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Henry Threadgill Zooid:
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The sixth album in saxophonist and composer Henry Threadgill's Zood small ensemble project Zooid, a quintet with guitarist Liberty Ellman, tuba & trombonist Jose Davila, cellist Christopher Hoffman and drummer Elliot Humberto Kavee, following Threadgill's serial intervallic language compositions to create an amazingly intricate yet warmly embraceable avant jazz; exceptional! ... Click to View


Henry Threadgill Zooid:
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The sixth album in saxophonist and composer Henry Threadgill's Zood small ensemble project Zooid, a quintet with guitarist Liberty Ellman, tuba & trombonist Jose Davila, cellist Christopher Hoffman and drummer Elliot Humberto Kavee, following Threadgill's serial intervallic language compositions to create an amazingly intricate yet warmly embraceable avant jazz; exceptional! ... Click to View


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Artifacts (Tomeka Reid / Nicole Mitchell / Mike Reed):
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Skeeter Shelton / Hamid Drake:
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Skeeter Shelton / Hamid Drake:
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After meeting in Detroit when tenor saxophonist & flutist Skeeter Shelton subbed for a sick player in a duo concert with drummer/percussionist Hamid Drake, the two found a bond through Shelton's father, Ajaramu Shelton, who had been one of Drake's mentor at Chicago's AACM; the concert was so successful that this recording was immediately planned, based around many of Shelton's themes. ... Click to View


Archer / Keeffe / Pyne:
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PEK Solo / A Quartet of PEKS:
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Following a 1964 Albert Ayler tour, trumpeter Don Cherry remained in Europe, working on new concepts of improvising based on form itself, developing his concepts with saxophonist Gato Barbieri, vibraphonist Karl Berger & bassist J.F. Jenny Clark, composing two brilliant albums: 1966's Communion with Barbieri, Henry Grimes & Ed Blackwell; and in 1967 Symphony for Improvisers as a septet. ... Click to View


Nick Fraser Quartet:
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First recording in 2012 as a trio with saxophonist Tony Malaby as a guest, 9 years later Toronto drummer Nick Fraser's quartet with Malaby as a permanent member, Rob Clutton on double bass and Andrew Downing on cello show their long collaboration's strength in a set of improvisations plus compositions for Decidedly Jazz Danceworks and the DJD production, Juliet & Romeo. ... Click to View


Ivo Perelman (Duos w/ Burrell / Crispell / Ortiz / Parks / Courvoisie / Fernandez / Taborn / Sanchez / Iyer):
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Alex Ward:
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Blue Lines Trio (Scheen / van der Weide / Hadow):
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Axel Dorner:
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A companion of sorts to the Euphorium release from Leimgruber/Turner/Dorner/da Boff/Flesh, London/Leipzig/Luzern, trumpeter Axel Dörner breaks off solo for an extended improvisation recorded at the same studio on the same day in Leipzig, employing his unique approach to the instrument in an 18-minute exploration of tone, timbre, and unexpected brass utterance. ... Click to View


Alex Reviriego:
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Axioms:
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Anne-F Jacques / Takamitsu Ohta:
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Using small objects and contact microphones to create peacefully clacking, mewling and idiosyncratic utterances, sound artists Takamitsu Ohta and Anne-Francoise Jacques developed this installation shown in 2019 at the Bonjour! Gendaibunmei gallery in Kyoto, recorded by Jacques as a tour of the various sonic manifestations that a visitor to the gallery might experience. ... Click to View


Keith Tippett / Matthew Bourne:
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Two generations of remarkable pianists--Keith Tippets and Matthew Bourne--performed a series of two-piano concerts between 2017 and 2019, also recording in the studio, as heard in this 2-CD release, the first a set of consequential piano duos recorded at Leeds Conservatoire in 2019, the 2nd disc a live performance at Daylight Music at Union Chapel, London, Tippetts' final public performance. ... Click to View


Takatsuki Trio Quartet w/ Tobias Delius / Alex Dorner:
Berliner Quartette (Orbit577)

The Berlin-based collective Takatsuki Trio of Rieko Okuda on piano, Antti Virtaranta on double bass and Joshua Weitzel on guitar & Shamisen are expanded to a Quartett in two extended live sets at Berlins' Kuhlspot Social Club in 2020, first in an expansive set with trumpeter Axel Dorner, and then an intensely active set with tenor saxophonist & clarinetist Tobias Delius. ... Click to View


