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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)

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

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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)

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

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

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

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

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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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The Squid's Ear
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Instrumentals
We've asked a number of musicians to write about their instruments of choice, taking a view that is either personal, historical or, in some cases, just unusual. The results are to be found in these pages.


  The Violin (& The Infidel)  


By Jon Rose 2002-12-17

infidel: a person who does not believe in religion or who adheres to a religion other than that of the majority eg. they wanted to secure the holy places from the infidel

origin: late 15th century; from the French infidele or the Latin infidelis, from in = not + fidelis = faithful (from fides =faith, related to fidere = to trust. The word has two distinct origins. 1) It denoted a person of a religion other than one's own, specifically a Muslim (to a Christian), a Christian (to a Muslim), or a Gentile (to a Jew). 2) With the invention of the violin circa 1530 and the confusing transformation of bowed strings from vernacular fidel , via fiddle to violin, viola, viole, violone, and viol (as it happens completely unrelated to the violin), the word fidel became a word of abuse denoting loose living or corrupt dealings as in fiddle your fancy, on the fiddle, fiddling around, or indeed the dismissive term get fiddled. The fiddle has given rise to many misreadings of history, most notably the assertion that "Nero fiddled while Rome burned", clearly impossible as by the first century AD, the instrument had not yet been invented. Other misconceptions abound, for example, that Jewish people always play the fidel on the roof, that Romany (or Gypsy) fiddlers always keep a knife in their left boot, that all famous fiddlers suffer from Paganini's serious complaint of a permanent erection. Today's common usage is obviously underscored by the present dearth of work for the practicing violinist, In fidel we trust, everybody else pay cash.

So what is it about the violin that makes it so untrustworthy? Is it due to the current world situat ion? A question worth asking as the divide between the rich and the poor on this planet continues to widen at an ex ponential rate. The instrument has become an icon of capitalism, that's for sure. Like old oil paintings of the rich and flatuous, old violins are a kind of inflated currency, the guaranteed investment, the item at houses of Southerbys and Christies that makes the auctioneer's wet their pants. I have played a $600,000 Guernarius and, shock horror, it was a good instrument. But it was no better than a $20,000 top of the line fiddle from a good modern maker.

The violin is 70 bits of wood stuck together. I discovered this as a child after I had been studying the instrument for a few months. Now the early days on a violin are not too enjoyable for the player or the listener, be you a Heifitz or a no-hoper. It is a very frustrating time. I felt things weren't going fast enough, so with one blow, I smashed the fiddle over the kitchen table. Now I would like to point out a number of issues at this point. Firstly, this was not a Fluxus performance as 1) I was a kid and 2) this was still in the 1950's. Secondly, it was not my instrument and was actually a piece of crap that belonged to the school. Thirdly, that doesn't matter because a violin, any violin is "of value," right? Fourthly, my father was a regular bricaleur who, as a prisoner of war in Japan, had made a two-string cello out of bits of camp detritus; he calmly spent the evening sticking it back together again (he had actually tried to make a piano for a concert pianist in the camp and had got as far as a sound board and 2 keys working before disaster struck, but that is another story altogether). Fifthly, my violin teacher never noticed.

Indeed genetics must have something to do with the whole violin conundrum. On my mother's side I am partly Afghan, her family name was Kahn, which could have meant me doing hours of practice on the Saranda instead of Satan's instrument itself. People often used to ask me if I was Jewish. "Plays the violin? Must be Jewish," goes the rocket science. So I'm in the minority then, or at least on the opposing team. This all came home to me just recently when I wrote a slightly off-center composition called "The Islamic Violin," it included the detonation of an ordinary violin which I was able to realize at a performance in Paris at the beginning of this year. The story, like most great stories, is based on a true one featuring a street violinist with a foreign name who stored his violin in a bus station left luggage cubicle in Hamilton, Canada. An official of the bus company became suspicious of the violin case and alerted the police, who with due care and subtlety, took it out onto the street and blew it up! "Due to the current world situation," explained the Police as they handed a few bits of wood and string back to the devastated musician. The score of the composition has the following notes on the notes:

