Forrest Fang wears many hats, but during this interview over coffee in the Mission, he’s not actually sporting any haberdashery. Instead he projects the comfortable ease of the longtime employment lawyer he is. Though not a native — he was born and raised in Southern California — he’s called the Bay Area home for over 30 years, living in North Berkeley and currently working for a firm in Hayward.
But while his clients may know Fang for his day job, another set of music fans worldwide know him for something else entirely. By the time he graduated from law school in 1984, he’d already self-released two albums of avant-garde ambient music. In the ’90s, he moved on to release through the Cuneiform label; since 2000 he’s most associated with Portland’s Projekt label. His sixth album for them, Following the Ether Sun, was released this February. It’s his 16th album overall.
Source: 5049 Records.
Eli Keszler is a wonderful and utterly unique composer, percussionist and visual artist. He studied music at the New England Conservatory and has performed with Joe McPhee, Anthony Coleman and Oren Ambarchi and many others. For this conversation we discuss Eli’s early days as a jazz head, his immersion into the world of visual art, improvisation and much much more. This is a great conversation, the kind of talk that was the impetus for this podcast. Enjoy.
Source: 5049 Records.
MV Carbon is a cellist/multi-media artist who has been active in broad range of creative activity since the mid 90s, including film, sound art, installations and clothing design. She has toured frequently with her band Metalux in addition to collaborating with some of the greatest musical thinkers of the last fifty years, including Tony Conrad and Charlemagne Palestine. For this conversation we talk veganism, Chicago, Tony Conrad, what happens after you die and a whole lot more. This is a good one.
Source: Second Inversion.
“There is a ‘sound’ here, no doubt,” says James Falzone of Seattle’s distinctive new music scene. “It is one I would describe as patient and less influenced by the frenetic energy that you might find in a city with less vistas.”
Those famous Northwest vistas are relatively new to clarinetist/composer James Falzone and percussionist Bonnie Whiting, each of whom recently moved here from the Midwest to serve as educators at two major academic institutions: Falzone as the new Chair of Music at Cornish College of the Arts and Bonnie Whiting as the Chair of Percussion Studies and Artist in Residence at the University of Washington.
Source: Irish Times.
If you’ve never heard Evan Parker play a saxophone, there is little by way of comparison that can prepare you for his visceral, otherworldly sound. The way Parker tells it, it was science fiction that first drew him into the orbit of free improvisation, the challenging, rarified musical form of which the 73-year-old Englishman is one of the world’s leading exponents. As a young saxophonist in London during the swinging sixties, he was approached by a friend to record a soundtrack for a student film at the Royal College of Art.
Source: Aquarium Drunkard.
Rob Mazurek is building a life’s work. Coming up in the Chicago free music scene, the cornet player and composer has made pioneering music alongside his peers, including Tortoise, Jim O’Rourke, Stereolab, and Jeff Parker, and collaborated with jazz heroes Bill Dixon, Pharoah Sanders, Yusef Lateef, and more.
But one of his longest running collaborations is with drummer Chad Taylor, with whom Mazurek leads various “Underground” groups. Their latest, A Night Walking Through Mirrors, finds them teaming with London musicians Alexander Hawkins and John Edwards. It’s both brash and thoughtful, a live exhibition of the telepathic interplay between Mazurek, Taylor, and their guests. AD caught up with Mazurek to discuss the record, and how a unifying thread, loosely inspired by science fiction and cyberpunk literature, has begun to solidify in his work, uniting it thematically and conceptually.
There’s a radio of some mysterious origin, buried deep in the brain of 80-year-old jazz maven Carla Bley, that’s always on.
It’s unclear from where it originates — her family of origin, perhaps, given that her father was a piano teacher and church choir leader; or the time she spent as a cigarette girl hawking wares to customers at New York’s iconic Birdland jazz club. But it’s always broadcasting, Bley told The Daily Times recently.
“Something is always, constantly playing in my head, and Steve Swallow (Bley’s longtime partner and a renowned jazz bassist) is the same way,” said Bley, who makes her first trip to East Tennessee for one of her extremely rare North American performances next week for Knoxville’s annual Big Ears Festival. “Sometimes, we’ll say to each other, ‘What are you hearing?’ But it goes away when you’re working on your own music.”