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Saxophonist Ivo Perelman is the anchor for the 6 volumes of "The Art of the Improv Trio", here with Karl Berger on piano and Gerald Cleaver on drums in a lyrical album that flows with grace and thoughfulness, from ballad introspection to uptempo excitement, an impressive start to the series. ... Click to View


Ivo Perelman / Mat Maneri / Whit Dickey: The Art Of The Improv Trio Volume 2 (Leo)

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Trouble Kaze (Fujii / Agnel / Tamura / Pruvost / Lasserre / Orins): June (Helix Circum-Disc)

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John Cage : Cartridge Music (Edition Wandelweiser Records)

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Luigi Nono / Jurg Frey: Works For Violin Duos (Edition Wandelweiser Records)

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Luke Martin: So Softly That It Came, A Wild Dim Chatter, Meaningless (Edition Wandelweiser Records)

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John Zorn: The Garden Of Earthly Delights (Tzadik)

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Jack Wright / Roughhousing: You Haven't Heard This Yet (Spring Garden Music)

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Harris Eisenstadt : Recent Developments (Songlines)

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Jean-Marc Foussat / Sylvain Guerineau / Joe McPhee: Quod (Fou Records)

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Derek Bailey / Joelle Leandre / George Lewis / Evan Parker : 28 Rue Dunois Juillet 1982 (Fou Records)

A superb encounter from France in 1928 between four masters in a fertile and creative period: Derek Bailey (guitar), Joelle Leandre (double bass), George Lewis (trombone), and Evan Parker (saxophone), each bringing incredible experience to their enduring collective music. ... Click to View


Cecile & Jean-Luc Cappozzo: Soul Eyes (Fou Records)

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Brotzmann / Van Hove / Bennink (w/ Albert Mangelsdorff): Elements [VINYL] (Cien Fuegos)

In 1971 the quartet of Peter Brotzmann on tenor sax, Fred Van Hove on piano, Han Bennink on drums, and Albert Mangelsdorff on trombone took the stage at The Free Music Market in Berlin to perform this aggressive and informed album of prime European Free Improvisation. ... Click to View


Brotzmann / Van Hove / Bennink (w/ Albert Mangelsdorff): Couscouss de la Mauresque [VINYL] (Cien Fuegos)

The early 70s trio of tenor saxophonist Peter Brotzmann with Fred Van Hove on piano, Han Bennink on drums is joined by trombonist Albert Mangelsdorff for a live recording at Free Music Market, in Berlin for two extended and fiery improvisations of incredible skill and drive. ... Click to View


Brotzmann / Van Hove / Bennink (w/ Albert Mangelsdorff): The End [VINYL] (Cien Fuegos)

The final portion of the live recording at Free Music Market, in Berlin in 1970 from the trio of tenor saxophonist Peter Brotzmann with Fred Van Hove on piano, Han Bennink on drums, and joined by trombonist Albert Mangelsdorff for three extended and fiery improvisations ... Click to View


DEK Trio (Ken Vandermark / Elisabeth Harnik / Didi Kern): Burning Below Zero (Trost Records)

One of Chicago reedist Ken Vandermark's regular trios while in Austria, DEK is named for the letters of the 1st name of Vandermark, drummer Didi Kern and pianist Elisabeth Harnik, drawing inspiration from free improv, free rock, & cross-media projects of each member. ... Click to View


Johannes Bauer / Peter Brotzmann: Blue City (Live At Blue City Osaka / Japan 16. October 1997) (Trost Records)

Powerful and diverse duo recordings between trombonist Johannes Bauer and Peter Brotzmann on tenor & alto saxophone, Tarogato, & clarinet, recorded in Osaka, Japan in 1997, released as a tribute to Bauer, who passed away in 2016, part of Brotzmann's archive of unreleased material. ... Click to View


Michel Banabila : Sound Years [VINYL] (Tapu Record)

