Wednesday, April 10 at 7:30 PM
Abrons Arts Center, 466 Grand Street, New York, NY

On the second and final night of this year’s String Theories Festival, the String Orchestra of Brooklyn performs two world premieres by John King and J.G. Thirlwell, and a recent work by Lisa Renée Coons.
Wednesday, April 10 at 8:00 PM
Tickets $18 online, $25 doors
Roulette, 509 Atlantic Avenue, Brooklyn, NY

Through forest scenes and horizons complete with mists, hunts, and a healing song by Ishi, this concert links European and American composers with abundant, imaginative imagery. From Robert Schumann to Missy Mazzoli, Lisa Moore presents a blended collection of cinematic piano music, inspired by our natural world, and human yearnings. Composers include Ludwig van Beethoven, Martin Bresnick, Leoš Janáček, Missy Mazzoli, Frederic Rzewski, and Robert Schumann.
Thursday, April 11 at 7:00 PM
Tickets $15, $10 students
Metropolis Ensemble, 1 Rivington Street, 2nd Floor, New York, NY

The 21st annual MATA Festival opens with Past Perfect, a triptych of intimate works that use dis- and re-embodied voices to reflect how our choices define us. Cellist John Popham joins the Bennardo-Larson Duo to animate works by Julie Herndon and Matt Evans framing Dutch composer Thomas Bensdorp’s revealing personal drama Family Plot for video and automated music boxes.
Thursday, April 11 at 8:00 PM
Tickets $25
The Kitchen, 512 West 19th Street, New York, NY

Brooklyn Raga Massive joins forces with Face the Music, a dynamic youth program dedicated to post-genre music by living composers (including its own members), for an evening inspired by South Asian classical music.
Friday, April 12 at 7:00 PM
Tickets $25, $20 members
The Rubin Museum of Art, 150 West 17th Street, New York, NY

The Friends of MATA are joined by pianist Conrad Tao, performing Remy Siu’s Foxconn Frequency no. 2, a multimedia theater work that questions perfection, pedagogy, and factory culture, and – wrapped in aluminum foil – vocalist Paul Pinto, in works that make the future come alive in all of its sensory overload. The conclusion of MATA’s Festival mainstage events at the Kitchen, Future Perfect visits a world of androids, bots, and zombies where yesterday’s science fiction is tomorrow’s reality.
Saturday, April 13 at 8:00 PM
Tickets $25
The Kitchen, 512 West 19th Street, New York, NY

JACK Quartet performs the complete Elliott Carter string quartets, following their appearance at Wigmore Hall, London. Composed between 1951 and 1995, the quartets will be performed in one program with two intermissions.
Sunday, April 14 at 3:00 PM
Tickets $35, $25 members
The Morgan Library & Museum, 225 Madison Avenue, New York, NY

Lorelei Ensemble, a nine-voice all-female ensemble based in Boston, combines distinct and distant repertoires of medieval and contemporary repertoires, ranging from 9th-century Byzantine chant to 21st-century minimalism. Their April program at the Church of St. Ignatius Loyola considers the parallel sacred journey of the natural world and the human race that lives within it, with music from medieval English texts, John Luther Adams, Maggi Payne, Byzantine abbess Kassia, and David Lang, among others.
Sunday, April 14 at 4:00 PM
Tickets $20 to $80
Church of St. Ignatius Loyola, 980 Park Avenue, New York, NY

Can This Even Be Called Music? Reviews

Source: Can This Even Be Called Music?.

Dadèf Quartet – Sonnerie (jazz fusion, world fusion)

Eucalyptus – Kick It ’till You Flip It [EP] (experimental jazz)

Kerala – Anagenesis (experimental progressive metal)

Knots – Sing, Shattering, a Poem in Reverse (free jazz, noise rock)

Ocean Fanfare – Imagine Sound, Imagine Silence (experimental jazz, free jazz)

Ratchet Orchestra – Coco Swirl (experimental jazz)

Portalegre International Jazz Festival

Source: Portalegre JazzFest. Takes place May 2-4 in Portalegre, Portugal. Rough translations below.

02 OF MAY | GA | 9:30 p.m.
Marc Ribot Solo
The guitarist Marc Ribot has to date with seven solo albums, which denotes well the importance that gives the format. Some of them have become fundamental milestones in the exploration of new vocabularies and techniques for the guitar, such as “Plays the Work of Frantz Casseus”, “Do not Blame Me” and “Silent Movies”

03 OF MAY | GA | 9:30 p.m.
Hedvig Mollestad Trio
Hedvig Mollestad Trio presents itself as an instrumental progressive rock band “out of the box”, and if indeed we find in its music aspects that in the 1970s were shared by formations like Soft Machine and King Crimson

02 AND 03 OF MAY | CC | 23H
Caterina Palazzi
“Sudoku Killer”
Sudoku Killer, the band led by bassist Caterina Palazzi, was born in Rome in 2007. All the musicians of this ensemble come from complementary artistic experiences, from jazz to rock to experimental music

04 OF MAY | GA | 9:30 p.m.
This quartet, with two saxophones, trumpet and piano, is composed of women, which has an obvious meaning when the normality of jazz and improvised music goes to the exclusivity or masculine predominance of the musical formations

04 OF MAY | GA | 23:00 a.m.
Carlos Bica
Daniel Erdmann
DJ Illvibe
A double bass, a saxophone (or two at a time, a tenor and a soprano), and a pair of turntables: the instrumental format of this trio is unusual and the music that plays at all suits them. A song that reflects and crosses, in any way, the particular personalities of the three actors

The Portalegre JazzFest is back, with its 16th edition, maintaining the format of a unique weekend: from Friday to Saturday.
On Thursday, the opening night of the JazzFest takes place with master Marc Ribot, in which Tom Waits collaborator John Zorn and many others will tour his solo career through classic movie soundtracks and songs of political resistance.

On the night of Friday, keeping the tradition of having the presence of great Nordic musicians, acts the Hedvig Mollestad Trio, which describes itself as a “progressive instrumental rock band” out of the box “, mixed with John Coltrane, Albert Ayler and Ornette Coleman, certainly a merger that will not leave the hopefuls disappointed.

Finally, on Saturday, we will have two different concerts, first, the fascinating project Hearth, a female quartet, composed by the Slovenian Kaja Draksler, the Argentine Ada Rave, the Danish Mette Rasmussen and the Portuguese Susana Santos Silva, who will enjoy their presence in Portalegre for the recordings of his new album. In second, the great bassist Carlos Bica, in a project with the German saxophonist Daniel Erdmann and DJ Illvibe, that will present live “I Am The Escaped One”, album recently edited by Clean Feed Records.

On the night of Thursday and Friday, in the more traditionally jazzy space of the café-concert, we will have another return, the Sudoku Killer project, by the Italian bass player Caterina Palazzi, presenting his new cd, “Asperger.”

Keeping the “flavorful” tradition of decades, the CAE foyer will receive the Disc and Book Fair, organized by the Clean Feed publishing house, which brings Portalegre the majority of its catalog, one of the most internationally renowned.

Can Profiled


In Turkish, ege bamyasi means Aegean okra. It’s also the title of German avant-garde band Can’s fourth album, released 47 years ago. For the album cover, the band used the picture of a can. A can of okra, to be precise. It was a hat tip to pop-art icon Andy Warhol, whose most recognized work of art from the early 1960s is one that depicts rows of Campbell Soup cans. It was also, obviously, a pun on the band’s name.