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Steve Lacy: Free for a Minute (1966-72) [2 CDs] (Emanem)

Four sessions on a 2 CD set, all featuring Steve Lacy and Kent Carter: (1) DISPOSABILITY, the 1965 trio record with Aldo Romano of jazz standards, originals and free improv; (2) SORTIE, the 1966 free improv quartet + Enrico Rava album; (3) previously unissued 1967 'Free Fall' Film Cues in a quintet with Rava, Karl Berger, & Paul Motian; (4) two never issued '72 quintet pieces with Steve Potts, Irene Aebi on cello and Noel Mcghie. ... Click to View


Paul Rutherford : In Backward Times (1979-2007) (Emanem)

Four very different previously unissued concert settings featuring trombonist Paul Rutherford: 2 festival solos - one from 1979 with electronics and one from 2004 without; a 1988 duo with Paul Rogers a few months before their ROGUES CD; and a 2007 trio with Veryan Weston and Marcio Mattos, which turned out to be Rutherford's last public appearance. ... Click to View


Barry Guy: Frogs [VINYL 7-inch PICTURE DISC] (Trost Records)

A 7" limited vinyl picture disc made to celebrate legendary European Free Jazz bassist Barry Guy's 70th birthday, with Guy providing "acoustic sounds" along with his collaborating frogs, Wasserfrosch (Rana Esculenta) and Laubfrosch (Hyla Arborea), size A presenting Frogs & Barry Guy, and side 2, Barry Guy & Frogs; quirkly and wonderful free improv. ... Click to View


Christian Wolff : Berlin Exercises [VINYL] (God Records)

A series of shorter works composed by Christian Wolff written to explore the process of practicing and working within specified limits, exercises for both the composer and the performers, recorded live in Berlin in 2000 by an ensemble directed by Peter Ablinger and including Wolff on piano & melodica, Robin Hayward on tuba, Anette Krebs on guitar, &c. ... Click to View


Phill Niblock: Rhymes With Water [VINYL] (God Records)

A beautiful set of minimalist compositional drone from New York composer Phill Niblock, commissioned by the performers Natalia Pschenitschnikowa on bass flute and Erik Drescher on glissando flute, recorded at PIETHOPRAXIS, in Cologne, Germany by Marcus Schmickler, and in Berlin, Germany, by Thomas Ankersmit. ... Click to View


Simon Rummel Ensemble: IM MEER (Umlaut Records)

German composer and improviser Simon Rummel presents the 2nd release from his 11-piece Simon Rummel Ensemble, blending his interest in acoustic phenomena and improvisational harmonics in an extended work that shift from beautiful tonal work to disruptive cacophony and back to melodic music blending jazz and 20th century approaches; a great achievement. ... Click to View


Joe McPhee / Bryan Eubanks: My Undocumented Alien Clarinet [VINYL] (Penultimate Press)

Recorded and presented as part of Pauline Oliveros Foundation's New Vanguard Series in Kingston, NY in 2006, the unusual duo of Joe McPhee on b-flat and e-flat alto clarinets and synthesizer and Bryan Eubanks on open circuit electronics explores unusual dynamics and psychoacoustic intersections of both acoustic and electronic instruments. ... Click to View


Blaise Siwula / Jorge Nuno: Waterscapes (Creative Sources)

Waterscapes is the performing duo of New York saxophonist Blaise Siwula and guitarist Jorge Nuno, interwining distinct approaches to acoustic and electric improvisation, creating rich sound environments and rapid interaction that draws the listener in and then sweeps them off their feet with passionate, complex and informed dialog. ... Click to View


Carlo Mascolo: My Tubes (Creative Sources)

A unique take on this large brass instrument from Italian trombonis and Free Flow Festival director Carlo Mascolo, using preparations, focusing on components of the instrument, and using extreme techniques to create a startlingly diverse set of sounds, vocalisations, microtonal output and simply bizarre utterances as Mascolo attempts bring new language to horn. ... Click to View


Alfredo Monteiro Costa / Miguel A. Garcia: Aq'Ab'Al (Mikroton Recordings)

