The Squid's Ear
Recently @ Squidco:

Ollie Brice (w / Challenger / Glaser / Yarde / Musson / Crowley / Bonney / Macari / Roberts / Hunter):
Trio / Octet: Fire Hills [2 CDs] (West Hill Records)

Trio & Octet compositions from UK double bassist Olie Brice: "Fire Hills" in five parts, commissioned by Jazz South and performed by the trio of Brice, Tom Challenger (sax) and Will Glaser (drums); then three pieces including the title track, with Alex Bonney & Kim Macari (trumpets), Jason Yarde, George Crowley, Cath Roberts & Rachel Musson (saxophones), and Johnny Hunter (drums). ... Click to View


Henry Kaiser / Anthony Pirog:
Figure / Ground (Ramble Records)

A gorgeous album of duo work from West Coast guitarist Henry Kaiser and D.C. guitarist Anthony Pirog, creating "ground" structures of beautifully rich harmonics over which "figures" of virtuosic guitar playing emerge and submerge, the overlap creating almost hallucinatory effects as the listener is transfixed somewhere between exquisite foregrounds and backgrounds. ... Click to View


Allen Moore / Ishmael Ali / Bill Harris:
Hearsay (Amalgam)

Unusual textures, unlikely orchestration and unconventional rhythmic directions from the Chicago electroacoustic improv trio of Allen Moore on turntables & records casted with various material, Ishmael Ali on cello, guitar & electronics and Bill Harris on drums & percussion, captured live at Marmalade in Chicago in 2021 for a diverse set of experimental and absorbing improvisations. ... Click to View


Florian Wittenburg :
1- Bis 4-Stimmig (Edition Wandelweiser Records)

Starting with a systematic variation of polyphony in each of the three movements of "Bis 4-Stimmung", German composer and pianist Florian Wittenburg deviates from strict structures through a component of randomly generated core notes which he then makes coherent through harmony and melody, each part punctuated with layers of Wittenburg reciting Dutch poet Cees Noteboom. ... Click to View


Wade Matthews / Carmen Morales:
Fall Five Improvisations (Aural Terrains)

Inspired by and recorded at the basilica of a former monastery overlooking a valley in southern Spain, the duo of Wade MatthInspired by and recorded at the basilica of a former monastery overlooking a valley in southern Spain, the duo of Wade Matthews on digital synthesis & field recordings and Carmen Morales on prepared piano, present improvisations with a unique palette of timbres, contrasting spacious moments against rapid interaction as they "Plunge and Tumble" through five captivating dialogs.ews on digital synthesis & field recordings and Carmen Morales on prepared piano, present improvisations with a unique palette of timbres, contrasting spacious moments with rapid interaction as they "Plunge and Tumble" through five captivating dialogs. ... Click to View


Quatuor Umlaut (Karl Naegelen / Morton Feldman):
Calques (Umlaut Records)

Founded by violinists Amaryllis Billet and Anna Jalving, with Fanny Paccoud on viola and Sarah Ledoux on cello, Quatuor Umlaut presents their first recordings, joined by clarinetist Joris Ruhl for two pieces: "Calques" by composer Karl Naegelen using effects of transparency and fusion of tones; and Morton Feldman's highly textured "Clarinet and String Quartet". ... Click to View


Philip Corner:
On Tape From The Judson Years (Alga Marghen)

Early tape collage works from Fluxus founder and member of the Experimental Media Foundation Philip Corner, five distinct pieces recorded and developed between 1962 to 1963 in New York's Lower East Side, including Lucinda Pastime" for a a dance piece by Lucinda Childs, and "Oracle, a Canata on Images of War" commissioned by the Living Theatre; includes a 16-page booklet. ... Click to View


Leap Of Faith:
Revealing The Essence (Evil Clown)

The first Leap of Faith set in a quartet lineup expanding the core of David Peck on reeds, winds & percussion and Glynis Lomon on cello & aquasonic with trumpeter Vance Provey and percussionist Michael Knoblach, in an introspective livestreamed set that balances the strings of Lomon against two horns while bringing out a wealth of unusual percussive interactions. ... Click to View


Fire! w/ Stephen O'Malley / David Sandstrom:
Requies [VINYL 1-SIDED EP w/ SCREEN PRINT on B-SIDE] (Rune Grammofon)

