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Greg Saunier / Mary Halvorson / Ron Miles: New American Songbooks, Volume 1 [VINYL] (Sound American/Pleasure of the Text Records)

Two essential Downtown New York improvisers--guitarist Mary Halvorson and trumpeter Ron Miles--are joined by drummer Greg Saunier of Deerhoof in response to Nate Wooley's request that the three expand the American Songbook in astouding instrumental versions of music by Fiona Apple, Elliott Smith, The Partridge Family, John Williams, James P. Johnson, &c. ... Click to View


Large Unit: Fluku (PNL)

The 3rd album from Norwegian drummer Paal Nilssen-Love's big band Large Unit, here in a 12-member configuration, adding saxophonist Kristoffer Berre Alberts (Starlite Motel, Cortex) to the band, in an album centered on Nillsen-Love's penned title track "Fluku", and the equally impressive "Playgo", large complex works that showcase the group's collective and individual voices. ... Click to View


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The 25 year collaboration of Norwegian free improvisers Frode Gjerstad on saxophones and clarinets and drummer/percussionist Paal Nilssen-Love, starting with Circulasione Totale Orchestra and best experienced in their duo recordings, here in an album dedicated to Frode's close friend and musical colleague, pianist and accordion player Elvin One Pedersen. ... Click to View


Konstrukt / Keiji Haino: A Philosophy Warping, Little By Little That Way Lies A Quagmire [VINYL] (KARLRECORDS)

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Peter Hammill: From The Trees (Fie! Records)

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Charlemagne Palestine : STTT THOMASSS '''''''DINGGGDONGGGDINGGGzzzzzzz ferrrr TONYYY'''''''' [CASSETTE] (Blank Forms)

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Albert Ayler: Bells (White Vinyl 180gm) [VINYL] (ESP-Disk)

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Irene Schweizer / Joey Baron : Live! (Intakt)

Two generations and two monumental masters of free improvisation from Europe and New York joined together at the unerhort!-Festival Rote Fabrik Zurich in 2015 to unleash this technically awesome and ebullient duo in a fantastic concert of dynamic power, lyrical insight, intense rhythmic support and counterpoint, and profound musical ideas; incredible! ... Click to View


Die Enttauschung (Axel Dorner / Michael Griener / Rudi Mahall / Jan Roder): Lavaman (Intakt)

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Textural improv of improbable grooves and tones driven by intense periods of interaction balanced with spatial sonic environments; adventurous and exuberant dialog caught live at the Jazzfestival Willisau, in Switzerland, 2016 from the trio of Dominic Landolt on guitar, Ramon Landolt on Hammond organ, synthesizer & samples and Mario Haenni on drums. ... Click to View


Aruan Ortiz : Cub(an)ism (Intakt)

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Hans Hassler: Wie Die Zeit Hinter Mir Her (Intakt)

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Pan-Scan Ensemble: Air And Light And Time And Space (PNL)

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Xavier Charles / Michel F Cote / Franz Hautzinger / Philippe Lauzier / Eric Normand: Torche! (Tour de Bras)

An exceptional free improvising quintet of Montreal & Quebec improvisers--bassist Eric Normand, drummer Michel F. Cote, and bass clarinetist Philippe Lauzier--with French clarinetist Xavier Charles and German trumpeter Franz Hautzinger, performing live during the 2016 Festival de Musique de Creation, creating fascinating commontion with incredible restraint. ... Click to View


Fraufraulein: Heavy Objects [CASSETTE] (Marginal Frequency)

The duo of Brooklyn electronics, field recording, bass guitar and french horn artists Billy Gomberg and Anne Guthrie, using musical and abstract sounds to create something between the concrete textures of field recording and spontaneous composition, presenting restrained yet detailed sound that engages the listener through transition and mystery. ... Click to View


Joda Clement / Mathieu Ruhlmann: Kindred (Marginal Frequency)

A unique cover of Brian Eno's "Taking Tiger Mountain" using synthesizer, field recordings, electromagnetic feedback, treatments, objects, oscillators, shruti box, reel to reel, ukelin, guitar, piano, clarinet, cello and voice, from Joda Clement and Mathieu Ruhlmann joined by Cristian Alvear, Gregory Moskos, Alexandra Spence, Tim Clement, Judith Hamann and A.F. Jones. ... Click to View


