The Squid's Ear
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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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The Squid's Ear
Squidco Sales

Op-Ed (Opinions and Editorials)


  The Upside of Dowloading  
by Scott MX Turner

This is what it's come to: A 12-year-old girl in New York was sued by the Recording Industry Association of America, those asswipes, for fileswapping / filesharing / downloading.

The mighty mouthpiece of megacorporate music. Hey, I like that alluring alliteration, so much so I'm gonna upper case it. Those Asswipes, The Mighty Mouthpiece of Megacorporate Music ... suing a 12-year-old for acquiring "If You're Happy And Your Know It, Clap Your Hands" without paying for it.

A fucking campfire song.

As you know, Those Asswipes are suing hundreds of filesharers throughout the land in the belief that free downloads are killing music.

How adorable!

Those Asswipes are on a nostalgia trip, just like the rest of us. They're reliving the good old days of "home taping is killing music," "radio broadcasts are killing music," "recorded music is killing music" and "sheet music is killing music."

They're so cute!

Especially since it's music that's killing music.

More precisely, the music biz that's killing music.

Here's why sales are down so badly that Universal has reduced suggested retail prices by a whopping 30%:

1) CDs are obscenely overpriced;

2) The music biz promotes increasingly smaller numbers of acts of increasingly worse quality;

3) CDs are obscenely overpriced;

4) The biz capriciously switched formats, from vinyl to digital, and now has to lie in the cold and soulless bed it made;

5) CDs are obscenely overpriced;

6) Said format change has reduced fans' appreciation and need for artwork, making downloads a less unattractive alternative;

7) CDs are obscenely overpriced;

8) Politically and culturally conservative Clear Channel is locking up radio stations nationwide, rendering radio itself a wasteland of Lee Greenwood anthems and Timberlakeian pop drivel...the opposite of "limitless possibilities."

9) CDs are obscenely overpriced.

Since I subtly got you thinking about the retail price of today's compact disc, let's have a little look, a little see...

For indie artists like myself, a CD costs $1-2 to manufacture on an order of 1,000 discs - the standard order for most bands issuing their own releases. The larger the pressing order, the cheaper the discs. Indie bands have learned what the major labels haven't: You don't need to blow million$ to make a great album.

Obviously, the Megacorporate Music Labels get much larger bulk discounts on the manufacturing end. They just refuse to pass the savings on to you.

And obviously, Megacorporate Music Labels spend more on one artist's in-store posters than most indie bands make in a year.

They're entitled to the discounts - they do press a lotta discs. But not the immoral expenditures keeping their publicity juggernauts afloat.

Unlike P. Diddy and Sir Elton, indie bands don't generally put a gun to their labels head for overwrought videos, Courvoisier and Lear jets. More to the point, indie labels can't afford it. Major labels should urge spoiled brat superstars to experiment with anatomically impossible solo sex acts, and instead divert the money to signing good bands, getting 'em out on the road, and really bringing down the price of CDs.

Sticking to the basics means better music at cheaper prices.

The Megacorporate Music Labels haven't learned that one just yet, even though screams of "ohmyfuckingGodwe'redoomed!!!" can be heard coursing through the hallways at Bertelsman, AOL Time Warner, Sony, Universal and their megamates.

Now that the expected bumper crop of the analog-to-digital forced march - everyone buying the CD version of Dark Side Of The Moon to replace their vinyl copy - has waned, the big labels are running on fumes. Weirdly, they're only starting to learn how to use the Internet to make money. The biz is like your old, grouchy Uncle Fred, the one who never gets it and won't take anyone's advice.

Then again, how weird can it be when you're dealing with people who couldn't predict the utter ease of counterfeiting and bootlegging digital releases?

As for radio - the free downloading of choice in the '70s, '80s and '90s, thanks to blank cassettes - the Clear Channels are making sure that less, and less imaginative, bands are coming to the forefront. Very few commercial channels are freeform these days. Not the hippie freeform playlists of 20-minute live tracks, but rather djs being allowed to think for themselves ... having the freedom to choose tracks they believe in.

The last remaining bastion of alternative radio, smallpower college stations, are under attack from the FCC, local religious groups, conservative on-campus student organizations, and funding cuts at universities across the land. The FCC periodically makes noise about repealing college stations' exemptions and forcing commercial-standards compliance they can't possibly meet.

Know this: the battle over downloading is the same as any other socio/political/economic struggle in the world today, a war between the haves and the have-nots.

The haves, represented by Those Asswipes,

Here's how most musicians make money these days: live dates, touring and selling merchandise. Record sales are the primary source of income for a small percentage of musicians.

How could they be? The average pre-taxed take for major label musicians on their album sales is 3 to 7 cents on the dollar. If you're in the MetallicaLLCoolJ stratosphere, you're making a lot of money from cds. If you're on any of the lower levels, you simply use cds as portal to earning a living.

Those Asswipes and the Megacorporate Music Biz are gonna have to change their way of thinking, buying, selling and promoting. If they wanna stay in business, they're gonna have to sell cds at fair value prices, prices that support a decent salary for working musicians (whose pay scale must be increased) and trim the fat from label heads and superstar artists (whose pay scales must be slashed). The more radical idea - that times have changed and recorded music now plays a support role to live music, not vice versa - must be embraced, and music labels need to make the shift. It doesn't mean layoffs, it just means learning new modes and skill sets.

And what of the kids? Those sweeties who spend their campus days searching for WiFi hotspots to download music? Are they part of an evil cabal to deprive us musicians the right to earn a living? Do they truly hate Metallica and Dr. Dre and - no! - Those Asswipes? Are they ... are they ... un-American in their refusal to embrace free-market capitalism?

Probably not, since many support bands whose music they download by purchasing t-shirts, concert tickets, books and magazines with their heroes on the cover. A lot of 'em end up buying the albums anyway.

People who download become music fans. Or they already are, and want to expand their horizons. In other words, just the kind of informed consumer Those Asswipes fear. Because the more access music fans have to music, the more support they give to musicians. Downloaders don't sit in front of their computers, gleefully rubbing their hands and churlishly celebrating depriving musicians of a salary. Rather, they're trying to remain music fans in the face of overpriced cds of limited choice.

And that's terrifying to a business controlled by Those Asswipes, their megacorporate clients, and the Clear Channels of the world.

Musicians should be paid a fair wage. We shouldn't have to nickel-and-dime with club owners and record labels who, without us, wouldn't have a pot to piss in. There need to be more organizations like the old Noise Action Coalition, which worked hard to fuse labor activism with the New York downtown scene in order to earn fair pay for musicians on both fronts.

The thing is, downloading and filesharing ultimately aren't about who gets paid, but rather, about new models for the distribution of culture. That, and our increasing independence from the old models, which have stood for exploitation of music workers and condescension toward music buyers.

And if that makes you happy and you know it, clap your hands.



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