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Irene Schweizer / Joey Baron : Live! (Intakt)

Two generations and two masters of monumental free improvisation from Europe and New York joined together at the unerhort!-Festival Rote Fabrik Zurich in 2015 to unleash this technically awesome and ebullient and duo in a fantastic concert of dynamic power, lyrical insight, intense rhythmic support and counterpoint, and profound musical ideas; incredible! ... Click to View


Die Enttauschung (Axel Dorner / Michael Griener / Rudi Mahall / Jan Roder): Lavaman (Intakt)

The remarkable European Free Jazz quintet Die Enttauschung, crossing bop forms with modern creative approaches to jazz for over 20 years, take a new drummer--Michael Griener--and adds trombonist Christof Thewes, to join Rudi Mahall on clarinets, Axel Dorner on trumpet, and Jan Roder on bass, for an exciting and upbeat album of succint tunes that both revere and abuse jazz history in wonderful ways. ... Click to View


Trio Heinz Herbert (w/ Dominic Landolt / Ramon Landolt / Mario Haenni): The Willisau Concert (Live) (Intakt)

Textural improv of improbable grooves and tones driven by intense periods of interaction balanced with spatial sonic environments; adventurous and exuberant dialog caught live at the Jazzfestival Willisau, in Switzerland, 2016 from the trio of Dominic Landolt on guitar, Ramon Landolt on Hammond organ, synthesizer & samples and Mario Haenni on drums. ... Click to View


Aruan Ortiz : Cub(an)ism (Intakt)

Cuban pianist Aruan Ortiz explores a range of musical idioms and styles, drawing on experiences from many phases of Ortiz' life in Cuba, Spain, France and the US, exploring cubist principles, faceting, and multiple perspectives with folkloric elements, as he presents 10 original compositions of passionate and playful music, performed with virtuosic skill. ... Click to View


Aki Takase / Paul Ayumi : Hotel Zauberberg (Intakt)

Pianist Aki Takase and voilinist Ayumi Paul's 1st collaboration is an 18 movement suite for violin and piano blending composition and improvisation, with 11 movements from Takase and 5 written with Paul, plus Mozart's "K. 1 minuet in G major" and the Preludio movement from Bach's solo violin partita in E major; an absorbing set of recordings inspired by the writings of Thomas Mann. ... Click to View


Hans Hassler: Wie Die Zeit Hinter Mir Her (Intakt)

Swiss accordionist Hans Hassler stands above the (small) crowd of improvising accordionist in the breadth of his career, his ability to balance both lyrical, abstract, serious, and humorous aspects in his approach the instrument, a true original in intent and ability to engage his listeners, in 15 original and diverse compositions recorded in 2017. ... Click to View


Pan-Scan Ensemble: Air And Light And Time And Space (PNL)

"Pan-Scan" refers to pan-Scandinavian, and the nine players on this thrilling and joyful recordings are all of that origin, performing live at Blow Out in Mir, Oslo, Norway in 2016, including both Lotte Anker and Ann HOgberg on sax, Thomas Johansson, Emil Stranberg and Goran Kajfes on trumpet, Sten Sandell on piano, and Paal Nilssen-Love and Stale Liavik on drums. ... Click to View


Xavier Charles / Michel F Cote / Franz Hautzinger / Philippe Lauzier / Eric Normand: Torche! (Tour de Bras)

An exceptional free improvising quintet of Montreal & Quebec improvisers--bassist Eric Normand, drummer Michel F. Cote, and bass clarinetist Philippe Lauzier--with French clarinetist Xavier Charles and German trumpeter Franz Hautzinger, performing live during the 2016 Festival de Musique de Creation, creating fascinating commontion with incredible restraint. ... Click to View


Fraufraulein: Heavy Objects [CASSETTE] (Marginal Frequency)

The duo of Brooklyn electronics, field recording, bass guitar and french horn artists Billy Gomberg and Anne Guthrie, using musical and abstract sounds to create something between the concrete textures of field recording and spontaneous composition, presenting restrained yet detailed sound that engages the listener through transition and mystery. ... Click to View


