The light, reflected from the vibrant structure of life itself, dances for all, in full color. The feast of photosynthesis. Nothing to see from the top.
Plants, moss and mushrooms grow at a tremendous rate. They climb each other to break through the lush green blanket. And above all, the orange disc shines pleasantly. Huge catalogue of free improvisation from to today, with a focus on Soviet musicians.
The second part, "My brothers the wind and sun n. Total time: 59' Essential Sun Ra, avant-cosmology. Hungry East German audience flies off to travel the spaceways. The music is a subtle reminder of what each improvisation should strive for: explore a little bit further - almost even further - than the previous piece of music you played. When it seems impossible, try to give a little bit more. The music is an intimate and fascinating conversation between six musicians.
To be engaged in the conversation one has not only to speak but listen as well. Edited and mastered by Martin Pearson. Artwork by Olga Kokcharova. Vocalist and pianist Amina Claudine Myers pays tribute to one of her biggest influences, Bessie Smith. Myers has been a member of the Association for the Advancement of Creative Musicians AACM since and has been composing for voice and instruments ever since.
Gorgeous record. Mastered by David Crawford. Front cover photography by Spencer A Richards. In artistic terms, it was a shocking statement from Phil Minton and Roger Turner which scared a lot of people.
Now, years later, the recording sounds as if it has been recorded today. It has not lost any of its artistic qualities and stood the test of time. The work of great originality and integrity. And it would take a fertile imagination for one to reconcile the duo's rendition of Monk's "'Round About Midnight with the original, for example.
Armed with boyish enthusiasm, the artists pursue a wanton spirit through their surrealistic game plan. Of course, British freestyle vocalist Phil Minton is a well-known improviser since the advent of this date with his fellow countryman, percussionist Roger Turner. But this recording still resides as an attention-grabbing document. And indeed the strongest impression of this music is its urgency. Cliched reflections about the tormented Russian anima are almost unavoidable, but the fact is that music has great immediacy for people in times of crisis; I have seen it in such unromantic settings as an RAF base on the eve of the Falklands gambit.
This urgency is what compels Vyacheslav Ganelin piano, various instruments , Vladimir Tarasov percussion and Vladimir Chekasin saxes, various to free improvisations of sustained focus and intensity at live sets recorded in Leningrad and West Berlin. The latter appearance greatly impressed the Western critics, and the music stands up well. These men are playing for their lives, and have no time to worry about whether this or that transition might be difficult.
As a result potential pitfalls vanish into thin air as they achieve a kind of mobility rare outside of Sun Ra and a freedom that must have been sweet indeed. Part 2 recorded live in West Berlin, October 29, Tapes remastered by Alan Moseley. Special thanks to Liz Trott for smuggling out the tapes. This record of zany duets is among Eugene Chadbourne's wildest and dearest recordings, featuring selections from over two decades.
These duets with Han Bennink, Derek Bailey, the late Charles Tyler, John Zorn, and others, showcase the woolliest side of Chadbourne's woolly playing and his dodging all over the musical and historical map.
The first track is an acoustic version of John Lee Hooker's "Whiskey and Women," accompanied by Bennink playing a pizza box with brushes, a giant bass autoharp played with drumsticks, and, of course, a drum kit.
Chadbourne plays the tune straight for him at the beginning, even getting all the words right, but then veers off his National Steel onto a "communist" five-string banjo, and he and Bennink run the course, carrying the off-meter bar blues as off-world as they can go, laughing all the way. Next up is Derek Bailey and Chadbourne on two selections. Bailey's guitar and Chadbourne's electric rake and electrified banjo trip and slip all over one another here, with respect and purpose, of course, but nonetheless sloppily.
It's a rousing series of musical maneuvers at over nine minutes. When Bennink and Chadbourne reunite, it's a darker, more percussive show: feedback from rhythm and lead instruments becomes the M.
And it's quite beautiful, as Gershwin's songbook comes through as the melodic framework for the improvisation. The work with Tyler, "In Between Comme C and Come Saw," is balls-out space improv, though the master saxist uses his baritone in striking ways not usually becoming of the instrument itself. It becomes a kind of clogged, scraped, razor-voiced bell in the tower of noise.
Tyler draws microtones out of the instrument we have literally never heard before, and Chadbourne is content to lend idiomatic support to this gracious unfolding. This is more in line with Zorn's Classic Guide to Strategy than anything else, in both spirit and execution -- though there are no duck calls credited on this recording.
There is space here, sometimes long periods of it, where what is happening between the pair is not readily apparent; there is plenty of trickery and tomfoolery as well, leaving the listener guffawing in more than a few places. Quick intuition, a broad dynamic spectrum, and dazzling tonal colors. On a canvas of metallic percussion by Steve Noble, Bevan manipulates his striated tone like a painter adjusting brush strokes- some sounds are long, wide, and spacious, others squat and impossibly dense.
