vendredi 30 avril 2010
Sean Baxter: drums
David Brown: prepared guitar
Prepared piano, percussion and prepared guitar combine to formulate an impulse-based meta-instrument on this startling debut from Melbourne trio Pateras/Baxter/Brown. Consisting of composer/pianist Anthony Pateras, percussionist Sean Baxter and electroacoustic composer/guitarist David Brown, Ataxia (meaning the loss of muscular co-ordination) explores a distinctive sound world where timbres rebound and melt within an elastic performative framework.
Dynamically oscillating between delicacy & brutality, Ataxia contains everything from textural assault to contemplative explorations of space. On “Bulbous”, the trio create a constant, jerky stream of barely recognizable sounds. In “St/Chi”, silence is sliced by explosive microsonic gestures, eventually creating an acoustic mutant licking at the speaker cones. On the closing track “Hexadactlyly”, the listeners face is slammed against the piano strings, thrown into percussive chaos before sinking back into an ambiguous oubliette of spacial dialogue.
With the overall language falling somewhere between the structural integrity of Feldman and Xenakis, the texutral gymnastics of Hecker and Merzbow, and the dynamic fluidity of AMM and Polweschel, Ataxia will appeal to dot-heads, patch-monkeys and improv junkies alike.2004 ATAXIA
jeudi 29 avril 2010
Mats Gustafsson: alto & tenor saxophones
Kjell Nordeson: drums
Ingebrigt Håker-Flaten: bass
DKV TRIO (right channel):
Ken Vandermark: Bb & bass clarinet, tenor saxophone
Kent Kessler: bass
Hamid Drake: drums
Double or Nothing documents a meeting that was bound to happen, as likeminded and closely connected as these groups are. The Swedish AALY and Chicago DKV are both fiery powerhouse trios with a penchant for covering Albert Ayler and Don Cherry when not playing tunes of their own. DKV member Ken Vandermark has also joined AALY on each of that group's four albums. The result is what fans would expect, but no more. With AALY heard in the left channel and DKV in the right, the album opens with a recording of Vandermark's "Left to Right," which predates the version found on AALY's 2000 release, I Wonder if I Was Screaming. This time around, it kicks off with a five-minute drum duo by Kjell Nordeson and Hamid Drake. The rest of the album consists of a particularly dynamic performance -- ranging from sparsely quiet to shredding -- of Ayler's "Angels," a Vandermark favorite, which leads without break into Cherry's "Awake Nu." Both Mats Gustafsson and DKV would separately revisit "Awake Nu" in the next couple of years; these versions can be heard on The Thing (Crazy Wisdom, 2001) and Trigonometry (Okkadisk, 2002). (AMG)
2002 DOUBLE OR NOTHING
mardi 27 avril 2010
The man who played drums in ANP (a duo with KK Null) and Fushitsusha (with Keiji Haino) returns to playing solo here, 'using one head snare drum with microphones, without sound effects', as it says on the cover (although the press text mentions a cymbal too). I assume he plays the snare drum with something, objects, sticks, brushes? Two pieces do rather sound the same: 'Ssei' and 'Llott' (if I read that well, its handwritten and not easy to read): rubbing sticks over the head and producing trainlike sounds, rolling faster and faster. In 'Aug' he plays the most 'traditional' piece of improvised music, hectic, nervous, but with a great control of the instrument, making it sound entirely different throughout this piece. In 'Ejie', the final and longest piece on the CD is an entire drone like piece. Hard to imagine how he plays this, but it could be objects pressed hard to the surface or perhaps some sort of bowing technique. This is the best piece of these four, but through I thought
this was a pretty strong disc anyway. Excellent solo improvisation. (Vital Weekly - FdW)
lundi 26 avril 2010
Heddy Boubaker: alto saxophon
Fabien Duscombs: drums, percussion, objects
Françoise Guerlin: voice, text
Piero Pepin: Trumpet, melodica, objects
Marc Perrenoud: doublebass, electric guitare
Topophonies is another superative online album of totally improvised music. Rosa Luxemburg New Quintet consists of five talented musicians who respect no boundaries when it comes to creating music. The four tracks are live acoustic performances exhibiting an uncanny sense of interaction and control in what could easily turn into chaos.
