Coming to Roulette

Source: Roulette.

PETER EVANS ENSEMBLE
THURSDAY, JANUARY 28, 2021. 8:00 PM
The Peter Ensemble featuring Mazz Swift, Ron Stabinsky, and Levy Lorenzo

JOEL ROSS: SHE WALKS IN THE SPIRIT
SATURDAY, JANUARY 30, 2021. 8:00 PM
Rising vibraphonist Joel Ross gives the first performance of his Roulette residency.

ANASTASIA CLARKE: SWANS LAKELESS
WEDNESDAY, FEBRUARY 3, 2021. 8:00 PM
Anastasia Clarke is a 2020 Roulette Van Lier Fellow Swans Lakeless is an intermedia composition woven from experience and myth that gives voice […]

MARIEL ROBERTS: ARMAMENT ALBUM RELEASE
FRIDAY, FEBRUARY 5, 2021. 8:00 PM
The release concert of Mariel Roberts’ new album “Armament” for cello and electronics.

JACK QUARTET PLAYS CATHERINE LAMB
WEDNESDAY, FEBRUARY 10, 2021. 8:00 PM
JACK Quartet plays ‘divisio spiralis,’ an evening-length work written by Catherine Lamb for JACK in 2019.

FAY VICTOR: ALBUM RELEASE FOR SOUNDNOISEFUNK’S WE’VE HAD ENOUGH!
THURSDAY, FEBRUARY 11, 2021. 8:00 PM
Fay Victor’s SoundNoiseFUNK celebrates their 2nd release, boasting an integrated sound w political protest at the core on WE’VE HAD ENOUGH!

AMN Reviews: TAK Ensemble & Taylor Brook – Star Maker Fragments (2021; TAK Editions)

TAK Ensemble is a new-classical quintet of Laura Cocks on flute, Madison Greenstone on clarinet, Marina Kifferstein on violin, Charlotte Mundy on vocals, and Ellery Trafford on percussion, with Taylor Brook contributing electronics. Star Maker Fragments is a long-form piece based on texts from the 1937 science fiction novel Star Maker by Olaf Stapledon. In it, Stapledon explored numerous philosophical and sociological issues, such as racism, class struggle, income inequality, and religion across an array of universes created by a blind watchmaker god.

The group puts the novel’s text to music with a varied and shimmering set of movements that dovetail seamlessly with Brook’s electronics. Mundy relies almost entirely on the spoken-word recitation of excerpts from the Stapledon. Instrumentation focuses on textures and drones that match up to varying extents with the words. This approach flexes its subtle power toward the end of the piece with Mundy switching to wordless oscillations as the electronics come to resemble field recordings and the instruments follow a less structured path. Spanning 45 minutes, the piece covers a lot of ground. But just as compelling is Star Maker Postlude, a 10-minute electroacoustic mix that is both introspective and refreshingly weird. Without vocals, the track creates a haunting and strange soundscape that easily could stand on its own without the main piece.

Comparisons can be made to other artist-driven classical ensembles, such as ICE and Dal Niente, but the prime role and creative uses of electronics set TAK Ensemble apart. Star Maker Fragments will be released on March 3 by the group’s TAK Editions label.

AMN Reviews: William Parker – Migration of Silence Into and Out of The Tone World (2021; Centering Records / Aum Fidelity)

William Parker is not only one of the most well-recorded modern bassists, he is also a prolific composer of note, appearing on over 50 albums as a leader in the last 30 years. While known for free jazz and his collaborations with Matthew Shipp, Joe Morris, Hamid Drake, and many others, his interests span a staggering breadth of styles.

Migration of Silence Into and Out of The Tone World is a new 10CD set that features Parker’s playing and/or writing across 91 tracks. Each album features a different soloist or group, and focuses on performances by women – particularly, women vocalists. And in line with his aforementioned stylistic scope, the compositions drawn from Africa, Asia, Europe, and Latin America, as well as the African-American jazz tradition.

Rather than address each of every one of these recordings, four are briefly covered below. But do not hesitate to obtain the entire boxed set, as it represents a vision of hope and diversity for a world that needs healing.

Child of Sound is for solo pianist Eri Yamamoto, and is an introspective and slow-paced set of blues and jazz inflected pieces. Wistful and melancholy in tone, Yamamoto gracefully navigates 14 tracks varying in length from under one minute to almost six. While one of the more conventional sets of this suite, several offerings (e.g., Sky Falling) hint at Parker’s angularity.

In contrast, Cheops is much more of an outside recording. At its center is vocalist Kyoko Kitamura, who recites lyrics as well as engages in wordless singing. Joining her are Matt Moran on vibes, Ben Stapp on tuba, Kayla Milmine-Abbott on sax, Rachel Housle on drums, and Parker on bass and flute. These tracks are longer and more textural than those on Child of Sound, and largely improvised. Even Kitamura’s phrasings appear to be based on a stream of consciousness. This loose structure is apparent on the 22-minute If We Play Soft Enough, with the instrumentalists deftly exploring a shifting soundscape over which Kitamura expresses non-singing vocalizations (whispers, wails, throat sounds).

