The Squid's Ear
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Georg Graewe Quintet:
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Recorded in concert at Amsterdam's Stedelijk Museum in 1998, legendary pianist Georg Graewe's Quartet with Frank Gratkowski on alto saxophone & clarinet, Kent Kessler on double bass, and Hamid Drake on drums present a tour-de-force of passion, technique and creative drive in an epic 53 minute improvisation from high energy to reflective stretches; superb! ... Click to View


Georg Graewe:
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German pianist and Euro Free Jazz stalwart Georg Graewe in his first solo release in more than a decade, a remarkable set of succinct compositions balancing astonishing technical skills with beautifully expressive playing, presented in several series of "stills" and "stories". ... Click to View


Frederick Galiay (Viard / Sebastien / Boudart / Galiay):
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Dramatic, darkly thrilling with moments of sheer beauty, from French electric bassist Frederick Galiay and his Camaeleo Vulgaris ensemble, a sextet performing Galiay's compositions in a potent mix of electric guitar, electrified baritone sax, synthesizer, and two drummer/percussionists, recorded after a dozen live concerts honing the material to this riveting studio version. ... Click to View


Francois Carrier / Tomek Gadecki / Matcin Bozek / Michel Lambert:
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A burning album of collective free jazz from Canadian compatriots Francois Carrier on alto saxophone and Michel Lamber on drums, on a spring tour of Europe, performing at Polands MOZG in Byrgoszcz, hope of the MOZG Festival, with Polish tenor saxophonist Tomasz Gadecki amd bassist Mracin Bozen, also on French Horn, in an exhilarating set of three extended improvisations. ... Click to View


Thollem / Parker / Cline:
Gowanus Sessions II [VINYL] (ESP)

Free collective improvisation with an electronic edge from the trio of Nels Cline, double bassist William Parker and pianist Thollem McDonas, following up on their 2012 "Gowanus Session I" recorded in the same studio space, here expanding on the 1st session's shorter works with two large and evolving improvisations that balance reflective moments with intensive playing. ... Click to View


Werner Dafeldecker :
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Viennese-born, Berlin-based electro-acoustic composer Werner Dafeldecker (Polwechsel, Fennesz, &c) creates an intense and beautiful musique concrete and acousmatic journey in two parts, examining "perspective, extreme subjectivity and the specters that haunt our auditory worlds" through mysterious sound and enveloping sonic construction, a profound and riveting work. ... Click to View


Skeleton Crew (Frith / Cora):
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Reissuing the first of two albums from the NY collaboration of guitarist Fred Frith and cellist Tom Cora, both providing vocals, percussion, violin, & bass, in a classic example of Downtown NY genre-merging of improvisation and rock with a vicious edge, in smart songs and even smarter instrumental sections, an insanely inventive and intelligent album as vital now as it was then. ... Click to View


Acid Mothers Temple & The Melting Paraiso U.F.O.:
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... Click to View


Leap Of Faith:
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Gen Montgomery Ken:
Endogeny [CASSETTE] (Tribe Tapes)

Sound and Visual artist Gen Ken Montgomery released this album on cassette on the Directions Music label in 1990, here reissued in 2020; the two side-long pieces were performed live and then remixed, using a mixture of tapes, concrete and mechanical sounds alongside love instrumentation of percussion, violin, voice, &c, sometimes stark, always fascinating. ... Click to View


Jean Derome:
Somebody Special (Ambiances Magnetiques)

Drawing on Steve Lacy's quintet, Montreal saxophonist Jean Derome pays homage to the late saxophonist through a selection of 9 Lacy pieces with lyrics from Brion Gysin, Lao Tseu, Herman Melville, &c, in a quintet with Derome on alto sax, bass flute & voice, Karen Young providing vocals, Alexandre Grogg on piano, Normand Guilbeault on double bass, Pierre Tanguay on drums. ... Click to View


Ensemble SuperMusique / Symon Henry:
voir dans le vent qui hurle les étoiles rire et rire (Ambiances Magnetiques)

Montreal's true supergroup since 1998 of some of the city's essential Musique Actuelle performers and composers, directed by Danielle Palardy Roger and including Jean Derome, Joane Hetu, Scott Thomson, Lori Freedman, Alexander St. Onge, &c. &c., take on Quebec composer Symon Henry's piece, performed in an exceptional and impressive concert in the Chapel in Bon-Pasteur. ... Click to View