Joda Clement / Mathieu Ruhlmann: Kindred (Marginal Frequency)

A unique cover of Brian Eno's "Taking Tiger Mountain" using synthesizer, field recordings, electromagnetic feedback, treatments, objects, oscillators, shruti box, reel to reel, ukelin, guitar, piano, clarinet, cello and voice, from Joda Clement and Mathieu Ruhlmann joined by Cristian Alvear, Gregory Moskos, Alexandra Spence, Tim Clement, Judith Hamann and A.F. Jones. ... Click to View


Mars Williams presents (w/ Berman / Lonberg-Holdm / Baker / Kessler / Sandstrom / Hunt): An Ayler Xmas: The Music of Albert Ayler & Songs of Christmas (Soul What Records)

Chicago saxophonist Mars Williams directs his Albert Ayler tribute band, Witches and Devils, to merge Ayler-esque compositions with Christmas songs, performed by Josh Berman (cornet) Fred Lonberg-Holm (cello), Jim Baker (keys, viola), Kent Kessler (bass), Brian Sandstrom (bass, guitar, trumpet); an unexpected and welcome present for your free jazz festivities! ... Click to View


Boneshaker (Mars Williams / Paal Nilssen-Love / Kent Kessler): Unusual Words (Soul What Records)

A CD intended to sell at concerts from Mars Williams' own Soul What Records label, a studio recording in 2012 from the powerhouse trio of Chicago multi-reedist Mars Williams, in-demand Norwegian drummer/percussionist Paal Nilssen-Love, and Chicago bassist Kent Kessler, running the gamut from furious blowing to introspective interaction. ... Click to View


Elliott Sharp / Mary Halvorson / Marc Ribot: ERR Guitar (Intakt)

Elliott Sharp's New York Studio zOaR was the meeting place for three New York guitarists--Sharp himself, Mary Halvorson, and Marc Ribot--who find common ground by blending a variety of approaches to the instrument in 12 excellent and generally succinct collective improvisations, stretching, bending, plucking and inexplicably effecting their guitars. ... Click to View


John Cage: Klang der Wandlungen [3 CDs] (Edition Rz)

An impressive triple-CD box with recordings of some late works by John Cage, including "Seventy-Four for Orchestra, 1992", "103 for Orchestra, 1991, part 1 & 2", In a Landscape fur Harfe", "Postcard From Heaven fur Eine Bis Zwanzig Harfen", and some of "The Harmony of Maine"; including a 32 page booklet with photos and liner notes by Jakob Ullmann. ... Click to View


Jurg Frey: L'ame Est Sans Retenue I [5 CDs] (erstwhile)

A massive work from composer Jurg Frey focused on the dynamic relationship between sound and silence, and how it can affect our perception of the silence in a frame of space and time, using environmental sounds of field recordings and silence to create a massive work over six hours, modifying pitch, rhythm, dynamics, texture, and overtone, here properly released on 5 CDs. ... Click to View


Michael Pisaro / Samuel Dunscombe / Steven Andrew Flato / Wen Liu / Celeste Oram / Johannes Regnier: Organ For The Senses (Marginal Frequency)

San Diego's Parkeology director Kate Clark and composer Samuel Dunscombe organized this concert to take advantage of the Balboa Park's Spreckels Organ, inviting local and regional experimental composers to develop works for the 5,017 pipe instrument, attracting artists like Michael Pisaro, Samuel Dunscombe, Steven Andrew Flato, Wen Liu, &c. ... Click to View


Jon Irabagon / Joe Fiedler / Todd Neufeld: In Formation Network (Nuscope)

Saxophonist Jon Irabagon, trombonist Joe Fiedler, and guitarist Todd Neufeld met in April, 2017 in Mount Vernon at the Oktaven Audio studio to record these nine varied compositions, presenting a unifying trio sound and identity that reflects Chicago's Giuffre trio, but with a unique collective attitude as the trio employs a varied set of compositional strategies. ... Click to View


Joe McPhee: The Willisau Concert (Corbett vs. Dempsey)

