Interview With Konstrukt

Source: The Quietus.

In a field frequently dulled by over-intellectualisation, Turkish voyagers Konstrukt make delightfully impure free music. Born out of an informal jam session in 2008, the group mutated into a revolving collective of musicians from the Istanbul experimental scene. Currently centring around guitarist Umut Çağlar and saxophonist Korhan Futacı, they’ve now been cutting terrifying swathes across European jazz festivals and Turkish art spaces alike for the past six years.

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5049 Records Podcast Episode 104 – James Ilgenfritz 

Source: 5049 Records.

James Ilgenfritz is a bass player and composer who has been living in New York City since 2003. He is also one of the first musicians that I met and played with upon my arrival. He has worked closely with Lukas Ligeti, Elliott Sharp, Anne Gosfield and more. Since his move to New York he has also been incredibly active as a curator and organizer. For this talk, we go back to the first few years in New York, as well as the challenges that James faced from 2008-2013, his newest work with his label Infrequent Seams and much much more.

Weasel Walter Interview

English: Weasel Walter playing bass, with Marc...

Source: JAZZ RIGHT NOW.

Weasel Walter is a Brooklyn-based multi-instrumentalist, composer and improviser best known for leading the seminal punk-jazz/no-wave/brutal-prog band The Flying Luttenbachers between 1991 and 2007 on 16 full-length releases. Seamlessly uniting the intensity and abstraction of improvised music with the nihilist aesthetics of extreme rock forms, Walter is committed to violent momentum, idiomatic unpredictability and rapid articulation. During the 1990s, Walter was a catalyst in the Chicago music underground playing with improvised music luminaries such as Kevin Drumm, Ken Vandermark and Jim O’Rourke as well as many experimental rock bands centered around the Skin Graft record label such as the Flying Luttenbachers, Lake Of Dracula, and Bobby Conn.

5049 Records Podcast Episode 103 – Aaron Siegel 

Source: 5049 Records.

Aaron Siegel was born in Maryland, educated in Michigan and has been living in New York City since 2001. He has studied with Alvin Lucier, Ron Kuivila, Anthony Braxton and Bunita Marcus among others. In addition to composing and leading his own ensembles, since 2011, he has co-lead Experiments In Opera, with whom he has produced over 30 new operatic works since its founding in 2011. Aaron is a multi-faceted composer/performer, a unique individual and great guy.

Matthew Shipp Interview

Source: Observer.

Since the early 1990s, piano maestro Matthew Shipp has been a chief linchpin of the avant-garde jazz underground, producing a monolithic catalog that has pioneered—and polarized—the jazz lexicon.

The East Village fixture (he’s been living downtown since the mid-’80s), alongside bassist/composer William Parker and the late, great saxophonist David S. Ware, formed a godlike trifecta of jazz giants who will forever remain pillars of the avant scene.

While Parker remains as productive as ever in his sixth decade and change, his pal Shipp is calling it quits—recording-wise that is. After soul-searching discussions with Thirsty Ear Records owner Peter Gordon, Shipp decided the just-released Piano Song would be his swan song.

Charlemagne Palestine Interview

Charlemagne Palestine

Source: Red Bull Music Academy Daily.

Born Chaim Moshe Tzadik Palestine (or Charles Martin) to Eastern European Jewish immigrant parents in Brooklyn, New York, Charlemagne Palestine is a musician, filmmaker and visual artist whose contemporaries include Tony Conrad, Laurie Anderson and Steve Reich, but who playfully defies the conventions and contexts most associated with modernist composition. After singing in synagogues as a young man, he became a carillonneur in the Saint Thomas Episcopal Church across the street from the Museum of Modern Art in Manhattan. It’s a sonic and visual pairing that feels apt, considering the interdisciplinary breadth of Palestine’s work and the fact that he’s known to prefer the term “trance music” to “minimal”; in his own words, “a kind of fundamental transportation to leave the ordinary.”

Steve Roach Interview

English: Portrait image of Steve Roach at Soun...

Source: Bandcamp Daily.

Space music: the term implies an evocation of the unimaginable vastness of the cosmos, the slow synchronized movement of stars in the night sky, the incredible shapes and colors of nebulae. But look in the opposite direction, and space music becomes an exploration of the equally infinite and vastly more mysterious and complex world of the inner self. That is the space that electronic musician Steve Roach has been exploring since the late 1970s. Through seemingly disparate styles, like the tectonic pulse and crystalline shapes of the classic Structures from Silence, the ambient soundscapes of Quiet Music, and the sequenced bleeps and bloops of Skeleton Keys, Roach has been using music as a way to hold time at bay, and to weave a connection between the individual and the universal.