“King Strut” by Peter Blegvad, 1990
King Strut was just a baby back in 1951
His howls woke the neighborhood, they had his parents done
For negligence or cruelty, I forget which one
And the state took custody of their sickly son
Well, no one ever dreamed that one day he'd become King Strut
Short of temper, highly-strung, with a shadow on his lung
King Strut flew off the handle if his vanity was stung
He could cut a foe to pieces using nothing but his tongue
And a technical vocabulary vast for one so young
Throughout the noisy orphanage, his name was widely sung, King Strut
Imagination, like a muscle, will increase with exercise
King Strut developed his by having dreams and telling lies
He'd describe a situation or a piece of merchandise
He could summon it from nothing to appear before your eyes
Who was that masked man? Why was he in disguise? King Strut
Now a man without a moral code is just an appetite
King Strut was on a diet growing luminous by eating light
He'd left the institution under cover of the night
And was looking for employment, answering to Dwight
Sleeping in a doorway, minus 20 Fahrenheit, King Strut
His Majesty, Dwight Strut
Yeah, he sheltered under cardboard, above a subway vent
And one night took in the victim of a suspicious accident
As dawn came up he knew the man's death was imminent
The man called out a number, King Strut asked him what it meant
It meant the man had something valuable he wanted to present King Strut
Some say it was a diamond, like the crown jewel Koh-i-noor
Or a talisman empowered by an ancient conjurer
A hot tip or a claim check, no one knows for sure
All we know is King Strut changed overnight from being poor to being an authority
Philanthropist, connoisseur who paid for what he wanted with a simple signature,
Yeah, he paid to house the homeless, they worked for him to pay their rents
And they recruited others to help spread his influence
He fed a hundred million hungry at his own expense
Popes and potentates applied and were denied an audience
"He's got too damn many dollars", they said, "not enough sense"
Now man believes his dreams are real, he's said to be deranged
His dreams are compensation for the things he cannot change
A man can be in slavery, he doesn't have to be in chains
He's waving out the window, the infirmary's in flames
But instead of crying "Fire", he pronounced the name of names… King Strut
[transcribed by Erich Sellheim]
Peter Blegvad has long been a favorite songwriter of mine. He was a founding member of Slapp Happy (with Dagmar Krause & Anthony Moore) and a member of Henry Cow for two records. Mr. Blegvad’s own band morphed into the second version of the Golden Palominoes in the early 1980’s. He went on to make a half dozen or so albums, all gems, throughout the eighties and nineties. After nearly two decades without a full length release, last year he he had a box set (‘Bandbox’ on ReR) and a splendid album of mostly new songs (‘Go Figure’, ReR). ‘Go Figure’ was a return to the wonders of great pop music and made a number of best of lists for 2018, including my own. I recall Mr. Blegvad singing his song “King Strut” live in the late 1980’s and thinking that he had finally written the perfect song. A song which captured the fleeting spirit of a personal magic which touched and inspired all who heard it. Often when I get bummed out by the present day situation we are all facing, I play “King Strut” and smile at the ridiculousness of life. I believe that King Strut is still out there somewhere waiting to take us on a ride…. - BLG
Away We Go for Another Weeks Worth of Magical Musical Discs from:
Two from Tzadik: John Zorn ‘Hermetic Organ 6’ & Spike Orchestra’s Book of Beri’ah! Roscoe Mitchell Orchestra! Wayne Horvitz / Bill Frisell / Northwest Sinfonia! JP Schlegelmilch / Jonathan Goldberger / Jim Black! Two from Daniel Carter: Jarvis Earnshaw & Zach Swanson David Haney & Hill Greene!
Mike Baggetta / Mike Watt / Jim Keltner LP! The Colorado [OST]: John Luther Adams/Glenn Kotche/ et al! Two from Irene Aranda! Maja SK Ratkje! Eli Wallace! Zeitkratzer/Terre Thaemlitz! Steve Stapleton & David Tibet! Blixa Bargeld/Opening Performance Orch! Rare LP’s from Om Kalsoum! Malcolm Morley!
The DMG FREE Music Series Continues Every Sunday at 6pm and Features:
Sunday, March 17th:
6pm: SARAH BERNSTEIN VEER QUARTET: SANA NAGANO / LEONOR FALCON / NICK JOZWIAK
7pm: JARVIS EARNSHAW / DANIEL CARTER / ZACH SWANSON -
Sitar & Loops / Woodwinds / Bass - CD Release Set!
8pm: RANDI PONTOPPIDAN - Solo Vocals & Electronics
Sunday, March 24th:
6pm: ALEX WARD / AMI YAMASAKI / JOSH SINTON - Clarinet / Voice / Bass Clarinet
7pm: OHMSLICE: MARTIN PHILADELPHY / BRADFORD REED / JANE LeCROY Guest
Sunday, April 7th:
6pm: CHET DOXAS - Solo Tenor Sax!
7pm: FERAL CHILDREN: NOAH BECKER / NICK DUNSTON / LESLEY MOK!
Sunday, April 14th:
6pm: DAVID GROLLMAN - Solo Snare!
7pm: DREW WESELY / DAVE ZAKARIAN - Guitar and Alto Sax
8pm: VIV CORRINGHAM / MIA ZABELKA - Voice / Violin
DMG is located at 13 Monroe St. (between Catherine & Market Sts) in a basement below a small gallery. Take the F train to East Broadway or the 6 train to Canal or the B or D to Grand, or the M-15 bus to Madison & Catherine. Come on Down, the Sunday Music Series is Always Free & the Vibes are Always Cosy. You can check the weekly in-store sets through our Instagram feed
This Weeks Dynamite Discs Begin With these:
JOHN ZORN - The Hermetic Organ Vol 6 - For Edgar Allan Poe (Tzadik 8362; USA) In these two spectacular performances Zorn literally “pulls out all the stops” in paying tribute to one of his favorite writers, the legendary Edgar Allan Poe, whose fantastical creations continue to capture the imagination of those interested in the dark side. Calling upon the Angels in two extended improvisations inspired by the haunting and frightening imagery of one of the world’s masters of fantasy and the imagination, the music features some of the strangest sounds you have ever heard come out of the instrument. This is organ improvisation at its most outrageous and macabre. You have never heard such sounds!
SPIKE ORCHESTRA // JOHN ZORN - The Book Beri’ah Vol 3 - Binah (Tzadik 5103; USA) "Based in London, The Spike Orchestra is one of the most adventurous Big Bands working today, blending jazz, rock, klezmer, cartoon music and the avant garde into a cohesive and compelling whole. Their first Masada project Cerberus was a surprise hit and one of the most powerful and imaginative interpretations in the entire Book of Angels series. Here they top that spectacular CD with new interpretations from The Book Beri’ah. With influences ranging from Gil Evans, Frank Zappa, Zorn and the most experimental side of the Stan Kenton organization, Spike Orchestra creates an incredibly varied program of Masada music at its rocking best. Astonishing big band jazz leading us into the 21st century."
