AMN Reviews: Isaac Schankler – Because Patterns [Aerocade AM011-CD]

Identified as a significant artistic trend in the late 1960s, systems aesthetics—the quintessential programmatic statement was Jack Burnham’s 1968 essay by that name—has continued to represent a viable and important direction in contemporary art and music. Current systems music—simply put, music that is the product of a defined operation or set of operations performed on a defined input—often takes the guise of generative composition, frequently done by computer or other means of electronic music production, and sometimes done by hand. While the fit between a systems aesthetic and electronic music is a logical one, systems music for acoustic instruments, whether alone or with electronic augmentation, can be just as natural and the results aesthetically satisfying.

The title track of Because Patterns, an album of four works by composer Isaac Schankler, is one such work. Because Patterns—the title is a witty rejoinder to Morton Feldman’s 1978 Why Patterns for flute, glockenspiel and piano—is a generative composition for four-handed prepared piano. Commissioned by the duo of Aron Kallay and Vicki Ray, who perform it here, the work uses a set of rules to generate outputs from melodic and rhythmic patterns whereby the content of a measure is the product of a rule applied to the content of the preceding measure. The process may sound mechanical but the music isn’t; the piece has an engaging melodic logic and compelling rhythmic propulsion. The score calls for preparing the piano’s upper registers to shorten the notes’ sustain, producing a bright bell-like or pizzicato sound. For this album the composer chose to mix Kallay and Ray’s performance of Because Patterns with a performance of The Deep State (2017) for double bass and electronics. In contrast to the swift-moving Because Patterns, The Deep State—performed by double bassist Scott Worthington, to whom it is dedicated–is structured by long, slow, deep tones. The hybrid obtained by combining the two pieces makes for an interesting study in contrasts, but having each piece presented separately would have been welcome as well.

Because Patterns also contains Mobile I (2009) for solo violin and electronics and Future Feelings (2018) for piano. Mobile I is a beautiful piece with a generative electronics component and a translucent violin part, brilliantly played by Sakura Tsai. Future Feelings, performed by Nadia Shpachenko, opens with tautly cascading repeated phrases that serve as rhythmic cells or kernels shaping the first section of the piece; the second section features interactive electronics that take the piano part as input and outputs it as a ghostly afterimage. Like Mobile I, it unfolds in a dramatic arc of increasing complexity and emotional urgency.

Daniel Barbiero

All About Jazz Reviews

Source: All About Jazz.

Stephan Crump’s Rosetta Trio
Outliers (Papillon Sounds)

King Crimson
Heaven & Earth: Live and in the Studio 1997-2008 (Panegyric Recordings)

Paul Flaherty
Focused and Bewildered (Relative Pitch Records)

Horace Tapscott
The Dark Tree (HatOLOGY)

Harris Eisenstadt Old Growth Forest
Old Growth Forest II (Astral Spirits)

Andrew Cyrille/Dave Douglas/Uri Caine
Devotion (Greenleaf Music)

This Week in New York


Face the Music joins forces with flutist Claire Chase, mezzo-soprano Lucy Dhegrae, and musicians of Anthony Braxton’s Tri-Centric Foundation in string quartet, jazz ensemble, improvisation ensemble, and orchestra configurations. The program includes music by Vijay Iyer, Anthony Braxton’s Composition 151, and Kyle Gann’s Cap Wind Rock, written for Dhegrae.
Monday, June 10 at 7:00 PM
Tickets $15-$20
Le Poisson Rouge, 158 Bleecker Street, New York, NY

The International Contemporary Ensemble and The City of Tomorrow woodwind quintet present a three-part program featuring works by Ursula Mamlok, Natasha Anderson, and Felipe Lara under the direction of Nick DeMaison. The program includes rarely heard works by Ursula Mamlok alongside two US premieres by Anderson and Lara. Alice Teyssier and The City of Tomorrow feature as soloists.
Monday, June 10 at 8:00 PM
Tickets $18 online, $25 doors
Roulette, 509 Atlantic Avenue, Brooklyn, NY

Clarice AssadClarice Assad. Credit: Amara Photos.
Marimbist Mika Stoltzman performs New York Premieres by Chick Corea, Clarice Assad, and Gordon Stout plus music by J.S. Bach & John Zorn.
Wednesday, June 12 at 8:00 PM
Tickets $40
Carnegie Hall, Weill Recital Hall, 881 7th Avenue, New York, NY