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Liederkreis (Judith Berkson): Liederkreis [VINYL] (B. Walter Recordings)

NYC vocalist, composer and keyboardist Judith Berkson in the debut album for her one-woman band Liederkreis (translating to "song-cycle", a reference to Schumann), taking a sharp turn from previous work through experimental synth, voice and effects in unique and often aberrant ways. ... Click to View


Rotozaza (Hein / Mahall / Melbye / Lillinger): Zero (Leo)

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Ruins: Burning Stone [REISSUE] (Magaibutsu Limited)

Tatsuya Yoshida's insanely complex and exhilarating rock project Ruins started around 1986, and bassist Ryuichi Masuda (also a member of Koenji Hyakkei) has been with him since the early days; this CD reissues the 1992 Shimmy Disc album, originally an LP, here with the CD bonus tracks. ... Click to View


Kazuhisa Uchihashi / Richard Scott: Awesome Entities (Doubtmusic)

Japanese guitarist and daxophone player Kazuhisa Uchihashi joins forces with Berlin-based composer and free improvising analogue modular synthesizer player Richard Scott for an album of unique orchestration, the daxophone "humanizing" the playing with unusual voicing. ... Click to View


Henry Cow: Vol. 1: Beginnings (Recommended Records)

Part of the Henry Cow boxset, now available for individual purchase, compiled from live recordings, radio transcription, or early recordings, remastered and presented to give a complete look at the history of Henry Cow. ... Click to View


Henry Cow: Vol. 2: 1974-5 (Recommended Records)

Part of the Henry Cow boxset, now available for individual purchase, compiled from live recordings, radio transcription, or early recordings, remastered and presented to give a complete look at the history of Henry Cow. ... Click to View


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  Singing at the Threshold  

Kali Fasteau's Lifetime of Listening and Playing


By James Keepnews 2003-12-15

I lived on four continents to experience many concepts of the divine in music. Sound creates reality as it moves through time. It is important for me to let the life energy create freely in the full magic of the moment without premeditating on form. Musicians study form to learn how to embody sound with grace and energy. The ultimate goal is formlessness, to manifest grace and energy in all our actions, and to offer the gift of a fresh expression of the infinite present with love and compassion. The form of the music can be seen after the fact of its creation. I choose to perform on the threshold of the unknown. - Kali Z. Fasteau


I should know better than to trust a map to find her.

In our email correspondence leading up to my visit, Fasteau offered to give me directions but Natty Bumpo insisted on a prevalent inelegance, viz. the transformation of websites into verbs, and tried to find her house by "Mapquesting" its address. My bad - turn-offs can't be found, roads meant to be turned onto after previous turns show up early, etc. Backtracking, with more hope than intuition, Brought me into the Orange County backwoods of the perfectly-named Balmville, NY and, eventually to her home.

"Her" being Kali Z. Fasteau, as she is known today. Discographers, record collectors and other lovers of fine art and its alphabetizing might still know her best, if at all, as Zusaan Kali Fasteau, as she was billed on her recordings as recently as 1997. To musicians, however, she's always been Kali Fasteau, and she laughs when I remark on the name change on her albums - it's a conscious effort on her part and, soon, she insists, "all that will be left is 'Kali.Z'!".

However she is named, Kali Fasteau is an inimitable presence is creative music. In a music whose appreciation of its female practitioners is still rare, Kali is all the more unique, but her contributions resist easy pigeonholing, much as finding her residence resisted cartography. To call her one of the most accomplished female multi-instrumentalists in free music specifically, and musics associated with "jazz" generally, still feels like putting too fine a point on her abilities. For starters, those multiple instruments aren’t your standard jazzers’ swapping of reeds, either, but a worldwide collection of reeds, keyboards, string instruments and percussion from many different cultures - a short list would read soprano saxophone, piano, cello, ney, balafon, kaval, mizmar, shakuhachi, moursin, sanza, sheng, drums and the incomparable vocal stylings she characterizes as “international vocalese.” Her global odyssey, one seemingly as spiritual as it was musical, across two decades, where she lived and studied in many different countries, including Haiti, Turkey, India, Nepal, and many European nations makes her a singular authority on musical practice across those cultures; the degree to which these cultures have helped shape her range of expression is nearly immeasurable. There's also her early embrace of musican-owned record labels with Flying Note. These distinctions are fueled by a deep appreciation of the divine in all aspects her musical process, leavened with a radical political consciousness also developed and practiced over the decades. There's no one quite like her in any music, anywhere.

