The Squid's Ear
Recently @ Squidco:

Robert Dick : Our Cells Know (Tzadik)

Using multiphonics, percussive effects, circular breathing and other extended approaches to the contrabass flute, composer/performer/improviser Robert Dick releases a mesmerizing album of improvisations, breaking new terrain by letting the largest of flutes lead his muse. ... Click to View


John Zorn : The Mockingbird (Tzadik)

John Zorn's Gnostic Trio of Bill Frisell on guitar, Carol Emanuel on harp and Kenny Wollesen on vibes and chimes, perform Zorn's compositions inspired by the classic novel "To Kill a Mockingbird" in lyrical chamber jazz of great depth and nuance. ... Click to View


Jacob Bandolin do : Great Jewish Music (Tzadik)

A tribute to Jacob do Bandolim, one of the founders of the Brazilian instrumental style choro in the 30's and 40's, in compositions from Tzadik artists Davka, Cyro Baptista, Carla Kihlstedt, Jon Madof, Shanir Ezra Blumenkranz, Ben Perowsky, Rob Burger, Jamie Saft, &c. ... Click to View


Smith Quartet with John Tilbury: Morton Feldman: Music for Piano and Strings Volume 3 [DVD-AUDIO] (Matchless)

Recorded live at the Huddersfield Festival of Contemporary Music in 2006, this is the 3rd and final volume of works by Morton Feldman performed by the Smith Quartet with John Tilbury on piano, recorded in high quality DVD audio and with extensive liner notes by Tilbury. ... Click to View


Dave Douglas High Risk: Dark Territory (Greenleaf Music)

Electronic-inspired ensemble High Risk with Dave Doublas on trumpet, Jonathan Maron on bass, Mark Guiliana on drums and Shigeto on electronics, exploring the intersection of creative improvisation and modern electronic music production in persuasively rhythmic music. ... Click to View


Universal Indians w/ Joe McPhee: Skullduggery [VINYL 2 LPs] (Clean Feed)

The free improvising trio of John Dikeman on sax, Jon Rune Strom on bass, and Tollef Ostvang on drums, invites Joe McPhee on pocket trumpet and alto sax for a release of rugged free improv using unorthodox approaches and amazing dexterity in their playing. ... Click to View


Rodrigues / Yamauchi / Santos: The Presence Of Air Particles Ignited By Memory (Creative Sources)

Temarkably detailed, slowly moving improvisation from the trio of Katsura Yamauchi on alto sax, Carlos Santos on electronics, and Ernesto Rodrigues on viola, harp and objects, a beautiful balance of acoustic and electronic sound in intensely concentrated music. ... Click to View


Johannes Nastesjo / Vasco Trilla: Ginkgo (Creative Sources)

The duo of Johannes Nastesjo on double bass and Vasco Trilla on drums and percussion, an album of extended techniques and unexpected devising, using quietly agressive techniques balanced by concentrative improv to create unexpected eruptions and unusual sonic environments. ... Click to View


Fridolin Blumer : Camping; Cafe Bar (Creative Sources)

A solid solo outing from Zurich-based double bassist Friodlin, presenting his 4-part "Camping; Cafe Bar" work, blending the jazz idiom with discursive asides and unusual techniques, plus a lovely and appropriately titled work "But Beautiful". ... Click to View


Miimo: Miimo 4 (Amorfon)

Using bass, drums, steelpan, electronics and programming, the trio of Tatsu, Norihide Saji and Amorfon label leader Yoshio Machida create a "pulse dub" album of polyrhythms and phase, producing warm, complex and embraceable music that includes a cover of Bjork's "Hyperballad". ... Click to View


Tony Marsh / Chefa Alonso: Goodbye Red Rose (2008/9) (Emanem)

During her stay in London from 2004-2008, saxophonist Chefa Alonso developed a rewarding duo with percussionist Tony Marsh of great technical and musical value, as heard on these excellent recordings from Red Rose and Ryan's Bar in London, and Matadero in Huesca, Spain. ... Click to View


Spontaneous Music Ensemble: Withdrawal (1966/7)[REISSUE] (Emanem)

Featuring the earliest published recordings of Barry Guy & Evan Parker, percussionist John Steven's presents transitional sextet and septet performances of his groundbreaking free improv group from 1966 & '67 with Trevor Watts, Paul Rutherford, Kenny Wheeler, and Derek Bailey. ... Click to View


Duck Baker : Outside (1977-83) (Emanem)

Fingerstyle guitarist Duck Baker was influenced by Eric Dolphy, Ornette Coleman and Cecil Taylor, recording these solo original improvisations plus 2 Ornette Coleman pieces from '77-'83 in London, Torino & Calgary, plus 2 duos with guitar madman Eugene Chadbourne. ... Click to View


Kent Carter: Oratorios and Songs (2010) (Emanem)

The Riviere Ensemble led by bassist Kent Carter with Christiane Bopp (trombone), Albrecht Maurer (violin), Katrin Mickiewicz (viola) and Laura Tejeda Martin (mezzo soprano) recording original works in historic churches in France, blending classical, jazz, free improv & traditional musics. ... Click to View