ROSCOE MITCHELL ORCHESTRA With JAMES FEI / KYLE BRUCKMANN / WILLIAM WINANT / et al - Littlefield Concert Hall Mills College March 19-20, 2018 (Wide Hive 0345; USA) "Each of the four pieces on the album is a product of the Roscoe's tireless efforts to devise systems to articulate and capitalize on the tensions between composition and improvisation in both his own work and music as a practice at-large. Three of the four works ("Rub," "Wha-Wha," and "Frenzy House") are part of the "Conversations for Orchestra" series, the history of which is described in detail in the liner notes for Mitchell's 2017 album "Discussions" (Wide Hive Records WH-0339). In brief, the "Conversations" series consists of compositions which trace their genesis back to a suite of improvisations recorded by Mitchell, pianist Craig Taborn, and drummer Kikanju Baku in 2014 (which can be heard on the Wide Hive releases "Conversations I" and "Conversations II"). Mitchell has employed some of the most talented minds from all over the globe to produce precise, note-for-note transcriptions of the complex material improvised by the trio. The process suggests a vision of music making which eschews both the rigid fixity of composition and the flighty transience of improvisation, recasting both practices in a way that emphasizes meticulous idea-craft, instantaneous communication, and unbounded imagination. The album's first track is "Rub" from the "Conversations" series. In this iteration, the orchestra eases us into an opening improvisation by Soo Yeon Lyuh, whose utterly, exquisitely sensitive haegeum playing nearly crystallizes the air around her as she's soon joined by baritone Thomas Buckner and flautist Gianni Trovalusci. Andy Strain's opening cadenza on the second track, "Wha-Wha," serves as a testament to the trombonist's soaring talent as a melodist and full-bodied mastery of tone. "No Nah Nah Nai", is an original work conducted by Mitchell himself Ellis's harp. Such is the stunning genius of the series, each element of which is a fruitful, boundless text ever always being by becoming.-from the liner notes of Joshua Marshall."
WAYNE HORVITZ // With BILL FRISELL / NORTHWEST SINFONIA / ODEON QUARTET / BETH FLEENOR - Those Who Remain (National Sawdust 024; USA) Like the other founding fathers of Downtown Scene, keyboardist & composer, Wayne Horvitz, takes his time to work on each piece, expanding his vision/palette with each new release. I just caught Mr. Horvitz’s Snowghost trio at Roulette a few months ago, a night which also included some of his chamber works. Both sets were great and vastly different. This disc was released last year but somehow fell through the cracks since this newer label doesn’t have much distribution as of yet.
This disc consists of two works, the title piece and “These Hills of Glory”. “Those Who Remain” is a concerto for orchestra (Northwest Sinfonia) and improvising soloist (Bill Frisell). When this piece begins, I am reminded of immense power of a composer like Igor Stravinsky, whose most famous works stretch back an entire century by now. Soon things calm down and the ever tasty guitar of Bill Frisell comes in, adding subtle, exquisite flourishes. As the intensity slowing increases, it is more Copelandesque, a refreshing sound of Americana: the great outdoors. Mr. Frisell’s guitar sounds like a perfect match for the radiant, windswept music which washes over us like a warm breeze on a cold day. In the second movement, Mr. Frisell takes his time and just adds some uneasy fragments here and there as if the gently push the balance a bit further out. The second, longer work, “These Hills of Glory” is for a string quartet (Odeon) and an improvising soloist: Beth Fleenor on clarinet. The first of four movements is mainly for string quartet and it is strong, quietly intense and rather haunting. When the clarinet enters, it works superbly well with the string quartet, making it difficult to tell them apart at times. There are sections where the strings pump hard, reminding me more of the way certain musicians strum hard on a rhythm guitar part. In the third and fourth movements, the music dark yet lyrical sound, reminding me more of Robin Holcomb’s music (Wayne’s wife, composer and occasional collaborator). As the the piece ended, the sun which was shining strongly earlier went behind the clouds and it got a bit colder. This feeling fit the music, giving us all a thoughtful, somber, less radiant conclusion. A feeling which somehow rings true inside long after the music ends. - Bruce Lee Gallanter, DMG
JP SCHLEGELMILCH / JONATHAN GOLDBERGER / JIM BLACK - Visitors (Skirl Records 39; USA) Featuring JP Schlegelmilch on organ, Wurlitzer, mellotron & celeste, Jonathan Goldberger on guitars and Jim Black on drums. A few years ago, we got in a couple of discs from a local quartet called Old Time Musketry. Certainly an odd name, although their music reminded me more of The Band (without vocals), than any other local or otherwise jazz/rock unit I’ve heard. The keyboardist was named JP Schlegelmilch, who has since turned up on a handful of discs with Downtowners like Kenny Warren & Carlo Costa. The guitarists here, Jonathan Goldberger, is another rising star local hero who has turned up on more than a dozen discs in the last few years from: Chris Lightcap, Harris Eisenstadt and Jacob Wick. Anyone familiar with the ongoing Downtown Scene should know drum great Jim Black from the various bands/projects: Bloodcount, Pachora, Alasnoaxis & Endangered Blood. Mr. Black moved to Berlin and couple of years ago and recently had a great week at The Stone.
Although all of the songs here written by Mr. Schlegelmilch and Mr. Goldberger, you can hear Mr. Black’s unique sound and contribution to the trio. When I played this disc at the store the other day, it made me smile since it sounds more like righteous, roots rock than jazz. I really love the sound of this trio, the organ or Wurlitzer electric piano (both ancient keyboards) and electric guitar and drums have a joyous sound which bridges the past and present (from 1960’s onwards) as well as diverse rock and jazz influences. The sound of the organ or Wurlitzer and the electric guitar is just right and sounds like one instrument, not two. On “Ether Sun”, Mr. Goldberger, plays some slide guitar, giving this song an old, enchanting 60’s sort of vibe. I know that Jim Black is a big fan of Radiohead, as am I. His drumming is consistently spirited, keeping the trio tight and focused and recalling a variety of great roots rock bands from across the ages. There are few if any solos on this disc, it is more the group sound and infectious spirit that makes this magical and uplifting. I missed this trio when they played last week at Nublu 151, I intend not to miss them the next time they are around. I hope they get to tour and play some festivals in the future so they can spread their good vibes around. - Bruce Lee Gallanter, DMG
* DANIEL CARTER / JARVIS EARNSHAW / ZACH SWANSON - Harbinger (Self-released; USA) Featuring Daniel Carter on woodwinds, Jarvis Earshaw on sitar & loops and Zach Swanson on contrabass. Longtime Downtown free spirit & gifted improviser, Daniel Carter, continually finds new musicians and situations to work within. Mr. Carter plays here at DMG often and usually with a different crew. This disc finds Mr. Carter working with an unusual trio: Jarvis Earnshaw on sitar & loops and Zach Swanson on bass. I don’t much about Mr. Earnshaw although he has been coming down to the gigs at DMG recently and it is indeed rare to have a sitar player at DMG (perhaps once that I can remember). Bassist Zach Swanson played in a duo here with guitarist Nico Soffiato, as well as being on a couple of recent releases with Adam Hopkins and Listening Group, led by Federico Ughi.
