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Matthew Shipp : Magnetism(s) (RogueArt)

The creative NY jazz trio led by pianist Matthew Shipp with Rob Brown on alto sax and flute and William Parker on bass re-release and re-master their 1999 Bleu Regards album "Magnetism", a 20-part suite of concise and informed dialogs; and add a live CD of the trio recording three larger "Magnetism" improvisations capture live at the Stone, 2016. ... Click to View


Larry Ochs / Sax and Drumming Core: Wild Red Yellow (RogueArt)

Rova leader Larry Ochs takes his Sax and Drumming Core to the next level with this charged album of mind-bending album of free improvisation with an hallucinatory edge, joined by Libra artists Satoko Fujii on piano & synth and Natsuki Tamura on trumpet, with Scott Amendola on drums, William Winant and Matthias Bossi on a wild set of percussive instruments. ... Click to View


The Seen: Archive: Volumes I - V (2005 - 2009) [5-CD BOX SET] (Confront)

Since 2005 bassist and percussionist Mark Wastell has been organizing concerts of ever-changing groups of improvising musicians under the collective name The Seen, using predominantly improvised material with occasional instructions or themes, here presented in 5 CDs, each a complete concert recorded at venues including Cafe Oto, Red Rose Theatre, &c. ... Click to View


Nicole Mitchell : Mandorla Awakening II: Emerging Worlds (FPE Records)

The second astounding album from Chicago Flutist Nicole Mitchell on the FPE label, continuing her project in the sphere of Sun Ra and Afrofuturists, merging fiction, fantasy and sound in an electro-chamber octet, encompassing contemporary classical, globally oriented fusion, gospel, avant-rock, spoken word, and funk-inspired groove research. ... Click to View


Nicole Mitchell : Mandorla Awakening II: Emerging Worlds [VINYL] (FPE Records)

The second astounding album from Chicago Flutist Nicole Mitchell on the FPE label, continuing her project in the sphere of Sun Ra and Afrofuturists, merging fiction, fantasy and sound in an electro-chamber octet, encompassing contemporary classical, globally oriented fusion, gospel, avant-rock, spoken word, and funk-inspired groove research. ... Click to View


Michael Foster / Ben Bennett: In It [CASSETTE] (Astral Spirits)

The second release for the duo of Ben Bennett on drums, percussions and membranophones, and Michael Foster on tenor, soprano, sopranino saxophones and aerophone, in uniquely voiced improvisations that develop both carefully and, at times, erratically, but always with an ear to interesting dialog that captivates and confuses the listener. ... Click to View


Andrew Smiley : Dispersal [CASSETTE] (Astral Spirits)

An uncommon solo guitar album from Andrew Smiley, a member of Little Women and the Chris Pitsiokos Quartet, creating textures on the guitar by applying unconventional techniques with his pick and fingers instead of using effects or guitar preparations, and accompanying himself on voice in Haino-esque ways, creating an album of sharp contrast and color. ... Click to View


Emmanuelle Waeckerle : Ode (owed) to O [2 CDs] (Edition Wandelweiser Records)

London-based composer Emmanuelle Waeckerle in a project of spoken word, flute and melodica with contributors including Antoine Beuger, using minimal and multiple narrations in texts that blend erotic literature, conceptual writing and verbal scores, presented as 2 Scores for voice(s) and instrument(s) based upon Pauline Reage's "Story of O". ... Click to View


HMS (Joe Houpert / Nathan McLaughlin / Erich Steiger): Tetrad [CASSETTE] (Astral Spirits)

Blurring the lines between experimental music, improv, and composition, the trio of Joe Houpert, Nathan McLaughlin, and Erich Steiger use the studio to rework their improvisations, accenting aspects of the acoustic and electronic elements and morphing them in unexpected ways; "think Henry Flynt meets Cluster meets Revolutionary Ensemble". ... Click to View


W-2 (Sam Weinberg / Chris Welcome): Fanatics [CASSETTE] (Astral Spirits)

The Brooklyn duo of saxophonist Sam Weinberg (Captain Phillips) and synth player Chris Welcome (Chris Pitsiokos, Mike Pride) in an album of abrasive, rhythmically abraded and contorted electro-acoustic improvisation, each player embedding themselves into each other's sound, at time making their instruments indistinguishable from one another. ... Click to View


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)

Four very different previously unissued concert settings featuring trombonist Paul Rutherford: 2 festival solos - one from 1979 with electronics and one from 2004 without; a 1988 duo with Paul Rogers a few months before their ROGUES CD; and a 2007 trio with Veryan Weston and Marcio Mattos, which turned out to be Rutherford's last public appearance. ... Click to View


Barry Guy: Frogs [VINYL 7-inch PICTURE DISC] (Trost Records)

A 7" limited vinyl picture disc made to celebrate legendary European Free Jazz bassist Barry Guy's 70th birthday, with Guy providing "acoustic sounds" along with his collaborating frogs, Wasserfrosch (Rana Esculenta) and Laubfrosch (Hyla Arborea), size A presenting Frogs & Barry Guy, and side 2, Barry Guy & Frogs; quirkly and wonderful free improv. ... Click to View


Christian Wolff : Berlin Exercises [VINYL] (God Records)

A series of shorter works composed by Christian Wolff written to explore the process of practicing and working within specified limits, exercises for both the composer and the performers, recorded live in Berlin in 2000 by an ensemble directed by Peter Ablinger and including Wolff on piano & melodica, Robin Hayward on tuba, Anette Krebs on guitar, &c. ... Click to View


Phill Niblock: Rhymes With Water [VINYL] (God Records)

