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Mostly Other People Do the Killing: Paint (Hot Cup)

The first release by the piano trio configuration of Mostly Other People Do the Killing and features bassist/composer Moppa Elliott, pianist Ron Stabinsky, and drummer Kevin Shea, with each composition named after a small town in Pennsylvania that contains a color, and the town of "Paint, PA" lent its name to the title, with one apt Duke Ellington cover. ... Click to View


Moppa Elliott : Still, Up In The Air (Hot Cup)

Solo double-bass improvisations from Mostly Other People Do the Killing bassist and leader Moppa Elliot, consisting of sequences of contrasting themes, or musical cubism in the spirit of Picasso and Braque, presenting 7 of 14 sequences where the improvisation is a series of disparate musical ideas that transition rapidly in an attempt to disrupt the linear progression of thematic development. ... Click to View


Leandre / Minton: Leandre / Minton (Fou Records)

Phil Minton started as a trumpeter and became one of free improv's most outside vocalists; Joelle Leandre is a double bassist who also performs free vocal improv; this is their first recorded collaboration, and it's an unusual and wonderful album of heavy tone improvisation, plucked and bowed, and a masterfully odd free association of vocalisation. ... Click to View


Talibam! : Endgame Of The Anthropocene [VINYL] (ESP)

Talibam!'s 1st cinematic album of through-composed ecogothic geosonics, the "soundtrack to 2048's despotic nationalism and crumbling international infrastructure, underscoring an eco-mercantilistic tragedy and the desperate plundering of the last pristine landscape on Earth" from NY's duo of Matt Mottel on mini moog and synths, and Kevin Shea on drums, and midi mallet percussion. ... Click to View


Talibam! / Matt Nelson / Ron Stabinsky: Hard Vibe [VINYL] (ESP)

Talibam! with Matt Mottel on sax, Kevin Shea on drums, Matt Mottel on Fender Rhodes and synth and Ron Stabinsky on organ take inspiration from Herbie Hancock's 70's electronics, Miles Davis' "On the Corner" and Albert Ayler's New grass in compositions that transforms aspects of rhythm changes into a disciplined sequence, a new take on psychedelic jazz. ... Click to View


Crys Cole / Oren Ambarchi: Hotel Record [VINYL 2 LPs] (Black Truffle)

A double LP and the second release from the duo of Crys Cole and Oren Ambarchi, also romantic partners, as they explore their relationship through sound and voice, each side presenting a unique approach to their collaboration while maintaining a certain somnambulist feeling over rich guitar and organ work, and other unfathomable sound. ... Click to View


Boneshaker (Mars Williams / Paal Nilssen-Love / Kent Kessler): Thinking Out Loud (Trost Records)

The third album from this international trio of powerful improvisers--Norwegian drummer/percussionist Paal Nilssen-Love, Chicago bassist Kent Kessler, and Chicago/NY saxophonist Mars William-- in four odysseys that take the listener from introspective playing to out and out blowing, using technique to serve their incredible dialog. ... Click to View


Sven-Ake Johansson / Alexander Von Schlippenbach : Schraubenlieder [VINYL] (Trost Records)

Drummer Sven-Ake Johansson is also a poet, writer and visual artist; here he joined forced with Alexander von Schlippenbach in 1988 to record these songs, never previously released, sung in German and English, for a set of 9 fascinating narrations that engage the listener independent of language, as von Schlippenbach improvises with prodigious technique. ... Click to View


Annette Peacock & Paul Bley: Dual Unity (Bamboo)

Reissuing the debut album by vocalist Annette Peacock and pianist Paul Bley recorded during their first European tour in 1970, in a quartet with compatriots Mario Pavone on bass and Laurence Cook on drums, Bley using an early Moog synthesizer; unique and original avant jazz. ... Click to View


Paul Bley Trio: Closer [VINYL] (ESP)

A vinyl reissue of Paul Bley's 2nd ESP album from 1966, a lyrical and lush trio setting with material mostly from Carla Bley, one Ornette Coleman number, and one from Annette Peacock, with Steve Swallow on bass and Barry Altschul on percussion, exploratory free jazz that uses melodic intention in assertive but not aggressive aways; a classic. ... Click to View


Pharoah Sanders : Quintet [VINYL] (ESP)

A vinyl reissue of Pharoah Sanders' 1965 debut release on ESP, in a quinet with Jane Getz on piano, William Bennett on bass, Stan Foster on trumpet and Mavin Pattillo on percussion, decidedly a jazz album from this outside player known for his association with John Coltrane in his freeist moments, here bridging lyrical and avant worlds with powerful playing. ... Click to View