This disc consists of one long (48 minute) track. Aside from playing there sitar, Mr. Earnshaw works with several loops and effects. This discs begins quietly with trumpet or tenor sax and sitar, being looped subtly. Similar to a raga, the trio slowly, cautiously weave their lines around one another. From flute through muted trumpet, Mr. Carter plays in hushed, dreamy cadences. It sounds as if the trio is playing in slow motion, the vibe calm and dreamlike. The music does capture a spell and is both eerie and somehow enchanting. It took some time to adjust to since things unfold slowly and quietly here. I kept thinking that the sitar might solo but this wasn’t the case. There are some lovely vocals drifting the background in the last section which does add a certain charm. - Bruce Lee Gallanter, DMG
* Daniel Carter/Jarvis Earnshaw/Zach Swanson will be playing here at DMG this Sunday, March 17th at 7pm for a CD release set!
DANIEL CARTER / HILLIARD GREENE / DAVID HANEY - Live Constructions (Slam 589; UK) Featuring Daniel Carter on tenor sax & trumpet, Hill Greene on double bass and David Haney on piano. Recorded live on WKCR at Columbia University in November of 2017. Portland, Oregon-based pianist, David Haney, is immensely prolific with some 20 discs on the Cadence, CIMP and Slam labels. Each one of these discs from solo to orchestra has different personnel. Haney moves from jazz standards to free style, swinging to something else… For this disc, Mr. Haney has chosen a strong Downtown team: Daniel Carter (plays with everyone) and bassist Hill Greene (Steve Swell, Jemeel Moondoc & Federico Ughi).
Each of the five pieces on this session are named “Construction” and a number. The first “Construction” is quiet with Daniel Carter on trumpet, the trio playing slowly, with subtle suspense. This sounds like a completely democratic trio, with each member being involved in the direction or interplay. The trio take their time, playing with mostly restraint on the first couple of pieces. There some interesting moments here with things going on beneath the surface. It is interesting that both CD’s I’ve reviewed today (3/13/19) which feature Daniel Carter are on the quiet, more cerebral side. This is only one of several areas of exploration that Mr. Carter is involved with. It changes with personnel, setting and mood of each session. - Bruce Lee Gallanter, DMG
JOHN LUTHER ADAMS / GLENN KOTCHE / PAOLA PRESTINI / WILLIAM BRITTELLE / SHARA NOVA // ROOMFUL OF TEETH / JEFFREY ZEIGLER - The Colorado [Official Soundtrack Music] (New Amsterdam /VisionIntoArt; USA) “The music is by Mr. Kotche, John Luther Adams, William Brittelle, Paola Prestini and Shara Nova (who has legally changed her name from Shara Worden). Some is outright gorgeous. Ms. Prestini’s choral piece for the section “A Padre, a Horse, a Telescope” sets Jesuit sources — including a Hail Mary in Cochimi, an extinct Native American language — to an ethereal blend of Mexican Baroque music and otherworldly ululations.
Mr. Kotche drew evocative sounds from an array of instruments and provided suspenseful rhythms that lent tension to the film’s historic arc. Mr. Zeigler seemed somewhat underused, contributing keening harmonics and jittery tremolo notes but little musical substance.
At times, the relentless flipping of images — bison, goat, petroglyph, goat, petroglyph, bison — began to grate. And the film’s set pattern, with spoken introductions followed by passages in which music and image paired up in delicate counterpoint, could feel formulaic. The one scene in which that pattern was broken became the most moving. After charting the aggressive optimism of the dam-building years, during which the Colorado became, in the script’s words, “a delivery system for liquid property,” Mr. Eyuboglu, in a sleight of hand, reversed the engineers’ explosions, then offered calmly majestic images of the geological formations that now lie at the bottom of Lake Powell.
Vocal lines in the accompanying music by Mr. Adams resembled languid yodels echoing off canyon walls, overlapping in gentle waves and evoking a timelessness and mystery that was beyond mourning.” - Corinna da Fonseca-Wollheim, NY Times
Two from Pianist Extraordinaire IRENE ARANDA:
IRENE ARANDA / GERMAN DIAZ / LUCIA MARTINEZ - Tribus (Nube 1013; Spain) Featuring Irene Aranda on expended piano, German Diaz on hurdy-gurdy & music box and Lucia Martinez on drums & percussion. When the Relative Pitch label released a CD by Spanish pianist Irene Aranada’s trio last July (of 2018), I hadn’t heard of her yet. That disc ‘Inner Core’ turned out to be one of the biggest surprises of the year! Ms. Aranda made her way to NY last week (March of 2019) played three sets in different placed and word the audiences in each one. She left us with two of her own self-produced discs. What I find most interesting is this: instead of a bassist in this unique piano fronted trio, we find a hurdy-gurdy player, one of the rarest instruments of all used in improvised music. It is hard to tell if there is a hurdy-gurdy being used or not since the bowed strings here are used so quietly. The music here unfolds slowly, cautiously, with what sounds like Ms. Aranda manipulating small objects inside the piano with subtle percussive interaction. There are pictures in the liner booklet of feathers, leaves, pine cones, half clothes pins, a piece of metal and keys. Might hess be some of the objects that Ms. Aranda uses inside the piano? Perhaps. This disc is superbly produced, carefully recorded so that each sound breathes in space. All three members play minimally, taking their time, with no one voice leading or on top, a consistent group effort. Mr. Diaz plays a music box midway through this disc, adding a magical aura while Ms. Aranda quietly rubs or manipulates the strings inside the piano. The effect is most hypnotic. It sounds like birds chirping at one point but is it? There is a very organic, breathtaking sense of calm at the center of this work. Much of this disc is quite sublime, the complete opposite of the solo CD/DVD (‘Phonophobia’) that I’ve also reviewed in the last couple of days. Both are treasures of a different sort. - Bruce Lee Gallanter, DMG
IRENE ARANDA - Phonophobia (Vector Sounds 018; Spain) Featuring Irene Aranda on extended piano. A few months ago, Relative Pitch records released a trio CD from Spanish pianist Irene Aranda, with Johannes Nastesjo (bass) and Nuria Andorra (drums). Although I hadn’t heard of any of the three members of this relative obscure unit, I was completely knocked out by their performance. Last week (second week of March, 2019), Ms. Aranda made her way to New York and played three sets (solo, duo & trio) in different settings. Although I missed them due to prior commitments, word is that each of the sets were astonishing. Mr. Aranada came to visit DMG last Sunday and left us with a couple of her own CD’s. A few of my friends who were lucky enough to see & hear Ms. Aranda live are still talking about her now playing!