The five musicians in this group all exhibit good talent for free jazz improvisation. I am especially impressed by alto saxophonist Heddy Brubaker whose sound hovers between the academics of Anthony Braxton and the more primordial sounds of a Marion Brown or Julius Hemphill. Piero Pepin’s trumpet growls and moans Lester Bowie style as it plays off the rest of the ensemble. Marc Perrenoud provides bass and electric guitar in a manner that adds rhythm and color rather than tonal asistance. Fabien Duscombs expertly uses a wide range of percussion instruments. Lastly, Françoise Guerlin’s voice is an improvisational instrument in its own right, usually wordlessly joining in the collective group conscienceness but contributing a strange speak-sing lyrical turn on “Schizophonie”. The best track is also the longest. “Territoires” is a 33 minute journey starting on a low simmer that boils and ebbs into a wide ranges of moods from reflective to raging. This is an exhilarating session of improvised art.
The albums is available as separate tracks or album zip in 256kbps. It is made available through the Insubordinations net label, home to some of the wildest improvised music you will find on the internet.
Andy Moor: electric guitar
2010 LIVE AT CIRCOL MALDA (Bootleg)
Thanks to rest in bits
Christine Sehnaoui: alto saxophone
Sharif Sehnaoui: electric guitar
Ingar Zach: percussion
Free improvising from Beirut that is definitely worth tracking down, although just 500 copies have been pressed. "Rouba3i", it seems, derives from the Arabic word for quartet. Trumpeter Mazen Kerbaj, alto saxophonist Christine Sehnaoui and guitarist Sharif Sehnaoui are a trio of Lebanese musicians who invite a series of percussionists to occupy the fourth corner of their group. for this incarnation – the fifth, hence Rouba3i5 - they are joined by Norwegian percussionist Ingar Zach, who suits the frictional buzz and burr of their style exceptionally well. Each member of the trio has pared away all obvious instrumental attributes, resulting in sound sources effectively geared to realise a shared musical vision of grainy agitated textures overlaid, overlapped and intersecting. Abstracted sounds seep and trickle, punctuated with pops and staccato chatter, across two pieces that are remarkably consistent in character and quality.
Julian Cowley | The Wire
dimanche 25 avril 2010
Paal Nilssen-Love: drums, percussion
The fifth duo album between Ken Vandermark and Paal Nilssen-Love may well be their best one. The two musicians find each other blindly for these three lengthy pieces, that vary between rhythmic funky improvisations, slower, more meditative moments and adventurous searches of new sounds. And needless to say, all this in one piece, switching easily from one mood to the other, from one mode to the other, without losing a sense of focus and musical coherence.
The first piece, on tenor, is intense, joyful, full of swing and drive, full of power and subtletly. The second track shows a darker and more experimental side of both musicians, yet the power picks up again on the third piece, with long circular breathing on baritone sax, with Vandermark's sound evolving in some of the strongest volumes that you can get out of it, filling the entire available space, then the thing collapses for some heartrending cries, propulsed into full agony by Nilssen-Love's rhythmic thunderstorm, worthy of the mighty Thor, the ancient Norwegian god, but of course after the storm everything becomes quiet again, yet equally full of tension, maybe because it is the calm before the next storm ... to be heard on the next album, for sure.
You hear two musicians full of confidence in themselves and each other, moving into every possible musical region together, in perfect symbiosis, with the pleasure of playing dripping from every note, from every beat.
Don't miss it. (from Free Jazz)
2010 MILWAUKEE VOLUME PART 1 & PART 2
Paal Nilssen-Love: drums, percussion
If I'm not mistaken, this is the fourth duo release between Vandermark and Paal Nilssen-Love on drums. The latter seems to enjoy the format, having released duets with John Butcher, Joe McPhee, Mats Gustafsson. The first piece brings Vandermark in his usual highly rhythmic, almost funky improvisation, with Nilssen-Love equally playing up a storm. Things slow down afterward and become real sensitive on the second track, with the occasional outburst of power and anger, and more abstract on the third piece, with Vandermark taking up his bass clarinet on both tracks. The last piece is called "Mort Subite" or "sudden death", the name of a Belgian beer and also a famous café in Brussels. (from Free Jazz)
2009 CHICAGO VOLUME
vendredi 23 avril 2010
Leroy Jenkins: violin
Jerome Cooper: percussion, balafon, chiramia, keyboard
2008 BEYOND THE BOUNDARY OF TIME
jeudi 22 avril 2010
Leroy Jenkins: violin, viola
Jerome Cooper: drums, percussion, flute, bugle
1972 MANHATTAN CYCLES (LP)
Leroy Jenkins: violin, flute, kalimba
Sirone: bass, flute
Jerome Cooper: drums, percussion, flute, piano
1977 REVOLUTIONARY ENSEMBLE (LP)
Leroy Jenkins: violin, viola, harmonica
Sirone: bass, cello, wooden flute
Jerome Cooper: percussion, bugle
Leroy Jenkins: violin, viola
Jerome Cooper: drums, piano
After work with Archie Shepp and Alan Silva, and as a member of the woefully short-lived Creative Construction Company, Jenkins hooked up with bassist Sirone (né Norris Jones, who had been with Pharoah Sanders, Marion Brown,
Sadly, for such an influential group, their five albums were released on five different labels, all out of print until now. Originally self-released, The Psyche was the third and thus far most accessible with three long pieces, one by each participant, featuring Jenkins’ cerebral tone,
Though two of the three compositions are lengthy (accounting for 39 of the 47 minutes), you can focus on the subtle interactions between Jenkins and Sirone rather than struggling through the usual soup of a horn-based avant-garde session.