Wadada Smith Leo: Najwa (Tum)

Paying tribute to musicians whose vision paved the way for modern creative players to use new approaches, language and philosophy in improvisation, trumpeter Wadada Leo Smith's band with four guitarists, electric bass, drums and percussion dedicates five incredible compositions to Ornette Coleman, John Coltrane, Ronald Shannon Jackson, and Billie Holiday. ... Click to View


Wadada Smith Leo: Solo - Reflections And Meditations On Monk (Tum)

An intimate album of solo trumpet from Wadada Leo Smith, performing compositions by Thelonious Monk, Smith professing in an essay in the accompanying booklet that he was motivated to become a composer by Monk above other contemporaries for his ideas of composition and bands; his admiration and love of Monk's work is clear in this beautifully lyrical album. ... Click to View


Aki Takase / Alexander von Schlippenbach: So Long, Eric! Homage to Eric Dolphy (Intakt)

Alexander von Schlippenbach and Aki Takase assembled an ensemble of Dolphy interpreters that includes bass clarinetist Rudi Mahall, saxophonist Tobias Delius, vibraphonist Karl Berger, trumpeter Axel Dorner, trombonist Nils Wogram, &c, for a fresh take on compositions from one of free jazz's most iconic composers, Eric Dolphy, captured live in Berlin, 2014. ... Click to View


Steve Noble / Yoni Silver: Home (Aural Terrains)

The two-headed snake on the cover of this album aptly describes the sublimely sinuous and dark interplay between London free jazz drummer Steve Noble and bass clarinetist Yoni Silver, their 4-part improvisation taking on sinister elements of exceptional cymbal techniques, unusual drum tones, and extended lower register tones and high harmonics; excellent. ... Click to View


Various Artists: Asian Meeting Recordings #1 (Doubtmusic)

Otomo Yoshihide started The Asian Meeting Festival in 2005 to foster creative interaction between Japanese and other Asian musicians, since 2014 curated by DJ Sniff, and here in the 2017 edition at GOK Sound, in Tokyo, Japan with a who's-who of players including Yoshihide, Ryoko Ono, Ko Ishikawa, Son X, KEITO, Yuji Ishihara, Yuen Chee Wai, &c. &c. ... Click to View


Jim Black Trio: The Constant (Intakt)

A beautiful example of the modern piano trio, led by in-demand drummer, Jim Black, with Elias Stemeseder the pianist and Thomas Morgan on bass, in a lyrical album that uses Black's compelling and elusive drumming on 9 original Black compositions and one unexpected standard, as all three deliver complex playing that sounds accessible and engaging, a true achievement. ... Click to View


Fred Frith / Barry Guy: Backscatter Bright Blue (Intakt)

Both bassist Barry Guy and guitarist Fred Frith are key artists of Switzerland's Intakt label catalog, but surprisingly the two have never shared a stage together; Intakt had a feeling about their pairing and brought them into the studio, this superb duo album being the result in 10 brilliant tracks intertwining acoustic double bass and electric guitar. ... Click to View


Fred Frith Trio: Another Day in Fucking Paradise (Intakt)

Proclaiming that he nothing more in mind then getting together with a couple of formidable musicians, guitarist Fred Frith and Mills College alumni Jordan Glenn on drums and Jason Hoopes on electric and double bass take their listeners through 13 connected pieces that reference rock, jazz and ea-soundscape in an impressive album from a remarkable new group. ... Click to View


Lotte Anker / Fred Frith: Edge Of The Light (Intakt)

An intimate dialog between frequent collaborators, UK guitarist Fred Frith and Copenhagen saxophonist Lotte Anker, both players listening carefully as they interact in a fragile dialog of profound technique and inventive approach, using texture and nuance to create unusual and captivating interchanges that demonstrate how compatible these two very different instruments can be. ... Click to View


Schlippenbach Trio (Schlippenbach / Evan Parker / Lovens): Features (Intakt)

The long-standing Schlippenbach Trio with Evan Parker on saxophone and Paul Lovens on drums presents 15 concise "Features", improvisations of great depth and diversity, from the beautifully stark solo piano that opens the album to intense collective interactions, avoiding excess in deference to the profound expression of an inspiring group chemistry. ... Click to View


Mark Dresser : Modicana [VINYL] (NoBusiness)

