Source: Aquarium Drunkard.
Wendy Eisenberg is an improvising guitar and banjo player with an extraordinary command of her instruments, flitting effortlessly from intricate, off-balance jazz riffs to oblique 20th century classical motifs to rock and folk and Latin sounds. Trained in classical music and jazz, the artist employs considerable skills in the service of what sound like enigmatic pop songs, which draw on soul-wrenching experiences in a very formal, well-regulated way. Their latest album, Auto, on the BaDaBing label, merges both these elements – the shit-hot guitar playing and the poised, oddly distanced self-revelation—in one of the year’s most intriguing releases. We talked as one of the weirdest summers on record drew to a close about Eisenberg’s technique, their fascinating with auto-fiction and the way that really demanding musical structures can provide a layer of protection when songs are very personal.
Source: Point of Departure.
Page One: a column by Bill Shoemaker
Ezzthetics: a column by Stuart Broomer
Jeff Cosgrove: A Personal History: an interview with Troy Collins
Free Jazz/Québec Libre: Le Quatuor de Jazz Libre du Québec, 1967-1975 by Pierre Crépon
The Book Cooks:
John Cage’s Concert for Piano and Orchestra
by Martin Iddom + Philip Thomas (Oxford University Press, New York)
Play the Way You Feel: The Essential Guide to Jazz Stories on Film
by Kevin Whitehead (Oxford University Press, New York)
Moment’s Notice: Reviews of Recent Recordings
Source: Twenty Questions.
If music is a delicious soup and you’re the chef, studying musical traditions deepens your flavor profile. Your soup will only be as rich and subtle as your understanding of each ingredient and its unique properties, and how different ingredients work together to create new flavors.
Understanding musical traditions allows us to intuit which ingredients to put in (and which to leave out), and how much of each is needed. How will the flavors of certain ingredients blend together? How will our own personal taste and memories of other soups we’ve eaten affect our process of creation? What new and exciting ingredients could we add from other parts of the world and other cooking traditions? What recipes have other musicians created to achieve their distinct flavor?
Source: burning ambulance.
Braufman is about to release his first album under his own name in 45 years. He made his debut in 1975 with Valley of Search, recorded at his loft at 501 Canal Street in New York and released on India Navigation. It was reissued in 2018 by his nephew, Abil Nyers, on the Control Group/Valley of Search label, and it sparked enough interest as a lost artifact of the loft jazz era (full disclosure: I reviewed it for The Wire) that he performed in NYC for the first time in decades, and wound up taking almost the same band used at those shows into the studio. Now he’s got The Fire Still Burns coming out, featuring James Brandon Lewis on tenor sax, Cooper-Moore on piano, Ken Filiano on bass and Andrew Drury on drums.