Designed by Steve Noble. Photography By Thomi Wroblewski. Post Production by John Hadden. Incredible ensemble for Company Week in ' Twenty-six minute opening track sees the whole collective scrambling into full-blown ecstatic chaos,follwed by two mega duos from Anthony Braxton and Steve Lacy. Artwork by Iain Patterson. Typography by Nicolette Amettte. First two days of Company Week where musicians came together for five days improvisation - most of them meeting for the first time.
Produced by Derek Bailey. Post production by John Haddon. Photos by Martin L McGain. Made with the assistance of the British Library Sound Archive. Photos by Mark Wastell. His sonic version of perpetual motion turns up in many dimensions at once - timbral, rhythmic, gestural, melodic, rhetorical, dramatic, and much more - so that playing with Bert often becomes a matter of finding, somewhere, a sound that he isn't playing at the moment, a sound that you can grab onto as a life preserver to save you from getting smoked right out the room.
Photograph of George Lewis by Betty Freeman. In the following months we played all kinds of places, occasions which figured prominently among the many musical pleasures I enjoyed during that period. One such occasion, thanks to Bill Laswell, was this recording.
Toca Joga - 2. Quanto Tempo - 3. Polvo - 4. Rio Branco - 5. Joca Toca - 6. Que Horas - 7. Tondo - 8. Produced by Adam Skeaping and John Haddon. Design by Karen Brookman. Photos by Eleonora Alberto and Karen Brookman.
Unheard of underground alongside crucial reissues. Melbourne based artist Arek Gulbenkoglu presents his second full length album for Penultimate Press. Following on from the release Three days afterwards, A gift like a hollow vessel sees a sharper scalpel at play resulting in a more nuanced release which unfolds a curious journey of suburban psychedelia. Sourced from voice and body sounds, recording of non-musical processes, actions and events, breath, tapes of animal sounds slowed and sped up, processed field recordings, electronics, percussion, tape delay, sample of old folkways records and Esperanto text to voice translations.
A gift like a hollow vessel is striking and intimate musique concrete. A work of confounding beauty as created by one of the most unique voices operating in orbit of psychedelic music as it presents itself today. Artwork by Matthew Revert Tracklisting: 1.
A gift like a hollow vessel - 2. A gift like a hollow vessel - Alcor gathers together the prime of Harwood's previous CDR micro-editions and presents the material as a seductive and puzzling new whole. Alcor is the ideal record for fans of fringe position electro-acoustic study, Delphic audio confusion, or anyone who pines for the days when Small Cruel Party still roamed the earth. Mastered by Graham Lambkin. Montenegro - II - III - Q - Trumpets - 6.
Guns - November - Matthew P. Over the last decade Hopkins has distinguished himself as master of multiple musical forms including bent song, freeform concrete, improvised electronics and techno.
Under his own name he has produced a most singular take on abstracted voice, feedback, field recordings and found sounds. With Blue-Lit Half Breath Hopkins furthers his domestic enquiry into subconscious sounds with a series of vignettes that hover from hissing clunk, atmospheric creep to improvised piano refrains.
Amongst all this the voice of Hopkins appears throughout as a shadowy narrator delightfully disturbing the sonic play. Penultimate Press is proud to release their official debut LP Chiltern. Comprised of individual tracks folded into two side long suites Chiltern is an unique excursion through foreign encounters, warm surrounds and disorientating comfort.
Field recordings, electronics, samples, guitars, voice and atmospherics all contribute to form a bewitching whole. Many questions are raised: Is this a soundtrack to a mental experience or an altered take on a familiar reality?
Is section 3 based around the sound of a basketball court? Does section 4 comprise a song? Where do the original soviet science fiction soundtracks fit into all this? Is this sound or music? Simultaneously ambiguous and accessible Chiltern is a ride unlike another and resides as the consciousness tickling release of Crooked Dances is a melancholic, playful journey rooted firmly in the real.
Second in a series of two previously unreleased soundtracks Henning Christiansen made for the films made by his partner and collaborator Ursula Reuter Christiansen. It takes a certain amount of confidence for a musician to stand alone on a stage or in a recording studio and play an instrument. One of the few masters of jazz reed instruments, Joe McPhee still proceeds to make music as if for the first time.
He is a master of the instruments he plays because, like an athlete, he maintains the physical chops as well as an openness to the application of the musical vocabulary he has cultivated over time. And, for this performance, he chose to play two instruments rather than one: the alto sax and alto clarinet. Old Eyes for Ornette Coleman - Take The V Train - Side one comprises Metzger's public debut on his modified banjo, recorded in at a former church-turned-underground art space in Minneapolis.