This review originally appeared in AllAboutJazz-New York .
1975 THE PSYCHE
mercredi 21 avril 2010
Leroy Jenkins: violin, viola, percussion, vocals
Jerome Cooper: drums, percussion, piano, bugle, vocals
Sirone: bass, percussion, trombone, vocals
1975 THE PEOPLE'S REPUBLIC
Clayton Thomas: bass
Christian Marien: drums
Without a doubt a great fan of Rutherford, German trombonist Matthias Müller, in a cohesive trio format with Clayton Thomas on bass and Christian Marien on drums, takes the learnings of the great Brit into outer space. In four fully improvised pieces, the trio leads us on our interstellar journey, and it is quite an interesting one: it is one in which surprise and wonder reign. The notes are sparse and intense, the interaction telepathic and warm, moving quite well together, forward all the time.The sounds they create are minute, precise, full of new textures and shades of colors, unhurried, calm yet resolute. It does not have the raw energy of the duo albums of Müller and Marien, but the end result is even stronger. You will need open ears for this one, but you will not be disappointed. A truly powerful album. (from freejazz blog)
Mats Gustafsson: tenor & baritone saxophones
Ken Vandermark: tenor & baritone saxophones, b-flat clarinet
Peter Brötzmann: alto, tenor & bass saxophones, tarogato, a-clarinet
2003 NO ONE EVER WORKS ALONE
Chris Corsano: drums
"It's not a church anymore, it's an ex church, it's used now for cultural purposes, noot for praying and religious madness anymore." those are the exact words some random anxious pedestrian yelled at Chris Corsano and Paul Flaherty, trying to stop them from putting the St John Renaissance Theater in Louisville, Kentucky on fire. Paul Flaherty used his long grey beard to start the fire and blew as high as he could with a rusted tenor and alto saxophone, the flames went high, but not hight enough for Chris Corsano aka the last drummer on earth! Chris throws oil and lighter fluid on there to spice up the barbeque a bit. This is a beautiful live recording by these two amazing free jazz musicians from Massachussets/USA. It sounds a bit different than their other recordings as it is indeed recorded in a church. It has a thick/full natural reverb on it which gets fully adopted in their music!!!2005 FULL BOTTLE (LP)
mardi 20 avril 2010
lundi 19 avril 2010
Circular breathing -- Evan Parker's revolutionary saxophone technique -- had reached an impressive level of exposure by 2001. The groundbreaking flurries of notes have become textbook material for aspiring improvisers. Yet, after decades, Parker can still make it sound as cutting-edge and exciting as if he just discovered it. Lines Burnt in Light is comprised of three solo soprano saxophone improvisations recorded on October 11, 2001. Six weeks later the CD became the first release from Psi, Parker's own record label (his first since the founding days of Incus). The three pieces (27, 13, and 22 minutes long) were recorded at St. Michael and All Angels Church, a venue with fantastic acoustics. You can hear each of the musician's high-speed notes ricocheting on the high ceilings, its harmonics decaying left and right of the central fountain of sound. It renders Parker's soprano sax bigger than life. He performed "Line 1" before the audience arrived. A sense of urgency rarely heard in his '90s recordings inhabits the piece. The bad news is that this CD contains over an hour of nonstop streams of notes. Those who find that particular Parker sound annoying will bail out very quickly. But the mesmerizing, hypnotizing effect works great and the technique is simply stunning. So the good news is that Lines Burnt in Light stands as one of if not the best document illustrating the man's circular breathing/playing. Strongly recommended, especially to newcomers. (François Couture, AMG)
2001 LINES BURNT IN LIGHT
Evan Parker sounds like no one else. He has developed a singular approach to playing and improvisation on the soprano saxophone that still has people scratching their heads wondering, "How does he do that?" His solo style often sounds like there's more than one player, and on Time Lapse he takes that style a step further by overdubbing himself on about half the pieces. This isn't the first time he has taken this approach (Process and Reality dates to the early '90s) and these pieces were recorded between 1999 and 2001. Parker composes through improvisation, and the overdubbed pieces are fascinating in the way he assembles the pieces, adding a part here or elaborating on a figure there. Of course, his solo playing is equally fascinating, and although he says in the liner notes that the overdubbed pieces alternate with the solo pieces, there are times when the listener would be hard-pressed to differentiate between the two. Time Lapse doesn't really offer anything new to the Parker book, but it's an excellent recording that provides stellar examples of his solo playing as well as showcasing his relatively rare work overdubbing himself. It's a captivating listen by one of improvised music's giants. (Sean Westergaard, AMG)
