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Albert Ayler Quintet:
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Ziv Taubenfeld's Full Sun:
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Daniel Carter / Jim Clouse:
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Michael Pisaro-Liu :
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Jessica Ackerley / Patrick Shiroishi / Chris Williams / Luke Stewart / Jason Nazary:
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Kelley Hurt / Chad Fowler / Christopher Parker / Bernard Santacruz / Anders Griffen:
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Christopher Parker / Kelley Hurt:
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Celebrating the temerity and successes of the students known as the Arkansas "Little Rock Nine", who in 1957 set a precedent as they fought to enter a segregated high school, in six pieces written by pianist Christopher Parker and vocalist Kelley Hurt, who narrates the student's successes over the powerfully uplifting and reflective music of a six piece jazz band. ... Click to View


Eva-Maria Houben :
4 For Four (Edition Wandelweiser Records)

A work for percussion in thirty-four succinct movements from German composer Eva-Maria Houben and performed by the Frantic Percussion Ensemble of Markus Behn, David Gutfleisch, Simon Gutfleisch, Gunnar Kötke and Jonathan Szegedi, each section using broad and patient spacing to highlight a fascinating mix of traditional and unusual percussive devices. ... Click to View


Charmaine Lee / Fred Lonberg-Holm / Gabby Fluke-Mogul / Joanna Mattrey / Weston Olencki:
Live in Accord [CASSETTE w/ DOWNLOAD] (Notice Recordings)

Four configurations of far-reaching free improv at Notice Recordings's 2021 event in Accord, NY: a solo performance by Charmain Lee on voice & electronics; a duo between Lee and Weston Olnecki on synths & trombone; a trio from Gabby Fluke-Mogul on violin, Fred Lonberg-Holm on cello and Joanna Mattrey on viola; a duo between Lonberg-Holm and Olencki. ... Click to View


Adrianne Munden-Dixon / Leo Chang:
Some Time [CASSETTE w/ DOWNLOAD] (Notice Recordings)

Unusual interactions between electronically manipulated violin and an AMPIRI--an electronically enhanced Korean double reed instrument--from the Brooklyn duo of Leo Chang and Adrianne Munden Dixon, seven improvisations numbered "Sixteen" to "Twenty-Two", each a uniquely idiosyncratic exchange from quick slippery dialog to raspy dissonance of unexpected directions. ... Click to View



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  The Selva + Machinefabriek 
  Barbatrama  
  (Shhpuma) 


  
   review by Nick Ostrum
  2021-07-27
The Selva + Machinefabriek: Barbatrama (Shhpuma)

The Selva is Ricardo Jacinto on cello, Goncalo Almeida on double bass, and Nuno Morao on drums. Machinefabriek is Rutger Zuydervelt on post-production and electronics. Three Creative Sources, Clean Feed, and Shhpuma veterans teamed up with the one-man sonic-sorcerer Zuydervelt. The resulting release, Barbatrama, is a wild romp through the intersection between contemporary chamber jazz (an augmented string trio), percussion-driven fire-side ritualistic performance, and Machinefabriek's explorations in ambience, beats, and soundsculpting. The intersectional space is vast and deep, and this group fills it well.

The Selva have a long history together, and this shows as they wend their way through new music structures (complete with jumpy dynamic changes and some free jazz pulses), ceremonial repetition, Krautrock-layered accumulations, and achingly plaintive string passages. These elements are essential to tracks such as Babarmatra and Mabartrama, where Jacinto and Almeida create moods that blur the concert hall-countryside divide as Morao lends his deliberate, understated polyrhythms and pre-industrial-heartbeat, stomp-around-the-hearth percussive rites. (All song titles are anagrams of the album title.) The second track, Ramatarba, moreover, is a perfect example of the hypnotic balance that these three musicians strike so expertly and repeatedly. Ramatarba also showcases Zuydervelt's contributions ranging from background hisses and clicks to drum-n-bass thuds to, in one foggy passage much later, a well-placed foghorn. Indeed, Zuydervelt is always there, sometimes out front but mostly charting the cavernous sound environments that engulf that front. Indeed, this album sounds as if it has captured some liminal, forested space of congruence between the ethereal and profane, between the natural and supernatural, and between homo industrialis and an ancestral presence.

Through it all, Zuydervelt plays companion to the Selva, rather than inserts himself as a temporary fourth member. The Selva create their own sonic space and, given the translation of their name is "jungle," one might be tempted to consider Jacinto, Almeida, and Morao the trees, and the discrete units of the larger ecosystem. Zuydervelt, meanwhile, is the wind, rain, sunlight, and fog that weave through it, laying club beats into chamber exchanges, gooey textures and dense decays into the more biting free string explorations, and, in several tracks, a dreary haze to ensconce the Selva's hypnotic atavistic churn. This is a meeting of sounds dense and rustic, ancient (strings and drums) and new (electronics and production). Although much of the music is polished, this convergence lends itself to the feeling of mystery and tension that pervades the album and which the final track, "Bamartaba", emphasizes and, quite convincingly, concludes.



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