The Squid's Ear
Recently @ Squidco:

Thumbscrew (Michael Formanek / Tomas Fujiwara / Mary Halvorson): Ours (Cuneiform Records)

The New York free improvising jazz trio Thumbscrew with long-time collaborators guitarist Mary Halvorson, double bassist Michael Formanek and drummer Tomas Fujiwara in the 1st of 2 albums on the reborn Cuneiform label, here presenting creative original compositions from each of the three musicians in 9 virtuosic, sometimes quirky, and always warmly adventurous tunes. ... Click to View


Thumbscrew (Michael Formanek / Tomas Fujiwara / Mary Halvorson): Theirs (Cuneiform Records)

The second of two albums from the reborn Cuneiform label by New York free improvising jazz trio Thumbscrew with long-time collaborators guitarist Mary Halvorson, double bassist Michael Formanek and drummer Tomas Fujiwara, here presenting compositions from jazz greats Benny Golson, Wayne Shorter, Herbie Nichols, Stanley Cowell, Misha Mengelberg, &c. ... Click to View


Paul Dunmall / Philip Gibbs / Neil Metcalfe / Ashley John Long : Seascapes (FMR)

Long-time collaborators, saxophonist Paul Dunmall and guitar Philip Gibbs are joined by Neil Metcalfe on flute and Ashley-John Long on bass for a concert at the Victoria Rooms, in Bristol, England in 2017, six collective improvisation of spectacular technique and inventive playing, often at very fast tempos, but always resolving to an inner calm and beauty. ... Click to View


Frode Gjerstad / John Stevens / Johnny Mbizio Dyani: Detail 83 (FMR)

A significant release from the history of the Detail trio of Frode Gjerstad on reeds, John Stevens on drums, and Johnny Dyani on bass, recorded at the Red Seahouses in Norway in 1938 during Detail's first trio tour, a smoking set of free jazz showing the power of these innovative players around the time of their first album, "Backwards and Forwards". ... Click to View


Fake Humans (Fisher / Didur): Exegesis [ VINYL] (Shhpuma)

The Toronto-based duo of Colin Fisher on woodwinds and percussion and Carl Didur on keyboards and bass bridge acoustic and electronic improv with science fiction sensibilities in their four part "Exegesis", a critical exposition of un-genred music that borrows from global sources in service to their unusual and exotic tale; a wonderfully perplexing album. ... Click to View


Jaap Blonk : Irrelevant Comments (Kontrans)

As he delves further into electronics, Netherlands vocal improviser and experimental artists Jaap Blonk finds an ever-increasing array of approaches to modify his voice and set it into alien and astounding environments, here in 16 tracks of musique concrete, sound poetry, pulse based electronics, soundscapes, and inexplicable hybrids of the same. ... Click to View


Tomomi Adachi / Jaap Blonk: Asemic Dialogues (Kontrans)

Performing together since 2004 between Tokyo and Amsterdam, Dutch vocal improviser, innovator and electronicist Jaap Blonk meets Japanese vocal improviser and fellow electronics artists Tomomi Adachi at Lettretage in Berlin in 2017, recording this, the 5th in Kontrans Electronic Improvisation, for two extended and energetic dialogs of unique creative interplay. ... Click to View


Jason Kahn : Voice and Sky [BOOK + CD] (Editions)

Sound experimenter and electroacoustic organizer Jason Kahn revisits previous works and expands on them with the book and CD release, with an essay on his approach towards public space interventions and text / sound installations, a track listing, photographs from the locations of his field recordings, and texts and prose poems to accompany the listener. ... Click to View


Jason Kahn : Space Text Sound [BOOK] (Editions)

A 244 page book documenting text material used in three of sound experimenter Jason Kahn's recent installations: "An Attempt at Exhausting a Place in Hong Kong (After Perec)" (2016), "Drifting" (2016) and "Other Ghosts" (2015), emphasizing how words can convey the sense of place sounds can and how these words impart a feeling for inner spaces. ... Click to View


Sean Conly : Hard Knocks (Clean Feed)

The history of bassist Sean Conly's collaborations and releases shows a strong love of the jazz tradition and a perceptive writing style that references that tradition, heard here in free and lyrical original Conly compositions performed in the studio in a trio setting with fellow New York musicians Satoshi Takeishi on drums and Michael Attias on alto saxophone. ... Click to View


Caterina Palazzi Sudoku Killer: Asperger (Clean Feed)

