Michael Rother Interview

Source: Echoes.

In the Echoes Podcast, Michael Rother, a legend of progressive rock and electronic music, In the early 1970s he was in an early version of Kraftwerk, then co-founded the bands Neu and Harmonia and went on to developed a distinctive guitar sound and driving rhythmic approach on a string of solo albums. He hasn’t put out new music in 16 years, but now has a new box set of his music, Solo II, along with a brand new album, sort of, called Dreaming. You’ll hear what we mean when John Diliberto talks with Michael Rother about Kraftwerk, his new approach to guitar, and his turn toward dream pop.

Wendy Eisenberg Interview

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.

Ben Goldberg Interviewed About His Plague Diary

Source: Westword.

Using clarinets, a synthesizer and a few guitar effects pedals, Goldberg has recorded 150 songs over the past six months, dedicating some to musicians he’s worked with over the years, such as Joshua Redman, John Zorn and Myra Melford, as well as Nels Cline and Denver trumpeter Ron Miles, both of whom appear on Goldberg’s 2019 album Good Day for Cloud Fishing and 2015’s Orphic Machine.

Goldberg says that writing songs for Plague Diary has been the equivalent of noodling in a laboratory or drawing in a sketch pad: He’s able to break songwriting habits and try new approaches to the creative process.

Point of Departure #72 is Out

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

Sally Gates Interview

Source: Chain D.L.K..

Shortly before Covid-19 took over our world and turned everything upside down, I met New York-based experimental guitarist and composer Sally Gates in late December 2019 for an interview for Chain D.L.K. after seeing one of her shows with Titan To Tachyons (her trio with Matt Hollenberg and Kenny Grohowski). I noticed her love for intense, rich guitar sounds, for improvisation, odd meters, and unconventional song structures, and I hoped to find out more about this talented and versatile guitarist. We talked about her background, her work in music and about her album production.

Many things have changed since then and I was keen to get back in touch with Sally for updates about her album and how she’s been doing since we last met. So, this interview is a mix of a portrait about Sally Gates from when we met in person in December 2019 and an email interview from mid-August 2020.

Catherine Christer Hennix Interview

Source: Tone Glow.

Catherine Christer Hennix is a Swedish composer, poet, philosopher, and mathematician who currently resides in Turkey. She primarily creates long-form drone music and has collaborated with artists such as Henry Flynt, La Monte Young, and Pandit Pran Nath. She has worked as a professor at both SUNY New Paltz and MIT’s Artificial Intelligence Laboratory, led the just-intonation ensemble the Chora(s)san Time-Court Mirage, and is the author of various papers and books, including last year’s Poësy Matters and Other Matters. Her newest album features a 1974 recording of the Karlheinz Stockhausen piece Unbegrenzt. Joshua Minsoo Kim talked with Hennix on the phone via WhatsApp on May 31st. The two discussed her music, the numerous artists she’s collaborated with, the drawbacks of music venues, and more.

Kris Davis Interview

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?

Jarrett Gilgore Interviewed

Source: Jazz Right Now.

Today, Heart of the Ghost releases a new record, their fourth, Live at Rhizome. Heart of the Ghost is a collaborative trio of alto saxophonist Jarrett Gilgore, bassist Luke Stewart, and drummer Ian McColm. I had the pleasure of booking them for one of their first gigs at my loft concert series, New Revolution Arts, and have found the band riveting ever since. Prolific as ever, the band has released three previous records. I had the opportunity to speak at length with Jarrett Gilgore on Labor Day weekend in 2019 and then updated the interview recently. Gilgore is a refreshingly humble, yet intensely committed artist who has a transformative presence on the bandstand. He has a unique musical voice and is one of the visionaries of the Baltimore music scene.

Alan Braufman Interview

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.