Recorded in 1975 at the Swiss Willisau Jazz Festival, Joe McPhee's trio with John Synder on synth and Makaya Ntshoko on drums, and McPhee on tenor and sopranox sax, was Hat Hut's 2nd release and has been out of print since; Corbett vs. Dempsey asked McPhee what unavailable album he'd like to see in print, and this suberb album was his first choice. ... Click to View


Eugene Chadbourne : The Lost Eddie Chatterbox Session [2017 REISSUE] (Corbett vs. Dempsey)

Reissuing free improvising guitarist Eugene Chadbourne's 1977, San Francisco recording of compositions by the likes of Thelonious Monk, Charlie Parker, John Coltrane, and Ornette Coleman, plus a few standards and originals, captured on an ailing quarter-track tape deck, but saved for the force of his playing, here restored, corrected, and remastered. ... Click to View


Sun Ra: Discipline 27-II [2017 REMASTER] (Corbett vs. Dempsey)

The 2nd volume in Sun Ra's "Discipline" series was recorded during the same sessions as 1972's Impulse release "Space Is the Place", with Sun Ra on electronic keyboards and Moog, and a large band including Marshall Allen, John Gilmore, Danny Davis, Akh Tal Ebah, June Tyson, &c. ... Click to View


Leap of Faith Orchestra: The Expanding Universe (Evil Clown)

The Leap of Faith Orchestra is a large improvisation ensemble comprised of 5 ub-units--Leap of Faith, Metal Chaos Ensemble, String Theory, Turbulence, and the New Language Collaborative--all assembled here for a massive and far-ranging experience, scored with time indices and English language descriptions by leader David Peck; dense and spectacular. ... Click to View


Lisbon String Trio with Luiz Rocha: Akuanduba (Creative Sources)

The 4th collaboration for Portugal's Lisbon String Trio of Ernesto Rodrigues on viola, Miguel Mira on cello, and Alvaro Rosso on double bass, with Brazilian clarinetist based in Barcelona Luiz Rocha, all captured live at Casa dos Bicos, Fundacao Jose Saramago, in Lisbon in 2017 for free improvisation that maintains a calm center amidst seething and commanding playing. ... Click to View


Lisbon String Trio with Etienne Brunet: Telepathie (Creative Sources)

Portugal's Lisbon String Trio with Ernesto Rodrigues on viola, Miguel Mira on cello, and Alvaro Rosso on double bass, in a series of releases adding one additional improviser, here joined by Etienne Brunet on soprano saxophone, for two extended improvisations of active counterpoint and beautiful open sections, an excellent and rousing collaboration. ... Click to View


Un Coup de Des (Barriere / Sainz): Volcan Evaporado (Creative Sources)

Two women in a duo of voice and amplified objects, Lali Barrier using a variety of devices that are clearly micro-amplifed and mixed in performance, as Marta Sainz intones vocal sounds, never speaking but creating innuendo and drama at a cautious pace, allowing Barrier's objects to interact, creating an unusual sonic environment of unpredictable and interesting discourse. ... Click to View


Steve Roden : Between Yellow And White On One Side. Between Blue And Black On The Other (Banned Productions)

Part of a trilogy of cassette-related works that began with a piece sound artist Steve Roden created for an online exhibition for ICA London in early 2012, these two works were composed from 1983-84 recordings Roden made in his bedroom, recorded at double speed and here playing at half speed, half in reverse, which were organized into these two compositions. ... Click to View


Kullhammar, Aalberg Zetterber & Santos Silva: Basement Sessions Vol.4 (The Bali Tapes) (Clean Feed)

The 4th volumes of this remarkable set of "basement sessions" from the Swedish trio of Espen Aalberg on drums & percussion, Jonas Kullhammar on saxophone & flute, and Torbjorn Zetterberg on bass, joined by Susana Santos Silva on trumpet, for a beautiful album of free hard bop, encompassing spiritual and ritual aspects of gamelan music in a unique and wonderful album. ... Click to View


Imaginary Numbers (McPhee / Niggenkemper / Solberg): Imaginary Numbers (Clean Feed)