Gabriel Dharmoo :
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Stunningly unusual vocal music from composer, music researcher and vocalist based in Montreal, Gabriel Dharmoo, collecting works from 2012 to 2019, performed with small and large ensembles using almost completely wordless voice, utterance, guttural sound, swoops and, melodic flights, augmented with physical percussion like stamping and clamping; brilliant and enthralling. ... Click to View


Prevost / Solberg / Pettersen / Moore / Brice / Hardie-Bick:
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Bringing together two innovative improvising percussionists--Eddie Prevost of AMM fame, and Stale Liavik Solberg (VCDC, John Butcher)--for a studio album of wide-ranging and sometimes hair-raising electroacoustic improvisation, recorded live and unedited with Olie Brice on double bass, Tony Hardie-Bick on piano & tapes, Ed Pettersend on lap steel, and NO Moore on guitar. ... Click to View


Ken Vandermark / Paal Nilssen-Love Duo:
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Decoy (Alexander Hawkins / John Edwards / Steve Noble) With Joe McPhee:
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John Carter Octet:
Dauwhe [VINYL] (Black Saint Vinyl)

A much-needed reissue of John Carter's 1982 LP "Dauwhe", the first chapter in his "Roots and Folklore" saga, a 5-part epic through African American heritage, performed with Carter himself on clarinet, Bobby Bradford (cornet), James Newton (flute), Charles Owens (sax, oboe & clarinet), Red Callender (tuba), Roberto Miranda (bass), William Jeffrey (drums), and Luis Peralta (percussion). ... Click to View


Philip Samartzis / Eric La Casa :
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Kruger National Park in the north-east corner of South Africa is the subject of Eric La Casa and Philip Samartzis's audio exploration, using field recordings made over 10 days in and around the park, and taking them into the studio to organize them into an aural representation of the park's exotic mystery, placidity and tension, with a tinge of the modern world nearby. ... Click to View


Laboratorio Della Quercia:
Laboratorio Della Quercia [VINYL 2 LPs] (Alternative Fox)

Documenting the 12-day Italian experimental jazz festival at the ancient amphitheater Tasso della Quercia in 1978, revolving around Italian improvsers Tommaso Vittorini, Eugenio Colombo, Maurizio Giammarco, Alberto Corvini, Danilo Terenz, with visiting players Steve Lacy, Steve Potts, and Evan Parker, trombonist Roswell Rudd, pianist Frederick Rzewski, and drummer Noel McGhee. ... Click to View


Turbulence:
Eddy Flux (Evil Clown)

The extended horn section for the Leap of Faith Orchestra from the Boston-area collective led by reedist/multi-instrumentalist David Peck, here with PEK on an assortment of saxophones, clarinets, flutes, game calls and percussion, the other horns from Michael Caglianone on sax, game calls, wind sirens and percussion, with drums, bells, bowls and other percussion from Yuri Zbitnoff. ... Click to View


Ratchet Orchestra:
Coco Swirl (Ambiances Magnetiques)

Active since the early 90's, the superb Montreal super-group Ratchet Orchestra under the direction of Nicolas Caloia with 19 performers presents 10 works including the title track, with soloists including Jean Rene, Lori Freedman, Jean Derome, Ellwood Epps, Sam Shalabi, Craig Petersen, Yves Charuest, Joshua Zubot, Scott Thomson, Isaiah Ceccarelli, &c. ... Click to View


Chris Pitsiokos :
Speak In Tongues And Hope For The Gift Of Interpretation (Relative Pitch)

Dedicating his pieces to Charlie Parker, Anthony Braxton, Roscoe Mitchell, Ornette Coleman, Eric Dolphy, and John Zorn, NY alto saxophonist Chris Pitsiokos is heard live at this solo concert in New Haven, CT in 2019, reflecting on the history of jazz through his intense playing style that deploys incredible technique balanced with abstraction and rapid lyricism. ... Click to View


Raoul Bjorkenheim :
Solar Winds (Long Song Records)

Paying tribute to his musical inspiration John Coltrane, Finnish/NY electric guitarist Raoul Bjorkenheim leads a quartet with Silvia Bolognesi on contrabass, Tiziano Tononi on drums & percussion, and Emanuele Parrini on violin, as they perform five Coltrane compositions and two Bjorkenheim originals, a superlative homage to technical brilliance and conceptual vision. ... Click to View


Eugene Chadbourne / Duck Baker / Randy Hutton :
The Guitar Trio In Calgary 1977 (Emanem)