According to Kevin Reilly (who runs Relative Pitch) and Eric Stern (who booked her solo show), Ms. Aranda spent a good deal of time getting the material for and preparing each the pianos she played. I spoke with her as well and she is very serious about coming up with new & unexplored sounds whenever she plays. It sounds as if she is working mostly or exclusively inside the piano, rubbing the strings with assorted objects (bones? pieces of metal? who knows?). The feeling of suspense, the eerie sound of bowed or rubbed metal and/or strings is consistently astonishing, an edge-of-your-seat, bated breath vibe. Some of these sounds are dark and disorienting, intense and near-brutal at times. While listening to this, I get the feeling that we are all trapped inside a prison of our own making, trying to figure out how to escape, throwing off our self-produced inner chains. From near-quiet to explosive. The DVD will give you an idea of the unique way the Ms. Aranda works inside the piano. See for yourself. - Bruce Lee Gallanter, DMG
CD DVD $18
ELI WALLACE - Barriers (Eschatology Records ER 004; USA) Formerly West Coast-based pianist, Eli Wallace, has been making and strides since moving more than a decade ago. Each of his half dozen releases show him to be evolving and expanding his palette as a musician, collaborator and composer. Check out his duos with Sandy Ewen & Rob Pumpelly, his trio with Nick Obando & Aaron Levin, trio with Ben Cohen & Dave Miller or quartet with Aaron Quinn, Brandon Lopez & Devin Gray. This disc is his first solo piano offering and it is indeed something special. Like his earlier group efforts, it sounds like Mr. Wallace thinks or composes systematically. This disc starts with minimal yet carefully placed muted notes. Very spacious, delicate fragments at first, strumming the strings inside the piano, the intensity & density slowly building. While Wallace plays a series dark notes or chords o with his left hand, he starts to inserts a series cascading lines with his right hand, some come in quick bursts, some stop & start, erupt furiously in short segments, each note or fragment is well placed on the sea of silence. At one point, Wallace holds down the resonator pedal to allow certain notes to shimmer together adding a sense mystery, a darker current underneath the calm waves above. This entire 37 minute disc is well thought out, each section seems like a part of the connected whole. It take a bit of patience to let the entire piece unwind or flow at its own rate. A most modest effort yet somehow a gem on its own. - Bruce Lee Gallanter, DMG
MAJA S.K. RATKJE - Sult (Rune Grammofon 2205; Norway) Composed, performed, mixed and produced by Maja S. K. Ratkje, Sult is based upon Ratkje´s music created for the ballet Sult ("Hunger") by director Jo Strømgren for the Norwegian National Ballet. This is a departure from the records and live settings normally associated with Ratkje, as we find her placed behind a modified, wiggly and out-of-tune pump organ, singing songs and improvising. Metal tubes, PVC tubes and a wind machine were built into the organ; guitar strings, a bass string, a resin thread, metal and glass percussion and a bow are also utilized. With little or no previous experience, she had to learn to play the thing live, using both hands and feet at the same time as singing. Maja played live on stage during every performance, but later modified and recorded the music especially for this record, with Frode Haltli co-producing. It´s a freestanding document, an entity of its own, but the atmosphere is very much the same as in the play: the dusty city of Kristiania in the 19th century, the street noises and the sounds.
ZEITKRATZER / TERRE THAEMLITZ With REINHOLD FRIEDL / FRANK GRATKOWSKI / HILARY JEFFREY / et al - Deproduction Live (Zeitkratzer 024; Germany) Zeitkratzer with Terre Thaemlitz, performing live renditions of Terre Thaemlitz's "Deproduction 不産主義". Performed at Haus Der Berliner Festspiele March 19, 2018, Maerzmusik Festival for Time Issues, 2018. Personnel: Elisabeth Coudoux (cello, voice); Nora Krahl (violoncello, voice); Martin Heinze (double bass); Reinhold Friedl (piano, voice); Maurice De Martin (percussion, voice); Frank Gratkowski (clarinets); Hilary Jeffery (trombone); Hild Sofie Tafjord (French horn); Elena Kakaliagou (French horn); Terre Thaemlitz (guest voice).
2 CD Set $22
KEVIN HAYS & CHIARA IZZI - Across The Sea (Via Veneto Jazz 128; Italy) Jando Music/Via Veneto Jazz release Across The Sea, by Kevin Hays and Chiara Izzi. This album is the outcome of an encounter of two musicians so distant and yet so inexorably close. A project where the music is always tangible, not volatile, particularly when born under a bright inspirational sky. Those holding the reins of this visionary journey between jazz and pop, America and Italy, dream and lyricism are, without doubt, the two artists: Chiara, with her warm, Mediterranean voice and Kevin, one of the most celebrated and admired pianists and composers on the American jazz scene who can boast distinguished pop music collaborations (James Taylor). Across The Sea was recorded at the legendary Sear Sound in New York; the outcome of diligent project work, with the collaboration of several guests such as Omer Avital, Gregoire Maret, Nir Felder, Chris Potter, and Rogério Boccato that simply amplify the awareness that this shared journey, so rich and adventurous, began under the best auspices. The compelling predominance of melody, the osmosis between vocals and keyboards and the amazing confluence of their singing voices, have sublimated the tasks related to production into subtle finishing touches of a chisel, aromas, invitations and "further" sounds magically converging into the final work. The French horn in the emblematic "Two For The Road", the ancestral oud in the Miles Davis classic "Nardis", the punctual and decisive harmonica in Pat Metheny's "James", the caressing guitar in "Circles Of The Mind", the sinuous saxophone in "Viaggio Elegiaco", are just a few examples.