Mars Williams presents (w/ Berman / Lonberg-Holdm / Baker / Kessler / Sandstrom / Hunt): An Ayler Xmas: The Music of Albert Ayler & Songs of Christmas (Soul What Records)

Chicago saxophonist Mars Williams directs his Albert Ayler tribute band, Witches and Devils, to merge Ayler-esque compositions with Christmas songs, performed by Josh Berman (cornet) Fred Lonberg-Holm (cello), Jim Baker (keys, viola), Kent Kessler (bass), Brian Sandstrom (bass, guitar, trumpet); an unexpected and welcome present for your free jazz festivities! ... Click to View


Boneshaker (Mars Williams / Paal Nilssen-Love / Kent Kessler): Unusual Words (Soul What Records)

A CD intended to sell at concerts from Mars Williams' own Soul What Records label, a studio recording in 2012 from the powerhouse trio of Chicago multi-reedist Mars Williams, in-demand Norwegian drummer/percussionist Paal Nilssen-Love, and Chicago bassist Kent Kessler, running the gamut from furious blowing to introspective interaction. ... Click to View


Elliott Sharp / Mary Halvorson / Marc Ribot: ERR Guitar (Intakt)

Elliott Sharp's New York Studio zOaR was the meeting place for three New York guitarists--Sharp himself, Mary Halvorson, and Marc Ribot--who find common ground by blending a variety of approaches to the instrument in 12 excellent and generally succinct collective improvisations, stretching, bending, plucking and inexplicably effecting their guitars. ... Click to View


John Cage: Klang der Wandlungen [3 CDs] (Edition Rz)

An impressive triple-CD box with recordings of some late works by John Cage, including "Seventy-Four for Orchestra, 1992", "103 for Orchestra, 1991, part 1 & 2", In a Landscape fur Harfe", "Postcard From Heaven fur Eine Bis Zwanzig Harfen", and some of "The Harmony of Maine"; including a 32 page booklet with photos and liner notes by Jakob Ullmann. ... Click to View


Jurg Frey: L'ame Est Sans Retenue I [5 CDs] (erstwhile)

A massive work from composer Jurg Frey focused on the dynamic relationship between sound and silence, and how it can affect our perception of the silence in a frame of space and time, using environmental sounds of field recordings and silence to create a massive work over six hours, modifying pitch, rhythm, dynamics, texture, and overtone, here properly released on 5 CDs. ... Click to View


Michael Pisaro / Samuel Dunscombe / Steven Andrew Flato / Wen Liu / Celeste Oram / Johannes Regnier: Organ For The Senses (Marginal Frequency)

San Diego's Parkeology director Kate Clark and composer Samuel Dunscombe organized this concert to take advantage of the Balboa Park's Spreckels Organ, inviting local and regional experimental composers to develop works for the 5,017 pipe instrument, attracting artists like Michael Pisaro, Samuel Dunscombe, Steven Andrew Flato, Wen Liu, &c. ... Click to View


Jon Irabagon / Joe Fiedler / Todd Neufeld: In Formation Network (Nuscope)

Saxophonist Jon Irabagon, trombonist Joe Fiedler, and guitarist Todd Neufeld met in April, 2017 in Mount Vernon at the Oktaven Audio studio to record these nine varied compositions, presenting a unifying trio sound and identity that reflects Chicago's Giuffre trio, but with a unique collective attitude as the trio employs a varied set of compositional strategies. ... Click to View


Joe McPhee: The Willisau Concert (Corbett vs. Dempsey)

Recorded in 1975 at the Swiss Willisau Jazz Festival, Joe McPhee's trio with John Synder on synth and Makaya Ntshoko on drums, and McPhee on tenor and sopranox sax, was Hat Hut's 2nd release and has been out of print since; Corbett vs. Dempsey asked McPhee what unavailable album he'd like to see in print, and this suberb album was his first choice. ... Click to View


