AMN Reviews: Sound American No. 21 “The Change Issue”

Sound American is an online music journal that trumpeter, composer, writer, Nate Wooley began publishing in 2012. The journal generally focuses on radical experimental music. Each issue is organized around a topic or theme. Sound American’s content is as serious and as high quality as any music oriented academic journal but without any of the trappings of academic writing. Contributing writers are critics, musicians and thinkers whom are able to communicate their ideas in plain language.  Issues have focused on musicians such as Anthony Braxton, John Cage, Pauline Oliveros, David Dunn, Don Cherry, Christian Wolfe, and Cornelius Cardew. Topics such as Gospel Music, Networking, Instrument Building, Ritual, Jazz, and Propaganda have been explored.

The current issue Sound American No. 21 “The Change Issue” is a bit of a departure from the previous volumes. Nate Wooley remains the editor but has expanded the operation in terms of organization and formats. Behind the scenes Sound American has now expanded to more of an institutional framework with both advisory and editorial boards. Along with the freely available web version there are now print, print and audio, and digital subscription formats. The high-quality print format of Sound American No. 21 “The Change Issue” is beautifully done. The issue features words by or about Jeremy Toussaint-Baptiste, Ornette Coleman, Nicole Kaack, Bradford Bailey, G. Lucas Crane, Jennie Gottschalk, Ambrose Akinmusire, Mats Gustafsson, Peter Margasak, Terry Riley, Kim Brandt, John Cage, Josh Sinton, Edgard Varése, Marc Hannaford, John Zorn, Matthew Mehlan, Million Tongues Festival, Alex Mincek, Lester St. Louis, and Steve Lehman.

Sound American is a great resource for anyone interested in experimental music. I find the journal’s writing to be passionate, informative and thought provoking. Each issue invites readers to explore new sounds and new ideas written by some of today’s most interesting writers, thinkers and musicians. Visit the site and check out the current issue. Browse the archive of back issues. You will most likely find yourself visiting the site again and again. If you find Sound American to be as valuable as I think it is, then please consider subscribing.

Highly Recommended!

Chris De Chiara

Seattle Scene: May 16-31, 2019

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.

Janna Webbon et al: Compassion
Thu. May 16, 8 PM; $5 – $15 donation at door

Women are central to mythic stories of death and rebirth, but they are often pushed to the side in patriarchal institutions. Our goal is to reclaim this space and fill it with dynamic expressions of femininity. Janna Webbon and Sarah Pyle perform free musical improvisations and performance art with costumes and make-up while Danielle Sampson and Beth Ann Bonnecroy sing chants by Hildegard von Bingen.

Beth Fleenor: Straight to the Heart
Sat. May 18, 8 PM; $5 – $15 donation at door

Tiny pies & delectable treats, meditation, and catharsis combine with live music, video, and light in a two-hour ritual experience. Created by Beth Fleenor (voice / amplified clarinet / sound & food) with Scott Keva James (video art), David Verkade (lighting), this will be an evening of taste, breath, listening, motion, and being. The Chapel will be divided into four connected spaces, filled with sound, light, video, and food.

Thu. 5/30 – electronic music by Karl Fousek + Norm Chambers + RM Francis

Fri. 5/31 – Inverted Space Ensemble performs music by Michael Finnesey, Ben Johnston, Dan Joseph, and James Tenney

The Free Jazz Collective Reviews

Source: The Free Jazz Collective.

Quatuor Bozzini – Phill- Niblock-Baobab ****

Nate Wooley – Columbia Icefield (Northern Spy, 2019) ****

Michaël Attias – échos la nuit (Out Of Your Head Records, 2019) ****

Catching-up with Paul Dunmall (Day Two)

Catching-up with Paul Dunmall (Day One)

Giancarlo Schiaffini, Walter Prati, Francesca Gemmo & Sergio Armaroli – Exercises D’Improvisation (Dodicilune, 2018) ****½

Charlotte Hug & Lucas Niggli – Fulguratio (Fundacja Słuchaj!, 2019) ****½ Charlotte Hug – Son-Icon Music (Fundacja Słuchaj!, 2019) ****½

Keeping Time with Vasco Trilla

Kira Kira Live in Seattle Reviewed

Source: Exposé Online.

I first encountered Satoko Fujii’s music more than ten years ago when I got Zephyros to review, and have been following her work since then, but I never managed to see any of her groups perform live until Kira Kira participated in the Earshot Jazz Festival in Seattle. The Royal Room is a great place for a jazz show, with a comfortable, classy atmosphere and excellent sound — a perfect setting for the group’s intriguing music.

Upcoming Braxton75 Performances

Source: Tri-Centric Foundation.

DATE: June 1, 2019
ARTIST: Southland Ensemble
LOCATION: BP Hall within Walt Disney Concert Hall
COMPOSITIONS: Comp Nos. 23A, 40, 228, 245

DATE: June 10, 2019
ARTSITS: Face the Music
LOCATION: Le Poisson Rouge
COMPOSITION: Language Music + Comp No. 151

DATE: June 15, 2019
ARTIST: Visionary Youth Orchestra
LOCATION: Vision Festival, NYC
COMPOSITIONS: Language Music + Comp No. 255

DATE: June 16, 2019
ARTIST: Ensemble Dal Niente
LOCATION: The Revival (Chicago)
COMPOSITIONS: Comp Nos. 193 (1996), 228 (1997) for large ensemble

DATE: September 25, 2019
ARTIST: Either/Or, JACK Quartet, Richard Carrick
LOCATION: Miller Theatre
COMPOSITIONS: Composition Nos. No. 1 (1968), 17 (1971), 18 (1971), 40(O) (1975), 46 (1975), 101 (1981), 168 (1992) , 358 (2006)

Free Jazz In Japan Playlist

Source: The Wire.

A large part of Teruto Soejima’s Free Jazz In Japan: A Personal History, recently translated by Public Bath Press, focuses on the early years of free jazz in the country. The selection here follows the music’s recorded history from its 1969 starting point to the end of the 1970s.

Although emanating from a small pool of musicians often working in overlapping units, the music was already very diverse by 1969–70 (tracks 1–5). American points of departure are audible, in Masahiko Satō’s piano playing or in bassist Motoharu Yoshizawa and saxophonist Mototeru Takagi’s use of the Ornette Coleman classic “Lonely Woman”, but the music is already quite unlike what could then be heard elsewhere in the world. Masahiko Togashi’s finely articulated drumming, Takagi’s reeds playing, or guitarist Masayuki Takayanagi’s radical Mass Projection methodology, all constitute individual additions to the free playing canon.