Source: American Songwriter.
When he was thirteen years old and living in San Diego, he read an article in Look magazine praising the record merchandiser Sam Goody. It claimed that Goody was such a genius that he could sell any album no matter how ugly it was musically. And the album they chose as an example of this ultimate ugliness was The Complete Works of Edward Varèse, Volume I, which featured a percussion piece called “Ionizations.” The writer described the piece as “a banging and clanging with sirens and stuff.”
Source: The New York City Jazz Record. And with a great set of articles.
Interview: JOE MORRIS
Joe Morris is a composer/improviser who plays guitar, double bass, mandolin, banjo, banjouke, electric bass and drums. He is also a recording artist, educator, producer, concert curator and author. DownBeat magazine called him “the preeminent free music guitarist of his generation”.
Encore: RA KALAM BOB MOSES
The man formerly known as the jazz drummer Bob Moses, active since the ’60s and on albums by everyone from Gary Burton to Henry Kaiser, is now Ra Kalam. The new name was bestowed upon him by Bhapuji Tisziji Muñoz, a spiritual guide to many musicians and also a killer guitarist.
Record Label Spotlight: MORE IS MORE
It’s not an exaggeration to say that trumpeter Peter Evans is one of those rare musicians identifiable after a single note. He’s one of a select cohort who has taken his instrument to levels undreamed of by previous generations, especially in the realm of solo playing. His debut under his own leadership was a striking unaccompanied outing titled More Is More on Evan Parker’s psi imprint in 2006 and he’s also used that as the banner for his own label.
Source: Invisible Oranges.
A slow, crawling, eldritch horror, direct from the nightmare world. Dead Neanderthals has been known to craft otherworldly “heavy free jazz” atmospheres in other releases, but Blood Rite is something different and older in a… different sort of way. With Otto Kokke ditching his trademark wailing saxophone for crushing, heavily distorted synthesizer and Rene Aquarius slowing his usual blast to a slow plod, Blood Rite is far from Dead Neanderthals’ usual “New Wave of Dutch Heavy Jazz.” No, Blood Rite is minimal, destructive death/doom metal, a 27-minute venture into the darkest recesses of horror-music and pitch-black tones.
Parallels can be made between this Dutch duo’s frantic jazz musings and Blood Rite’s minimal lumbering — the names of the game here, much like with every other Dead Neanderthals album, are energy and atmosphere, which Blood Rite oozes in spades. Though this isn’t your average, or at least partially expected Dead Neanderthals release, Blood Rite’s anti-mania crushes the listener all the same. Lose yourself in an exclusive stream of this single-track album and read an interview with the band below
Source: Aquarium Drunkard.
On the surface, nothing about Whit Dickey’s decision to start his new record label, Tao Forms, makes much sense. It’s the drummer’s first time leading such a venture, and he’s doing so in his mid-60s, right around the time most impresarios are looking toward retirement. Too, he’s using Tao Forms as outlet for free jazz, the unbound subgenre that Dickey has spent four decades devoting his career to. Not the soundest of commercial moves—especially amid a global pandemic—but that has never seemed to be his concern.