Eugene Chadbourne : The Lost Eddie Chatterbox Session [2017 REISSUE] (Corbett vs. Dempsey)

Reissuing free improvising guitarist Eugene Chadbourne's 1977, San Francisco recording of compositions by the likes of Thelonious Monk, Charlie Parker, John Coltrane, and Ornette Coleman, plus a few standards and originals, captured on an ailing quarter-track tape deck, but saved for the force of his playing, here restored, corrected, and remastered. ... Click to View


Sun Ra: Discipline 27-II [2017 REMASTER] (Corbett vs. Dempsey)

The 2nd volume in Sun Ra's "Discipline" series was recorded during the same sessions as 1972's Impulse release "Space Is the Place", with Sun Ra on electronic keyboards and Moog, and a large band including Marshall Allen, John Gilmore, Danny Davis, Akh Tal Ebah, June Tyson, &c. ... Click to View


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  Freedom of Suppression  

A week of copyright infringement in New York City


By Urania Mylonas 2002-12-30
Concert photos by Urania Mylonas
Food chain Barbie photo by Tom Forsythe


Mark Hosler
"Illegal art?" John Filker, a New York-based photographer and painter grew incredulous when asked what he thought about using someone else's work without permission. "It's wrong! You can't just copy someone else's work and then add your name to it! You can't use another artist's images or other work without their approval. That's not right." But when asked about using corporate images or sounds illegally, his response was far different. "Oh, well it's OK to fuck with corporations, it's not like a corporation is an artist" he said.

Even an employee for a large advertising agency in New York City, who works in the art department (but didn't want her name or firm to be disclosed), didn't seem to mind that the Illegal Art Festival, which had its New York run from November 13 to December 6, and was organized by Stay Free! magazine, was making use of some of the corporate images that her company might have made. "This sounds like great fun," she said. "I'm tired of large restaurant chains using my good work. Let someone else use it and turn it into real art!"

Christian Marclay
So is stealing from the "big guys" OK? Is it fine to make art out of corporately owned culture? Or someone else's work? Artists like Mark Hosler of the audio-collage group Negativland would tell you it is OK. He might even say that it's not stealing, that it's "transformative re-use," as he called it in a recent lecture at Anthology Film Archives. Using fragments of one thing to create another, potentially more interesting, work is a part of artistic freedom and shouldn't be silenced, Hosler said. What the Illegal Art Fest is exploring is the illegal use of images or sounds; mostly corporate or at least owned by corporations like record labels, toy companies and other media giants, and how they are being reinterpreted by artists.

In a society where creativity is to be rewarded but free and open access to ideas -- from music to journalism to art -- allowed, a conflict can arise, leaving lawyers to sort out questions of ownership and compensation. What are the copyright issues and who do copyrights really protect anyway? And, in the case of illegal use of images or sounds, who is actually getting hurt by the copyright laws?

At a recent short film showing at Anthology Film Archives, Hosler presented some (very) illegal short films he and the other members of Negativland made for some of their recordings. The screenings included a short called Gimme the Mermaid, which was made with help from Disney animator Tim Maloney, who created the film using Disney's equipment after hours. Mermaid combines the sound of a music industry lawyer with the voice of the Little Mermaid and Negativland's cover of Black Flag's "Gimme Gimme Gimme," Former Black Flag guitarist Greg Ginn was part owner of SST Records, the label that tried to force Negativland to pay the entire legal costs associated with a lawsuit brought on by Island Records regarding illegal use of a song by Irish megastars U2, which almost broke the band financially.

The U2 piece also included unauthorized a recording of Casey Kasem, a bootlegged outtakes from his American Top 40 show in which, during a dedication to a dead dog called "Snuggles," he cursed the sound engineer and insulted the band U2, saying, "these guys are from England and who gives a shit?" The piece -- featuring manipulated and deconstructed segments of the U2 song "I Still Haven't Found What I'm Looking For" -- was called "U2: Special Edit Radio Mix" and included on of Negativland's album "Negativland: U2," an album that U2's label, Island Records, thought looked a little too much like an actual U2 album since the letter "U" and the numeral "2" were featured far more prominently than Negativland's name. The 15-minute long album had barely been arrived in stores when Island Records slapped the group and SST with a lawsuit. And while Kasem didn't file a lawsuit, he and his lawyers did threaten Negativland with one if they tried to release the track again or in any way use the unauthorized outtakes of Kasem from the show.