A one-side EP with a screen print on the B-Side, of a raucous, dark and incredibly epic journey in heavy electric jazz from Fire! configured as the quintet of Mats Gustafsson on bass saxophone, organ & live electronics, Johan Berthling on electric bass, Andreas Werliin on drums, Stephen O'Malley on guitar and David Sandstrom on drums; awe inspiring! ... Click to View


Flying Luttenbachers, The:
Imminent Death [VINYL 2 LPs] (God Records)

The ever-shifting lineup of jazz/no-wave/avant/aberrant improvisers The Flying Luttenbachers, anchored by drummer Weasel Walters, brings multi-reedist Matt Nelson, two guitarists (Brandon Seabrook & Henry Kaiser), bassist Tim Dahl and Brad Laner on synth for an aggressively informed and excitingly unpredictable album of superb playing and possibly bad intention; recommended! ... Click to View


Zorn / Chadbourrne / Bradfield / Baker / Hutton:
John Zorn's OIympiad - Vol. 2 Fencing 1978 (Tzadik)

Two exceptional live performances of John Zorn's interactive "Fencing" concept leading free improv into unusual directions, from the early Downtown NY scene in 1978, first at Zorn's own loft in the trio of guitarists Eugene Chadbourne, Duck Baker and Randy Hutton; then at Bard College, in Kingston, NY with Zorn on multiple reeds, Chadbourne on guitar and Polly Bradfield on violin. ... Click to View


Heroes Are Gang Leaders:
LeAutoRoiOgraphy [BLACK VINYL] (577 Records)

Led by tenor saxophonist James Brandon Lewis and poet Thomas Sayers Ellis, this 12-piece ensemble of pointed and ecstatic free jazz and spoken word are heard at the 2019 Sons D'Hiver Festival in Paris, 2019, their sound influenced by chamber elements and sharpened through insightful and demanding observations and the influence of Amiri Baraka (LeRoi Jones). ... Click to View


Eunhye Jeong (Jeong / Burik / Ridley / Mela / Kim):
End of Time / KM-53 Project Vol. 1 (577 Records)

An energetic and sophisticated album of free improvisation based around three compositions by and under the direction of Boston-based South Korean pianist Eunhye Jeong, in a quintet with Allison Burik on alto saxophone & bass clarinet, Max Ridley on double bass, Francisco Mela on drums and Mina Kim on cello, who also performs Jeong's solo work for cello on the center track. ... Click to View


John Zorn (Marsella / Roeder / Smith):
Suite for Piano (Tzadik)

Blurring the lines between composed and improvised music, John Zorn's ten-part composition in his "Suite for Piano" was inspired in part by the Goldberg Variations and Schoenberg's solo piano music, set in the classic piano trio format and performed by extraordinary New York musicians and improvisers, Brian Marsella on piano, Jorge Roeder on bass, and Ches Smith on drums. ... Click to View


Kirk Knuffke Trio (w/ Bisio / Shipp):
Gravity Without Airs [VINYL 2 LPs + DOWNLOAD] (Tao Forms)

A mix of original compositions and collective improvisations from the NY trio of cornetist Kirk Knuffke, bassist Michael Bisio and pianist Matthew Shipp, in a double album of exemplary creative jazz from three players steeped in both tradition and forward-thinking approaches to improvisation, filled with spectacular playing from enthusiastic to introspective; a superb release. ... Click to View


AAVD Trio (Alexander Adams / Danny Andrade / Daniel Van Duerm):
Anti Glow (Amalgam)

Experimental improvisation driven by the foundations of electric piano, organ & electronics of Chicago keyboardist Daniel Van Duerm, fueled by the flexible and unusual drumming of Alexander Adams and passionately expanded by the cathartic tenor sax wrangling of Danny Andrade, dark and light come together to form an "anti-glow" from this intriguing young trio. ... Click to View


Stefan Thut:
Among (Inexhaustible Editions)

Creating complex intervals that the players must "notice among each other" as a model for coexistence, cellist Stefan Thut's score for three string players and sine waves, here configured for double bass (Félicie Bazelaire), acoustic guitar (Fredrik Rasten) and cello (Thut) with Léo Dupleix on sine waves tuned to multiples of prime numbers and attached to the wooden boxes that serve as transducers. ... Click to View


Amirtha Kidambi / Luke Stewart:
Zenith/Nadir [CASSETTE w/ DOWNLOAD] (Tripticks Tapes)

Referencing the highs and lows to which the NY duo of free improvising vocalist Amirtha Kidambi and bassist Luke Stewart take their listeners, both bringing along electronics as they divert between clear acoustics and extreme processing, pouring out the turbulence of the time with a unique sense of duress and oddly hopeful musing; frighteningly unique and fascinating. ... Click to View


Hippie Diktat:
Gran Sasso [VINYL] (nunc.)

