AMN Reviews

AMN Reviews: Brian Groder Trio – Luminous Arcs [Latham Records]

One of the traditional attractions of the pianoless jazz trio is the room it allows for harmonic and melodic inventiveness, absent a chording instrument. The Brian Groder Trio, a trio of trumpet/flugelhorn, double bass, and drums, is no traditional jazz trio, but it does take advantage of the format in ways that both recall and go beyond the harmonic freedom of other pianoless trios.

Luminous Arcs is the third release for the group, which in addition to Groder includes double bassist Michael Bisio and drummer Jay Rosen. Their experience together tells, as the tightly integrated playing on display on all eleven tracks gives evidence of a well-developed chemistry. Groder and Bisio work particularly well together and provide fine contrapuntal playing on Spanglin, on the free-fugue introduction to the moody ballad Until Eyes Met, and throughout Smoored. On Bonds of Now, a duet for trumpet and drums, Rosen’s relentless, free-pulse drumming coils tautly around Groder’s line until Groder drops out to let Rosen finish alone. Bisio gets a brief solo piece with Pirr, which balances on strummed chords and tart harmonies.

Adding to the album’s audio pleasure is the verbal pleasure of the vivid imagery and wryly kaleidoscopic observations of poet Randee Silv’s Wordslabs, which serve as an appropriate liner note to this ultimately poetic music.

Daniel Barbiero


San Francisco Scene: September 27 – October 4, 2019

Source: Bay Improviser.

Friday, September 27

Fri 9/27 8:00 PM Center for New Music [55 Taylor St SF]
Refracted Pathways: Dirt and Copper with Rebeca Bollinger

Fri 9/27 8:00 PM California Jazz Conservatory [2040 Addison Street Berkeley]
Steven Bernstein’s Millennial Territory Orchestra West

Saturday, September 28
Sat 9/28 9:00 AM CNMAT [1750 Arch Street Berkeley]
Berkeley Computational Music Research (BCMR) invites you to our first annual conference:
Synthesis: Interdisciplinary Collaboration in Computational Music Research
Saturday, September 28, 9am-6pm
UC Berkeley’s Center for New Music and Audio Technology (CNMAT)

Sat 9/28 3:00 PM San Francisco Public Library [100 Larkin St San Francisco]
Rova Saxophone Quartet at SF Main Library

Sat 9/28 6:00 PM Center for New Music [55 Taylor St SF]
C4NM 7th Birthday Bash

Sat 9/28 7:00 PM Los Alto Lutheran Church [460 South El Monte Ave. Los Altos CA 94022]
Ensemble ARI premieres a Petrushka Arrangement for harpsichord and string trio and Michael Lee’s String Duo.

Sat 9/28 8:00 PM DNA’s Comedy Lab [155 S River St., Santa Cruz, CA 95060]
“We Edit Life” is an evening of audio-visual collage in two parts, featuring Vicki Bennett’s “Notations”, a film for live improvising musicians, performed by electronic music duo Blectum from Blechdom, as well as a screening of Bennett’s film The Mirror. Since 1991, British artist Vicki Bennett (People Like Us) has worked across the field of audio-visual collage, and is recognized as an influential and pioneering figure in the still-growing area of sampling, appropriation and cut-up techniques of found footage and archives. Working under the name People Like Us, Bennett specializes in the manipulation and reworking of original sources from both the experimental and popular worlds of music, film and radio.

Sunday, September 29

Sun 9/29 8:00 PM The Back Room [1984 Bonita Ave Berkeley]
Bruce Ackley & Henry Kaiser Explore The Music of Steve Lacy

Sun 9/29 8:00 PM Dildo Factory [Berkeley, CA]

Sun 9/29 8:30 PM Starline Social Club [2236 Martin Luther King Oakland]
Pan Planetary evening of Electroacoustic Improv and Psychedelic Ethnic Rock.
FERAL LUGGAGE – Experimentalist Improv band (NullWave PunkJazz Electroacoustic SoundScapes) + HARTYGA – Tuvan band playing psychedelic Throat-Singing…

Monday, September 30

Mon 9/30 9:00 PM Pro Arts [150 Frank H Ogawa Plz Oakland]
George Cory Todd, Burton Greene & Jaroba/Norton/Robinson

Thursday, October 3

Thu 10/03 7:00 PM CCRMA [660 Lomita Dr, Stanford, CA 94305]
CCRMA presents its annual Transitions concerts. Feast your ears on immersive 3D sounds played on our multichannel system (56.8 speakers!) in the Stage. CCRMA students, faculty, and staff, as well as external artists will present live performances, fixed media electronic music, and audiovisual works. Each evening’s program will feature different artists.

Thu 10/03 7:30 PM Center for New Music [55 Taylor St SF]
Fay Victor and Myra Melford
Brooklyn, NY based sound artist/composer c, honing a unique vision for the vocalist’s role in jazz and improvised music, is joined in duo performance and conversation by “stalwart of the new-jazz movement” pianist/composer Myra Melford, from across the Bay, in Berkeley. Co-presented with The Poetry Center, San Francisco State University, as the first double-program in its Fall 2019 In Common Writers Series, supported by the Walter & Elise Haas Fund.

Thu 10/03 8:00 PM Luggage Store Creative Music Series [1007 Market Street SF]
SF Noise Night @ the Luggage Store
Ninja McTits
Endometrium Cuntplow
Dendera Bloodbath

Friday, October 4

Fri 10/04 7:00 PM CCRMA [660 Lomita Dr, Stanford, CA 94305]
CCRMA presents its annual Transitions concerts. Feast your ears on immersive 3D sounds played on our multichannel system (56.8 speakers!) in the Stage. CCRMA students, faculty, and staff, as well as external artists will present live performances, fixed media electronic music, and audiovisual works. Each evening’s program will feature different artists.