Anker / Lonberg-Holm & Jackson / Serries: Two Duos [CASSETTE with download] (Astral Spirits)

Two aspects of reed & string duos, side A presents Chicago cellist Fred Lonberg-Holm with Danish/NY saxophonist Lotte Anker in 4 free improvisations of unusual technique; side B is UK saxophonist Dave Jackson & Dirk Serries on electric guitar for an extended improv live at Cafe Oto. ... Click to View


Chatoyant: Place Of Other Destination [CASSETTE w/ download] (Astral Spirits)

With members of Wolf Eyes and Volebeats, Crime and the City Solution, &c. this Detroit quartet blends acoustic and electronic instruments in spontaneous composition with a rock aesthetics, a dark fusion of sound that plays both burning improv and mysterious soundscape. ... Click to View


Black Spirituals: Black Tape [CASSETTE with download] (Astral Spirits)

The duo of Zachary James Watkins on guitar and electroncis and Marshall Trammell on drums in a dark album of distorted riffs and heavy polyrhythmic drumming, free playing that demands attention while entrancing the listener in gritty sound. ... Click to View


In Love With (Ceccaldi / Ceccaldi / Darrifourcq): Axel Erotic (BeCoq)

The French experimental jazz trio of Theo Ceccaldi (violin), Valentin Ceccaldi (cello) and Sylvain Darrifourcq (drums, percussuions, zither) in a playful release of quick paced, creative improvisations in an album of exciting and somewhat off-kilter music; superbe! ... Click to View


Louis Minus XVI : Kindergarten (BeCoq)

Joining noise rock and free jazz, the Louis Minus XVI quartet is fronted by two saxophonists--Adrien Douliez on alto and Jean Baptiste Rubin on tenor--with Maxime Petit on bass and Frederic L'homme on drums, in a balanced album of powerful and introspective compositions. ... Click to View


Bi-Ki?: Quelque Chose Au Milieu (BeCoq)

The alto sax duet of Jean-Baptiste Rubin and Sakina Abdou sculpt sound material that draws on the acoustic resources of the space within which they play, captured here in various locations in Northern France by the keen ear of saxophonist/conceptualist Jean-Luc Guionnet. ... Click to View


Michael Moser: Antiphon Stein [2 Vinyl LPs] (Edition Rz)

A site-specific sound installation in the nave and choir of Minoritenkirche in Krems/Stein that engages with the architecture and sound of this church space from composer Michael Moser working with Berndt Thurner, Klaus Lang, Hannah Schwegler and Nik Hummer. ... Click to View


Ghedalia Tazartes : 5 Rimbaud 1 Verlaine [VINYL 10-inch] (Holidays Records)

A 10" vinyl reissue of outside artist Ghedalia Tazartes' tribute to the poetry of Rimbaud and Verlaine, reinterpreting six small poems through a variety of genres that are playful and profound, previously available only in a small mini CD edition on the Jardin au Fou label. ... Click to View


Peter Brotzmann / William Parker / Hamid Drake: Song Sentimentale (Otoroku)

One of a dual CD/LP release documenting three nights at London's Cafe Oto by the trio of Peter Brotzmann on reeds, William Parker on double bass, guembri, shakuhachi, and shenai, and Hamid Drake on drums, an incredible display of improvised music from three masters of the form. ... Click to View


Peter Brotzmann / William Parker / Hamid Drake: Song Sentimentale [VINYL] (Otoroku)

One of a dual CD/LP release documenting three nights at London's Cafe Oto by the trio of Peter Brotzmann on reeds, William Parker on double bass, guembri, shakuhachi, and shenai, and Hamid Drake on drums, an incredible display of improvised music from three masters of the form. ... Click to View


Paul Dunmall / Philip Gibbs / Ashley John Young: Now Has No Dimension (FMR)

Live recordings from the trio of Paul Dunmall on soprano and tenor sax, Philip Gibbs on guitar, and Ashley John Young on double bass, performing at Cardiff University School of Music Concert Hall in 2016, a great example of concentrative, complex and lively interplay. ... Click to View


Frode Gjerstad / Ramiro Molina: Unseen Seas (FMR)

Frode Gjerstad returned to Chile after his 2013 Trio tour to meet with guitarist Ramiro Molina, both to sample the amazing fish recipes Molina introduced him to, but more importantly, to perform live and to record these delicate and sophisticated improvisations. ... Click to View


Luis Conde / Fabiana Galante / Frode Gjerstad: Give And Take (FMR)

During multi-reedist Frode Gjerstad's tour of South America in 2015 he met with pianist Fabiana Galante and fellow reedist Luis Conde to record these excellent improvisations, all three using unusual and extended techniques to create these 8 captivating dialogs. ... Click to View


Stefan Keune / Lovens, Paul: Live 2013 (FMR)

Working together in various ensembles since the early 90s, Stefan Keune on sopranino, alto and baritone saxophone and Paul Lovens on drums and cymbals captured these three extraordinary improvisation in the studio in Brussels, Belgium and live Munich Underground in Germany. ... Click to View