Audio experimenters Alfredo Costa Monteiro and Miguel A. Garcia join forces in an album titled after "Aq'ab'al", the Mayan Astrology Sign about polar opposites-- dawn and dusk, hot and cold, black and white--which represents renewal and change, through a series of opposing audio events, forceful sounds of texture, feedback, and intervention. ... Click to View


John Butcher / John Edwards / Mark Sanders: Last Dream Of The Morning (Relative Pitch)

A studio album between three UK master improvisers -- John Butcher on sax, John Edwards on double bass, and Mark Sanders on drums -- the trio pushing the envelope in technique and dialog in nearly telepathic playing that transports the listener into their environment, as the music builds and releases in effortless ways that are stunning and exulant; highly recommended. ... Click to View


Fred Van Hove / Roger Turner: The Corner (Relative Pitch)

Pioneering improvising pianist Fred Van Hove at UK's Cafe OTO for the first time, captured in a duo with UK drummer/percussionist Roger Turner, their first recording together, for a night of exceptional improvised interplay, sophisticated and complex playing that is constantly buoyant and charming, an enthralling conversation between two veteran players. ... Click to View


Magda Mayas / Jim Denley: Tempe Jetz (Relative Pitch)

A pairing of two innovative players, Berlin-based pianist Magda Mayas and Australian sound and wind artist Jim Denley, Mayas playing inside and out of the piano and Denley on alto sax and bass flute, both providing field recordings adding unexpected elements in a set of extremely balanced recordings that entrance the listener with unlikely and captivating settings. ... Click to View


John Butcher: Resonant Spaces [VINYL] (Blume)

Extreme acoustic space recordings from saxophonist John Butcher, part of Arika's Resonant Spaces event, with performances from resonant and remote corners of Scotland. ... Click to View


Lean Left: I Forgot To Breathe (Trost Records)

The 7th album from the quartet of Netherlands guitarists Andy Moor and Terrie Hessels (The Ex) with Chicago free improvising multi-reedist Ken Vandermark and Netherlands drummer/percussionist Paal Nilssen-Love in an album balancing amazing energy with profound introspective moments in thrilling edge-of-your-seat improvisation - excellent! ... Click to View


Lean Left: I Forgot To Breathe [VINYL] (Trost Records)

The 7th album from the quartet of Netherlands guitarists Andy Moor and Terrie Hessels (The Ex) with Chicago free improvising multi-reedist Ken Vandermark and Netherlands drummer/percussionist Paal Nilssen-Love in an album balancing amazing energy with profound introspective moments in thrilling edge-of-your-seat improvisation - excellent! ... Click to View


Kontakte Trio (Trevor Taylor / Ian Brighton / Steve Beresford): Kontakte Trio (FMR)

An important and well-matched trio of electroacoustic improvisers, and a welcome addition to guitarist Ian Brighton's return to active music life, with Steve Beresford on piano, prepared piano and electronics, and Trevor Taylor (Circuit) on percussion and electronics, six unhurried improvisations of intricate interplay and interchange themed on physics. ... Click to View


Viv Corringham / Lawrence Casserley: Anemoi (FMR)

Lawrence Casserley is a pioneer of real time electroacoustic music, since the 60s working with other artists and developing his Signal Processing Instrument, using physical gestures to process and morph sounds; here he works with British vocalist and Deep Listening teacher Viv Corringham in an other-worldly collaboration of voice and electonics. ... Click to View


Kamins / Smith / Fielder / Hertenstein: After Effects (FMR)

A great example of traditional free improvisation spanning generations from the quartet of Danny Kamins on baritone saxophone, Damon Smith on double bass, and two drummer/percussionists--Alvin Fielder and Joe Hertenstein--for 10 tracks of swinging free music recorded in the studio in Texas, 2016, jazz with a lyrical intention and powerful rhythmic underpinnings. ... Click to View


Pat Thomas: The Elephant Clock of Al Jazari [VINYL] (Otoroku)