A beautiful set of minimalist compositional drone from New York composer Phill Niblock, commissioned by the performers Natalia Pschenitschnikowa on bass flute and Erik Drescher on glissando flute, recorded at PIETHOPRAXIS, in Cologne, Germany by Marcus Schmickler, and in Berlin, Germany, by Thomas Ankersmit. ... Click to View


Simon Rummel Ensemble: IM MEER (Umlaut Records)

German composer and improviser Simon Rummel presents the 2nd release from his 11-piece Simon Rummel Ensemble, blending his interest in acoustic phenomena and improvisational harmonics in an extended work that shift from beautiful tonal work to disruptive cacophony and back to melodic music, blending jazz and 20th century approaches; a great achievement. ... Click to View


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

Recorded and presented as part of Pauline Oliveros Foundation's New Vanguard Series in Kingston, NY in 2006, the unusual duo of Joe McPhee on b-flat and e-flat alto clarinets and synthesizer and Bryan Eubanks on open circuit electronics explores unusual dynamics and psychoacoustic intersections of both acoustic and electronic instruments. ... Click to View


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)

A unique take on this large brass instrument from Italian trombonis and Free Flow Festival director Carlo Mascolo, using preparations, focusing on components of the instrument, and using extreme techniques to create a startlingly diverse set of sounds, vocalisations, microtonal output and simply bizarre utterances as Mascolo brings new language to horn. ... Click to View


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

Audio experimenters Alfredo Costa Monteiro and Miguel A. Garcia join forces in an album titled after "Aq'ab'al", the Mayan Astrology Sign about polar opposites-- dawn and dusk, hot and cold, black and white--which represents renewal and change, through a series of opposing audio events, forceful sounds of texture, feedback, and intervention. ... Click to View


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

A studio album between three UK master improvisers -- John Butcher on sax, John Edwards on double bass, and Mark Sanders on drums -- the trio pushing the envelope in technique and dialog in nearly telepathic playing that transports the listener into their environment, as the music builds and releases in effortless ways that are stunning and exulant; highly recommended. ... Click to View


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

Pioneering improvising pianist Fred Van Hove at UK's Cafe OTO for the first time, captured in a duo with UK drummer/percussionist Roger Turner, their first recording together, for a night of exceptional improvised interplay, sophisticated and complex playing that is constantly buoyant and charming, an enthralling conversation between two veteran players. ... Click to View


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

A pairing of two innovative players, Berlin-based pianist Magda Mayas and Australian sound and wind artist Jim Denley, Mayas playing inside and out of the piano and Denley on alto sax and bass flute, both providing field recordings adding unexpected elements in a set of extremely balanced recordings that entrance the listener with unlikely and captivating settings. ... Click to View


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


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  John Zorn 
  Redbird  
  (Tzadik (1995)) 

   review by Brian Olewnick
  2003-08-20
John Zorn: Redbird (Tzadik (1995))

For all his hyperkinetic musical activity over the last few decades, some of Zorn's most beautiful moments have, for me, been those rare examples of stasis, when he reaches a territory and allows himself to observe instead of quickly disrupting it. Granted, those moments are few and far between, but things like the closing minutes of his string quartet Forbidden Fruit, the brief, lonesome surf guitar forays played by Ribot in Bar Khokba or even, in an odd way, the entirety of Leng T'Che with its obsessive exploration of one fearful emotion are among the examples of his music that have had the most staying power for me.

When 'Redbird' appeared, I was immediately heartened by the lovely Agnes Martin painting adorning its front cover. Not only was this a refreshing change from what I found to be the increasingly puerile and shock-for-shock's-sake illustrations more typically found on his releases, but for what it possibly promised regarding the music within. Happily, the artwork and music share a common sensibility.

The first of two pieces, 'Dark River' is a solo performance by Jim Pugliese on bass drum. It has, ostensibly, one zone of reference: the low rumble. But over the course of its nine minutes, Pugliese creates a palpable world wherein one never has any sense of sameness but instead a breathing pocket of reality. No steady rhythms, only mild fluctuations in volume, just a natural, billowing flow of deep, echoing booms achieving an almost wind-like quality at times. I have no idea how much of this is to the credit of Pugliese's own creativity or Zorn's score (I imagine a bit of both) but it's a trivial matter. It's also, presumably intentionally, an intriguing prologue to 'Redbird' proper, a processional of sorts, dark into medium light.

Zorn had cited Morton Feldman as an influence on many prior occasions but I was rarely, if ever, able to hear it in his actual music. That breathing quality, the ultra-slow rhythms as subtly irregular as they were organic, found little expression in the younger composer's work. Redbird is about as close as I've heard him get, and it's a ravishing achievement. I'm reminded very much of Feldman's orchestral work For Samuel Beckett in the sense the listener gets of having stumbled into an ongoing performance, a piece that began well before you hear the first note and continues well after the disc is over. Scored for harp, viola, cello and percussion, it also has an instrumental flavor akin to a number of Feldman's chamber works. Other influences make their presence known to be sure: one hears snatches of George Crumb and you can even pick up some sonorities in the strings that recall Ornette Coleman's 'The Skies of America'. There's also a plaintive, almost romantic aspect to some of the writing, something Feldman might abhor (though he, too, didn't sidestep it completely) but which, in my opinion, is a central part of Zorn's persona. The overall feeling is of being on a gentle seesaw, undulating back and forth, seeing almost the same view reappear time after time but always noticing some new detail, some different tinge. Eventually, it stops rather than ends.

It's been several years now since I've picked up a new Zorn release; although he'd occasionally explore similarly intriguing areas (as in Duras), too much of his recent work had struck me as treading water, and less and less interesting water at that. Although it's perhaps too much to ask of so restless a composer, I still wouldn't mind if, at least once in a while, he picked a plot of land and worked it, then worked it some more, then continued to work it. I'm fairly confident that I'd be pleasantly surprised at what he was able to grow.





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