Two solo releases featuring winds from opposite points on the pitch spectrum, but with some qualities in common. Both come in at economical run times—under thirty minutes total each—and both consist of short, thematically cohesive tracks.
Darío Dolci’s excursions on sopranino saxophone are in some ways the more austere of the two sets. Without overdubs or supporting instruments and sounds, he devotes each of his nine tracks to an elaboration of one technique, sound quality or pitch collection. In doing so, Dolci often employs extended techniques which find him exploring extreme ranges or making broad interval jumps, or using key clicks, tongue slaps, air notes and overblowing. On La Aumentada, YYYY and Monotonica he plays more or less conventionally, setting up and developing modally-tinged melodies and motifs.
Paul Mimlitsch’s Random Thoughts for contrabass clarinet are improvised live to disc, sometimes with the inclusion of live electronics to supplement the sound of the lone instrument. On all tracks Mimlitsch takes advantage of the low reed’s brooding, saturnine voice. Slow melodic passages join with occasional extended techniques and electronic sound deformation to produce an intimate portrait of the contrabass clarinet as seen from several angles.
From Improvised Communications:
AUM Fidelity is proud to announce the March 9th release of Saturnian (AUM060), the first in a planned series of limited edition solo recordings by eminent saxophonist/composer David S. Ware. Recorded live at New York’s Abrons Arts Center, this release documents Ware’s triumphant return to the stage in October following a successful kidney transplant. Each of the three extended pieces is performed on a different instrument: saxello, stritch, and tenor saxophone.
Spinner some of Shipp’s more controversial moments.
The flip side of this confrontational approach is that Matthew Shipp is one of the most talented players of this era. Closing in on 50, he has released a string of dazzling solo and small-group recordings that range sonically from acoustic to electronic remix. His mix of complex improvisation and melody gets easy comparisons to avant-garde pianist Cecil Taylor, but, really, the two don’t have a whole lot in common. He also participated in (for 16 years) and subsequently broke up the David S. Ware Quartet, which has been hailed many times as one of the great quartets of our time. Shipp has also mentored younger or less-known artists by releasing their albums through his Blue Series on Thirsty Ear records and provided a home for other established artists who need to put out records.
Additionally, he was also interviewed recently.
- AUM Fidelity Artist Showcase Tomorrow Night (improvisedcommunications.wordpress.com)
- Metronome Mythologies (thebadplus.typepad.com)
From WAYWARD MUSIC on March 13.
8:00 PM; $5 – $15 sliding scale donation at the door.
Seattle pianist and toy pianist Tiffany Lin performs Piano Racket: Music for the Unconventional Piano, a concert featuring solo music for prepared piano, string piano, retuned piano, and toy pianos. The program features a double world premiere of music especially written for this event by composers Byron Au Yong and Kraig Grady. Flirt, Au Yong’s portable interludes for toy pianos and ping pong balls, finds love in the little things of life with lip smacks, whistles, pops, swoops, yelps, and woofs. Grady’s first piece written for the piano in 35 years of composing, Corroded Communes, explores the retuned piano based on a specific tuning developed by musician George Secor.