Playing both pocket trumpet and tenor sax, Joe McPhee joins German/French/NY bassist Pascal Niggenkemper, and Norwegian drummer Stale Liavik Solberg, for an authoritative and bold album of collective free improv, three extended conversations that center on "A Supreme Love (For John Coltrane)", pointing to the history and sympathies of these impressive musicians. ... Click to View


Gard Nilssen's Acoustic Unity : Live in Europe [3 CDs] (Clean Feed)

Three complete 2016 concerts at North Sea Jazz Festival, Ljubljana Jazz Festival and Oslo Jazz Festiva, and 3 CDs to present them, from drummer Gard Nilssen's Acoustic Unity, a superb free/post-bop group with a core of Nilssen, bassist Petter Eldh, and saxophonist Andre Roligheten, featuring 3 saxophonists: Fredrik Ljungkvis, Kristoffer Berre Alberts, and Jorgen Mathisen. ... Click to View


Tree Ear (Strinning / Troller / Hemingway): Witches Butter (Clean Feed)

After percussionist and composer Gerry Hemingway migrated to Luzern, Switzerland he joined forces with the creative improvising community in that city, in particular with guitarist Manuel Troller and saxophonist and bass clarinetist Sebastian Strinning, the trio taking the name Tree Ear, blending free and idiomatic improv in bold, uncommon and spellbinding ways. ... Click to View


Eve Risser / Kaja Draksler: To Pianos (Clean Feed)

Two pianists dedicate to their instruments at the Gallus Hall of Cankarjev Dom during the 57th Jazz Festival Ljubljana: Paris-based pianist Eve Risser (Umlaut, En-Corps, &c) and Slovenian pianist Kaja Draskler (I/O, Draskler Octet, &c.), to record these inventive duos, weaving their keys together or working inside and out of the piano in incredible sonic approaches. ... Click to View


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  Big Sounds in a Small Town  

The Victoriaville Festival celebrates, or at least notices, its 20th anniversary


By Kurt Gottschalk
Photos by Martin Morissette 2003-06-19

Last year, after the 19th annual Festival International de Musicque Actuelle de Victoriaville, I asked festival organizer Michel Levasseur if he had big plans for Victo's 20th birthday. His response was, quite simply, that it was just another year and that he didn't see any reason why it should be a bigger deal than any other year.

Still, there were signs all over the small town (with a population of about 40,000, 7,000 tickets sold over the course of the five-day festival represent a noticeable swell on the streets every Victoria Day weekend) celebrating the anniversary, and a downtown bank gave away pieces of a birthday cake inscribed to FIMAV. Mentions of the anniversary from the stage, however, were rare. And while there were big sets from big names with long histories at the fest, other performances almost seemed to reinforce the idea that anniversaries are no big deal. Along with the stars and the oddities, a current of small sounds, well amplified, ran through the five-day festival.

Frith, Lussier, Etc.
Fred Frith, Maxime Lepage, René Lussier, Tom Walsh
Rene Lussier and Fred Frith performed at the first festival in 1983, and a duo set was the first release on Victo records, so it was fitting enough that the Quebecois guitarist opened the first night of the fest with Frith in his band. The nonet played deeply deconstructed folk songs from Lussier's record Tombola Rasa, with melodies sometimes only vaguely recognizable. Some pieces were played by smaller groupings of the ensemble, but when the full group played they toyed with familiar melodies and themes that would dissolve and break apart frustratingly fast, phrases filtering, sweltering, smelting, flowing, growing but never quite gelling. It wasn't until the third song, with Lussier singing, that that Franco-Dixie-St. Germaine sources became apparent (at least to a listener visiting from the States).

Excellent support was provided especially by violinist Liette Remon and clarinetist Lori Freedman, but the nine people onstage were an orchestra (as well as a big band and a hootenanny), with all the diversity and arrangement that befits an orchestra. Euro jazz, mountain music, hula, funk and, of course, the inexplicable, the actuelle and French lyrics were incorporated, reminding visitors from the south that North American music comes from all over North America.