Double Bassist Mark Dresser, a mainstay of the Downtown NY scene as an improviser and composer, and also prominent on the US West Coast and as an international touring artist, releases a powerful album of distinctive solo playing, both technically and melodically, with 2 tracks caught live at the Umea Jazz Festival and others recorded at the University of California, San Diego. ... Click to View


Bobby Bradford / Hafez Modirzadeh / Ken Filiano / Royal Hartigan: Live at the Magic Triangle [VINYL] (NoBusiness)

A live concert at Amherst, Massachusetts in 2016 as part of the Magical Triangle Jazz Series from the quartet of legendary cornetist Bobby Bradford, Turkish saxophonist Hafez Modirzadeh on tenor, in-demand New York bassist Ken Filiano, and percussionist/drummer Royal Hartigan, the band performing two Bradford compositions, with one each from Filiano, Modirzadeh and Hartigan. ... Click to View


Andrew Lamb / Warren Smith / Arkadijus Gotesmanas: The Sea of Modicum [VINYL] (NoBusiness)

Captured live at the 2016 Vilnius Jazz Festival, the free jazz trio of saxophonist Andrew Lamb and percussionists Warren Smith and Arkadijus Gotesmanas provide a unique orchestration, with the percussionists building rhythmic structures over which AACM alumni Lamb's powerful saxophone work emerges; a great album of solid exploratory free jazz. ... Click to View


Yedo Gibson / Hernani Faustino / Vasco Trilla: CHAIN (NoBusiness)

A fiery and energetic album of masterful free jazz from Brazilian saxophonist Yedo Gibson, Portuguese-Brazilian drummer and percussionist Vasco Trilla, and Portuguese bass player Hernani Faustino (Red Trio, K4 Quadrado Azul), recording in the studio for 6 dynamic dialogs that uses a variety of approaches and references to free jazz and creative improv. ... Click to View


TON-KLAMI (Midori Takada / Kang Tae Hwan / Masahiko Satoh): Prophesy of Nue (NoBusiness)

Ton-Klami was an influential Japanese free improvising band active in the 90s, and leading to the solo careers of percussionist Midori Takada, pianist Masahiko Satoh, and saxophonist Kang Tae Hwan; here the band is heard in a 1995 live concert recorded at Design Plaza Hofu in Yamaguchi, Japan, recorded by Chap-Chap Records but never released. ... Click to View


Liudas Mockunas : Hydro [VINYL] (NoBusiness)

Lithuanian reedist Liudas Mockunas in an unusual record of clarinet and saxophone improvisations, from solo work of powerful technique to pieces using water prepared instruments to create a wealth of bubbling and aberrant sound on the instrument, side A presenting the 7 part "Hydration Suite", Side B the 3 part "Rehydration", and "Dehydration". ... Click to View


James Ulmer Blood W/ The Thing: Baby Talk (The Thing Records)

The Thing with Mats Gustafsson on tenor and baritone sax, Ingebrigt Haker-Flaten on electric and double bass, and Paal Nilssen-Love on drums and percussion, are joined by Downtown NY legend, guitarist James Blood Ulmer, for a live set at the Moldel International Jazz Festival in 2015 performing an exuberant and all-out impressive set of Ulmer composions. ... Click to View


James Ulmer Blood W/ The Thing: Baby Talk [VINYL] (The Thing Records)

The Thing with Mats Gustafsson on tenor and baritone sax, Ingebrigt Haker-Flaten on electric and double bass, and Paal Nilssen-Love on drums and percussion, are joined by Downtown NY legend, guitarist James Blood Ulmer, for a live set at the Moldel International Jazz Festival in 2015 performing an exuberant and all-out impressive set of Ulmer composions. ... Click to View


Sun Ra & His Myth Science Solar Arkestra: The Lost Arkestra Series Vol 1 & 2 [2 10-INCH VINYL RECORDS] (Art Yard)

A double 10" featuring unreleased and rare Sun Ra recordings, including a live track from Paris in 1983, two unreleased cuts from the "Disco 3000" concert tapes, a quartet session with Sun Ra on the Crumar Mainman synth, and three selections from the Sub-Underground series of Saturn LPs, including a ballad and new material from "Live at Temple" and "What's New". ... Click to View


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  Peter Kowald and the New York Unity Village  


By Mike Heffley
Photo by Enid Farber 2002-12-20

In the months before Peter Kowald's death on September 21, 2002, at 58, the master bassist and dedicated organizer was in the process of relocating to New York City. He had taken an apartment in Harlem and was heavily involved in that year's Vision Festival, even working the concession stand any time he wasn't playing, methodically cutting bread and cheese and selling sandwiches.