Fasteau was gracious as she greeted me, and almost apologetically invited me into her marvelous home. "I'm used to sleeping on the shores of the Indian Ocean," she said with a calm smile. "This is still new for me." Laid out in an open, quasi-Japanese single level, replete with long rooms surrounded by windows which look out upon her sylvan property, the outside feels inside, and the inside out. The analogy is inevitable.

Metaphors are probably too easy to come by with an artist of Kali's accomplishment and global perspective - but they're there for anyone to see. Her music is an uncanny distillation of traditional and spontaneous, refinement and fire, inside and out. And no single map can guide you there - ragas on soprano saxophone can lead to blues on the Turkish flute (or ney) leading to feral vocalized wails that can descend, precisely, into pitch. Far from a scattered aesthetic, Fasteau has absorbed her extraordinarily far-flung experience to make a bracing, unified and emotionally sophisticated music that doesn't lack for resources, spiritual or instrumental.

Raised in Paris to an accomplished musical family, Fasteau recalled a youth filled with music and music making.

“My mother’s father was a cellist in the New Jersey Symphony, and had also played cornet in the Russian army," she said. "His oldest daughter, my mother’s sister, was an opera singer, composer and conductor, which was very rare back in those days. She did programs at Carnegie Hall. My first year and a half I lived in my grandfather's house, and so I heard and saw the cello being played, right in front me, as an infant. That was, I think, very important - I mean, the sound of the cello, and the bass and strings is very close to me.”

Her formal musical training started at a very early age on piano. By fourth grade, she was studying cello; by seventh, she began flute, while maintaining her studies on the other instruments. Multi-instrumentalism, then, played a decisive aspect early in Kali's musical development, and her facility on these and subsequent instruments, she said, isn't unusual as a result. “It's like when children grow up speaking several languages, it's normal for them to switch languages - it's like nothing. So, the same being a multi-instrumentalist as a kid. It's not a big thing to change from one to another.”

Along with the Western classical influences surrounding her from an early age, Fasteau had the opportunity to hear music closer to the sensibilities she would develop over the years. “My girlfriend when I was in second grade, she had some records of Miriam Makeba," she said. "She turned me on to Miriam Makeba when I was 7 or 8 and I just loved her music. That was my first experience with non-Western music, as far as I can consciously recall. That was a really important influence. My brother had alot of jazz records, too -- Bobby Timmons, Miles, Ahmad Jamal, he had a lot of good records. So, I feel a feeling for jazz early, too."

She also recalls an experience featuring the bedrock of her musical style today and one that strikes fear in the heart of most “formally-trained” musicians: improvisation. “When I was about fourteen, I had a dream that I was playing at a recital -- classical music, playing some Bach -- and I forgot what I was supposed to play and I just made up some music on the spot, and it worked out fine. I dreamt that I was improvising. And then, the next day, I tried it, and I started to figure out how to improvise.”

Her politics slowly began to reveal a radical edge, sharpened by her attendance at the legendary March on Washington in 1963. The following year, she attended Reed College, where she earned a degree in social anthropology while minoring in music. Certain students helped shape her understanding of jazz and r&b and spending summers in Georgia and Louisiana as part of voter drives organized by such radical student groups as CORE and SCLC helped shape her emerging revolutionary consciousness. By 1968, she had already spent time working with the Oakland branch of the Black Panthers and went from that experience to graduate school in music at Wesleyan University. The culture shock was enormous. One wonders whether any traditional Western educational system could have provided Kali with a satisfactory pedagogy with the direction her life was going but, as Fasteau described it, just being in Middletown, CT for her studies was only too redolent of her days with CORE.

