Bagatellen Reviews

From Bagatellen:

Jürg and Marianne Rufer – Les Diaboliques: Jubilee Concert DVD
The trio of Irène Schweizer, Maggie Nicols and Joëlle Léandre – Les Diaboliques – represents a primary factor in the history of Intakt, since they were all present in the label’s very first record (Live At Taktlos) before going on to become one of the most lively expressions in the macrocosm of present-day improvisation. Their […]

Locrian – Drenched Lands
Doom at its most effective will make the impression upon listeners that relief is a matter of hitting the ‘pause’ button’. With song titles like “Obsolete Elegy In Effluvia And Dross,” and “Barren Temple Obscured By Contaminated Fogs,” one might guess that the latest from Chicago’s Locrian (Andre Foisy, Terence Hannum) seeks […]

Tony Malaby Cello Trio – Warblepeck
Much to my surprise, Tony Malaby’s cello trio – where the saxophonist is joined by Fred Lonberg-Holm and percussionist John Hollenbeck – sounds remarkably like an updated hybrid of Air and Hemphill on their debut recording. It’s not just because the presence of a cello invokes Abdul Wadud, since Lonberg-Holm’s playing sounds about as […]

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Erik Friedlander’s Broken Arm Trio at Barbes Reviewed

From the New York Times:

The cellist Erik Friedlander possesses a deep, singing tone on his instrument, and when he gives into it completely, he can be a heartbreaker. At the diminutive Brooklyn club Barbès, which he regards as a second home, his sound approaches room-size resonance, with little or no amplification, just about anytime he draws a bow across the strings.

But that was a rare and judicious indulgence in his hourlong set there on Friday night. Instead, as he does on “Broken Arm Trio” (SkipStone), his most recent album, Mr. Friedlander was playing original songs expressly designed for pizzicato. His bow was mostly unused as he plucked his way along the fingerboard. His right hand did the dexterous picking, with a spiderlike efficiency and speed.

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Broken Arm Trio Reviewed

Erik Friedlander‘s latest is reviewed.

It’s a quiet pluck and a kick, a twitter reminiscent of the Grecian zither-based music from The Third Man that introduces you to improvisational cellist Erik Friedlander’s newest effort. Usually a manic, wiry bower with the likes of John Zorn and Laurie Anderson, Friedlander let go of the bow and played only pizzicato as the leader of BAT so to create this intimate brand of bop-infused balladry with the small-group groove of Herbie Nichols’ finest moments. (Friedlander’s band name actually comes from the time Oscar Pettiford busted his arm playing baseball and, in a sling, experimented with a cello and released classics like 1964’s My Little Cello.)

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Grey Gersten, Jeremiah Cymerman’s Graphic Scores, and Toby Driver Ensemble at Zebulon

Kayo Dot in Santa Cruz
Image via Wikipedia

Coming up at Brooklyn’s Zebulon:

Tuesday, March 10th

258 Wythe Ave (between Metropolitan Ave and North 3rd St)
Williamsburg, Brooklyn

9:00 Grey Gersten solo
Grey Gersten (guitar, effects)

10:00 Jeremiah Cymerman’s Graphic Scores
Jeremiah Cymerman (clarinet) Nate Wooley (trumpet) Mary Halvorson (guitar) Christopher Hoffman (cello) Tom Blancarte (bass) Harris Eisenstadt (percussion)

11:00 Toby Driver Ensemble- Kayo Dot mastermind premieres a new piece AND a new ensemble!!!

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At NEC, six hours of Stockhausen

Karlheinz Stockhausen at Old Billingsgate Mark...
Image via Wikipedia

A recent Stockhausen performance is reviewed.

At just after 3 p.m. on a Sunday, Vic Rawlings begins to “play a rhythm in the vibration of his body.” He’s only following directions, those of the late German composer Karlheinz Stockhausen, whose “Verbindung” (“Connection”) gives that instruction. What does it mean? Rawlings interprets it as a low guttural scrape across the tailpiece of an amplified cello.

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