Jazz Listings From The New York Times

From NYTimes.com:

GO HOME (Friday through Sunday) This slinky, groove-minded ensemble features the collective contributions of the clarinetist Ben Goldberg, the trombonist Curtis Fowlkes, the guitarist Charlie Hunter and the drummer Scott Amendola. The group is on tour in support of its recently released self-titled debut. At 7:30 and 9:30 p.m., with an 11:30 set on Friday and Saturday, Jazz Standard, 116 East 27th Street, Manhattan , (212) 576-2232, jazzstandard.net; $30, $25 on Sunday. (Chinen)20091029

THE MAHAVISHNU PROJECT (Tuesday) This single-minded repertory project, led by the drummer Gregg Bendian, pursues the visionary fusion of the Mahavishnu Orchestra with all appropriate fervor. Besides Mr. Bendian, it consists of the guitarist Chad McLoughlin, the violinist Zach Brock, the keyboardist Neil Alexander and the bassist Peter Brendler. At 9 p.m., Drom, 85 Avenue A, between Fifth and Sixth Streets, East Village , (212) 777-1157, dromnyc.com; $15. (Chinen)20091029

NUBLU JAZZ FESTIVAL (Thursday) For the last seven years the East Village club Nublu has promulgated a downtown mix of jazz, club music and international groove. For much of the coming month a similar sound will prevail at its first annual jazz festival, which begins on Thursday with a duet featuring the free-jazz saxophonist Charles Gayle and the Sun Ra Arkestra bassist Juini Booth; a trio led by the saxophonist Jemeel Moondoc; and the Mandingo Ambassadors, breezy specialists in a West African musical tradition. At 9 and 10:30 p.m. and midnight, Nublu, 62 Avenue C, between Fourth and Fifth Streets, East Village , nublu.net; cover, $10. (Chinen)20091029

TIMUCIN SAHIN GROUP (Wednesday) Timucin Sahin, a nimble guitarist and a scintillating composer from Turkey, celebrates the release of “Bafa” (Between the Lines), his new album, by reconvening two of its core contributors, the alto saxophonist John O’Gallagher and the drummer Tyshawn Sorey. The bassist, Drew Gress, should make a strong substitute for his younger colleague Thomas Morgan. At 8:30 p.m., Cornelia Street Café, 29 Cornelia Street, West Village , (212) 989-9319, corneliastreetcafe.com; cover, $10, with a one-drink minimum. (Chinen)

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Meredith Monk – Bending Melodies in ‘Songs of Ascension’

A review from NYTimes.com:

The wonder of Meredith Monk is that having created a musical language and theatrical style, she has been able to stretch and refine them with just about every work. Her recent music, including “Songs of Ascension,” a collaboration with the video artist Ann Hamilton, which opened at the BAM Harvey Theater on Wednesday, sounds nothing like the assertive pieces she wrote and sang in the 1980s. Yet enough musical DNA remains, in the form of idiosyncratic warbling and interlocking rhythms, that you would not mistake it for anyone else’s work.

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Axiom – Clearing Musical Hurdles With Poise and Flair

NYTimes.com reviews this recent performance.

You might wonder, then, why Axiom — a bright, versatile young ensemble formed by students at the Juilliard School in 2005 — chose four toothy examples of latter-day modernism for its season-opening concert at the Peter Jay Sharp Theater on Monday night. The program, conducted by Jeffrey Milarsky, included Mario Davidovsky’s “Flashbacks,” Harrison Birtwistle’s “Secret Theater” and “Three Settings of Celan,” and — the relative pop hit of the bunch — Gyorgy Ligeti’s Chamber Concerto.

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New Work by a Speedy Elliott Carter

NYTimes.com discusses a recent interview with Elliott Carter about his new compositions.

Now that hardly a month goes by without a new work by Elliott Carter, a listener could easily forget that in former times Mr. Carter spent years writing each piece. If he had been this prolific four decades ago, when he was 60, his catalog would probably rival that of Liszt or Villa-Lobos.

With his 101st birthday approaching in December, Mr. Carter still has projects in mind. In a freewheeling interview with the cellist Fred Sherry during a Works & Process concert at the Guggenheim Museum on Monday evening, he discussed his current one: a woodwind quintet in which all the parts are written with instrumental doublings, so that the five musicians will play 10 instruments.

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