CANADIAN ELECTRONIC ENSEMBLE - Self/Titled (ArtofFact Records 298; USA) "Originally released in 1977 on the great Music Gallery Editions, the debut, self-titled album from the Canadian Electronic Ensemble finally gets a reissue on CD, over 40 years after it was first put out. David Grimes, David Jaeger, Larry Lake, and James Montgomery met at the University of Toronto in the early 70s and formed The Canadian Electronic Ensemble in 1971. The group was one of the first in Canada--if not the very first--to experiment with electronic synthesizer music, and to this day remains one of the longest-running electronic groups in North America.
In 1977, Music Gallery Editions, (currently housed at the archives of York University) released the Ensemble’s first record, a self-titled LP with three brilliant compositions, Arnold, Whale Oil, and Piano Quintet. The three timeless compositions were recorded using state-of-the-art analogue equipment at the time (the EMS Synthi A, the Arp Odyssey, the Roland SH-5), as well as a synthesizer called “Dyna-Soar,” designed by Jaeger and Montgomery.
The vinyl-only LP has of course been out of print for years, and the album has never been reissued on any medium. With audio restoration help from Paul Stillwell, the recordings have now been brought back to life, restored and remastered, and the historic debut from the CEE is now being made available again and for the first time on CD and digital formats courtesy of Toronto-based Artoffact Records. The original LP cover design by Sharon Grimes has been retained as the CD booklet cover.”
STEVE STAPLETON / DAVID TIBET - The Threat Of Memory (Dirter Promotions Dprombx 141; UK) “The Threat Of Memory five-CD box set by Steven Stapleton and David Tibet features all of Steven's and David's previously-issued recordings, made under their "Steven Stapleton & David Tibet" faces, on the first four CDs, as well as a fifth CD with previously unissued out-takes from the Musical Pumpkin Cottage (1996) recording sessions. It does not include the unissued out-take on side four of The Threats Of Memories (DPROM 141LP, 2018). Mastered by Andrew Liles, cover by Ania Goszczyńska, with handwriting by Tibet. Packaged in hinged box, with new artwork by Babs Santini on the individual sleeves as well as on the cover; includes booklet containing all credits and lyrics.”
5 CD Set $40
BLIXA BARGELD / LUCIANO CHESSA / FRED MOPERT / OPENING PERFORMANCE ORCHESTRA - The Noise Of Art: Works for Intonarumori (Sub Rosa 477; Belgium) The Noise Of Art: Works for Intonarumori contains seven compositions, created by the Opening Performance Orchestra, Blixa Bargeld, Luciano Chessa, and Fred Möpert. All the pieces relate to the theme of futurism and employ intonarumori, instruments invented and used more than a century ago by the Italian Futurists in their noise compositions. CD version includes 16-page booklet. "In antiquity, life was nothing but silence." "Today noise reigns supreme over human sensibility."
The Art of Noises, pertained to the entire 20th century. Published in 1913, in response to Francesco Balilla Pratella's Manifesto of Futurist Musicians (1911), Luigi Russolo's text encompassed the fundamental ideas for the new music of the modern age. Radical ideas required original compositional approaches, as well as new types hof instruments -- hence the futurists opted for the intonarumori. The two quotations prompted the Opening Performance Orchestra to give thought to creating compositions in which they would return to the early 20th century, when noises as means of musical expression emerged for the very first time. The typical instruments used by the Opening Performance Orchestra are laptops, by means of which they conceive their fraction music, which can be briefly characterized by the slogan "no melody no rhythm no harmony". Constructing three intonarumori, writing their own pieces for these instruments and performing works by other contemporary composers -- Blixa Bargeld, Luciano Chessa, and Fred Möpert -- represented for the Opening Performance Orchestra getting into close contact with the beginnings of the musical avant-garde, as well as returning to the historical roots of the music that had served as the basis of noise in art.
WIRE RECORDED PIECES - Precocious Noise and Early Electronica Pt. 2 / various artists (Sound Miracle Recordings SSMM 004; Spain) Wire Recorded Pieces: Precocious Noise and Early Electronica Pt. 2 is a compilation for those who are not familiar with the fascinating world of primal electronica, noise, sound design, industrial, avant-garde, tape-music, etc. This set hopes to be the gateway to a completely new revolutionary sound experience, proving what John Cage predicted in the 1930s: "'I believe the use of noise to make music will continue and increase until we reach a music produced through the aid of electrical instruments which will make available for musical purposes any and all sounds that can be heard." Including a track recorded in 1921, almost a hundred years ago, and ending in the early 1960s, this selection includes artists of very different nationalities such as Egypt, USA, Hungary, Denmark, Germany, Italy, Sweden, France, and even the USSR. It represents everything new and revolutionary that we have come to expect since the beginning of the postmodern era. These are relics with much to say to the contemporary listener as they sound impossibly way ahead of their and our time(s). Revolutionary since much of the included material did and still does push the very definition of what music is. Here are demonstrations of techniques and sound systems that shaped modern music as we know it today. These are the first examples ever to loop a track, play it in reverse or use a host of other effects which are all so common tools for musicians of today. Songs are sequenced to give a coherent and surprisingly easy way to enjoy and appreciate this music field that can be baffling -- in order to give the listener some of the most multilayered (in every sense of the word) experience. Thanks to 21st century advance techniques, every track here has a low noise floor, which has been achieved without the loss of palpability or dynamic range. These recordings sound fantastic: fresh, jarring, groundbreaking and adventurous. Features Johanna M. Beyer, Bengt Hambraeus, Franco Evangelisti, Remi Gassmanny, Vladimir Ussachevsky, Halim El-Dabh, Pierre Henry, Else Marie Pade, Herbert Eimert, The Blue Men, György Ligeti, Giselher Klebe, and Velimir Khlebnikov. Fully remastered; Audiophile transparent clear vinyl; Includes CD. File Under: precocious noise/early electronica.
LP CD $25
LOUISIANA RED - At Onkel Po's Carnegie Hall Hamburg 1977 (Jazzline/PÖ 77064; Germany) Blues at Onkel Pö's Carnegie Hall. Louisiana Red was one of the most famous blues guitarists, known for his unique style. By the way, the stage name "Louisiana Red" (there have been other names as well) refers to a hot sauce customary in the delta-state of Mississippi. Customary, just as the extremely archaic blues of which Louisiana Red has always been a paradigmatic representative; this was also the case on that particular evening in June 1977, when he, the blues import from across the Atlantic, was alone on stage of "Onkel Pö's Carnegie Hall" in Hamburg-Eppendorf, accompanied only by his guitar and his mouth-organ. This legendary concert is one of the highlights of the Onkel Pö series. Recorded on June 14, 1977 at Onkel Pö's Carnegie Hall, Hamburg, Germany; Recorded by NDR Hamburg. Features extended liner notes in English and German by Michael Laages. Double-CD version includes 12-page booklet.