Inspired by the automatic water clock invented by Iraq inventor, engineer, and father of robotics, Badi' al-Zaman ibn al-Razzaz al-Jazari built in the 12th century, pianist Pat Thomas recorded these four exceptional improvisations of powerful solo piano with an unusual and inventive twist live at London's Cafe Oto in 2015. ... Click to View


Gruppo Di Improvvisazione Nuova Consonanza: Azioni/Reazioni 1967-1969 [4CD + DVD BOX] (Die Schachtel)

Box set CD reissue of the 2007 release of this seminal Italian free improvising group's complete recordings from 1967-69, in a deluxe box with 4 CDs, a DVD containing the original film "Nuova Consonanza" shot by Theo Gallher of their 1967 concert, and a 64 page LP-size book in English and Italian with essays, group commentary, collected reviews, &c. ... Click to View


Cilantro (Angelica Castello / Billy Roisz): Borderland (Mikroton Recordings)

Cilantro is the duo of multi-instrumentalists Angelica Castello on paetzold, ukulele, organ, tapes, & electronics, and Billy Roisz on electric bass, organ, tv, piezzo, computer & electronics, scrutinizing the activity in bordering areas between noise and silence, tenderness and rudeness, beat and drone, inner consciousness and outer awareness, control and freedom. ... Click to View


Burkhard Beins / Lucio Capece / Martin Kuchen / Paul Vogel: Fracture Mechanics (Mikroton Recordings)

"Fracture Mechanics" is the scientific study of cracks in any material, an apt title from these European experimental innovators--Burkhard Beins, Lucio Capece, Martin Kuchen, and Paul Vogel--pulling back the curtain on process and creating an impressive album crossing acoustic and electronic improv, organized sound, and inexplicable interaction; recommended. ... Click to View


The Holy Quintet (Change / Drouin / Lash / Lazardiou / Ryan): Borough (Mikroton Recordings)

The meeting of Johnny Chang (viola), Jamie Drouin (suitcase modular synth), Dominic Lash (double bass), Dimitra Lazaridou-Chatzigoga(zither, and David Ryan (bass clarinet) recording at Bourough welsh Congregational Chapel, in London in 2013, recorded by Another Timbre label leader Simon Reynell, for a unique merging of disparate approaches to ea-improv. ... Click to View


Kurt Liedwart / Andrey Popovskiy / Martin Taxt: Hjem (Mikroton Recordings)

A live concert at Dom Cultural Center in Moscow, Russia in 2015 from Norwegian tuba player Martin Taxt, Saint Petersburg violinist and object player Andrey Popovskiy, and ppool performer Kurt Liedwart focusing on sinewaves and noise, in an extended lowercase improvisation exploring harmonic and microtonal sounds. ... Click to View


Ayumi Tanaka / Johan Lindvall / Christian Wallumrod: 3 Pianos (Nakama Records)

This trio joins 3 disparate approaches to composition and improvisation--Japanese improviser Ayumi Tanaka, Oslo composer Johan Lindvall, and ECM artist Christian Wallumrod-developing the engaging material on this album by focusing on elements like tuning, register, intervals and dynamics, for an absorbing album of compatible and concentrative playing. ... Click to View


Ayumi Tanaka / Johan Lindvall / Christian Wallumrod: 3 Pianos [VINYL LP] (Nakama Records)

This trio joins 3 disparate approaches to composition and improvisation--Japanese improviser Ayumi Tanaka, Oslo composer Johan Lindvall, and ECM artist Christian Wallumrod-developing the engaging material on this album by focusing on elements like tuning, register, intervals and dynamics, for an absorbing album of compatible and concentrative playing. ... Click to View


Christian Svendsen Meaas : Avin (Nakama Records)

Known more for his double bass work, Christian Meaas Svendsen releases a stunningly beautiful album of unusually orchestrated pop songs with an 8-piece band of Nordic improvisers and performers, a dramatic album of tension and release which, despite lyrics in Norwegian, draws all listeners in through inventive and innovative musical structures. ... Click to View


Christian Svendsen Meaas : Avin [VINYL LP] (Nakama Records)