A wicked hybrid of jazz, avant rock and cinematic elements, bassist Caterina Palazzi's quintet Sudoku Killer takes on the music of Disney in a suite where each track is dedicated to an antagonist from movies like "Snow White" or "Sleeping Beauty", performed with Giacomo Ancillotto (guitar), Maurizio Chiavaro (drums), Sergio Pomante (sax) and Antonio Raia (sax). ... Click to View


Alberto: Pinton Noi Siamo: Opus Facere (Clean Feed)

Multi-reedist and wind player Alberto Pinton's quartet Noi Siamo ("We Are") with Niklas Barno on trumpet, Torbjorn Zetterberg on bass and Konrad Agnas on drums, are caught at the Swedish Glenn Miller Cafe in Stockholm for this exciting album of knowledgable and passionate free jazz, a dynamic concert referencing Eric Dolphy, Freddy Hubbard, and Ornette Coleman. ... Click to View


Jemeel Moondoc Quartet: The Astral Revelations (RogueArt)

Saxophonist Jemeel Moondoc takes his masterful NY quartet of pianist Matthew Shipp, bassist Hilliard Green, and drummer Newman Taylor Baker to perform live at Bimhuis in Amsterdam in 2016, capturing four remarkable improvisations of Moondoc compositions including an extended rendering of "Cosmic Nickelodeon", the band balancing lyricism with intensely creative playing. ... Click to View


North Of North (Pateras / Tinkler / Veltheim): North Of North (Offcompass)

The first release on pianist Anthony Pateras' new label OffCompass intended to explore a more diverse set of projects is from the North Of North trio of Anthony Pateras on piano, Scott Tinkler no trumpet, Erkki Veltheim on electric violin, using improvisation, Carnatic music, 20th and 21st century compositional strategies, mathematical theories and open forms of jazz. ... Click to View


Will Guthrie : 6 Days into 8 [CASSETTE] (Careful Catalog)

The sixth set performed during an 8-day tour of Japan in 2018 by Australian drummer / percussionist Will Guthrie (Ames Room, The Sommes Ensemble) took place at 0g in Osaka, captured here as a 32 minute set of vigorous playing tempered with introspective passages, using powerful technique and unorthodox approaches to his kit; cathartic and captivating. ... Click to View


Karl Berger: In A Moment - Music For Piano And Strings (Tzadik)

Pianist and vibraphonist Karl Berger is also a professor of composition, having won numerous awards and commissions for his work, here presenting the final part of a trilogy written Tzadik, a beautiful 14-part suite for piano and string realized with Berger himself at the keys in a septet of well known NY performers including Ken Filiano, Tomas Ulrich, Jason Kao Hwang. ... Click to View


Dave Holland Feat. Evan Parker / Craig Taborn / Ches Smith: Uncharted Territories [2 CDs] (Dare2 Records)

Reuniting late bassist Dave Holland with saxophonist Evan Parker, a longtime friend from their early days in London, and joined by Craig Taborn on piano and electronics, and Ches Smith on percussion, as the group performs as a quartet and also in a variety of permutations of duo and trio configurations, for a set of rich and informed dialogs of masterful skill. ... Click to View


Eugene Chadbourne : Fuck Chuck (Chadula)

An unsual album even by Chadbourne's standards, this reissue and remaster of material recorded in the 80s and 90s from his cassette series brings recordings from his noise group Chuck with Murray Reams and David Nikias together with recordings with Ut Gret (Joee Conroy and David Stilley) to create a hybrid of live experimental improv and found sounds. ... Click to View


Eugene Chadbourne : Lets Get Weird But Comfortable (Chadula)

Named for an audience comment that their music was "weird but comfortable", guitarist Eugene Chadbourne's band with Jeb Bishop on trombone, Jorrit Dijkstra on saxophone, Nate McBride on bass, and Curt Newton on bass are caught live in Boston covering the music of Thelonius Monk, Misha Mengelberg, Steve Lacy, Duke Ellington, Doc Chad, Willie Nelson and The James Gang. ... Click to View


Omelette: Live At The JazzLab (FMR)

Australia's performing trio Omelette of Jordan Murray on trombone, Ronny Fereller on drums, and Luke Howard on piano follow up their 2014 album on Jazzhead with this live album, the trio joined by Chilean percussionist working in Melbourne Javier Fredes, for a lyrical and rhythmically rich live performance at Melbourne's JazzLab in 2017. ... Click to View


Implicate Order, The : At Seixal (Clean Feed)