Fri 10/04 8:00 PM Center for New Music [55 Taylor St SF]
Burton Greene: Solo Piano; + Dunkelman/Ackley/Fluke-Mogul Trio

Fri 10/04 8:00 PM Mills College Littlefield Concert Hall [5000 MacArthur Blvd Oakland]
San Diego-based Mexican flutist Wilfrido Terrazas will join forces with Bay Area bass legend Lisa Mezzacappa in a unique clash of improvising talents. Terrazas and Mezzacappa are both energetic and resourceful improvisers, and they have played together before in Los Angeles and Banff, Canada, but this will be their first full duo concert.


Coming to the IBeam Brooklyn

Source: IBeam Brooklyn.

7:30 PM 9:30 PM
Samir Boehringer (drums)
Caleb Curtis (alto sax)
Kenneth Jimenez (bass)
Attias/Ammann duo
Michael Attias (alto sax)
Sebastien Ammann (piano)

8:30 PM 10:30 PM
Mara Rosenbloom Piano
Adam Lane Bass
William Hooker Drums

8:30 PM 10:30 PM
Mike McGinnis – Woodwinds / Compositions
Jeff Hermanson – Trumpet
Barry Saunders – Bari Sax
Justin Mullens – French Horn
Brian Drye – Trombone
Peter Hess – Tenor Sax
Jacob Sacks – Piano
Dan Fabricatore – Bass
Vinnie Sperrazza – Drums

8:00 PM 11:00 PM
Eva Novoa Trio + special guest
Eva Novoa, piano
Ryan Ferreira, guitar
Kim Cass, bass
Devin Gray, drums

8:30 PM 10:30 PM
Sam Newsome, Soprano Saxophone + Items
Stephen Haynes, Cornet/Flugelhorn/Alto Horn
Lester St. Louis, Cello
Olivia De Prato, Violin
Sara Schoenbeck, Bassoon
Ben Stapp, Tuba/Compositions + Items


Music and More Reviews

Source: Music and More.

Albert Ayler – Quartets 1964: Spirits To Ghosts Revisited (ezz-thetics, 2019)

Daniel Carter / Patrick Holmes / Matthew Putman / Hilliard Greene / Federico Ughi – Electric Telepathy, Vol. 1 (577 Records, 2019)


Coming to Houston

Jason Lescalleet, Anisa Boukhlif
Friday, September 27, 2019 at 8pm
Kevin Drumm, Rick Reed/Jason Lescalleet Duo
Saturday, September 28, 2019 at 8pm
at Flatland Gallery

Free and open to the public

Since establishing himself as a preeminent voice in contemporary electro-acoustic study, Jason Lescalleet has exploded the notion of what is possible within the realm of tape-based music. His recorded catalog acknowledges a diversity of application, from lo-fi reel-to-reel soundscaping and work for hand-held cassette machines, to digital sampling and computer-generated composition. Lescalleet’s live actions further expand his oeuvre to include work with video, dance, performance art and multi-media concerns. He currently lives in Maine, where he operates the Glistening Examples publishing label and the Glistening Labs studio for audio recording and mastering services. Local artist Anisa Boukhlif will open the evening on Friday, September 27, 2019.

With her occult transformations of sound, audio sculptor Anisa Boukhlif reminds us that everyday human reality is buried eardrum-deep in whispers, machinery, and hidden intentions.

Emerging from Chicago’s improvised music scene in the 1990s, Kevin Drumm became one of the world’s pre-eminent prepared guitar players. Since then his work has expanded to include electroacoustic compositions and live electronic music made with laptop computers and analog modular synthesizers. His early recordings contain mostly sparse, quiet sounds; recent works have been more loud and dense. Drumm has collaborated with many artists working in similar fields, including Japanese guitarist Taku Sugimoto, multi-instrumentalist and producer Jim O’Rourke, and many European improvisers such as Swedish saxophonist Mats Gustafsson and German trumpeter Axel Dörner. He has also worked with the artist group Simparch, composing a piece for their installation Spec, shown at Documenta XI in Kassel, Germany and at the Renaissance Society in Chicago. Drumm has also worked with saxophonist Ken Vandermark’s Territory Band, which brings together American and European players who work in both jazz and free improvisation. Drumm has received a Foundation for Contemporary Arts Grants to Artists award.

Rick Reed and Jason Lescalleet will perform a rare duo performance to open the evening on Saturday, September 28, 2019.



John Coltrane’s Blue World Reviewed

Source: The Quietus.

Blue World, another previously unissued – and unknown – Coltrane session from 1964, has already become one of the big jazz stories on 2019, and it’s certain to replicate the success of Both Directions. The music was cut as the soundtrack for a new wave-inspired film by the French-Canadian auteur Gilles Groulx called Le chat dans le sac (The Cat in the Bag). Plenty of new wave filmmakers had already turned to jazz greats like Monk, Miles Davis, Art Blakey, and Martial Solal to craft music for their work. Groulx approached Coltrane through a friendship he had with bassist Jimmy Garrison, and Coltrane’s band (Garrison, pianist McCoy Tyner, and drummer Elvin Jones) recorded the music in a single day at Rudy Val Gelder’s studio inn Englewood Cliffs, New Jersey on July 24, 1964, with Groulx in attendance.