2 CD Set $21
ALTON ELLIS - Treasure Isle 1966-1968 (Kingston Sounds 079; UK) Alton Ellis is one the finest soulful voices to come out of Jamaica. As well as writing hit singles himself, he could make a cover version known as a foreign tune sound like a Jamaican reggae tune with the greatest of ease. As the more upbeat rhythms of the earlier "ska" period began to slow down around the turn of 1966 some say due to the extreme heatwave that hit the island of Jamaica that year, slower rhythms suited the people to groove to at the various sound systems and dances. This also allowed the singers to express themselves more and allow the song to shrine through. No one did this better than Alton Ellis. Alton Ellis (b.1944, Kingston, Jamaica) started off singing at an early stage as part of a duo with singer Eddie Perkins and recorded for both Studio One and Randy's as Alton and Eddy and had a massive hit with the song "Muriel". The singing pair went their separate ways with Alton going solo with Studio One and being a much in demand voice also recorded with Duke Reid's Treasure Isle Studio as Alton Ellis and The Flames. As stated earlier, as the beat slowed down the top singers shined through, and Alton Ellis reigned supreme. One of his tunes featured on this set, "Get Ready (Do The Rocksteady)", even gave this period in reggae's history its name "rocksteady". It's this fantastic period in rocksteady, 1966 to 1968, that Kingston Sounds feature on this release. This set carries all the big hits "Ain't That Loving You", "Girl I've Got A Date", "Cry Tuff", alongside many more classics. All the cut at Treasure Isle songs that really defined the era. So sit back and enjoy the Rocksteady sound at its finest. Enjoy the set. Features Phillis Dillion. CD version includes three bonus tracks.
TERUHISA FUKUDA - Japon (Japan) (Disques Vde Gallo 1501; Switzerland) Ambient/traditional flute music from Japanese shakuhachi Master, Teruhisa Fukuda. The shakuhachi is an end-blown bamboo flute with one dorsal and four frontal holes and a beveled notch as mouthpiece. There are two elements in the name of the instrument: shaku refers to an ancient measurement which is the equivalent of 30,3 cm; hachi means eight. Originally, shakuhachi thus refers to a flute that measures 1,8 shaku, that is, 54,5 cm. For this release, Master Fukuda chose a series of seven pieces from a repertoire dating back to the seventeenth century. These were originally performed by monks belonging to the Fuke sect of Zen Buddhism, who viewed their instrument as means for meditation. The seven pieces are destined to be played solo, in the spirit of Zen. Teruhisa Fukuda (b. 1949) is an eminent artist who has explored a vast range of musical techniques from, both, traditional and contemporary music.
MIKE BAGGETTA / MIKE WATT / JIM KELTNER - Wall of Flowers (Big Ego 005; USA) Featuring Mike Baggetta on electric guitar, Mike watt on electric bass and Jim Keltner on drums. This power trio is a rather enigmatic one since who would’ve thought that this trio would even exist. Former L.A.-based guitarist, Mike Baggetta, was a part of the Downtown Scene for a number of years until recently and is currently living in Nashville. I’ve always dug anything I’ve hear from him, whether it is his duo Tin/Bag or his three quartet CD’s on Fresh Sound. What is most interesting is his choosing two rhythm section players from vastly different backgrounds. Mike Watt was the bassist for the Minutemen, Firehose & the reunited Stooges. The Minutemen being one of the greater of all hardcore bands ever, existing in the mid-eighties. Jim Keltner is a longtime L.A. session drummer who has worked with just about everyone: Ry Cooder, Jack Bruce, Elvis Costello and Bill Frisell. These have just arrived (3/13/19) and are very limited so don’t wait unless you that dreaded download version.
LP $20 [LTD Edition / LP only & Download]
OM KALSOUM - Alf Leila Wa Leila (Souma Records 001; Belgium) Souma Records present a vinyl reissue of Om Kalsoum's Alf Leila Wa Leila, originally released in 1969. They call her "The Rose of the Nile", "The Queen of the Nile", "The Daughter of the Nile", or even "The 4th Pyramid of Egypt" since she's known as the greatest Egyptian singer of all times. Om Kalsoum's mythical life story of a poor peasant girl who grew up to become the face of Egypt is a 20th-century fairytale. Almost half a decade after her death the power of her music and singing is still moving the hearts of millions of people worldwide. At the end of her overwhelming career she was introduced to the young but brilliant composer Baligh Hamdy who wrote this 30-minute lasting monument for her in 1969. In the footsteps of Mohamed Abdel Wahab, the godfather of Egyptian modern music, Baligh Hamdy refreshed the classical Egyptian orchestra sound with the addition of stylish instruments like electric guitar (Omar Khorshid), organ (Hany Mehanna), accordion, and horns that were adapted to the eastern tonal system. The studio version of this immortal "Alf Leila We Leila" must undeniably be archived under the best recordings ever made in music history. A Radio Martiko product.
OM KALSOUM - El Hob Kollo (Souma Records 002; Belgium) Souma Records present a vinyl reissue of Om Kalsoum's El Hob Kollo, originally released in 1971. They call her "The Rose of the Nile", "The Queen of the Nile", "The Daughter of the Nile", or even "The 4th Pyramid of Egypt" since she's known as the greatest Egyptian singer of all times. Om Kalsoum's mythical life story of a poor peasant girl who grew up to become the face of Egypt is a 20th-century fairytale. Almost half a decade after her death the power of her music and singing is still moving the hearts of millions of people worldwide. At the end of her overwhelming career she was introduced to the young but brilliant composer Baligh Hamdy who wrote this 30-minute lasting monument for her in 1970. In the footsteps of Mohamed Abdel Wahab, the godfather of Egyptian modern music, Baligh Hamdy refreshed the classical Egyptian orchestra sound with the addition of stylish instruments like electric guitar (Omer Khorshid), organ (Hany Mehanna), accordion, and horns that were adapted to the eastern tonal system. Together with the immortal Alf Leila We Leila (SMR 001LP), El Hob Kollo must undeniably be archived under the best recordings ever made in music history. A Radio Martiko product. High-quality pressing in vintage inside out die-cut sleeve; printed inner sleeve with liner notes.