The very first album from Portugal's impressive Clean Feed Records is this live album at Auditorio do Forum Cultural do Seixal from the trio of Steve Swell on trombone, Ken Filiano on bass and Lou Grassi on drums, joined by Paulo Curado on alto sax and Rodrigo Amado on baritone sax, a significant concert merging free players from two nations with profound influence on jazz music. ... Click to View


Magnus Granberg : Es Schwindelt Mir, Es Brennt Mein Eingweide (Another Timbre)

An hour-long work for an ensemble of six musicians by Swedish composer Magnus Granberg performed by Anna Lindal on baroque violin, d incise on vibraphonen electronics, Cyril Bondi on percussion, Anna Kaisa Meklin on viola da gamba, Christoph Schiller on spinet, and Magnus Granberg himself on prepared piano, transforming material from a song by Franz Schubert. ... Click to View


John Cage: Two2 (Another Timbre)

One of a handful of John Cage's number pieces, this work for two pianists follows the forms of Renga poetry, composed with 36 lines of music, each containing 5 measures, and each line having 31 events occuring in the sequence 5-7-5-7-7, with the pianists allowed their own tempo but waiting to synchronize each measure, as performed by Mark Knoop and Philip Thomas. ... Click to View


Bondi / Martel / Schiller: tse (Another Timbre)

With backgrounds in both improvisation and compositional music, the new trio of Cyril Bondi on harmonium, Pierre-Yves Martel on viola da gamba, and Christoph Schiller on spinet, agreed on a sequence of pitches for this 5 part improvisational work, allowing space for the players to explore pitch and melody within a contemplative and pensive framework. ... Click to View


Angles 3: Parede (Clean Feed)

Martin Kuchen's Angles band changes shape constantly, originally a trio and expanding as large as Angles 10, but this album, recorded live at SMUP, Parede, Portugal in 2016, returns the band to the original trio of Kuchen on sax, Ingebrigt Haker-Flaten on double bass, and Kjell Nordeson on drums & percussion, reworking Angles compositions to their essence. ... Click to View


Honest John w/ Ab Baars: Treem (Clean Feed)

The Norwegian quintet Honest John of Ole Henrik Moe on violin, Kim Johannesen on guitar & banjo, Ola Hoyer on double bass, Erik Nylander on drums & drum machine, on Klaus Ellerhusen sax and clarinet, are joined by multi-reedist and shakuhachi player Ab Baars at Nasjonal Jazzscene Victoria to capture this quirky, controlled, and incredibly knowledgeable concert. ... Click to View


Chris Pitsiokos / CP Unit: Silver Bullet In The Autumn Of Your Years (Clean Feed)

Pushing the envelope in genre-smashing collective improvisation, Brooklyn-based sax and synth player Chris Pitsiokos and his CP Unit with 2 electric bassists--Tim Dahl and Henry Fraser--2 drummers--Jason Nazary and Connor Baker--and guitarist Sam Lisabeth, take a twisted path through improv, rock, and electronics that always shows a fierce allegiance to free jazz. ... Click to View


Scott Clark: Tonow (Clean Feed)

Drummer Scott Clark continues to explore his Native American roots in this album dedicated to the protests at Standing Rock, North Dakota, each heartfelt piece titled for aspects of those demonstrations, performed with bassist Cameron Ralston, trumpeter Bob Miller, saxophonist Jason Scott, guitarist Alan Parker, and extended with Chicago guitarist Tobin Summerfield. ... Click to View


Lynn Cassiers: Imaginary Band (Clean Feed)

Composer, vocalist and electronics artist Lynn Cassiers' new septet with Sylvain Debaisieux (soprano and tenor saxophone), Ananta Roossens (violin), Niels Van Heertum (euphonium), Erik Vermeulen (piano), Manolo Cabras (double bass) and Marek Patrman (drums) in their adventurous debut album blending improv, pop aesthetics, electronics, dreamlike voice, and solid playing. ... Click to View


AMM: An Unintended Legacy [3 CDs] (Matchless)

A beautiful 3-CD set with a hardcover book presenting 3 full concerts from 2015 & 2016 of the AMM trio configuration of John Tilbury (piano), Keith Rowe (guitar) and Eddie Prevost (percussion). The 70 page book, dedicated to saxophonist Lou Gare, includes an AMM discography, plus photos, and essays by Paige Mitchell and Allen Fisher; Keith Rowe; Eddie Prevost; and Seymour Wright. ... Click to View


  •  •  •    Join Our Mailing List!