The Fastest Train has Coen Aalberts and Klaas Hekman joining Parker on a spiritual journey. All three play either some form of flute and/or non-kit percussion. The album’s subtle approach contrasts with its title, with much of its content being quietly improvised. Exceptions exist though, such as Family Voice, in which lines from a pair of flutes (one reedy and the other not) combine with hand-held drums. …Fastest Train exhibits a more steady rhythm combined with dueling flutes, one strained and the other not. But the overall direction here is of an organic and aboriginal music.

Manzanar is the Universal Tonality String Quartet (Melanie Dyer on viola, Jason Kao Hwang on violin, Gwen Laster on violin, and Dara Bloom on cello) along with Parker on flutes. Like many modern string quartets, this one stretches the boundaries of their instruments with extended techniques (scraping, plucking, discordant sawing) which dovetails nicely with Parker’s unconventional writing. Further, the group also deviates from a strictly classical approach and instead follows Parker’s writing to a place that is more raw, almost a melancholy take on folk music.

Famoudou Don Moye Live Stream Tomorrow

Source: sons d’hiver

FAMOUDOU DON MOYE “Odyssey & Legacy” Quintet
– STREAMING CONCERT: LIVE AND FREE –

Famoudou Don Moye – drums, percussions
Dudù Kouaté – voice, flute, percussions
Pierre Durant – guitar
Darryl Hall – double bass, electric bass
Simon Sieger – piano, tuba, trombone

Sunday 24th January at 5 p.m.
at the Musée du Quai Branly – Jacques Chirac (Théâtre Claude Levi-Strauss), 75007 Paris

Live broadcast on the YouTube channel of the Quai Branly Museum and on Festival Sons D’Hiver

Jazzword Reviews 

Source: Jazzword.

Charlotte Greve/Vinnie Sperrazza/Chris Tordini
The Choir Invisible

Claude Tchamitchian Trio
Poetic Power

Keune/Lash/Noble
And Now

Ombak Trio
Through Eons to Know

Orchestre National de Jazz
Dancing in Your Head(s)

Alan Braufman
The Fire Still Burns

Jean-Marc Foussat + Daunik Lazro and Evan Parker
Solo and Trio

Mehmet Ali Sanlıkol & Whatsnext?
The Rise Up: Stories of Strife, Struggle and Inspiration

Toc & Dave Rempis
Closed for Safety Reasons

Sangliers
Minuscules

Aisha Orazbayeva
Music for Violin Alone

Mia Zabelka
Myasmo

Muriel Grossmann Interviewed

Source: burning ambulance.

Muriel is a very interesting musician; she’s from Austria, and currently lives in Spain. She started out as a flutist, studying classical music from the age of five, but when she was in her early twenties she switched to saxophone and moved over into jazz, and that’s what she’s been doing ever since. She’s been recording as a leader since about 2007, and has 12 albums out. Since 2016, she’s been working with a steady band that includes guitarist Radomir Milojkovic, bassist Gina Schwarz, and drummer Uros Stamenkovic. On her last two records, 2019’s Reverence and the new Quiet Earth, Llorenç Barceló plays organ.

Stereogum’s Month In Jazz for January 2021

Source: Stereogum.

William Parker deserves a Pulitzer Prize, or at least a MacArthur Fellowship. His body of work is nearly 50 years deep at this point, and encompasses vocal and instrumental music (his own original compositions, and brilliant reinterpretations of others’ work), poetry, criticism, and journalism. His long-running bands the William Parker Quartet and its expanded incarnation Raining On The Moon; In Order To Survive; and the Little Huey Creative Music Orchestra are balanced by short-lived or one-off ensembles that may only appear for a single album or concert. In addition to work under his own name, he’s been a key member of groups led by Cecil Taylor, Peter Brötzmann, Bill Dixon, David S. Ware, Matthew Shipp, and others. Although his work hinges on a deeply individual voice, he is a community builder at heart. He and his wife, Patricia Nicholson, have run the annual Vision Festival in New York for over 20 years, and that single annual event has grown to encompass multiple performance series running all year long, many of them outdoors and free, an invitation to the public to experience high-level out jazz as just one more form of art, as physically as it is aesthetically accessible.

Wayward in Limbo Recordings

Source: Wayward Music Series.

In response to the COVID-19 crisis, we’ve been considering how we can most directly assist the artists who inhabit our particular niche of the Seattle music community.

With the Chapel closed indefinitely due to the COVID-19 pandemic, the Wayward Music Series now moves from the concert hall to the living room. In place of our usual ten monthly concerts, Nonsequitur is curating and commissioning ten Seattle artists each month to create a series of streaming audio sessions of exclusive material. Many of these will be essentially “live” performances recorded at home for this occasion. Others may create a mix of pre-recorded material that has not been previously released elsewhere.

These tracks are available to stream at no charge on SoundCloud via the links below, and will be promoted like our concerts via our weekly e-newsletter, our Facebook group, and our Twitter feed. The artists retain all rights to their recordings. We strongly encourage you to visit their web sites and purchase their recordings or contribute to their personal crowdfunding campaigns.

This series will continue for as long as we are unable to use the Chapel for performances.

#84: Amy Rubin
Composer/improviser Amy Rubin & friends present music for piano, synthesized sounds, and poetry in English, French, and German.

#85: Kaori Suzuki
Intense drone for modified melodica, oscillators, real time processing, and lively acoustic space..