One of his most memorable compositions, 'After Milo' later turned up as an untitled improvisation on his CD for the Chairkickers label. Jumping ahead six years and several more banjo alterations later to side two, the glittering 'Orans' gets a workout at a memorial show for the artist Matt Zaun.
As an acknowledgment of the occasion, Metzger also gave a one-time-only performance -- 'Dark Green Water' -- on another of his mutant instruments: an acoustic guitar with the body drilled out to accommodate a cymbal set into its face, and ten assorted strings of varying lengths laid over the top, giving it a particularly metallic and dissonant sound.
After Milo - Dark Green Water - A followup to Marches Of The New World , Antarctica is made up of two side-long excursions into monolithic drone-rock. It sounded so warm that it was like embers from a bonfire. The textures are raw, the sound hypnotic, the effect nicely time-stopping.
Bianchi, Blow Up. But for this one moment back in , their paths crossed with bandmates Popkin and Munves, and the results were frighteningly intense.
As if you actually knew, Dissipated Face were a hot trio that was romping through the post-fun era of NYC rock back when they laid these sides down at CBGB on July 31st of , and their mix of everything from free jazz and late-seventies avant-prog to punk rock made for some of the wildest mergings of the form since Red Transistor. Why was this not known of before? Bungle or whatever it was that destroyed the musical parameters previously established by your brain.
Sick Pettibon cover art too. Eat it or beat it! Punk rock, prog, free jazz, funk, modern composition and Downtown art scum were all part of the landscape and exactly what went into their melting pot.
The guest appearance of alto saxophonist Daniel Carter on these four archival cuts recorded live at CBGB in adds an extra dose of fire to the proceedings. Joining the ranks of such landmark records as Tenor, Graphics, and As Serious As Your Life, Everything Happens For A Reason is an unadorned showcase of this influential pioneer in the world of creative improvised music. Mythos - Vieux Carre - Come Sunday - Everything Happens For A Reason - J2 - Voices - At age 78, Joe McPhee shows no sign of slowing down.
Cover art by Judith Lindbloom. On 35mm, the studio debut of his newest ensemble, The Frame Quartet, Vandermark reveals his longstanding debt to cinema, not only in name, but in approach. Filmmaking is an intensely collaborative medium, and The Frame Quartet embraces this concept implicitly; Vandermark is the sole writer, yet each of the album's five compositions is conducted by a different member of the quartet, except for "M. Eschewing conventional forms, these labyrinthine structures transition suddenly between modes, emulating cinema's narrative flow with dramatic shifts in tone that parallel the sudden splice cuts found in celluloid editing.
Bringing these episodic works to life are some of Chicago's most resourceful improvisers, including cellist Fred Lonberg-Holm, bassist Nate McBride, and drummer Tim Daisy—all veterans of Vandermark's numerous ensembles. Utilizing an array of raw, electronic EFX, Longberg-Holm veers from austere acoustic cadenzas to amplified torrents of coruscating feedback.
McBride alternates between upright and electric bass, while Vandermark reserves his clarinet for introspective moments, unfurling burly, pneumatic cadences on tenor saxophone elsewhere. At Molde is a recording that could narrate all the accumulated experience and the communicative capability of this ensemble; a decade of genuine artistic effort by the Tentet from Chicago.
That's no small feat considering that its members work in lot of other combinations. Assembled in by reedman Ken Vandermark specifically for his recording project Standards Quinnah , the group forged an instant bond that mandated further investigation. Drummer Hamid Drake never fails to provide a spark and when he and bassist Kent Kessler get on the good foot you can expect a bonfire.
Where many free groups avoid funky swinging or melodic materials DKV eagerly embraces them. The trio's open-ended, sometimes set-length improvisations unfold in sections: Drake and Kessler might set up a cyclical groove for Vandermark to dive into or soar above, then an insistent bass clarinet ostinato might free up the bassist to take one of his superb arco solos after which Drake might suddenly kick out a Max Roach high hat jam or hit the ground running with some infectious Afro-pop polyrhythms or reggae snare-centricity.
All three players are respectful listeners cresting space and letting the music breathe but challenging each other as well. Kessler benefits greatly from this simultaneous relaxation and prodding, turning in consistently original performances.
And Vandermark, already well-known as a firebrand, is quickly emerging as one of the finest young balladeers to tote a tenor. This selling allows him ample room to dip deep into both bags. Each time out DKV invents a new context where daring exploration and pure corporeal pleasure shake hands and get down to business.