This move may have seemed hypocritical, however. While being interviewed during a concert that was part of a protest against nuclear weapons testing outside Las Vegas in 1992, Kasem was asked about the Negativland record, and he wasn't going to take action against the band and that he was against censorship.

"No, I'm not going to complain about it, it's a free country and we have the First Amendment, so...no problem," he said. "I'm against censorship of any kind...Nobody should be censored."Negativland chronicled the saga in their book Fair Use: The Story of the Letter U and the Numeral 2.

Legal actions aside, the song was one of the first, and certainly one of the most prominent, of a wave of art that steps on the toes of copyright control.

At CB's 313 Gallery in New York City, artists and photographers made creative use of corporately owned imagery. One of them, Tom Forsythe, stuffed the beloved Barbie doll in a blender and a martini glass and messed up her hair for good measure in his series of photographs entitled Food Chain Barbie. Forsythe received a letter from Mattel claiming the series of images he had posted on his Web site infringed on its copyright and trademark. Forsythe wasn't making any money from the images and decided to fight the case with help from the ACLU. A federal court ruled in favor of Forsythe and Mattel immediately appealed. A decision is pending in May, 2003. Freedom of expression is OK, but don't mess with Barbie.

Canadian copyright laws are even stricter than in the US and while our neighbors to the North enjoy other freedoms, fair play, the Canadian equivalent of fair use, does not allow for parody, as artists Diana Thorneycroft and Michael Boss discovered when their series of drawings Man, Dog, Husband & Wife, Dinosaur, Man with Large Nose, Mouse -- which portrays Marge and Homer Simpson, Barney Rubble, Burt of Sesame Street, Barney the Dinosaur, Goofy and Mickey Mouse in various stages of bondage and victimization -- was rejected by Gallery 1CO3 in Winnipeg, Manitoba, at the advice of the gallery's lawyer. The artists eventually showed their work at another gallery in Winnipeg and have not been sued as of yet.

While Thorneycroft and Boss were subverting known cartoon characters to bring to light the face of violence, Brooklyn-based artist Heidi Cody wrote the word "subvert" in letters from corporate logos. The piece is part of a larger work called The American Alphabet and not only has she not heard complaints from those corporations, but some advertising agencies have even paid Cody to use the letters, seemingly allowing some freedom of expression and perhaps freedom to profit.

When artist Kembrew McLeod decided to copyright the term "Freedom of Expression," he got his wish and 10 years of exclusive use of the term for his zine. McLeod, with the help of a friend posing as the publisher of an imaginary punk rock magazine also called Freedom of Expression, pretended to sue the magazine and even had a lawyer send a cease and desist letter to the "offending magazine." McLeod was later interviewed by a local paper, which quoted the frustrated copyright holder as saying "I didn't go to the trouble and expense of trade marking 'Freedom of Expression' to have someone else come along and think they can use it whenever they want."

Luckily for most artists, McLeod was just kidding, since freedom of expression and freedom to express yourself using many, many samples, was the thing at a night of music that was part of the Illegal Art Fest at Tonic in the Lower East Side.

Musicians and sound manipulators put on performances that would be a copyright lawyer's dream (or nightmare, however you choose to see it).The experimental music duo Spin-17 used noisemakers, toy horns, and electric pianos, a turntable playing sounds from science fiction movies like Godzilla and recordings from space shuttle launches. Motoko Shimizu sang from operas, while Ed Chang played guitar during their performance. "No genre is safe and the boundaries between art and doleful indulgence are blurred," the duo writes on their Web site.

