Interview with Vince Welch of Bent Knee

Source: 15 questions.

In Bent Knee, music is always written with the knowledge that this music will be recorded. That means that we’re able to, both consciously and unconsciously, plan the music so that it will work on recording. So in this way the technology is already playing a big role, right at the genesis of the music.

But in the less abstract sense, all of us except the drummer Gavin are using electrical instruments. So again technology is right there playing a role at the songs’ beginnings. In the case of Chris and I, we’re both using laptops, so basically we’re doing something that would have been more or less impossible to do 20 years ago.

Read our review of Bent Knee’s previous album, Say So.

Cooper-Moore Interviewed About Vision Festival 22 


Source: JazzTrail.

Name: Cooper-Moore
Instrument: piano, harp, hand-crafted instruments
Style: avant-garde jazz, contemporary jazz
Projects: Digital Primitives, Black Host, William Parker‘s In Order to Survive.

American pianist Cooper-Moore will be at the Arts For Art’s Vision Festival 22 on May 29th with three different projects. This year the Festival is honoring him with the Lifetime Achievement Award.

Interview with Will Mason 

Source: ATTN:Magazine.

Once I know that the debut Happy Place LP was written in a state of nocturnal sleeplessness, I begin to hear it differently. The rhythms (courtesy of two drumkits) start to sound increasingly slurred and intermittently synchronous. The guitars tumble out in streams, unimpeded by the discipline that reigns over the daytime. Repetition traps me in the company of nagging and anxious thoughts that recur on a constant loop. Composer Will Mason has referred to Northfield as reflective of his home of New York, and while I’ve only visited the city once, it’s enough to identify a couple of elements that ring true to my own experience (the crossroads of rhythmic activity, the bustle of guitar chatter).

Read our reviews of Mason’s recent releases:
AMN Reviews: Will Mason Ensemble – Beams of the Huge Night (2015; New Amsterdam Records)
AMN Reviews: Happy Place – Northfield (2016; Exit Stencil Records)

William Parker Profiled Ahead of Vision Festival

English: Photography of William Parker at Jazz...

Source: Village Voice.

William Parker settles in at a round table in his East Village apartment. It’s a Sunday afternoon, and he’s just arrived home from a string of European dates with his organ quartet, two of them in Italy, a country where Parker performs so often that he’s recognized in the street. In a couple of days he’ll head north to Tufts University for a performance and symposium on art, race, and politics. Not long after, he’ll be off to Peru to play with folk musicians. But today is for family and practicing.

5049 Records Podcast – Andrew Barker

Source: 5049 Records.

Andrew Barker is a true original. Originally from Georgia, he has been living and working in New York City since 1997. In 1994 he co-founded the Gold Sparkle Band with Charles Waters and has been pursuing a life of creative music ever since. For this talk we go back to Georgia, his first days in New York and the work he’s been doing with his most recent project, Barker Trio.

Suzanne Ciani Interviewed and Profiled

Source: The Guardian.

It might not seem so much of a stretch any more, but imagine spending your entire life in a tempestuous relationship with a machine. Not a sleek smartphone or tablet – we’ve seen how that can escalate in Spike Jonze’s Her. Instead picture a tapestry of tangled multicoloured wires, knobs and buttons, a bulky modular synthesizer otherwise known as the Buchla. Suzanne Ciani has spent much of her career testing the limits of one of these cumbersome instruments. So dedicated to its oscillating drones, burbles and bleeps did she become that has jokingly referred to the Buchla as “her boyfriend”. At times that affair was “traumatic”, she says now, down the phone from her studio in the Californian coastal enclave of Bolinas, sounding like both Marilyn Monroe and a Woodstock hippie. “Technology’s always very risky – you never know when it might break.”

Nels Cline Interview

English: Nels Cline @ All tomorrow's parties f...

Source: Observer.

Since Nels Cline joined Wilco in 2004, the band’s reputation as a transcendent, sprawlingly mercurial live act was all but assured.

Following the band’s release of A Ghost is Born, Cline’s first record with the band that year was Kicking Television, a live set recorded in the band’s hometown Chicago that showcased just how muscular Wilco had become with Cline and rhythm guitarist Pat Sansone on deck. Cline’s particular playing style continues to captivate fans who cherish the variety of sounds he’s able to tap into on the five records that band’s released since.

Intrepid ears will tell you that Cline’s dexterous playing didn’t just come out of nowhere. The 61-year-old guitarist has been a mainstay of the West Coast jazz and “new music” communities since 1980, when a collaboration with the late Eric Von Essen led them to form Quartet Music and began what would become a 37-year career making some of the most adventurous, genre-bending recordings, not only in the jazz world, but in the experimental pop, country, punk and noise scenes, too.