BENJAMIN FINGER / JAMES PLOTKIN / MIA ZABELKA - Pleasure-Voltage (Karl Records 061; Germany) Benjamin Finger, James Plotkin, and Mia Zabelka craft a mesmerizing sonic world that buzzes and drones, glitches, and slithers, eventually careening into unexplored musical territory. Pleasure-Voltage was born in the mind (and studio) of Benjamin Finger -- a composer, electronic music producer, DJ, photographer, and film-maker based in Oslo, Norway who in recent years has become quite a prolific artist, expanding his stylistic palette from piano miniatures and off-kilter pop experiments to lysergic, dream-like sound collages spiced with gentle warmth and sublime melody. These ingredients are also characteristic on this latest work where Finger set the musical frame before passing it on to his inspired collaborators: Mia Zabelka who for decades now has been involved in countless projects, be it as musician (violin/electronics), curator, or founder of the international sound art center klang.haus and who has worked with, amongst others, John Zorn, Fred Frith, Electric Indigo, Robin Rimbaud (Scanner), Dälek or Phil Minton. And last but not least there's James Plotkin who entered the scene with his first band Old Lady Drivers (or O.L.D.) on Earache in 1987 and later was a member of Khanate (with, amongst others, Stephen O'Malley) while also exploring the areas of dark ambient and electronics by working with or remixing Scorn/Mick Harris, K.K: NULL, and more. On Pleasure-Voltage, which had its live-premiere at the Rewire festival 2018, the trio crafts a mesmerizing sonic world that buzzes and drones, glitches and slithers, eventually careening into unexplored musical territory somewhere between ambient/drone/psychedelia. Personnel: Benjamin Finger - synthesizers, piano, field recordings, electronic devices, alien objects; James Plotkin - electric guitar, granular synthesis; Mia Zabelka - E-violin, electronic devices, alien objects. Mixed by James Plotkin. Mastered and vinyl cut by Rashad Becker at Dubplates & Mastering, Berlin. Artwork/drawing by Sverre Malling.
MICHAEL MORLEY - Heaven's Idleness Awaits (Thin Wrist TW-M; USA) Michael Morley has long been acclaimed for his electric guitar and electronic forays in New Zealand's legendary The Dead C and Gate. On Heavens Idleness Awaits, he strips his music to its most elemental state. Recorded at home and using only a single-tracked acoustic guitar, Morley creates an intimate and intensely meditative work. Over four, side-long tracks, he weaves hypnotic melodic figures that slowly unfurl to reveal a minimalist masterwork and one of his most powerful statements to date. Gatefold sleeve; Includes download.
2 LP Set $30
A HANDFUL OF DUST - Dragging Her Wings of Rusty Knives: Selected Recordings 1994-2016 (Thin Wrist TW-N; USA) A Handful of Dust was founded over three decades ago by two giants of the New Zealand underground, Bruce Russell (The Dead C) and Alastair Galbraith. Declaring their raison d'être in the now infamous Free Noise Manifesto the group has advanced a radical aesthetic; rejecting any notion of structure or comfort they've ground music to its sub-elemental parts. A scraping and howling electricity, spontaneous, unrestrained, physical. Contains expanded and unreleased works spanning the group's history including their first studio recordings since 1995 and new writings, a late coda to The Journal of Vain Erudition, Logopandocy. Includes download. Deluxe 2LP Edition - contains expanded and unreleased works spanning the group's history including their first studio recordings since 1995.
2 LP Set $30
JACOB WICK - Feel (Thin Wrist L-LP: USA) A trumpeter and improviser living in Mexico City, over the last ten years Jacob Wick has become known for deconstructing the instrument itself and any expectations of how it "should" be played. The explorations on Feel focus on sound as it relates to specific spaces and in turn the subtle but profound connections they have to emotions and the body. The result is a highly personal music that is both unique and immediate, abstract yet undeniably visceral. On Feel, Wick creates two intense side-long improvisations. On the surface they appear to be works of rigorous minimalism; on closer listen they reveal sounds that slowly but constantly shift and evolve. Texture and plosives replace melody and rhythm. Body and breath become indistinguishable from the instrument, the moment is stretched and expanded. Each sound is so closely linked that the player and listener are drawn completely into the present. Feel is an uncompromising and entirely original album -- an intimate sound experience that rewards anyone that chooses to enter.
Bruce Lee Gallanter’s Recommended Gig List for February of 2019:
THE NEW STONE
Is Located at the New School’s Glass Box Theatre
55 West 13th street - just east of 6th ave
THE STONE RESIDENCIES - TALEA - MAR 12–16 - An intimate series of solo and duo concerts by members of the Talea Ensemble featuring contemporary compositions & a few world premieres.
FRIDAY MARCH 15 AT 630 PM!
THE MUSIC OF LEE HYLA - DON’T MISS THIS SPECIAL TRIBUTE CONCERT TO ONE OF AMERICA'S GREATEST CONTEMPORARY COMPOSERS! A rare performance of works for cello by the fabulous Lee Hyla, featuring Mother Popcorn Revisited, Amore Scaduto, How Was Your Weekend, Winter/Fall, Dream of Innocent III, and Amnesia Redux
6:30 pm - THE MUSIC OF LEE HYLA - Bryan Hayslett (cello) Marilyn Nonken, Tristan McKay (piano) Jessica Tsang (percussion) Michiko Theurer, Paul Hauer (violins) Hannah Levinson (viola); Repertoire: Mother Popcorn Revisited, Amore Scaduto, How Was Your Weekend, Winter/Fall, Dream of Innocent III, and Amnesia Redux
8:30 pm - Chris Gross Solo (cello); Works by Alvin Lucier, Giacinto Scelsi, Salvatore Sciarrino, Mario Diaz de Leon, Eva-Maria Houben
8:30 pm - Greg Chudzik (double bass) Tristan Kasten-Kraus (double bass) Evan Runyon (double bass) Pat Swoboda (double bass) - Works by Greg Chudzik
The Stone will be closed between 3/16 & 3/26
THE STONE RESIDENCIES - PETER APFELBAUM - MAR 26–MAR 30
8:30 pm - Apfelbaum, Rojas, Baptista Trio - Peter Apfelbaum (woodwinds, organ, piano, percussion) Marcus Rojas (tuba, percussion) Cyro Baptista (percussion, vocals)
8:30 pm - Peter Apfelbaum (sax, organ, piano) Will Bernard (guitar) Bill Laswell (bass, electronics) Aaron Johnston (drums, electronics)
8:30 pm - Peter Apfelbaum (saxes, piano) Dafnis Prieto (drums)
8:30 pm - Peter Apfelbaum & Sparkler - Peter Apfelbaum (keyboards, sax, vocals) Natalie Cressman (trombone, bass, vocals) Jill Ryan (sax, flute, vocals) Kyle Sanna (synth, electronics) Charlie Ferguson (drums, sampler)
8:30 pm - Peter Apfelbaum & the New York Hieroglyphics: Peter Apfelbaum (sax, piano, percussion) Peck Allmond (trumpet, reeds) Natalie Cressman (trombone) Jessica Jones (tenor sax) Tony Jones (tenor sax) Norbert Stachel (baritone sax/flute) Charlie Burnham (violin) David Phelps (guitar) Viva De Concini (guitar/percussion) Brad Jones (bass) Aaron Johnston (drums)
THE (NEW) STONE is located in The New School’s Glass Box Theatre
All Sets at The New Stone start at 8:30pm Tickets: $20
There are no refreshments or merchandise at The Stone.