The Thimbletron, an invention created by the one-man band Evolution Control Committee, could be considered the ultimate indulgence for an artist who likes to use samples. The group claims to have discovered the science of Thimbletronium, as well as its relevant subatomic particle, Superdupertron, and to begin the show, Mark Gunderson donned Thimbletron: a pair of gloves with wires and thimbles attached which trigger samples from a laptop when touched together. After applying olive oil to the thimbles "for conduction purposes," Gunderson, with his wild white hair and white jumpsuit, pressed his fingers together, but no sounds ca m e out. Afte r much fumbling and the further application of olive oil, the device sprang to life and the sounds ranging from AC/DC and Dan Rather to instructional records and meal menus pumped out of the speakers.

The quirky band is better known for their controversial single "Rocked By Rape", which features samples of Rather and resulted in a lawsuit against them by CBS and the record being pulled. Even in cases where a song might be protected as parody or freedom of expression, artists can scarcely defend their work against deep-pocketed corporations and their Philadelphia lawyers.

Lawrence Lessig, a law professor at Stanford University, said copyright laws have reached a level of control where even an educator, wanting to use a three-second clip from "The Simpsons" is required to pay $25,000 for the privilege.

"The problem is their insane rules are now being applied to the whole world," Lessig said in a speech he gave this past summer at the Open Source Convention in California. "This insanity of control is expanding as everything you do touches copyrights."

But is having a low profile, like Evolution Control Committee, the only way to get around the radar screen of the lawyers and avoid paying hefty usage fees? Are artists like Beck, Public Enemy and Beastie Boys and countless other "mainstream" artists who have the money to pay for rights (and lawyers) the only ones who can use sampling in their music? Not as long as Negativland and Evolution Control Committee and other "underground" artists continue to keep the samples and the music and humor coming, in hopes that the next piece of mail isn't another subpoena, but a fan letter.



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Recent Selections @ Squidco:


Thanos Chrysakis /
Kurt Liedwart /
Nuno Torres /
Ernesto Rodrigues :
Skiagraphia
(Creative Sources)



Large Unit:
Fluku
(PNL)



Peter Hammill:
From The Trees
(Fie! Records)



Konstrukt /
Keiji Haino:
A Philosophy Warping,
Little By Little
That Way Lies
A Quagmire
[VINYL]
(KARLRECORDS)



Greg Saunier /
Mary Halvorson /
Ron Miles:
New American
Songbooks,
Volume 1
[VINYL]
(Sound American/
Pleasure of the Text Records)



Trio Heinz Herbert
(w/ Dominic Landolt /
Ramon Landolt /
Mario Haenni):
The Willisau Concert
(Live)
(Intakt)



Irene Schweizer /
Joey Baron :
Live!
(Intakt)



Die Enttauschung
(Axel Dorner /
Michael Griener /
Rudi Mahall /
Jan Roder):
Lavaman
(Intakt)



Pan-Scan Ensemble:
Air And Light
And Time
And Space
(PNL)



John Cage:
Klang der Wandlungen
[3 CDs]
(Edition Rz)



Leap of Faith
Orchestra:
The Expanding Universe
(Evil Clown)



Elliott Sharp /
Mary Halvorson /
Marc Ribot:
ERR Guitar
(Intakt)



Mars Williams presents
(w/ Berman /
Lonberg-Holdm /
Baker /
Kessler /
Sandstrom /
Hunt):
An Ayler Xmas:
The Music of
Albert Ayler &
Songs of Christmas
(Soul What Records)



Tree Ear
(Strinning /
Troller /
Hemingway):
Witches Butter
(Clean Feed)



Eve Risser /
Kaja Draksler:
To Pianos
(Clean Feed)



Kullhammar,
Aalberg Zetterber &
Santos Silva:
Basement Sessions
Vol.4
(The Bali Tapes)
(Clean Feed)



Imaginary Numbers (McPhee /
Niggenkemper /
Solberg):
Imaginary Numbers
(Clean Feed)



Joao Camoes /
Jean-Luc Cappozzo /
Jean-Marc Foussat:
Autres Paysages
(Clean Feed)



Steve Swell (w/ Brown /
Hwang /
Ulrich /
Boston /
Pugliese):
Music for
Six Musicians:
Hommage a
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Schlippenbach Trio
(Schlippenbach /
Evan Parker /
Lovens):
Warsaw Concert
(Intakt)







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