Fred Frith returned three nights later with Montreal's Nouvel Ensemble Moderne to present three composed works (including Traffic Continues released in 2000 by Winter & Winter) intertwined into a long suite over 75 minutes.

While the pieces were a little too similar to combine into a dynamic suite, the performance was enhanced by sonically theatrical staging. Musicians rose from their seats and moved to the side of the stage, playing and speaking without microphones (as with almost all of the sets at Victo, the performers were otherwise well miked and the sound was exemplary), dropping wooden blocks on the stage floor and creating an acoustic sound field within the piano syncopation and complex, linear, nonrepeating oboe and flute lines emanating from the p.a. Frith took over the conducting from ensemble leader Lorraine Vaillancourt for brief interludes of real-time arrangements before slinking back to the side of the stage to punctuate with his prepared guitar. It was an interesting, romantic, static, intelligent and lucid suite. The pieces no doubt stand better distinct, but what should be expected from an inventive mind other than inventive ways to present its work?

The Victo festival also has a long relationship with the Montreal label Ambiences Magnetiques, which was represented in several of the concerts, including a duet by Jean Derome and Joane Hétu, the husband/wife team that co-founded and run the label.

Intimacy is a word that gets thrown around a lot in discussions of music: intimate clubs, intimate atmospheres, intimate concerts, intimate albums. But the intimacy of family, of a gracious couple entertaining guests, brings an altogether different nuance to the claim. Derome and Hétu are perfect hosts, jointly relating stories, complimenting without interrupting each other. They surely must be the sort of couple that defers conversational points to each other, depending on who "tells it better."

Joane Hetu
Joane Hétu
Hétu on alto and vocals, Derome on alto, flute, bass flute and an array of sound-making devices, both singing and vocalizing, their songs (sung in French) were miniature portraits of domesticity and getting along, imparting a feeling of cooking dinner while the news plays in the next room. Intimate enough as to simply breathe into the microphone and through the saxophone. And jazz being the macho business that it is, you have to appreciate a guy who'll go onstage and play patty-cake with his wife.

Mike Patton has more recently become a regular on the Victo program, but nevertheless pulled together a program of note. His Fantomas, playing in tandem with The Melvins as the Fantomas Melvins Big Band, had only done one previous concert before they closed the last night of the fest. They began as a double trio with two singers, two bassists and two drummers in perfect sync. Two rock bands demanding sacrifice in unision, like Black Sabbath looking in a mirror. From there they broke into bpm noise and huge thrash metal. It was the festival's closing party and it's money shot, and they rocked freakin' suitably. Flipping between anthemic speed grinds and tense, sparse, hilarious segues, the assault came to an end with all six bashing on cymbals for more than a short time. Learned listeners run the risk of overlooking them because they might not be good, or at least not especially innovative, and indeed Mike Patton has become very adept at doing other people's ideas well. But what matters about rock bands has never been if they're good. What matters about rock bands is if they rock.

Another blockbuster set was a double trio fronted by Peter Brötzmann and Evan Parker. They opened with an all-out twin tenor Coltrane attack. The two saxophones began a simple unison theme and took only moments to turn that into sheer energy. They truly were a double trio: Brötzmann, drummer Hamid Drake and bassist William Parker leaving the stage early on to give Evan Parker, Alexander von Schlippenbach and Paul Lytton the spotlight, then Parker and von Schlippenbach setting down a series of short statements, separated by brief pauses while Lytton lightly rolled across cymbals and snare.

The sextet moved beyond its double-trio structure and into a rotating ensemble. Different passages in the unbreaking piece included quintets with each of the horns stepping out, a remarkable trio with von Schlippenbach's piano and the two drummers and a bass/drum duo by Parker and Drake. The sextet ended, dissolving until a few lone notes hung in the air. An unnecessary but welcome encore brought them back to the stage, and back to the Trane. In a festival revolving so much around the new and unusual, it was great to hear free jazz this good.