Known more for his double bass work, Christian Meaas Svendsen releases a stunningly beautiful album of unusually orchestrated pop songs with an 8-piece band of Nordic improvisers and performers, a dramatic album of tension and release which, despite lyrics in Norwegian, draws all listeners in through inventive and innovative musical structures. ... Click to View


Tipple (Frode Gjerstad / Kevin Norton / David Watson): Live at Elastic Arts (FMR)

Tipple, the trio of Frode Gjerstad on alto sax and clarinet, Kevin Norton on percussion, and David Watson on electric guitar, are captured live for an energetic and masterly concert at Elastic Arts, in Chicago, Illinois in 2015, four "Elastic" improvisations of intense interaction, from collective conversation to stunning solo statements; jaw dropping. ... Click to View


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  When They Write the Book  

Pianist Lewis Porter's Creates an Encyclopedia of Jazz


By Matt Rand 2003-03-28

There's a fundamental difference for documentarians between exploring the past and organizing the present. The historian who mines the past is a detective, searching for ways to expand the scope and the cohesion of information that has been dwindling. Lewis Porter Clues abound, but they aren't growing. With each year, the potential for errors magnifies, and the uninspected moments recede into quiet solitude. The chronicler who gives order to the present, however, has to make sense of more information than he could sift through in a lifetime. The present is everywhere, is ever changing, and so the historian has to pick and choose, define general movements and trends. Sometimes, though, a historian comes along and wants to catalog everything, to leave no stone unturned. More power to him, the rest of us think. Let him be our Sisyphus.

For much of his career as a jazz historian (as well as a jazz pianist), Lewis Porter, the director of the Masters Program in Jazz History and Research at Rutgers University, has focused on the past. In one of his better known works, John Coltrane: His Life and Music, Porter investigated a life already much written about. But he took on the subject by starting at the beginning and taking nothing for granted. One example is the discrepancy he noticed between Coltrane's previously reported years of military service (December, 1945 - June, 1946) and the actual way in which military service generally plays out. How could he have started in the Navy band, as was previously reported, when he first started in the Navy? What about basic training? As it turns out, the date most biographers had used came from an interview where Coltrane said he was in the band from December, 1945 to June, 1946, not that he was in the military from December, 1945 to June, 1946.Military service records are publicly available, so Porter checked on it. Sure enough, the earlier figure was wrong, and Coltrane actually served from July, 1945 to August, 1946.

So what, right? We care about Coltrane the musician, not Coltrane the short-term soldier. But Porter insists, and makes a very convincing case, that this is exactly what is important. First, it gives fluidity and cohesion to a musician's life. Musicians are people, after all, with birthdays, anniversaries, family and sometimes also military service. Porter explains that "one thing that's missing in all the other reference works and a lot of what's written about jazz is any sense that jazz musicians have families. Look at a biography of anyone who's not a jazz musician: the first thing they go into is the family history. Whether you're looking at Edward R. Murrow, or any book about any president, or about James Joyce or Ernest Hemingway, the first thing they do is say his father was named this, his mother was named that and this is where he came from. So you have a sense that they didn't just land on this planet - Miles Davis didn't just land on the planet in 1926."

The second reason that comprehensive (and accurate) information is important is a little less direct, but is just as compelling. Jazz has always been an also-ran for historians, and even, more specifically, for musicologists. The discourse on Bach is very different from the discourse on John Coltrane. Keeping the history, then, becomes a struggle for the validity of jazz and its musicians. Huge institutional strides have been made of late, but we still look at its past with the kind of wonder that we usually save for mythology, or for things we don't know much about. Louis Armstrong and Charlie Parker are colossal figures who could pick up rail cars with their bare hands and bend street signs with their minds.

For Porter, jazz musicians are real people living in real places, and that they are part of a community of musicians that they both affect and are affected by. This has brought him headlong out of the past and into the present. He is presently working on a jazz encyclopedia, but it won't be like the ones that came before it. Porter is aiming to include all living jazz musicians in his encyclopedia. Yes, all of them.