A concert recording from 1977 in Calgary, CA captured during Eugene Chadbourne's time in Canada prior to his move to NYC, from the guitar trio of Duck Baker, Randy Hutton & Eugene Chadbourne, performing on acoustic guitars, using a variety of approaches to improvising in trio, duo and solo configurations, with original work, an Ornette Coleman mashup, and a piece by Charlie Haden. ... Click to View


Company:
1983 [VINYL 2 LPs] (Honest Jons Records)

Unreleased recordings from Derek Bailey's Company project, recorded at the BBC in 1983 with a stellar set of performers including Evan Parker (clarinet), Hugh Davies (electronics), Jamie Muir (percussion), Joelle Leandre (bass), J.D. Parran (winds), John Corbett (trumpet), Vinko Globokar (trombone), Ernst Reijseger (cello), and Peter Brotzmann (reeds). ... Click to View


Muhal Abrams Richard:
Celestial Birds [VINYL] (KARLRECORDS)

A compilation of works from the late Chicago multi-reedist, experimenter, and AACM founder Muhal Richard Abrams, focused on his widely unknown electronic compositions, in four recording from 1968-1995 with collaborators including Anthony Braxton, Leroy Jenkins, Amina Claudine Myers, Roscoe Mitchell, Maurice McIntyre, Yousef Yancey, Thurman Barker, &c. ... Click to View


Eric La Casa:
L'inspir du Rivage part 2&3 [VINYL 7-inch] (Povertech / Joe Colley)

First stock of this 1999 7" from French sound artist Eric La Casa created as part of Joe Colley's "Explorer" series, the title translating to "the shore breathing" where each composition develops from field recordings of water, the first part more naturalist and adhering to the initial recordings, the second using sound processing to create something unique and mesmerizing. ... Click to View


Rachel Musson / Naoko Saito / Audrey Lauro:
The Region Of Braille Responsibility [CD with English Braille Sheet] (Armageddon Nova)

Three female saxophonist from around the world--Rachel Musson (UK), Naoko Saito (Japan) and Audrey Lauro (Belgium)--in a compilation of solo saxophone works, two extended pieces from Musson and Satio, and four shorter works from Laura, with a CD insert with English Braille characters, and a QR code that, when scanned, plays the audio information for the album. ... Click to View


Musica Elettronica Viva:
United Patchwork [VINYL 2 LPs] (Alternative Fox)

A reissue of Musica Elettronica Viva's innovative 1978 open-structured album of free improvisation, United Patchwork, with the core performers of Frederic Rzewski on piano & electric piano, Richard Teitelbaum on synthesizer & conch shells, Alvin Curran on synthesizer & keys, plus Karl Berger on keys & vibraphone, Garrett List on trombone, and Steve Lacy on soprano sax. ... Click to View


Karkhana:
Bitter Balls [VINYL] (Unrock)

LP-only, no 7" single. The second full-length album from Karkhana, a septet featuring members of Dwarfs Of East Agouza, A "Trio", Konstrukt, Chicago Tentet, Land of Kush, among others in four compositions of "crystal clear and deep, dark, distorted unrock compositions" in both electric and acoustic instrumentation, an international genre-crossing album. ... Click to View


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E and A


  Butch Morris  

Butch Morris
Butch Morris    [Photo by Dominik Huber]
Although Lawrence D. "Butch" Morris first came on the scene as a free-improv cornetist (most notably in groups led by David Murray), he has been best known since the early '80s for his "conductions," a way of leading an ensemble through a piece built on their own improvisations (the term itself as a combination of the words "conduct" and "improvisation").

A conduction will generally begin with one player stating a phrase and Morris cueing the rest of the group to respond to that phrase, or to a section of it. Over the course of 30 or 40 minutes, Morris will build that original statement into an extended piece with themes (that the ensemble remembers and returns to), flourishes and contrasting sections. One of the most notable things about a Morris conduction, beyond the music itself, is the intense focus the players keep on him. This is not free jazz. Morris is very much a bandleader, a real-time composer and arranger building music in the moment.

He kindly consented to respond to questions emailed in by Squid's Ear readers.

-------------

E: What can you tell us about the trio you had with Wayne Horvitz & Bobby Previte? It seemed to open a new direction in utilizing electronics and small-group dynamics.