1996-2001 TIME LAPSE
samedi 17 avril 2010
vendredi 16 avril 2010
Evan Parker: tenor saxophone
Recorded in a Chicago studio and feeling as if it were a live concert, despite his many solo saxophone recordings, the Chicago Solo by Evan Parker is very special. For one thing, this is a completely tenor saxophone set; the trademark soprano is nowhere in evidence. For another, Parker seems very interested in the extended tones of the horn rather than in the fiery creation of microtonal knots of sound. On "Chicago Solo 3," he pulls his tone right from the bell, rolling out notes along the physical properties of the horn itself, exploring each vibration and sub-tone as a color and of its own territory, worthy of exploration and he follows them into the bell and back. His "No. 7" solo he dedicates to Lee Konitz (one of four here, the others are for Chris MacGregor, "Mr." Braxton, and George Lewis), and he utilizes a pair of phrases from Konitz's own solo disc "Motion," and turns them into a wonderland of tonal and harmonic equations that remain unresolved -- perhaps awaiting Konitz to respond? The lower register explorations of "No. 14" are remarkable for their tenacity of embouchure. Parker turns his own lines into bent, mirrored images of themselves, keeps the arpeggio range close to the vest and claims a melody from them that stands in counterpoint to the original phrase. This is a fascinating and very listening disc of solo improvisations, one that is likely never to find a wide enough audience for its brilliant accomplishment on tenor saxophone. (Thom Jurek, AMG)
1995 CHICAGO SOLO
mercredi 14 avril 2010
Mark Sanders: drums
Even more freedom here from trombonist Brand and drummer Sanders. This disc was recorded at the Vortex club in London in April and August last year, and is an extraordinarily adventurous exploration of all the variables possible in free jazz.
Not only are time, rhythm, harmony and melody constructed and then deconstructed, a whole new world of sounds, tones and timbres of trombone and drums are sought and found.
This is music that draws you in to its detail, and both players are meticulous when it comes to placing sound in silence. They focus right in on the essentials of sound and, as the album’s title stresses, the physicality of it, too. (thejazzbreakfast)
2009 INSTINCT & THE BODY
mardi 13 avril 2010
Mats Gustafsson: alto, baritone & slide saxophones, electronics
Ingebrigt Haker Flaten: bass, electronics
Paal Nilssen-Love: drums
2009 BAG IT! CD1
2009 BAG IT! CD2
Dwight Andrews, Marty Ehrlich, Vinny Golia, J.D. Parran, Ned Rothenberg: saxophones, clarinets, flutes, piccolo, nagaswaram, ocarina
Rob Howard, Michael Mossman, Leo Smith, Kenny Wheeler: trumpets, flugelhorn
Ray Anderson, George Lewis, James King Roosa: trombone, tuba
Marilyn Crispell: piano
Birgit Taubhorn: accordion
Bobby Naughton: vibraphone
James Emery: electric guitar
John Lindberg, Brian Smith: basses
Thurman Barker: percussion, marimba
Robert Ostertag: synthetiser
Although Anthony Braxton does not play on this double CD (whose contents were released for the first time in 1995), his presence is certainly felt. He conducts the band through a fairly free improvisation and five of his compositions. Braxton showed a great deal of insight in originally picking the personnel for nearly every one of the 21 musicians has had an important career in advanced jazz, particularly Marty Ehrlich, Vinny Golia, Michael Mossman, Leo Smith, Kenny Wheeler, Ray Anderson, George Lewis, Marilyn Crispell, and John Lindberg. The music is often dense and atonal but never dull, and the closing composition is a superb piece that displays Braxton's love of marching band music! Although one wishes that Anthony Braxton himself had played, this is a set easily recommended to his fans. (by Scott Yanow, AMG)
1978 CREATIVE ORCHESTRA (KÖLN) 1978 PART 1
1978 CREATIVE ORCHESTRA (KÖLN) 1978 PART 2
lundi 12 avril 2010
Chris Corsano: drums
Best known for his collaborations with people like Paul Flaherty, Michael Flower and Thurston Moore as well as a year-and-a-half stint as the drummer for Björk's Volta tour, Chris Corsano is widely considered to be one of the best and most adaptive drummers of his generation. Equally adaptive is UK saxophone giant, Paul Dunmall, who has worked disparately with jazz greats like Alice Coltrane and Evan Parker as well as funk and folk acts like Johnny Guitar Watson and Dando Shaft.