"It's great to have the Grove [New Grove Dictionary of Jazz] and the one that Leonard Feather did that was revised by Ira Gitler [The Biographical Encyclopedia of Jazz]," he said, "but they do a lot of picking and choosing of who quote-unquote 'deserves' to be in an encyclopedia. What I'd like to see out there is not to have anybody deciding whether you deserve to be in there or not, just a place to find anybody that you may hear on a recording or go see out in the club... The only bottom line is they have to be performing on a professional level."

Though don't take that to mean that a musician has to earn all of his money playing jazz, just that he plays actual gigs. Sisyphus, indeed, is in the building. ("Oh, no question about that," Portet said. "This rock is going to roll right over me.")

As biographical information goes, the encyclopedia is going to have everything. It'll have information on the musicians' parents, siblings, spouses and children; on radio, film and TV broadcasts and appearances; on unissued recordings; newspaper and magazine articles; awards; websites; contact information, and photos. There will be indexes based on last name, birth year and instrument. And, "because I'm a jazz historian, I have files on probably about 5,000 jazz musicians, of things that are in the news, things that I've observed myself and things that they've told me." Those will find their way into the book, as well.

There are a couple caveats (that the mam moth task requires superhuman patience is merely an aside). "The day it comes out, two things are going to happen," Porter said. "One is I'm going to have dozens of emails from musicians saying 'Oh, I changed my website or my phone number,' or 'I forgot to tell you something.' And the other thing that's going to happen is there'll be a whole new group. I'm sure there are going to be dozens of musicians a day saying, 'I didn't know about this - how did I not know about this? How come I'm not in there?'" But of course, he added, "that'll be the impetus for a new edition."

Another issue that will come up is that some musicians will pass away during the process of putting the book together. "I'm being a little bit flexible about that, because some cats have passed away in the last year or so. In some cases I'm in touch with the family. For instance, I know the widow of Ken McIntyre, and she says, 'you know I can give you a biography; I'm his widow; I know stuff that nobody knows.' And he just passed away, so why not?"

Porter understands that, for the encyclopedia to be a valuable reference tool, it must develop a context for the musicians. And so he aims to capture the essence of the jazz scene at this particular point in time. But he won't be writing articles on the music, like those that appear in the New Grove Dictionary of Jazz. What he will be doing to foster this context is letting the musicians write their own entries, which he says about a third of them have done so far (with Porter acting as fact-checker). Porter hopes that by encouraging musicians to write their own entries, they'll be able to share their stories as they see them, and in so doing, will create a collection of accurate representations of what's actually going on in jazz.

There are, of course, drawbacks to this system. Porter had initially intended to collect all of the information by January 1 of thi s year, but that hasn't happened yet. He's not drastically off-schedule, but he is certainly knee-deep in a lot more information than he expected. "It's been hours a day, getting my email, sorting it into files, making an index of who's responded so far," he said.

And the entries keep coming in. Porter said he's been surprised by the number of international submissions he's received from musicians he hadn't heard of, but who are very well-known in their home countries. They've been rolling in from the Netherlands, from Poland, from Finland. He's also been surprised by some of the big names who have personally sent him submissions, players such as Joe McPhee, Jane Ira Bloom and Roy Campbell. Initially, he thought he'd be doing most of the work for the musicians he knows of. ("Wynton Marsalis and Joshua Redman won't be sending me submissions.") So it's hard to step away from it all, although he knows he'll eventually have to. "There's going to be a point where I just have to call it quits. I'll just have to say, 'Okay, that's how big the book's going to be,' because it certainly could go on forever."

Until then, the pile of submissions grows, and the unturned stones are becoming harder to spot. It seems Dr. Porter might almost be getting this rock to the top of the hill. He comes back to explaining the value of contact information for the musicians, which Leonard Feather's encyclopedia had included, as well. Porter laughs and then says, "It's kind of fun, actually. You browse through it and it'll say 'Thelonius Monk,' and it'll have his address at West 64 Street." Time has a funny way of making history.

Lewis Porter is accepting entries for his jazz encyclopedia through May 15, 2003. He can be contacted at lrpjazz@aol.com



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