A: There were two bands that preceded this trio that (I think) had a direct impact on its success. The first was Bill Horvitz, J.A. Deane and myself; the other was Wayne, Dino and I. Horvitz/Morris/Previte was an exciting playing situation because Wayne and Robin Holcomb wrote such wonderful music and Wayne played and programmed great DX7 and drum machine. Bobby has a great ear for melody and rhythm (and harmony). I think we found a unique way to distribute density in space while still using the 'song' format to frame our improvisations.

E: Please describe how you came to develop conduction. Was the a "first appearance"? How did it relate to an event like the 1982 New York City Artist's Collective performance of your work - how developed was the technique at this point?

A: Although I had been working out the idea of Conduction from the mid 70s, it was not until 1985, after Conduction No. 1, that this work rose from infancy. At the time of Cond. No. 1 there were only five directives in place, and although we put them to good use, time dictated 'more'. The evolution of Conduction comes directly from my discontent with the development and direction of improvisation in large ensemble interplay.

E: The first date in most discographies of your work is listed as a Frank Lowe quartet date for the French Palm label, The Other Side. Was this the first? What can you tell us about this date?

A: Jef Gilson was/is a wonderful host (arranger, composer and producer). The first.

E: Your first date as a leader is listed as "In Touch...But Out of Reach" for Kharma. What can you tell us about this date?

A: A big headache.

E: "Queen of Spades" -- my favorite Butch Morris tune, was a feature of Jemeel Moondoc's Jus Grew Orchestra in the 80s. What is this piece's history? It doesn't appear as though you ever recorded it. Did you? Did anyone else?

A: I wrote 'Queen of Spades' in 1974 in California and I never performed it with any other ensemble, it seemed to work well with Jus Grew. I have never recorded it and to my knowledge, no one has. It was inspired by a song called "Ti Forest," by Walter Savage who was a bass player with Horace Tapscott and Taj Mahal.

E: Discuss the following artists, thoughts/recollections/impact on work/&c.:

A: Each deserves a chapter if not a book:

David Murray I've known David since 1973...he's a truly generous man. There are two wonderful memories I have of David, the first; fishing under the Oakland Bay Bridge plotting history, and the other: He called me from Rome (I was in Rotterdam) the eve of my thirtieth birthday and said I'm going to fly up tomorrow and we are going to celebrate your birthday, day and night.....and we did, then I put him on plane at 10 am.

Frank Lowe David and Frank brought me to New York. We have a great chemistry together. On any given night Frank Lowe could go from 1935 to 1999 in two breaths and scare all the saxophone players out of the room, ask Stan Getz or Archie Shepp.

Johnny Dyani A master storyteller, natural bassist, great friend and teacher.

William Parker Is doing great work.

Jessica Hagedorn A gumbo girl, first born into the elite family of spoken word poetry and 'shameless hussy-ness.'

A.R. Penck Mr. TTT, a savior to many musicians. An artist with the greatest work ethic I've ever seen. A kind and generous man who taught and showed me many things about the art world.

H/M/D This was the trio that set the stage for how I would play the horn from then until I stopped playing. Bill and Dino were great together, and playing acoustic inside all that electronics was a big eye-opener to me. It changed the way I thought, composed and played.

Peter Kowald The king of Wuppertal. Free to be.

Christian Marclay A great friend who's work decodes history with futuristic vision. He is always a joy to work with.

E:You took part in a pre-internet worldwide performance, "Telefonia," linking up performance spaces in Switzerland and New York via satellite. What did you think of this event?

A: This was a wonderful project between Winterthur and New York that predates web-based interactive projects as we know them today. And thanks not only to the great vision of Andres Bosshard, the musicians and technicians, but also to whoever was at Pro Helvetia and Cassinelli-Vogel-Stiffung who saw this vision through. As was said: Telefonia is a histerical homage to Switzerland. (the politicians are talking....)

E: Have artists outside of music approached you about applying ideas and techniques of conduction in non or extra-musical fields? I'm thinking specifically of theater, group collage work or other "plastic" arts where ensemble improvisation is possible.

A: Many choreographers have approached me to talk about the possibilities of conduction in dance but nothing has come of it yet. Christoph Marthaler is the only theatre director who has expressed an interest.

E: On your conduction techniques, do you have a set of signals that you and the band have worked out in rehearsals? Or is this all done more on-the-fly, on-the-spot.