After a chance meeting in a taxi line at Lisbon Airport, a surreal intertwining of tours emanated. In between the lasers, confetti and face-painted fans at Plymouth Pavillions and Wolverhampton Civic Hall, Chris left the Björk mega-tour to get down to business alongside the prolific and imaginative Dunmall for some vital improvisation at Slak Bar in Cheltenham, England.
This wonderfully recorded live set begins with Dunmall swirling away on the border pipes (he may be the preeminent improvisor using bagpipes). What follows is an impulsive and lyrical improvisation, alternatingly sparse and impossibly textured. Corsano's skittering marries perfectly with Dunmall's rapid-fire lines. The melodies are expertly uncoiled so that they remain charged whether the tempo is at full speed or crawling. The set ends furiously and with the impression that this duo was fated to work together.
2010 IDENTICAL SUNSETS
dimanche 11 avril 2010
Roger Trigaux (Claviers guitare,)
Reginald Trigaux (Guitare)
Pierre Chevalier (Claviers piano,)
Dave Kerman (Percussions batterie,)
Keith Macksoud (Basse)
Mathieu Safatly (Violoncelle)
Pierre Desassis (Saxophones)
NE PAS confondre Avec Les Nonnes troppo! Ici on revisite les classiques Vieux vie en, Avec d'Autres Que les originaux, Dans des versions de dingues Qui taire le ... Vertige. Haha. reprezent Rio!
vendredi 9 avril 2010
jeudi 8 avril 2010
C. Spencer Yeh: violin, voice
Greg Kelley: trumpet (tracks 4-5)
Last seen caterwauling righteously alongside drummer extraordinaire Chris Corsano, C. Spencer Yeh (violin) teams up with regular sparring partner Paul Flaherty (sax) for some more freeform excursions towards the outer limits. This time around trumpeter and all-round noisenik Greg Kelley joins in, making for a surprisingly addictive combination of timbres, often merging into one another and becoming incredibly difficult to distinguish from one another. These three standout voices from the American improv scene have made a seriously stunning album here, blending unexpected moments of lyrical musicality into the grisly melting pot of atavistic exclamations, screeching instrumental timbres and occasional primal vocal excursions. Heavy going, no doubt, but fans of contemporary free-jazz and general far-out improv will quite rightly lap this up in a big way.
2009 NEW YORK NUTS & BOSTON BEANS
mercredi 7 avril 2010
Figuring out which is the best Evan Parker solo recording is a quest that could either result in a highly enjoyable lifestyle or having commitment papers served. In either case this particular recording might turn out to be crucial, it presents Parker on one of his early trips to the United States playing before a small group of fans whose commitment to his style of improvising underscores the logical connection between "fan" and "fanatic." With Parker arriving on the west coast with a status somewhere between Gandhi and Crusader Rabbit, the atmosphere was ripe for a totally confident and impressive display of his innovative concepts and playing style. This is what exactly what Parker delivers here, in a venue that was basically somebody's livingroom, that somebody being pianist Greg Goodman, who also originally put the performance out on vinyl. At the Finger Palace acquired legendary status as the ultimate Evan Parker performance, and while research continues on that subject suffice to say there is enough evidence to rank the man as the ultimate soprano saxophone soloist.
(Eugene Chadbourne, AMG)
1978 AT THE FINGER PALACE
lundi 5 avril 2010
Bill Gilonis: guitar, bass guitar
Lindsay Cooper: piano, electric piano, sopranino saxophone, bassoon
Tim Hodgkinson: piano, electric piano, Moog synthesizer, baritone and alto saxophone
John Greaves: bass guitar
Fred Frith: guitar
Robert Wyatt: vocals
Adrian Mitchell: spoken voice
1984 THE LAST NIGHTINGALE