The Squid's Ear
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Georg Graewe Quintet:
Amsterdam, October 1998 (Random Acoustics)

Recorded in concert at Amsterdam's Stedelijk Museum in 1998, legendary pianist Georg Graewe's Quartet with Frank Gratkowski on alto saxophone & clarinet, Kent Kessler on double bass, and Hamid Drake on drums present a tour-de-force of passion, technique and creative drive in an epic 53 minute improvisation from high energy to reflective stretches; superb! ... Click to View


Georg Graewe:
Stills And Stories (Random Acoustics)

German pianist and Euro Free Jazz stalwart Georg Graewe in his first solo release in more than a decade, a remarkable set of succinct compositions balancing astonishing technical skills with beautifully expressive playing, presented in several series of "stills" and "stories". ... Click to View


Frederick Galiay (Viard / Sebastien / Boudart / Galiay):
Time Elleipsis (Ayler)

Dramatic, darkly thrilling with moments of sheer beauty, from French electric bassist Frederick Galiay and his Camaeleo Vulgaris ensemble, a sextet performing Galiay's compositions in a potent mix of electric guitar, electrified baritone sax, synthesizer, and two drummer/percussionists, recorded after a dozen live concerts honing the material to this riveting studio version. ... Click to View


Francois Carrier / Tomek Gadecki / Matcin Bozek / Michel Lambert:
Wide (FMR)

A burning album of collective free jazz from Canadian compatriots Francois Carrier on alto saxophone and Michel Lamber on drums, on a spring tour of Europe, performing at Polands MOZG in Byrgoszcz, hope of the MOZG Festival, with Polish tenor saxophonist Tomasz Gadecki amd bassist Mracin Bozen, also on French Horn, in an exhilarating set of three extended improvisations. ... Click to View


Thollem / Parker / Cline:
Gowanus Sessions II [VINYL] (ESP)

Free collective improvisation with an electronic edge from the trio of Nels Cline, double bassist William Parker and pianist Thollem McDonas, following up on their 2012 "Gowanus Session I" recorded in the same studio space, here expanding on the 1st session's shorter works with two large and evolving improvisations that balance reflective moments with intensive playing. ... Click to View


Werner Dafeldecker :
Parallel Darks [VINYL] (Room40)

Viennese-born, Berlin-based electro-acoustic composer Werner Dafeldecker (Polwechsel, Fennesz, &c) creates an intense and beautiful musique concrete and acousmatic journey in two parts, examining "perspective, extreme subjectivity and the specters that haunt our auditory worlds" through mysterious sound and enveloping sonic construction, a profound and riveting work. ... Click to View


Skeleton Crew (Frith / Cora):
Learn to Talk [VINYL] (ReR Vinyl)

Reissuing the first of two albums from the NY collaboration of guitarist Fred Frith and cellist Tom Cora, both providing vocals, percussion, violin, & bass, in a classic example of Downtown NY genre-merging of improvisation and rock with a vicious edge, in smart songs and even smarter instrumental sections, an insanely inventive and intelligent album as vital now as it was then. ... Click to View


Acid Mothers Temple & The Melting Paraiso U.F.O.:
Minstrel In The Galaxy [VINYL + DOWNLOAD] (RIOT SEASON)

... Click to View


Leap Of Faith:
Cosmic Distance Ladder (Evil Clown)

The core trio of the Leap of Faith Orchestra comprising multi-reedist & wind player David Peck, also on percussive devices, with Glynis Lomon on cello, aquasonic and voice, and Yuri Zbitnoff on drums & percussions, with special guests Kat Dobbins on trombone and Bob Moores on trumpet & flugelhorn, in an evolving set of strong harmonic, percussive & lyrical interaction. ... Click to View


Gen Montgomery Ken:
Endogeny [CASSETTE] (Tribe Tapes)

Sound and Visual artist Gen Ken Montgomery released this album on cassette on the Directions Music label in 1990, here reissued in 2020; the two side-long pieces were performed live and then remixed, using a mixture of tapes, concrete and mechanical sounds alongside love instrumentation of percussion, violin, voice, &c, sometimes stark, always fascinating. ... Click to View


Jean Derome:
Somebody Special (Ambiances Magnetiques)

Drawing on Steve Lacy's quintet, Montreal saxophonist Jean Derome pays homage to the late saxophonist through a selection of 9 Lacy pieces with lyrics from Brion Gysin, Lao Tseu, Herman Melville, &c, in a quintet with Derome on alto sax, bass flute & voice, Karen Young providing vocals, Alexandre Grogg on piano, Normand Guilbeault on double bass, Pierre Tanguay on drums. ... Click to View


Ensemble SuperMusique / Symon Henry:
voir dans le vent qui hurle les étoiles rire et rire (Ambiances Magnetiques)