The 3rd album from the French Hippie Diktat trio of Antoine Viard on baritone sax, Julien Chamla on drums and Richard Comte on guitar, drawing parallels to Sunn O))) and the raw power of Peter Brötzmann, here in a four-part work of primal rhythms and powerful textures, applying the use of space and timing around repetition to create a bedrock of brawny sound. ... Click to View


Richard Comte / Julien Pontvianne:
Sunken Music (nunc.)

The long-standing duet of guitarist Richard Comte and tenor saxophonist Julen Pontvianne (Onze Hours Onze) is a conversation of introspective and resonant repetition around silence, tonal decay, slow call and response and submerged themes, here symbolically immersed as they explore four sunken islands from around the world: Vordonis; Lohachara; Semionovski and Elugelab. ... Click to View


Albert Ayler Quintet:
At Slugs' Saloon 1966, Revisited (ezz-thetics by Hat Hut Records Ltd)

Combining the two Italian ESP/BASE LPs from 1982 and the 1995 ESP reissues, this spectacular concert with perhaps Ayler's most essential band--Ayler on tenor sax, Donald Ayler on trumpet, Michel Samson on violin, Lewis Worrell on double bass and Ronald Shannon Jackson on drums--is fully remastered to bring out more details from the complete, ecstatic 1966 concert. ... Click to View


Markus Eichenberger / Christoph Gallio:
Unison Polyphony (ezz-thetics by Hat Hut Records Ltd)

A seeming contradiction in terms, the unison voices and divergent polyphony that emerges best describes the subtle interactions between these two Swiss reed players--Markus Eichenberger on clarinet and Christoph Gallio (Day & Taxi) on soprano and C-Melody saxophones--their "harmony of coherence" strategies guiding their melodic interlacing and fragmentation. ... Click to View


Yaroslav Likhachev Quartet:
Occasional Sketches (Clean Feed)

Performing the embracingly angular compositions of Russian-born, German-based saxophonist Yaroslav Likhachev that pivot on hard bop transformed through inventive approaches, since 2016 Likhachev's Quartet with Yannis Anft on piano, Conrad Noll on bass and Moritz Baranczyk on drums have pursued new forms of expression while maintaining jazz, traditions here in nine well-defined "sketches". ... Click to View


Ziv Taubenfeld's Full Sun:
Out Of The Beast Came Honey (Clean Feed)

Amsterdam-based bass clarinetist Ziv Taubenfeld's sextet perform the leader's innovative compositions that include a tribute to alto saxophonist Jemeel Moondoc, and a graphic composition for Sunny Murray, in a band with Michael Moore (sax & clarinet), Joost Buis (trombone), Nico Chientaroli (piano), Omer Govreen (double bass) and Onno Govaert (drums & percussion). ... Click to View


Daniel Carter / Watson Jennison / William Parker / Federico Ughi:
Live! Volume 1: Erie (577 Records)

Working together in tours and recording since 2005, the NY trio of multi-reedist and wind player Daniel Carter, bassis William Parker and drummer/percussionist Federico Ughi are joined by saxophonist Watson Jennison also on flute, recorder and keyboards for this enlightened album of modern and transcendent jazz in a limited, remastered LP edition with bonus material. ... Click to View


Chad Fowler / WC Anderson:
Lacrimosa (Mahakala Music)

Free jazz recorded one person at a time from the duo of saxophonist Chad Fowler and WC "Chad" Anderson who, constrained by pandemic, chose to create "simulated concerts" by exchanging solo recording, each starting the process for different pieces and surprised at how "live" the results felt, as they built up the twelve excellent, rule-breaking tracks of this album. ... Click to View


Daniel Carter / Jim Clouse:
Playing Retention (Mahakala Music)

Known first as one of New York's finest audio engineers running Park West Studios, Jim Clouse is also a drummer and saxophonist, this his first recorded foray into free jazz partnering with legendary multi-instrumentalist Daniel Carter on sax, trumpet, piano & drums, for seven diverse and extremely well informed improvisations as each follows their natural inclinations. ... Click to View