Trevor Watts / Stephen Grew: Con Fluent (FMR)

Saxophonist Trevor Watts and pianist Stephen Grew improvised these pieces at a distance, Grew sending recordings of two separate solo concerts from Newcastle, which Watts improvised over resulting in these intricate and exuberant "Improvised Compositions". ... Click to View


Rob Hall / Chick Lyall: Myth (FMR)

A lyrical and sincere dialog from the Scottish duo of Rob Hall on clarinets and Chick Lyall on piano, recoreded at the chapel in St Mary's Music School in Edinburgh, blending improvisation with chamber music, free jazz, contemporary classical and folk idioms. ... Click to View


Email:



The Squid's Ear
Squidco Sales

Heard In

Reviews of artist releases:
cd's, books, magazines, &c.


  John Zorn 
  The Big Gundown: John Zorn Plays the Music of Ennio Morricone  
  (Nonesuch/Icon (1986)) 

   review by Matt Rand
  2003-08-20
John Zorn: The Big Gundown: John Zorn Plays the Music of Ennio Morricone (Nonesuch/Icon (1986))

The sun was coming up, so it was time to ride. I knew we were in store for another hot day, hot dry wind combing across the prairie. My canteen was empty and my trusty horse, Guy Klucevsek, was in no mood for another day on the trail. But find Zorn I would. I'd promised Sheriff Arto Lindsay.

Lindsay was a stocky man with a thick neck. He had perfect eyesight and big, meaty hands. But he wasn't chasing Zorn himself, because Lindsay had a family, and the town of Knitting Factory to look after. Zorn had robbed the town's only bank and escaped: I was going to find him and bring him to justice.

I'd heard rumors that he'd be headed over to the Tonic homestead next, and I'd been going in that direction in case they were true. A coyote howled, and then suddenly, there they were: the hoof prints. Just one horse. Zorn was alone, and I was going to find him. Guy Klucevsek neighed a bit and complained, but my spurs got him back on task. He and I pushed forward, even without water. I wouldn't need water to gun down Zorn.

I followed the hoof prints up a nearby hill. Guy Klucevsek handled the rocky soil expertly. (Must give him a carrot later, I reminded myself.) As we climbed, I could hear something on the other side, whistling it sounded like. It couldn't be! People said that Zorn's horse, Toots Thielemans could whistle, but I never believed it. But here was this eerie melody wafting over the hill. I pulled on Guy Klucevsek's reins.

After tying Guy Klucevsek to a cactus, I reached for my Colt 45 to make sure it was loaded. Yup.

"Zorn, I know you're there," I called over the hill.

The whistling ceased and there was silence. What was his next move?

"Bill Frisell, is that you?"

"No."

"Marc Ribot?"

"No."

"Michihiro Sato?"

"No, Zorn. I'm the law. I've come for you."

"Why?" He sounded surprised.

"Isn't it a little late for 'why'?" I asked.

"No."

"Well, I think you know why."

"I don't."

"Yes, you do."

"Nope."

"Oh, come on," I said, growing impatient. "It's obvious." Needless to say, he was frustrating me.

"Look," he said. His voice was coming from closer than it'd been. "Did you listen to my album, The Big Gundown?"

"Yeah." I knew the album. He'd gotten some groups together to record new versions of Ennio Morricone's soundtrack to some old spaghetti westerns.

"What did you think?"

"It was pretty good, but I didn't know any of the music before I heard your version of it. Seems that'd be pretty relevant, don't you think?"

He walked calmly over the hill. I could see him clearly, his bandana outlined by the bright, clear sky behind him.

"You don't think it stands on its own?" He wiped his forehead.

"I'm not saying that. It's not a matter of standing on its own or not," I said. "The music already existed before you made the album. You were interpreting someone else's work. Isn't the original work, then, an integral part of the experience of listening to your version of it?"

"That's beside the point."

"Well, then fine."

"Fine."

"Fine."

"Fine."

Zorn shrugged his shoulders. "Look, I've got to get going." He pointed back over the hill.

"Wait, no!" I yelled, reaching for my gun. "Not until you're dead."

"But why?"

"It doesn't matter why," I said. I was beginning to think maybe he hadn't pulled off the bank heist at all.

Our debate continued for several hours, with me still not shooting him. I admitted that I liked his Big Gundown album, even though it wasn't his own original compositions. Though I did tell him I could never listento it all at once. It was just too much for one sitting. He mentioned that maybe that was because I was listening to the reissue, with six added bonus tracks. No, that's not it. It's actually because the music is so twangy and dry. Dry. Thirst. We bargained for a while, and eventually settled on him giving me a drink of water in return for his life. I may have missed out on Arto Lindsay's bounty, but I was getting really thirsty. Guy Klucevsek stomped his hoof when he saw me drinking the water. He was pretty thirsty, too.





Comments and Feedback:



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

Squidco



The Squid's Ear is the companion magazine to the online music shop Squidco !


  Copyright © 2014 Squidco. All rights reserved. Trademarks. (18029)