Montreal's true supergroup since 1998 of some of the city's essential Musique Actuelle performers and composers, directed by Danielle Palardy Roger and including Jean Derome, Joane Hetu, Scott Thomson, Lori Freedman, Alexander St. Onge, &c. &c., take on Quebec composer Symon Henry's piece, performed in an exceptional and impressive concert in the Chapel in Bon-Pasteur. ... Click to View


Gabriel Dharmoo :
Quelques fictions (Ambiances Magnetiques)

Stunningly unusual vocal music from composer, music researcher and vocalist based in Montreal, Gabriel Dharmoo, collecting works from 2012 to 2019, performed with small and large ensembles using almost completely wordless voice, utterance, guttural sound, swoops and, melodic flights, augmented with physical percussion like stamping and clamping; brilliant and enthralling. ... Click to View


Prevost / Solberg / Pettersen / Moore / Brice / Hardie-Bick:
Plumes of Ash in Moonlight [2 CDs] (Split Rock Records)

Bringing together two innovative improvising percussionists--Eddie Prevost of AMM fame, and Stale Liavik Solberg (VCDC, John Butcher)--for a studio album of wide-ranging and sometimes hair-raising electroacoustic improvisation, recorded live and unedited with Olie Brice on double bass, Tony Hardie-Bick on piano & tapes, Ed Pettersend on lap steel, and NO Moore on guitar. ... Click to View


Ken Vandermark / Paal Nilssen-Love Duo:
AMR (NO LABEL)

The long-running duo of Chicago saxophonist and clarinetist Ken Vandermark and Norwegian drummer/percussionist Paal Nilssen-Love are heard in this live concert at AMR in Geneva, Switzerland in 2018, performing the first four letters of the alphabet ("A", "B", "C" & "D"), each letter a unique creative approach in evolving their remarkable and enthralling dialogs. ... Click to View


Decoy (Alexander Hawkins / John Edwards / Steve Noble) With Joe McPhee:
AC/DC (Otoroku)

The UK Decoy trio of John Edwards (bass), Steve Noble (drums) and Alexander Hawkins (keys) joins forces with pocket trumpet and saxophone player Joe McPhee during McPhee's residency at London's Cafe OTO, recording these two huge sets of brilliant free improv, Hawkins performing on organ adding a unique and soulful tone to the set that balances powerful energy with innate lyricism. ... Click to View


John Carter Octet:
Dauwhe [VINYL] (Black Saint Vinyl)

A much-needed reissue of John Carter's 1982 LP "Dauwhe", the first chapter in his "Roots and Folklore" saga, a 5-part epic through African American heritage, performed with Carter himself on clarinet, Bobby Bradford (cornet), James Newton (flute), Charles Owens (sax, oboe & clarinet), Red Callender (tuba), Roberto Miranda (bass), William Jeffrey (drums), and Luis Peralta (percussion). ... Click to View


Philip Samartzis / Eric La Casa :
Captured Space [CASSETTE] (Cronica)

Kruger National Park in the north-east corner of South Africa is the subject of Eric La Casa and Philip Samartzis's audio exploration, using field recordings made over 10 days in and around the park, and taking them into the studio to organize them into an aural representation of the park's exotic mystery, placidity and tension, with a tinge of the modern world nearby. ... Click to View


Laboratorio Della Quercia:
Laboratorio Della Quercia [VINYL 2 LPs] (Alternative Fox)

Documenting the 12-day Italian experimental jazz festival at the ancient amphitheater Tasso della Quercia in 1978, revolving around Italian improvsers Tommaso Vittorini, Eugenio Colombo, Maurizio Giammarco, Alberto Corvini, Danilo Terenz, with visiting players Steve Lacy, Steve Potts, and Evan Parker, trombonist Roswell Rudd, pianist Frederick Rzewski, and drummer Noel McGhee. ... Click to View


Turbulence:
Eddy Flux (Evil Clown)

The extended horn section for the Leap of Faith Orchestra from the Boston-area collective led by reedist/multi-instrumentalist David Peck, here with PEK on an assortment of saxophones, clarinets, flutes, game calls and percussion, the other horns from Michael Caglianone on sax, game calls, wind sirens and percussion, with drums, bells, bowls and other percussion from Yuri Zbitnoff. ... Click to View


Ratchet Orchestra:
Coco Swirl (Ambiances Magnetiques)

Active since the early 90's, the superb Montreal super-group Ratchet Orchestra under the direction of Nicolas Caloia with 19 performers presents 10 works including the title track, with soloists including Jean Rene, Lori Freedman, Jean Derome, Ellwood Epps, Sam Shalabi, Craig Petersen, Yves Charuest, Joshua Zubot, Scott Thomson, Isaiah Ceccarelli, &c. ... Click to View


Chris Pitsiokos :
Speak In Tongues And Hope For The Gift Of Interpretation (Relative Pitch)