(1) The inability of Muslims to recognise a violin manifests itself through the entire Lebanese restaurant industry in Australia. During and after the Lebanese civil war of the 1950's, the 1960's, the 1970's and the 1980's, many families from both Christian and Muslim communities in Lebanon emigrated to Australia. A tradition quickly grew whereby Christian Lebanese restaurants would always display the sign of the violin outside their premises (some of these are quite remarkable art pieces of neon, post-digestive, calligraphic Arabic deco). Research has shown that many Muslim Lebanese literally DO NOT SEE the violin, thinking that it may be some kind of indiginous pig or plant life or worse, a Christian plot conceived by the CIA (who run a number of military bases in Australia). One could think that the Muslim restaurants would be running a counter campaign of non recognition posting any number of Islamic bowed instruments in retaliation to this provocatio n, (One considers here the Afghani rebab or dilruba as suitable images to represent all that is fine in Muslim culture) but one would be mistaken. Muslims do not stoop to such low immoral subterfuge, relying instead on the final statement of account which must be paid at that restaurant in the sky.

(2) I should point out that I had actually brought a violin (a 'Tortellini' 1751) with me for the good Sheikh to study but after a cursorary glance and a rap on its historic body with the knuckles of his left hand, he had thrown it to his trusty dog who then proceeced to gnaw on it happily through out the entire interview.

(3) A quote that comes from the pyramid breaking tome 'Yehudi Menuhin serves Capitalism' by the influencial Marxist composer and violinist virtuoso Dr. Johannes Rosenberg. In a classic Rosenberg/Menuhin confrontation, the latter violinist is cornered as he admits to denouncing Ravi Shankar as a poser who pays no attention to speed limits, Stephane Grapelli as having bad intonation, Rumanian Gypsy music as being 'rather dirty stuff one wouldn't want next door in Hampstead,' and himself as having said 'actually classical music IS rather superior, don't you think?'

(4) From the best seller 'How to Blow Up a Violin' by Buttblaster Fuller. It includes a hand-drawn map of an average violin, indicating the weaker, more sensitive zones of spiral vibration where the four charges should be placed with 1/4 strips of gaffe tape (Please note that 'Scotch Tape' will NOT do). Alternative routes for the fuse wires are suggested depending on the reader's level of experience and expertise in dealing with their first violin assignment. Questions of budgetary allowancea re always prevalent in the modern day violin world, so the cheaper alternative has also been tested thoroughly throu gh correspondance courses in 'Final Violin Solutions' made available by The Mother of All Museums Museum, Baghdad. They suggest that four 'Tigre Bison 3' fireworks packed in the base of the violin with simultaneous ignition will blow the devil's instrument to 'Kingdom Come': results obtained with a cheap East German Eduard Tausher model seem to bare out Buttblaster's assertions.

---which may account for the sudden interest in my Web site from a US military search engine - unless there are some contemporary music freaks working at the Pentagon who spend their time searching the Web for weird violin stuff. I'm not kidding, I had over 3,000 hits last month from the defenders of the free.

In April my partner, violinist Hollis Taylor, and I were working on our 'Great Fences of Australia' project near Alice Springs in the middle of Australia. It's a kind of sonic map of the whole continent. We bow the fences, which we consider to be giant string instruments. In fact they are the longest artifacts in the world, the so called 'Dingo Fence' is twice as long as the Great Wall of China. So far we have traveled over 16,000 kilometers in our endeavor. Anyway I phoned up the Joint Defence Facility at Pine Gap near 'The Alice' and asked if we could make a little recording of their perimeter fence. Well the head dude humored me for some minutes and I thought we had a chance till I mentioned we played the fiddle --- "No." The conversation was immediately terminated. 'Due to the current world situation' he barked.


(c)www.jonroseweb.com

the violin warping website remains
www.jonroseweb.com

for a guide to the weird, the wild and the vern ac ular in Australian music
www.abc.net.au/arts/adlib

Visit the Jon Rose Section at Squidco!




Previous Instrumental Articles:
The Accordion (& the Outsider) - Pauline Oliveros
The Guitar (& Why) - Derek Bailey
The Banjo (& guitarist Johnny PayCheck) - Eugene Chadbourne


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