The Remote Viewers :
The Remote Code [3 CDs] (Remote Viewers)

Three CDs of three concerts at London's Iklecktik Club, presenting primarily compositions by David Petts plus collective improvisations, from Adrian Northover, David Petts, Caroline Kraabel and Sue Lynch on saxophones, John Edwards on bass and Rosa Theodora on piano, with Northover, Edwards & Petts adding percussion and electronics to their cryptically rich music. ... Click to View


New Rumours And Other Noises (Ada Rave / Nicolas Chentaroli / Raoul van der Weide):
The Moonlight Nightcall (Casco Records)

The debut of the Amsterdam-based trio of Argentinian pianist Nicolas Chientaroli and saxophonist & clarinetist Ada Rave with Dutch bassist Raoul van der Weide, all three using preparations, objects and voice to extend their unique approach to instant composition, heard in eight succinct, animated and sometimes eccentric dialogs recorded at BIMHuis. ... Click to View


Xavier Pamplona Septet:
Play The (Casco Records)

Initiating his Netherlands-based ensemble in 2016, contrabassist Raoul van der Weide assembles younger musicians, alongside Michael Moore for one piece, orchestrated up to a septet performing a dizzying and joyfully fun array of original compositions including pieces from ICP composers Bert Koppelaar, Guus Janssen and Tristan Honsinger, and a piece from Fred Katz. ... Click to View


Homei Yanagawa:
Homura (Armageddon Nova)

Two extended pieces of solo free improvisation from Japanese alto saxophonist Homei Yanagawa, aka Yoshinori Yanagawa, who regularly performs solo, releasing this album 30 years after his first solo album in 1991, Ground and Figure, here recording in the studio for confidently active and diverse approaches to solo expression; engaging and absorbing work. ... Click to View


The Pitch (Baltschun / Nutters / Joh / Thieke):
KM28 [CASSETTE w/ DOWNLOAD] (Tripticks Tapes)

The Pitch is the Berlin quartet of Boris Baltschun on JI organ &, sines, Koen Nutters on upright bass, Morten Joh on JI electric vibes & cassette tape delay and Michael Thieke on clarinet, performing at Karl-Marx-Strasse 28 as they break off into solos, duos and trios to create spaciously reflective electroacoustic music of indirect melodic warmth and development; gorgeous. ... Click to View


An PEK Solo Orchestra of PEKs:
Prisms (Evil Clown)

The first "Orchestra of PEKS" album to feature Tim Kaiser's recent electro-acoustic instrument, this multi-track solo recording also introduces multi-wind / multi-instrumentalist David Peck's new West African Kora, in a wild electroacoustic set performed on a dizzying array of reeds, winds, strings, electronics, metallic percussion, wood percussion, sirens and thunder tube. ... Click to View


Rodrigo Amado / This Is Our Language Quartet:
Let The Free Be Men (Trost Records)

Referencing Ornette Coleman in the group name, Portuguese tenor saxophonist engages three US free jazz players--legendary saxophonist and pocket trumpeter Joe McPhee, double bassist Kent Kessler and drummer Chris Corsano--for this 2017 concert at Jazzhouse in Copenhagen, Denmark, capturing four exemplary, at times explosive, and always tightly interactive collective improvisations. ... Click to View


Mofaya! (John Dikeman / Jaimie Branch / Luke Stewart / Aleksandar Skoric):
Like One Long Dream (Trost Records)

A fiery record of collective free improvisation from the Mofaya! Quartet of American saxophonist based in The Netherlands John Dikeman, Chicago trumpeter Jaimie Branch, US East Coast bassist Luke Stewart and Slovenian drummer Aleksandar Skoric, recording live at Roze Tanker in Amsterdam for three exhilarating improvisations that embody US & European Free Jazz forms. ... Click to View



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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


The Squid's Ear presents
reviews about releases
sold at Squidco.com
written by
independent writers.

Squidco

Recent Selections @ Squidco:


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Tomeka Reid /
Nicole Mitchell /
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Poof
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(Discus)



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