Dedicating his pieces to Charlie Parker, Anthony Braxton, Roscoe Mitchell, Ornette Coleman, Eric Dolphy, and John Zorn, NY alto saxophonist Chris Pitsiokos is heard live at this solo concert in New Haven, CT in 2019, reflecting on the history of jazz through his intense playing style that deploys incredible technique balanced with abstraction and rapid lyricism. ... Click to View


Raoul Bjorkenheim :
Solar Winds (Long Song Records)

Paying tribute to his musical inspiration John Coltrane, Finnish/NY electric guitarist Raoul Bjorkenheim leads a quartet with Silvia Bolognesi on contrabass, Tiziano Tononi on drums & percussion, and Emanuele Parrini on violin, as they perform five Coltrane compositions and two Bjorkenheim originals, a superlative homage to technical brilliance and conceptual vision. ... Click to View


Eugene Chadbourne / Duck Baker / Randy Hutton :
The Guitar Trio In Calgary 1977 (Emanem)

A concert recording from 1977 in Calgary, CA captured during Eugene Chadbourne's time in Canada prior to his move to NYC, from the guitar trio of Duck Baker, Randy Hutton & Eugene Chadbourne, performing on acoustic guitars, using a variety of approaches to improvising in trio, duo and solo configurations, with original work, an Ornette Coleman mashup, and a piece by Charlie Haden. ... Click to View


Company:
1983 [VINYL 2 LPs] (Honest Jons Records)

Unreleased recordings from Derek Bailey's Company project, recorded at the BBC in 1983 with a stellar set of performers including Evan Parker (clarinet), Hugh Davies (electronics), Jamie Muir (percussion), Joelle Leandre (bass), J.D. Parran (winds), John Corbett (trumpet), Vinko Globokar (trombone), Ernst Reijseger (cello), and Peter Brotzmann (reeds). ... Click to View


Muhal Abrams Richard:
Celestial Birds [VINYL] (KARLRECORDS)

A compilation of works from the late Chicago multi-reedist, experimenter, and AACM founder Muhal Richard Abrams, focused on his widely unknown electronic compositions, in four recording from 1968-1995 with collaborators including Anthony Braxton, Leroy Jenkins, Amina Claudine Myers, Roscoe Mitchell, Maurice McIntyre, Yousef Yancey, Thurman Barker, &c. ... Click to View


Eric La Casa:
L'inspir du Rivage part 2&3 [VINYL 7-inch] (Povertech / Joe Colley)

First stock of this 1999 7" from French sound artist Eric La Casa created as part of Joe Colley's "Explorer" series, the title translating to "the shore breathing" where each composition develops from field recordings of water, the first part more naturalist and adhering to the initial recordings, the second using sound processing to create something unique and mesmerizing. ... Click to View


Rachel Musson / Naoko Saito / Audrey Lauro:
The Region Of Braille Responsibility [CD with English Braille Sheet] (Armageddon Nova)

Three female saxophonist from around the world--Rachel Musson (UK), Naoko Saito (Japan) and Audrey Lauro (Belgium)--in a compilation of solo saxophone works, two extended pieces from Musson and Satio, and four shorter works from Laura, with a CD insert with English Braille characters, and a QR code that, when scanned, plays the audio information for the album. ... Click to View


Musica Elettronica Viva:
United Patchwork [VINYL 2 LPs] (Alternative Fox)

A reissue of Musica Elettronica Viva's innovative 1978 open-structured album of free improvisation, United Patchwork, with the core performers of Frederic Rzewski on piano & electric piano, Richard Teitelbaum on synthesizer & conch shells, Alvin Curran on synthesizer & keys, plus Karl Berger on keys & vibraphone, Garrett List on trombone, and Steve Lacy on soprano sax. ... Click to View


Karkhana:
Bitter Balls [VINYL] (Unrock)

LP-only, no 7" single. The second full-length album from Karkhana, a septet featuring members of Dwarfs Of East Agouza, A "Trio", Konstrukt, Chicago Tentet, Land of Kush, among others in four compositions of "crystal clear and deep, dark, distorted unrock compositions" in both electric and acoustic instrumentation, an international genre-crossing album. ... 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:


Georg Graewe Quintet:
Amsterdam,
October 1998
(Random Acoustics)



Werner Dafeldecker:
Parallel Darks
[VINYL]
(Room40)



Skeleton Crew
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[VINYL]
(ReR Vinyl)



Frederick Galiay
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Galiay):
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John Edwards /
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AC/DC
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Symon Henry:
voir dans le vent
qui hurle les
étoiles rire
et rire
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Jean Derome:
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Raoul Bjorkenheim:
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Ratchet Orchestra:
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Company:
1983
[VINYL 2 LPs]
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Muhal Abrams Richard:
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Rob Burke /
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