Only music. All ages are welcome. Cash Only at the door.
A serious listening environment.
The Stone is booked purely on a curatorial basis
Bushwick Improvised Music Series Continues:
Monday March 18th
7pm Mike Marcinowski- drums
Aaron Rourk - guitar
Juanma Trujillo - guitar
8pm Stephen Gauci - tenor saxophone
Anders Nilsson - guitar/electronics
Adam Lane - bass
Kevin Shea - drums
9pm Jason Hwang - violin/electronics
Anders Nilsson - guitar/electronics
Michael T.A. Thompson - drums
9:45pm Ava Mendoza - guitar/electronics
Sarah Bernstein - violin/electronics
Adam Lane - bass
Vijay Anderson - drums
10:45pm Drew Wesely - guitar
Kenneth Jimenez - bass
Dave Zakarian - saxophone
David Leon - alto saxophone
11:30pm Javier Robiou - piano
Gustavo D'Amico - saxophones
Monday March 25th
7pm John Melendez - keyboard
Annie Nikunen - flute
Danny Stagnitta - alto saxophone
Gui Duvignau - bass
Rishav Acharya -drums
8pm Stephen Gauci - tenor saxophone
Adam Lane - bass
Kevin Shea - drums
9pm Elinor Speirs - violin
Wendy Eisenberg - guitar
Max Ridley - bass
9:45pm Noa Fort - vocals
Yuma Uesaka - tenor saxophone
Keisuke Matsuno - guitar
10:45pm Vijay Anderson - drums
Jon Irabagon - tenor saxophones
Nick Lyons - alto saxophone
Adam Lane - bass
11:30pm Aaron Rubinstein - guitar
Michael Larocca - drums
Downstairs @ Bushwick Public House
1288 Myrtle Avenue in Bushwick
(Across the street from M train Central Ave stop)
Jazz Habitat (at El Barrio Artspace, 215 E 99th St)
A Music Series presenting Improvised Music and more
3/17 Vadim Pevzner, Dmitry Ishenko
Welf Dorr, Dmitry Ishenko, Joe Hertenstein
CP Unit: Chris Pitsiokos, Sam Lisabeth, Henry Fraser, Jason Nazary
Colin Hinton, Cat Toren, Yuma Uesaka
Dafna Naphtali, Gordon Beeferman
$10 suggested donation - closest subway : Q & 6 trains to 96th St
Please check out previous shows on our YouTube channel.
EXPERIMENTAL INTERMEDIA MARCH 2019 PERFORMANCE SERIES
The Forty-fifth Anniversary of EI performances at 224 Centre Street, The Fiftieth Anniversary of the Founding of Experimental Intermedia, the Fiftieth Anniversary of the 224 Centre Street loft, and, not least, The Twenty-eighth Annual Festival with no fancy name, Part Two (or B)- Phill Niblock, curator - Sets are at 9pm
Shelly Silver (New York) A Video Event - In Shelly Silver’s frog spider hand horse house, the effort of all things to keep existing has been observed by someone with a camera who seems, as far as personality goes, to be no one; this acutely neutral watcher—curious and patient, pushing very close and holding steady there registers the super-focused effort of all creatures toward the expression of vitality, the stubborn going-on in time of particularly shaped and textured bodies; the first in Silver’s trilogy on our current moment of destabilization, where the animal, vegetable and mineral are jolting into reconfiguration; animals and children are being placed on the frontline of this change and they are the soft and hard focus of frog spider hand horse house
Bull.Miletic (Oslo) - A Video Event - PROXISTANT VISION – a selection of three videos from the body of work created along Bull.Miletic’s ongoing artistic research project focused on the proliferation of new aerial moving imaging technologies and the emergence of a visual modality they call proxistance; the videos are single-channel versions of the three multi-media artworks realized in collaboration with Holly L. Aaron, Mark Boswell, Tom Gunning, Danielle Jorgens, Christopher Myers, Jan C. Schacher and Phill Niblock, whose music features in one of the videos; the production of the artworks was generously supported by Arts Council Norway, Arts Research Center and Center for Science, Technology, Medicine, & Society at University of California, Berkeley, Norwegian University of Science and Technology, Department of Media and Communication at University of Oslo, and Department of Cinema and Media Studies at University of Chicago
SCREEN COMPOSITIONS 15 - curated by Katherine Liberovskaya - A Video Event - In tide wave, a quadraphonic video installation, each change from mud flats to high tide and back is transformed into corresponding and overlapping sound waves; this preset will open an evening of new pieces for multi-mic'ed bassoon, quadraphonic speakers and other peripherals; the crossover terrain of timbre and pitch, the inherent dissonance between harmonics of any two consonances, and the tensions between lunar and solar cycles all play a part in the performance, the whole interspersed with miniature acoustic improvisations
Biliana Voutchkova and Al Margolis (If Bwana) (Berlin, New York) - A first encounter of bi and al will occur publicly tonight; a phenomena of reaching far beyond the trivia of a first meeting, they will go straight (and deeply) into a musical communication based on devotion, long experience and trust; using strings, reeds, objects, contact mics (or all of the above), listening, responding, conversing; Al describes his most recent work as "quiet wall" or the search for the sounds between: bi's work focuses on detail and slowly developing textures, but still allowing unexpected surprises; they'll merge with the flow of the current moment, or perhaps with the edge of nothing
Catherine Lamb and Phill Niblock - Ensemble neoN visits Experimental Intermedia on the occasion of the release of the group's new album NEON: NIBLOCK/LAMB on Hubro; in addition to Niblock's Two Tea Roses, the group will give the American premiere of Catherine Lamb's Parallaxis Forma; Ensemble neoN is a Norwegian contemporary music group working across artistic forms, collaborating with visual artists and performers such as Susanna, Phill Niblock, Alvin Lucier, Johannes Kreidler, Oren Ambarchi, Marina Rosenfeld, Jan St. Werner; neoN strives to listen to a world that is constantly changing. It is this attitude that keeps challenging and expanding the ensemble’s musical language