A: There are (approximately) 26 directives in the Conduction vocabulary and much more information to be understood fully by the ensemble. Because of workshop/rehearsal limitations, there has never been enough time to work all of this information out with one ensemble. I always ask for five or more days and settle for three or four, however there have been situations where I have done performances with only an hour or two of preparation but this is by no means idealand I generally steer clear ......

E: I once read in an interview that youwere looking for a residency. Since playing regularly at the Bowery Poetry Club, how has this helped strengthen your band? What elements of your conduction or your repertoire are you seeking to grow with a residency?

A: .............Understanding! The better anyone understands anything, the more liberated they are to find freedom in all situations. To date, Berlin Skyscraper (FMP) is the most time I've spent with any ensemble and we experienced 'growth' through understanding throughout ten days of rehearsal and nine performances.

E: You led a great group called 'Holy Ghost' several years ago at the 'What is Jazz' festival. It seemed to be a conduction using scored materials. How did that project work, and will you do anything with it again?

A: We had no scored material for this Conduction (No. 103). I would love to resurrect this ensemble again...........

E: I had heard at one time you were going to stop doing conductions with Number 100 at the Vision Festival a few years back. Why did you decide to keep doing them? Are you looking at ending them or beginning another project?

A:My plan (at the time) was to end the Conduction series and begin a new series dedicated to composition and conduction but I decided to let the two overlap.

E: Please explain a little how you structured the Stravinsky 'Rite of Spring' piece you did with Burnt Sugar last year at Summerstage. Do you plan to build other conductions (or have you in the past) from other composers materials?

A: My work with conduction 'started' for the deconstruction of notation. My early collaborations with David Murray, Billy Bang, Jemeel Moondoc, Misha Mengleberg and a host of otherswere with notation. I have, more recently begun to utilize notation (again) in performance for the purpose of deconstruction (and re-construction). The 'Rites' project was broughtto me by Greg Tate for a collaboration he has with choreographer Gabri Christa. I expect we will continue to evolve this work

E: One of my favorite conductions I've seen you do was sadly marred by horrible sound: the Charlie Parker festival piece that featured Arthur Blythe, Christian Marclay and 18 or so flutes. Have you thought of trying to do that piece again under better circumstances? It was a great concept, shamefully wounded by the p.a.

A: Yes, this was "Conduction No.44, Ornithology," 28 August 1994 at Tompkins Square Park. I would love to re-work this piece again...would you like to be the Executive Producer?

E: Wilber [Morris, Butch's cousin] mentioned to me once that he played a lot with Charles Tyler on the west coast. Was this a group that you were in as well? Also,did you play his legendary pieces like "Voyage From Jericho" etc.?

A: Yes we both were in the band of Charles Tyler and we played all of his classics. My favorite was "Sad Folks."

E: Why conduction? What so you get out of working with conducting improvisors that you wouldn't from watching or participating in an unguided improv? What differentiates conduction in your mind from some of the other improv "schools" -- the John Stevens / SME approach, the AMM approach, Zorn game pieces -- obviously, the presence of the conductor is a difference, but what about the results is different? What qualities do you try to emphasize in a conduction, and what could someone else do with it?

A: As I have stated in the Artist Statement, Conduction is not exclusive to improvisers, nor the sole notion of improvisation! (see Holy Sea) Your "schools" have given me many splendid hours of listening/enjoyment, and as a player I have committed and contributed in one way or another. But I must say, I have different requirements, scales of evaluation and goals......... therefore, different results. 'Schools' cannot satisfy all of my needs as a musician, (as my needs do not satisfy (all) the needs of others) however they do serve as great tools for listening and study......and I suggest the same.



continued...



Upcoming E & A - Ask William Parker (description coming soon...)

Questions for William Parker should be sent to ear@squidco.com by May 10, 2003 or use the form below. His responses will be posted in a future issue of The Squid's Ear.

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Previous E and A Interviews:
Ikue Mori Interview


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Recent Selections @ Squidco:


Georg Graewe Quintet:
Amsterdam,
October 1998
(Random Acoustics)



Werner Dafeldecker:
Parallel Darks
[VINYL]
(Room40)



Skeleton Crew
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Boudart /
Galiay):
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John Edwards /
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Moore /
Brice /
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in Moonlight
[2 CDs]
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Ensemble SuperMusique /
Symon Henry:
voir dans le vent
qui hurle les
étoiles rire
et rire
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Jean Derome:
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Raoul Bjorkenheim:
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Company:
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[VINYL 2 LPs]
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