In celebration of the exhibition Changing and Unchanging Things: Noguchi and Hasegawa in Postwar Japan, The Noguchi Museum presents Changing and Unchanging Sound, a musical performance featuring the premiere of a work by Anne Leilehua Lanzilotti, works by Kaija Saariaho, Juri Seo, and improvisations based on paintings by Saburo Hasegawa. Violist Lanzilotti is joined by Johanna Lundy on french horn and the Argus Quartet.
Thursday, June 13 at 6:30 PM
Noguchi Museum, 9-01 33rd Road, Queens, NY

unique collaborative performance activating Sounding Body/Listening Body, Swartz’s installation of sound-generating sculptural vessels, on view at High Line Nine.
Thursday, June 13 at 7:30 PM
Tickets $20-$50
High Line Nine, 507 West 27th Street, New York, NY

confluss (Amber Evans, soprano and Sam Zagnit, bass) and Spark Duo (Kate Amrine, trumpet and Ford Fourqurean, clarinets and electronics) join forces for a double set of new works written by LGTBQ composers. confluss performs Herkenning by Rodney Sharman, Three Songs by Jay Julio, Photism by Yaz Lancaster, and excerpts from Sam Zagnit’s own work catalogues. Spark Duo premieres two duos by J.L. Marlour and inti along with the New York premiere of Sam Zagnit’s whispers, for you. In addition to the duo works, Ford plays Rhapsody and Groove by Nicholas Bizub and Kate plays Thoughts and Prayers by Kevin Joust.
Thursday, June 13 at 7:30 PM
Tickets $20, $15 students
St. John’s in the Village, 224 Waverly Place, New York, NY

The event features composer Jessica Mays and selections by contemporary Icelandic composer Anna Thorvaldsdottir, American icon Amy Beach, and 2019 honoree Clara Schumann.
Friday, June 14 at 7:30 PM
Tickets $20-$60
Hauser & Wirth, 548 West 22nd Street, New York, NY

Ghost Ensemble features experimental vocalist Carmina Escobar in a large-ensemble concert including four world premieres.
Saturday, June 15 at 8:00 PM
Tickets $15, $10 students
NYPOP, 526 West 26th Street, #314, New York, NY

Bearthoven returns to Arete for a performance of Sarah Hennies’s set-length Spectral Malsconcities. After, the Ken Thomson Sextet plays a set.
Sunday, June 16 at 5:00 PM
Tickets $15
Areté, 67 West Street, Brooklyn, NY

Facebook Live Stream Tonight: Ed Palermo Pays Tribute To Frank Zappa

Source: Facebook.

Join us on the Iridium Facebook Page, as the Iridium and
The Ed Palermo Big Band Presents “AMERICA THE BEAUTIFUL” (An’ Maybe Even a Little Ugly on the Side)

A Musical Tribute to Flag Day, Eddy’s Birthday and Truly Great Americans Like FRANK ZAPPA

Ed Palermo is a New York-based arranger and alto saxophonist currently living in West Orange, NJ. The Ed Palermo Big Band has been together since 1980 and has been playing and honing the music of Frank Zappa (among other composers) for over 30 years, mainly in monthly performances at the Iridium nightclub in New York City and bimonthly concerts at The Falcon in Marlboro, NY. Ed was recently listed as one of the top 40 “intriguing musicians to watch out for” by the online magazine, The Daily Beast and a recent album, “The Great Un-American Songbook”, was listed as one of the best albums of 2017 in Downbeat Magazine. His current release, “The Adventures of Zodd Zundgren-the Music of Frank Zappa and Todd Rundgren” is garnering rave reviews. Ed Palermo arranged music for one of James Brown’s final concerts at the Hollywood Bowl in Los Angeles. With the Ed Palermo Big Band, the key element is unpredictability. The audience never knows what to expect except pure unfiltered insanity and brilliance.

Point of Departure 67 is Out

Source: Point of Departure.

Page One: a column by Bill Shoemaker

Joel Harrison: It’s All Music: an interview with Troy Collins

Fanfare for the Warrior: Remembering Joseph Jarman by John Litweiler

Omnidirectional Projection: Teruto Soejima and Japanese Free Jazz by Pierre Crépon

Ezzthetics: a column by Stuart Broomer

Moment’s Notice: Reviews of Recent Recordings

Mick Houghton Remembers Sun Ra

Source: The Quietus.

Sun Ra claimed to be an angel from the planet Saturn and this strange allegation has overshadowed the fact that he’s one of the most important figures in jazz. He’s had an increasingly potent influence across many other genres since his death in 1993. Perhaps the world is catching up with the man who since the late 50s usually led a big band, most commonly known as the Arkestra. When you suddenly find yourself working with somebody regarded as one of the greats, you have to pay due respect. Some of Sun Ra’s music left me cold, most of what I’d read or heard about him left me awestruck.