Kowald was no stranger to New York, of course. He had helped to organize the Sound Unity Festival, the precursor to the Vision Festival, in 1984, and had a long-standing relationship with fellow bassist William Parker and his wife, dancer Patricia Nicholson, the driving force behind the Vision festival.

Just as he organized musical groups and festivals, Kowald was a builder of communities. And while no one can say what a life cut short might otherwise have brought, one thing seems certain: had he lived just five more years, the free music scene in New York would have been dramatically different.

The following selections show Kowald's interest in New York and in American jazz. They are excerpted from a remarkable 1,200 page manuscript on the history of FMP records and German jazz by Mike Heffley an English Professor at Rutgers University and author of The Music of Anthony Braxton and the forthcoming Northern Sun, Southern Moon: Europe's Reinvention of Jazz, due out in the Spring and based on his dissertation.

Thanks to Mike Heffley for allowing us to reprint sections of his work, and to Harold Meiselman for pointing us to this important document.

"I first met Peter Kowald in New York, when he performed at the Vision Festival in 1996. He was totally receptive to my desire to write a book about European improvisers centralizing him and his FMP colleagues. He invited me into his home in Wuppertal for several days while I interviewed him and his neighbor Peter Brtzmann. His opennessa nd generosity of intellect and soul opened the doors to other musicians in his circles from around the world, both for me and my project and for the music itself. More than anyone, it was he who put a face to what Western music might look like as just one flower, well placed, in the bouquet of the world's musics. I am grateful to have known him..." ?Mike Heffley, November, 2002

Kowald's impromptu summary of his history with groups paints him as the perfect personality type for the oft-noted European organizational preference for collective bands, in contrast to the individualistic leader-sideman constructs more typical of American groups (to say nothing of the fit such a personality is with the traditionally supportive role of the bassist in jazz).

Peter Kowald

"The trio with Pierre"?Favre?"and Irne"?Schweizer, from 1968-69?"was more of a collective group," he says, "but I have to say that again I was the youngest in that group. Then I started playing with [Alexander] von Schlippenbach in both Globe Unity projects and in the quartet"?1973-78?"but still I felt more or less like a sideman. The quintet I led"?1970-72?"was an exception to the norm, and I gave it up largely because it was too early to do my own projects; they still lacked conviction.

"The first of my own projects was the trio with Leo Smith and Baby Sommer in '79. It was my choice of people; it was still basically a collective group, and we gave it a collective name. So I guess I'm not so much of a bandleader type anyway, to this day, even though I've had my own groups for a long time."

A glance at Kowald's resum nonetheless reveals the strength and maturity that can issue from such a personality: collaborations with a vast network of well-known players, poets, painters a n d dancers from America, Asia, Indonesia, New Zealand and Australia, Russia, and Europe; recording projects such as Duos (1992 FMP, a 3-LP/1-CDset of short impromptu duets with thirty different instrumentalists/vocalists from Europe, Japan, and the U.S.); ongoing collaborations with a few of these combinations, including the Siberian singer Sainkho Namtchylak, the Global Village group of improvisers from Asia, America, and Europe; and a pattern of art activism that results in interdisciplinary and cross-cultural formations and organizations devoted to presenting and promoting their products, such as the Sound Unity Festival and Musicians Coop he set up in New York with fellow bassist (often Cecil Taylor's) and friend, William Parker. By comparison, the approach of a strong leader always forming groups and statements around his own personality and concept would conceivably miss a lot of ground Kowald has covered, even broken, for the music.

I ask him about a trip to Africa he had mentioned. It was an exchange of mostly visual artists organized by an African painter who had come to Wuppertal to study with German painter Joseph Beuys. Kowald was the only musician, with four German artists, who lived in a West African village for two-and-a-half months in 1992 to work with five artists there; the following year, the five came to Wuppertal.

"I draw a little bit, so I did some drawings there too, but I played with different people, a kora player and two drummers, and a singer regularly. They tried to teach me all these rhythms, and I couldn't learn them," he laughs, "but I didn't say no. It took awhile for us to get to a point of trust, after which we arrived where I wanted to arrive, which was for me to be able to do my thing and let them do theirs, and organize it only in terms of when to start and stop and roughly what to do-and it worked, in the end; we did a concert or two, and it worked out. I didn't have to leave my material and they di d n' t have to leave theirs...