The Squid's Ear
Squidco Sales



  Fiasco in Chicago  

The 2003 Jazz Festival, and the Story that Needn't Be Told
Text and Photos by Kurt Gottschalk

Fans of challenging jazz in Chicago know that the best shows to see during the Chicago Jazz Festival aren't at the festival. The clubs light up at night, especially the Hot House and the Velvet Lounge, with after-hours jams that blow the lakefront concerts off the stage.

But the Jazz Festival has, in recent years, tried to do better by its hometown heroes. Founding members of the seminal Association for the Advancement of Creative Musicians - the collective founded by Muhal Richard Abrams in 196# that has seen the likes of Anthony Braxton, Henry Threadgill, Wadada Leo Smith and the Art Ensemble or Chicago rise from its ranks - have been booked and even honored by festival organizers. Last year, the festival introduced an "artist in residence" position, scheduling concerts and workshops with trombonist George Lewis and following that this year by giving Roscoe Mitchell the title. Recent years have also seen performances by Threadgill's Very Very Circus and a reunion of Abrams' Experimental Big Band, the group that gave birth the to AACM.

Roscoe Mitchell
Roscoe Mitchell
Mitchell presented a big band and an octet during this year's fest, and two other Chicagoans of note were given slots: Ari Brown played a soulful set of standards with brother Kirk Brown on piano, Yosef Ben Israel on bass and onetime Sun Ra drummer Avreeayl Ra behind the kit, despite the increasing rain (which, by the time McCoy Tyner's big band was to come on had chased many, including this reporter, away). Also on the bill was a "Velvet Lounge" jam and a recognition of the 50th anniversary of Chicago jazz/blues label Delmark. (Famadou Don Moye's "Sun Percussion" drum summit was sadly canceled.) In short, they've come a long way from the days when the smooth jazz label GRP was underwriting and overwhelming the schedule.

There's still room for improvement, however. Their hair-brained seating policy at the main stage doesn't allow entry to the seating area once the capacity has been counted at the door, leaving people sitting on the lawn and empty chairs up front. Why they hold a festival from Thursday through Saturday and then skip the Labor Day holiday on Monday is a mystery, and poor promotion outside the city guarantees a loss of potential tourist dollars. A new outdoor amphitheater, designed by Frank Gehry, is under construction, and may hold promise for more satisfying festivals in the future. But until then, as Howard Reich pointed out in the Chicago Tribune, "sub-par acoustics, semi-pro emcees and constant audience chatter ... are intrinsic to this jazz festival."

The runaway smash of the fest, according to a number of people with whom I spoke, was Art Ensemble founder Roscoe Mitchell's Big Band set Friday evening. Because of flight delays, however, I missed the most exciting set of the weekend trying to fly the friendly skies. I did catch a strong set by Mitchell's octet Saturday afternoon, however. The group was billed as a septet, but at the last minute a third percussionist was added (that fact whispered to the emcee by Mitchell as the band was introduced). The group was at least part Note Factory, with Craig Taborn, Gerald Cleaver, Tani Tabal and Jaribu Shahid all hopping over from Mitchell's other mid-size group. They were joined by Vincent Davis, Cory Wilkes and the excellent Chicago bassist Harrison Bankhead, making for a rhythm section of one pianist, two bassists and three drummers.

They opened with one of Mitchell's slow bops, a pure jazz piece that was almost frustrating in its refusal to ignite for minutes on end. Mitchell can (and later would) play extraordinarily fast without risking cogency, but his tenor solo here began as single, articulated notes, slowly building to runs and blurs, the mighty rhythm section simmering to a boil behind him. The piece allowed for lyrical solos by Bankhead and pianist Taborn (the former ably comped by fellow bassist Shahid) before Wilkes pushed it into a storm warning. By Mitchell's alto solo on the second piece, the rhythm sextet behind him pushing as hard as they could, the storm had erupted into a tornado. Mitchell picked up his soprano, blew two notes and signaled a drum trio before taking a soprano solo with the full band that made his previous eruption sound subdued.

Mitchell can carry two or three distinct lines at a time. His remarkable speed and control over register allow him to drop a midrange statement here, a false-fingered phrase there and a low blow between the two. It's like a Picasso solo: at once a portrait and a profile of the same subject.