Perhaps the most excitement was generated by two sets from John Zorn, and indeed it was odd coming from New York to hear over 1,000 people screaming for one of his game pieces. Zorn presented a big, fat, long Cobra, thickly coiled and taking its own sweet time to strike. And with Mr. Zorn approaching the dawn of his sixth decade, it was a more generous Cobra as well, with the leader at the prompter's pulpit offering players the opportunity to lead the piece, a move known as 'guerilla tactics' that once had to be claimed, not merely accepted, by participants. (Alternately, Zorn ended some moves early, seeming to break with game piece tradition in order to ensure a stronger musical result.)

Cobra is the most played of Zorn's game pieces, a set of rules that impose structure on improvisation and allow players to direct the performance even as they're playing. At its core, it's about using personality clashes and sympathies to create an environment automatically tailored for any set of musicians. This meeting, however, didn't explore individual or cultural divides. Zorn used the structure as a compositional tool more than he allowed players to contend against each other to build something not entirely controllable. Cobras of late have become more musical and less contentious anyway. This one was immense, monolithic and satisfying, thanks primarily to Diane Labrosse's fierce, grinding noise and guest Makagami Koichi's leaps and screams.

Electric Masada have been woodshedding a more orchestrated, fast-cut version of the latest take on the Masada songbook, but unfortunately the group was in jam band mode for their set. An unusually powerful, syncopated, melodic and structured set was presented by some other visiting New Yorkers, however. Mephista were more dynamic than ever, visually cuing each other and even referring to scores, a direction which, according to laptop percussionist Ikue Mori, the group has developed with recent heavy touring.

MINIATURES

Sparse electronic music can have a microscopic effect, like listening to photosynthesis or cells dividing. When it's done well, it can carry the feeling of the lives we live zoomed in to an unrecognizable degree. Laura Kavanaugh and Ian Birse, both Canadian, worked that angle well, pairing soft crackles and reverberating whirs with slow black-and-white videos of pedestrians shot from overhead. The walkers got nowhere, the documentation of their simple tasks slowed, reversed and repeated, displayed on four monitors surrounding the audience. It was life slowed to a crawl, mental activity not mattering, biological functions continuing.

The miniature music was amplified to epic proportions with a quintet comprised of Quebecers Diane Labrosse and Martin Tetreault and French improvisers Xavier Charles and the duo Kristoff K. Roll. The electronics-and-small-objects ensemble invited observers into the physical space, setting up in a circle in the middle of the room and asking the audience to promenade around them, revealing their many sound sources to full view. The quintet included Labrosse's laptop and Tetreault's turntable, but otherwise relied on cups of lentils, kitchen utensils, rubber bands, aluminum foil, plastic toys, cds dropped onto a zither being moved arross a tabletop scattered with rice. Charles' clarinet provided the only strictly musical sounds; his short squeaks and breathy tones would push the edges in a jazz context, but against the rattle of this giant junk drawer it sounded deceptively melodious. The rest was amplified more than it was altered, coming off deceptively like electronically generated music when it was really the sounds of inanimate life, with the volume up.

Another quintet seemed to embody not the sound but the actual movement of thousands of small objects. In an excellent set by Kazue Sawai, Michel Doneda, Kazuo Imai, Le Quan Ninh and Tetsu Saitoh, the players were in constant movement, flying under the radar of chaos. Guitar, bass and koto strings were rubbed and rubbed hard while Le Quan worked metal edges against his table-mounted bass drum. Doneda darted above and circled below with his soprano. They were frenetic, energetic, quietly fast and fantastic.

Krebs Neumann
Annette Krebs & Andrea Neumann
The microsonic plane was further explored by two essentially acoustic players, Annette Krebs on guitar and Andrea Neumann playing the strings and metal frame of a piano stripped of keys, pedals and wooden casing. With contact mikes placed on the guitar laid across her lap, Krebs applied steel wool, brushes and bows to her hypersensitive strings. Likewise, Neumann's playing had less to do with the vibration of strings than what can be made to happen upon them. The sounds themselves weren't of particular note. Instead, their aesthetic is about a shared penchant for placing the sounds, and they work quiet beautifully together.



continued...




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Recent Selections @ Squidco:


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