"I have a group called the Global Village, after the Marshall MacLuhan term. Sainkho is one of the best examples from that group of this co-creative concept. There are different people from Japan too, and from Greece, and from anywhere, in the theory that people grow up in their tradition-but Sainkho is an interesting example because you can see it so obviously in her life. Her grandparents were still nomads. Both of her parents were already teachers, so she grew up with the music there in Mongolia, then she studied and learned some other things?but her early life, in her twenties, she was singing Tuvan folk songs, going on tour with four other women. Then at a point she went to Moscow and met other people and left the folk song. But now when she improvises with us?she's now part of the family, okay? She left the folk song, but she brought all the stuff she learned in it, except for that local form, to our improvised music.

"It's the same with the Japanese shakuhachi player who starts to improvise: he leaves the local folk song but brings the techniques and vocabulary. Or an African drummer, or a bandoneon player from Argentina?they all leave the traditional local forms behind and come into the open situation of free improvisation, basically, and then they make the step into modernity?die Moderne, we say?they make the step into the twentieth century, somehow.

"I mean, I don't mind folk songs, they're fine; let's just say that if you leave the folk song?what Sainkho brought, all the throat singing, the shamanistic breathing, all that is still there, but not in its original context. She plays with Butch Morris on this record we did [When the Sun is Out you Don't See the Stars, FMP 1990]; the first night they played together she did her stuff and Butch did his, and it works. This is wonderful to me, this is really wonderful. That's how I believe it works. It's a method that could be so m et hin g of a model, of how people can come from different cultures, different areas, with different characters, with all of that, and they bring what they bring,and it's okay?just throw it together with the other stuff, and it works. After just a little bit of figuring out how it works together, then it does."



But if New York was to be Kowald's next village, it was a very different one than his Wuppertal home And Kowald had a very different relationship with what might be called American folk music than he did with European and Asian traditional musics.

The relationship with American jazz has been as problematic in its own way as that with Western civilization as a whole, in terms of achieving healthy individuation. Kowald is a good source for this phase from FMP's first hour Emanzipation, because he is the one who articulated it with phrases such as Kaputtspielphase and "father-killing." The "fathers" in America's case included both European- and African-American aspects of the music and culture: the white side was the same Western diatonic tradition the FMP players were leaving behind in their own European culture, plus whatever particular musicians had been emulated for their mastery of that tradition in jazz terms; and the black side was whatever was peculiarly African in the American mix, an identity that could only be learned from, not drawn directly out of German musical/cultural soil.

"I remember in the studio we did a lot of things we'd never done, like playing with knives on the table, tapping," Kowald says. "So in this way I thought we did something of our own; but at the same time I remember thinking myself?I don't know if everyone else thought this?that I wondered if it would fulfill American standards... I think many of us wouldn't say that out loud; there was a point when we said we didn't want to be beholden to America?'father-killing,' as they say in psychology?so at that time it was sti ll no t cl ear....I remember when we played in Donaueschinger in '66 or '67 with Globe Unity: [Archie] Shepp was there, with Beaver Harris, a very good band, two trombones, Roswell Rudd and Grachan Monchur, Jimmy Garrison; they played after us. I think everybody admired Shepp in a way we wouldn't do now. I mean, we were still the young Europeans looking up to them, even if we didn't admit it, we did... I guess it's really normalized now. But those were phases of emancipation; you have to kill your father for awhile, or tell him to leave you alone. In the late '60s, early '70s, step by step we did that."

Of course, that is the same thing black Americans did with white musical culture to come up with jazz itself, and with advances in it all along the way.

"Let me go back for a minute to Machine Gun and that period," I say. "You gave me a good explanation of the GUO experience. For the smaller groups, and the records that came from them that have become classics, was there a feeling in you at the time of the kill-the-American-father thing, of leaving America aside for something better?"

"I remember when we played with Machine Gun, that band played live first," he says. "So we played in Frankfurt in the festival. And I think Jeanne Lee played with Gunter there, and she liked us, I remember that; and Lee Konitz was sitting in the audience, and he came up after the concert, and he liked it. So I wouldn't say we... it was more the feeling that we got respect from established Americans somehow, like Lee Konitz was. We didn't expect him to like Machine Gun, but he did. Maybe he was just being nice, but I think he was really interested in the movement of the late '60s and stuff, so he was open."

"So maybe you had a connection. Once you stepped out on a limb and killed the father, if the father says, yeah, it's okay, then maybe it's..."

"Well, it was two things at once. You still admired the American musici an s, b ut yo u also were saying you didn't need them. Very normal father relationship."



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