“I had this really rebellious spirit," she said. "I almost didn't even go to graduate school, I was really in this revolutionary mode. So, when I got to Wesleyan...Middletown, CT was set up like a southern town, with a black part and a white part, there were hardly any women there, very few women in the grad program. It was too retro for me.”

Still, she did have a chance to study music from other cultures, as well as contemporary classical music. Moreover, Middletown's proximity to New York meant that she had a chance to take in so much of what was available there as the 60s gave way to 1970, when Kali eventually graduated and moved to the city. She left for San Francisco in late 1971 where she met Donald Rafael Garett, the multi-instrumentalist best known for his contributions to a series of West Coast recordings by John Coltrane (Om, Live in Seattle, Kulu Se Mama and Selflessness) on which he played both bass and bass clarinet.

It was, says Kali, "love at first sight – lightning struck and everything!" Speaking about him today, Kali's abiding love and respect for the late musician, composer, philosopher and polymath is palpable.

“He was very advanced,” Kali recalls, “Rafael was a genius in many areas of intellectual life. He taught me how to make bamboo flutes, shakuhachi, he taught me T'ai Chi Chuan, macrobiotic cooking, he was up on many of the latest philosophies of the time, like Gurdjieff. The way he was, he was always sharing his knowledge with whoever was around.”

They began playing together immediately, eventually recording Kali's first appearance on record, the ESP-Disk release by the Sea Ensemble, aka Rafael and Kali. By 1974, they were married and their global journey had begun, having already lived in France, Zaire, Senegal, Morocco, Haiti, as well as New York.

"When I met Rafael in 1971, feminism was enjoying a surge of development and I was certainly was encouraged by that, and Rafael definitely considered himself a feminist," she said. "When he met me, he was very supportive and had me in his band right away. He was very happy to be playing with a woman and with someone who had similar ideas about music. We could really be equals in creativity.

The music of the Sea Ensemble - occasionally expanding to a quartet with the addition of the late saxophonist Glenn Spearman and drummer Jay Oliver - is boundlessly lyrical and a template for Kali's later work. Like many small groups of the period, they were resourceful orchestrators, with the ability to create the illusion of a far larger group with their varied instrumentation. Their approach to performance also seemed to transcend Western notions of composition, pacing and even, at points, an easily discernable jazz element -- theirs was a nascent global improvisatory music where melody flowed organically from one piece and grouping of instruments into an entirely different one. Memoirs of a Dream (Flying Note, 2000), a 2-cd set of music which Fasteau carefully shepherded over years of travel (including a concert in Ankara, Turkey in 1977, during which Garrett gently encourages the listeners to "chew their food") is a revelation, a carefully preserved document of Fasteau and Garett's extrasensory interplay and pancultural ritual expression through improvisation, sounded from Holland to Turkey.

The duo played several tours opening for, and playing with, Archie Shepp, as well as a performance with Sun Ra in Amsterdam. Yet, by 1977, the two had parted, and she returned to Paris for three years, beginning a solo career and working as a bandleader. She moved to India in 1981, with a Selmer Mark VI soprano saxophone added to her arsenal, to study Hindustani vocal music with Mangala Mishra.

"I stayed at [Mangala's] father's house, and she would come over at 6 in the morning. They started playing [recorded] music there at 4 in the morning. Everyone gets up early in tropical countries - that's the coolest time of the day. It was beautiful and I learned so much." She then moved on to Chennai (Madras) in South India, where she lived in an “untouchable” fishermen’s village on the coast for six months, traveled all around the region, and earned money making film soundtracks, and performing concerts.



continued...




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Recent Selections @ Squidco:


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