Mitchell's set unfortunately overlapped with a memorial tribute to the late, great AACM trumpeter Ameen Muhammed, which probably left many devotees opting for the living over the dead (Mitchell's set at the small outdoor stage, in any event, was packed.) The afternoon sets also included a surprisingly strong solo recital by Kurt Elling's pianist and arranger Laurence Hofgood and a Cuban pretension by saxophonist Jane Bunnett that started out entertaining but quickly became uncongealed party music.

The evening held a premiere of a new group by Windy City stalwart Ken Vandermark. The Crisis Ensemble opened with a brief, serene, motionless intro before moving straight into a funky bop propelled by Jason Ajamian's electric bass. After a few minutes, the groove stopped dead for a dense duo by Kent Kessler on upright bass and cellist Fred Lonberg-Holm, during which Ajamian switched to the upright as they led into a pointillistic avant blues carried by trombonist Jeb Bishop, then into an Ornettish bop led by Dave Rempis on alto sax.

The restless tentet take their name not so much from the obscure 1969 Ornette Coleman record, according to Vandermark, as the cover art for that record, which featured the Bill of Rights in flames. Vandermark drew his politics from the jazz pantheon for the set. One of the three compositions he presented was a piece called "Globe Unity," named after the big band pianist Alexander Von Schlippenbach founded in 1966 ("The sentiment is still relevant," Vandermaek said from the stage.) Here again, the namesake didn't follow the music so much as the message. The piece was a carefully sculpted suite, moving quickly, as Vandermark often does, through varying moods and ideas, and impressive piece that sounded nothing like the music of Von Schlippenbach's wild and wooly orchestra.

It could be said that with CrisisVandermark has found his soapbox. In the past, he has suffered from spreading himself too thin, often in an effort to pay tribute to previous generations. This group seemed to mold all the ground Vandermark tries to cover, from different eras of jazz history to his own compositional voice, into a strong (though hardly seamless) whole. The group included players he's worked with before (Bishop, Kessler, Rempis and drummer Tim Daisy are all in the Vandermark 5), and was supposed to feature Sun Ra alum Robert Barry on drums. (Illness unfortunately prevented Barry from participating, and he was replaced by Frank Rosaly.) Keeping a 10-piece band together in the current jazz economy is a difficult proposition, but the ever-resourceful Vandermark might, with luck, make this more than a one-night stand.

Getting into the after-hours at the Velvet Lounge - or at least getting into the main part of the club - means missing the last set of the festival proper, in Saturday's case the mechanized churnings of the Elvin Jones Jazz Machine. The room seats about 75 (Anderson would be wise to get rid of the tables, at least during the festival) and a recent spate of occupancy- and code-violation enforcement in Chicago resulted in head counts inside and a long line of people outside hoping someone might give up a bar stool. The Velvet packs as much of a punch in a few hours as the festival does all week, so it's not too tough a choice to make. Kidd Jordan and Bluiett (who's dropped the "Hamiet" from his name) were both in town to play the after-hours sets even though they weren't booked on the downtown stages.

Bluiett
Bluiett
Bassist Bankhead opened the first set at the Velvet Saturday with an unaccompanied meditation (what Chicagoans called a "naked solo" back in the day), as Hamid Drake set up his drums. Jordan joined in, keeping the mood, and Bluiett followed on wooden flute. With Drake they soon hit the fury then found the swing, Drake's syncopations keeping them in the pocket. By the time club proprietor Fred Anderson joined in on tenor, they had settled on the swing and the fury, locking into grooves when it wasn't expected and slipping out of them again almost unnoticed.

Chicago is a saxophone town. It's a town where a dozen horn players line up to play with a single rhythm section on a wobbly stage in a club with peeling paint and after the Bluiett/Jordan/Anderson/Bankhead/Drake quartet finished (and a 50-minute break) the ranks began to swell and flank the stage. Douglas Ewart, Billy Brimfield, Malachi Thompson and Mwata Bowden were among those standing offstage, adding flourishes and waiting to take the stage.

Bluiett began the second set, yelling "This is Gene Ammons country, right? Let's let this shit roll" and doing an odd, brief squeal on his baritone sax before giving up the stage to hometown saxophonist Paul Taylor with Brimfield deftly leading punctuations from the offstage horn section. Ewart took his turn on sopranino, showing that with all his excursions into pure sound, he can still play the hard way. Thompson played clear and low as Bluiett took over leading the backing horns, everything well supported by Bankhead and Drake. Fred Anderson's Velvet Lound is considered home by many jazz travelers, and on such a night it's easy to understand why. This is their community. This is theirs.



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


  Copyright © 2016 Squidco. All rights reserved. Trademarks. (7770)