Claudia Quintet to play First Night

From the Boston Globe, the Claudia Quintet will play Boston’s First Night fest this week.

NEW YORK – When percussionist and composer John Hollenbeck, an eclectically minded veteran of the New York scene with a portfolio ranging from big band and klezmer to avant-garde “new music,’’ set out to form his own group, he didn’t necessarily expect to make something as unusual – nor as durable – as the Claudia Quintet.

Now nine years old and about to release its fourth CD, the quintet features a distinctive front line of clarinet, vibraphone, and accordion. Its distinctive sound and Hollenbeck’s ambitious yet accessible compositions have earned critical acclaim and fueled the emergence of Hollenbeck, 41, as a prominent composer, a Guggenheim fellowship recipient who is frequently solicited for adventurous new commissions.

JOHN HOLLENBECK’S CLAUDIA QUINTET
At: First Church in Boston, Thursday, sets at 9 p.m. and 10:15 p.m.
Information and First Night buttons at http://www.firstnight.org

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Claudia Quintet at REDCAT Reviewed

From the Los Angeles Times:

The accordion isn’t exactly one of the more common instruments in jazz. Yet in the context of the genre-shifting mix of New York’s Claudia Quintet, the accordion sounded so natural at REDCAT on Wednesday night that it’s fair to start questioning just why it doesn’t make an appearance more often.

Of course, the same can be asked of the quintet. Composed of veterans from New York City’s jazz scene, the Claudia Quintet doesn’t make its way west very often. But the audience of CalArts students and older jazz heads were treated to an evening with a versatile band that deserves mention among the top ensembles in jazz today.

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Mills College Music Department Turns the Wheels of Progress

Oliveros playing in Mexico City
Image via Wikipedia

A recent Mills College performance is reviewed.

It began with a single riser, draped in black, on a half-lit stage. Atop it sat a desk chair with plain blue cushions, such as you might find in a library or school lab. Surrounding the chair were a laptop computer, an audio processor, and a large black concert accordion. As audience members filed in, the arrangement awaited Mills College composer-in-residence Pauline Oliveros, an internationally acclaimed composer and performer of contemporary music who was set to play the inaugural note in Mills’ newly renovated concert hall.

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Musique Machine Reviews

From Musique Machine:

Death In June – All Pigs Must Die
All Pigs Must die is a welcome reissue of Death In June’s harmonic yet schizophrenic and progressively unhinged album from 2001. It saw for the most part a return to simpler and memorable acoustic guitar, accordion, trumpet and flute song based sound, but with the odd flirtations with post-industrial sound scraping, noise matter and unhinged edgers.

Haino Keiji/Yoshida Tatsuya – Uhrfasudhasdd
This rather wonderful, often unbalancing yet always inspired collaboration goes from been manic and noisy, to deranged and off kilter, down to be atmospheric and bizarre. With the pair utilizing an mixture of electric & acoustic guitars, flute, vocal sounds & noises, drums, keyboards & bass to create this superb collection atmospheric and mood jumping 16 tracks.

Anahita – Matricaria
Anahita brings together Tara Burke (Fursaxa,Tau Emerald ect) and cellist Helena Espvall (Espers) for six lengthy often primal and sometimes haunting/beautiful tracks of droning, sawing avant folk dwell.

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