Home by Eleonore Oppenheim is reviewed.
Musique concrète composer Basil Kirchin is profiled.
A recent performance of Led Bib in London is reviewed.
The Robert D. Bielecki Foundation award recipients for 2017 so far include:
Americas Society — Conlon Nancarrow Series, 2018
Creative Music Studio — CMS 2017 Workshop and Concerts
ISSUE Project Room — The Necks 30th Anniversary Concert Series March 2017
Microscope Gallery — 2017 Event Series Sponsor
Intakt Jazz Festival — London April 2017
Gebhard Ullmann — Travel Expenses for Vision Festival 2017
Tomas Fujiwara — Double Trio Debut Recording
Here is where I post, at a frequency of about once a week, a list of the new music that has caught my attention that week. All of the releases listed below I’ve heard for the first time this week and come recommended.
Ed Palermo Big Band – The Great Un-American Songbook: Volumes I & II (2017)
Sam Newsome – Sopranoville: New Works for Prepared and Non-Prepared Saxophone (2017)
NYTT LAND – Fimbulvinter (2017)
Andrew Weathers / Seth Chrisman – Ogallala (2017)
Source: Washington City Paper.
The great tenor saxophonist Wayne Shorter once said, “Jazz musicians take solos to demonstrate equality in a constant and not temporary way.” If there is one musician who has devoted his body of work trying to demonstrate equality through the music—through what he would call “creative music”—it’s trumpeter Wadada Leo Smith.
The Association for the Advancement of Creative Musicians co-founder, who was named Artist of the Year and Composer of the Year in the most recent JazzTimes critics poll, is known for writing music that challenges aesthetic and socio-political norms with an ethos of extreme urgency paired with an almost brutal compassion; hearing him for the first time is a shock to the system. And the newest group of Beltway residents to be electrified in this experience will not be D.C.’s artistic insiders or cultural elites, but the students of Georgetown Day School.
Anna Webber’s Simple Trio is reviewed and profiled.
Sacred Spaces is a sound map of various church and religious settings worldwide. It “explores the sonic similarities between different religions, and different types of sacred space.”
The Chicago Reader reviews and profiles the reissue of Eugene Chadbourne‘s There’ll Be No Tears Tonight.
A recent video is an inside look at Abbey Rader and John McMinn creating a score for the upcoming film “Phenobarbital” by Jorge Rubiera. It features a solo session of Rader playing gongs and percussion and an improvised duet on piano and drums.