The rhythm section consists of perennial Vandermark bassist collaborator Kent Kessler and Steve Hunt on drums. A thorough and exciting statement about where this trio was then and is heading now. The Cuff 2. Mountains of Love 3. Snake Horn 4. Nurecognized Reflections 5. Charged By The Pound 6. Mailbox For An Attic 7. Call Before You Dig 8. The Ravens Cry At Dawn 9. Better a Bird Than a Cow Human Fact Giuffre A Letter From the Past The Bitter The Better The Longer The Lieber Birds of the Underworld Waiting For the Dancing Bear A Dyed String Hellpig Zipper Backwards Dark Cloud Blues Blue Stone Hardline Drawing Rat Bag Hard to Believe But Good to Know Vandermark dedicates one work to Derek Bailey, and one to Misha Mengelberg.
Beautifully balanced work that alternately relaxes and incites the listener. On Foreground Music they are found in the intimacy of a duo, sharing song-writing responsibilities. Vandermark wrote all new music for the collaboration and sticks to tenor saxophone and clarinet. The opportunity to hear him in subtle dialogue with a pianist is intriguing. None of the usual bombast is here and even Vandermark's pieces seem geared towards the understated. Contemporary composition crossed with experimental song and improvisation from onwards.
Drums are almost entirely absent, making way for a braiding of soaring machine melodies, and taut harmonic threads. To be clear: this is no ambient record. No drifty clouds, no cocoons, no sonic platitudes.
Recorded in Rotterdam in August , amidst an immersion in the history of clairaudience, scrying, and natural philosophy, '' is a leap into pinpoint mysticism, with Bass Clef as happy alchemist. Mastered by Stephen Bishop. The EP collects 5 pieces composed by Laurie and then co-edited and performed with Olly. The former plays keys, tape player, and samples, the latter cello with effects.
Both sing. Here is grazed, contorted classicism, here post-binge hallucinations, here gunky funk. I find that really satisfying. It looks really spidery and architectural on the page.
Artwork by Laurie Tompkins and Suze Whaites. Blooms of arpeggiations and desolate strums re-inflect slow-moving pitch sequences; the music feels at once on fire and graceful, inevitable. The LP tours with visuals from Suze Whaites. Mastered by Joe Talia. Artwork by Suze Whaites. Her compositions are lingering streams: barely-shackled attacks give way to introspective arpeggiations before resurging again, all spurred on by a yearning, nervous energy.
This unhinged collection of live acoustic takes no amps, no overdubs marries rasping grit and mesmeric repetition, and announces the arrival of a precocious instrumental talent. Otto is a double bass player living in Manchester, interested in improvisation, experimental and contemporary music. He is a core component of caustic psych outfit Desmadrados Soldados De Ventura, and of Manchester's ever-blooming underground.
John Butcher and Joe McPhee had never shared a stage before which ended up being an attentive collaboration, starting with a long duo, alternating solo performances, and closing the atmospheric set with another duo. Each performer invited the desert into their sound, giving the listener the feel of sand between our toes and the visual of sage brush rolling by. The very first — never released — recordings of the Schlippenbach Trio.
It hardly sounds like a first recording, because they come out of the gate with almost telepathic unity on "Deals" which is a continuous collective improvisation lasting over thirty eight minutes. The musicians show an amazing degree of stamina considering that the music is played with a very exciting degree of high energy. While each of these musicians were well on their way to developing their own unique original sounds, Schlippenbach displays a fascinating degree of classical technique filtered through the funhouse fractals of Thelonious Monk's music and Evan Parker's love of John Coltrane is evident.
A comparison for Paul Lovens escapes me, but perhaps the fast fleet form of Andrew Cryille or Sunny Murray would be apt. There is quite a bit of dynamism at play as well, the musicians throttle through different speeds and dissolve into solos and duos as the joyride plows onward.
Far from exhausted, there are three more shorter improvisations: "Village", "With Forks and Hopes" and then appropriately "Then, Silence. This was a very enjoyable album, quite exiting in the rough and tumble way that I enjoy, since I often lose my way listening to very quiet and abstract music. This is a must for fans of European free improvisation and is quite interesting in that it shows where the heralded trio got its start.
Produced by Jost Gebers. Cover by Lasse Marhaug. Photos Dagmar Gebers. Mai is best known for his membership in the mighty Italian avantrock trio ZU. On his solo debut album he is shifting his probing and powerful saxophone artistry from energetic sound scapes to celestial layered drones. Immersive and deep. And Luca T. Trost invited him to Martin Siewert's studio in Vienna to do so in summer The result is intense, beautiful and touching.
Recorded, mixed, and mastered by Martin Siewert. European music collective born in Stockholm in and currently based in Berlin and Paris. New free music and old repertoires re-imagined. After meticulous historical research and recording transcriptions, Pierre-Antoine Badaroux and his orchestra built a new repertoire based on the work of European musicians who discovered and took over jazz - specifically between These tracks give us a take on the story of the birth of jazz in this new territory at a very special time, and brings to life a music that made history.
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