ListN Up with Jaimie Branch

Source: ListN Up.

jaimie branch is an improviser, composer, and trumpeter based in Brooklyn, NY. Earlier this year saw the acclaimed Fly or Die Live (International Anthem), a singular epic of raw cosmic brilliance from her quartet performing the previously released Fly or Die and Fly or Die II: Bird Dogs of Paradise. branch’s works convey a dissatisfaction of American politics with a cutting sense of humor, serving to balance experimentalism and accessibility with party and erudition, “jazz” and the next thing.

Mark Tester Profiled

Source: Bandcamp Daily.

After a brief tenure in Los Angeles, Tester returned to Indianapolis in March 2016, where he still resides. In his home city, he’s made a name for himself as an experimental musician, improviser, and booker for beloved venue and bar State Street Pub. These days he plays in various configurations and projects, from his duo with Caldwell, to Kraut-esque outfit The MK-II, to free-form, free jazz contingent Crazy Doberman, to releasing music under his own name. He mentions that more recent compositions are created like a painting, embodying chance and mood with an impressionistic approach. “It’s a bit of a cliche,” he says. “But I like being an antenna, a conduit for whatever sounds I hear.”

Revisiting Zappa

Source: Milner on Music. This is just one of many recent articles (another is here), and even a book chapter, in which the author is torn on Zappa – between his brilliance, his low-brow humor, and his consistently many less redeeming qualities. Zappa is being revisited and his ugly side explored. There’s no genius pass anymore.

I’ve been thinking about Frank Zappa lately. Why? A few days ago, writer and critic Steve Smith wrote a little post (and some tweets) about seeing The Zappa Band, and mentioned he used to be a fan, then went through a period where he wasn’t, but has sort of come around a little. And it got me to thinking about how I, a trans woman in her mid 30s, thinks about and tries to enjoy the music of one of classic rock’s biggest misogynists, when I’m the kind of person Zappa would have enjoyed pissing off.

Anthony Braxton Conference Coming in June 2022

Source: University of Antwerp.

For more than half a century Anthony Braxton has played a key role in contemporary and avant-garde- music as a composer, multi-instrumentalist, music theorist, teacher, mentor and visionary. Inspired by Jazz, European art music, and music of other cultures, Braxton labels his output ‘Creative Music’. This international conference will be the first one dealing with his multifaceted work, discussing different research projects concerned with Braxton’s compositional techniques as well as his music-philosophical thinking. In addition to this we will also look at his legacy, taking this vast body of work as a unique example among many to offer a different perspective on the eurocentric canon of post-war Western art music. The conference will take place from June 3rd. to 5th 2022 at De Singel International Arts Campus in Antwerp, Belgium.

Adam O’Farrill Profiled

Source: The New York Times.

Since his teens, O’Farrill has prioritized restraint, so that his huge range of inspirations — Olivier Messiaen’s compositions, Miles Davis’s 1970s work, the films of Alfonso Cuarón, the novels of D.H. Lawrence, the contemporary American-Swedish composer Kali Malone — could emulsify into something personal, and devilishly tough to pin down.

For Adam Rudolph, Collaboration is Communication

Source: Bandcamp Daily.

Over the course of the last few decades, Adam Rudolph has quietly become a giant of world fusion and spiritual jazz. He has collaborated with mentors like Don Cherry and Yusef Lateef, and is a member of both Carlos Niño’s L.A. collective Build An Ark as well as Hu Vibrational, which features Niño and Hamid Drake. He’s mastered instruments from around the world, and has studied the traditions and philosophy behind the music he plays. He treats his many collaborations as a way for him to communicate across cultures and generations. META, the label Rudolph founded in 1997, has become a go-to source for heads into the deeper end of jazz, boasting releases from Rudolph’s towering Go: Organic Orchestra and global improv octet Moving Pictures, as well as works where Rudolph plays alongside legends like Yusef Lateef and Pharoah Sanders.

Shipp and Parker – Winter & Spring 

Source: burning ambulance.

William Parker had been a close musical partner of pianist Matthew Shipp since at least the early 1990s. They first appeared on record together on saxophonist David S. Ware’s Flight of I, which was recorded in December 1991. Between 1991 and 2000, they made over 20 albums together, either under Shipp’s name or as a duo, or with Ware, or saxophonist Ivo Perelman, or guitarist Joe Morris. So when Shipp became the artistic director of the Thirsty Ear label’s Blue Series, a collection of modern avant-garde jazz recordings which would ultimately span more than 60 albums over nearly two decades, one of the first was William Parker’s Painter’s Spring, a trio disc featuring saxophonist Daniel Carter and drummer Hamid Drake.

How John Cage Had the Last Laugh by Writing Beautiful Music

Source: The Guardian.

In the summer of 1990 John Cage gave a lecture at the International New Music gathering in Darmstadt, Germany, and effectively admitted defeat. The then 76-year-old US composer announced that his philosophical ideas of freedom and collaboration, concepts built into his avant garde musical compositions since the 1950s, had failed to influence reality. The world had got worse, not better. It was “a life spent … beating my head against a wall”, he announced. There was, however, one consolation. “I no longer consider it necessary to find alternatives to harmony,” he said. “After all these years I am finally writing beautiful music.”

Nik Turner Profiled

Source: Louder.

As a founding member of iconic space-rock stalwarts Hawkwind, Nik Turner helped psychedelicise a generation. When Jimi Hendrix dedicated Foxy Lady to “the cat right there with the silver face” at the 1970 Isle of Wight Festival, he was talking about Turner. Having successfully turned on the sleepy shires of 70s suburbia aboard an acid-fuelled Silver Machine, Turner brought a scene-unifying spikiness to the early-80s anarchic post-punk underground with his Inner City Unit. Now in his mid-70s, and enthusiastically jazz-rocking alongside Billy Cobham, is this august elder statesman of the counterculture still essentially the same Nik Turner who introduced himself on Hawkwind’s debut as someone who just “digs freaking about on saxophones (groove, groove)”?