Kyle Motl / Patrick Shiroishi:
Apparitions [CASSETTE w/ DOWNLOAD] (Notice Recordings)

The second album on Notice Recordings for West Coast free improvising saxophonist Patrick Shiroishi is a duo with San Diego-based double bassist Kyle Motl, in an exceptionally well-balanced example of powerful expression from both players, free blowing and turbulent exchanges offset by experimental introspective passages in four extended and excellent improvisations. ... Click to View


Cordoba (Brianna Tong / Eric Novak / Cam Cunningham / Zach Bain-Selbo / Khalyle Hagood / Zach Upton-Davis):
Specter (Amalgam)

Combining elements of neo-soul, jazz fusion and hip hop, the Cordoba genre-bending sextet from Chicago use their warm, slightly off-center grooves to present vocalist Brianna Tong's articulate lyrics that observe and reflect on the state of world, the band's arrangements extended on five songs with the Latin America-influenced Kaia String Quartet. ... Click to View


Michael Pisaro-Liu :
Two Scrolls From Western Australia (Edition Wandelweiser Records)

Composer Michael Pisaro-Liu asked guitarist Jameson Feakes and saxophonist Josten Myburgh to each select a location in Western Australia and make a set of field recordings at different times of day, providing the basis for a musical scroll akin to Chinese scroll paintings, each musician then a poetic character placed into the virtual landscape of their recordings. ... Click to View



  •  •  •     Join Our Mailing List!



The Squid's Ear
Facebook: Squidco Sales

Instrumentals
We've asked a number of musicians to write about their instruments of choice, taking a view that is either personal, historical or, in some cases, just unusual. The results are to be found in these pages.


  The Accordion (& the Outsider)  


By Pauline Oliveros 2004-04-26
The Accordion (& the Outsider) By Pauline Oliveros


[Photo: Gisela Gamper - seehearnow.org]
Calling All Accordions! If there is an accordion in your attic, basement or closet why not get it out and let it breathe with you? Accordions are good friends and get lonely sitting around unused! They want to be played just like any other good instrument.

Get the accordion out of its isolation, put it on and just depress the air button. Let the air go through as you pull and push the bellows in a smooth arc and just listen to the air. This is the breath of the instrument. Let your own breath join with the accordion.

After the breathing duet gently depress a button or a key (just one or the other at first) and listen to the tone join the breathing.

Here is a piece that I wrote for myself to explore breathing with the accordion:

Horse Sings From Cloud
For solo or ensemble

Hold a tone until you no longer desire to change it.
When you no longer desire to change the tone then change it.

Pauline Oliveros – 1979
© Copyright Deep Listening Publications 1979

I have played the accordion for more than sixty years. I consider my accordion to be an amplification of my breath. The ancestor of the accordion the 4,000-year-old Chinese sheng (mouth organ) is breath-driven with a mouthpiece attached to a gourd resonator with free metal reeds vibrating inside of vertical bamboo pipes fixed into the gourd. There are finger holes in the gourd for changing pitches. The fingers pick up vibration from the gourd. The sheng is a beautifully integrated instrument for breath and touch.

http://www.musicofchina.com/sheng.html

The accordion (invented in 1840 in Vienna) with its keyboard/buttons and bellows remove the reeds from direct human breath, but its still a wind instrument with air-driven free reeds. The keys, when pressed, open valves that let the bellows blow air through the reeds to cause them to vibrate. I synchronize my breath with the air in the bellows as the reeds come to life and sound.

http://www.accordions.com/index/his/his_inv_dev.shtml

Playing the accordion has influenced my interest in breath-oriented music - that is pieces that are shaped by breath-like rhythms that flow organically as illustrated by Horse Sings From Cloud.

The instrument also lends itself very well to sharp articulations or accents so that dance rhythms and polyrhythms found in conjunto and tango are natural to the accordion as well.

I started learning accordion when I was nine years old. I was fascinated when my piano playing mother brought one home to learn in order to increase her earning power. Accordion was very popular in the 1940s. There were very large accordion schools in Houston Texas, where I was born in 1932.

I quickly learned the basics of music with melody with bass and chord accompaniment. I soon could play many tunes - especially World War II songs like "Coming in on a Wing and a Prayer" or "White Cliffs of Dover" and many others.

A very significant experience for me in my first year of study was performing in the rodeo in the Houston Coliseum in a 100-piece accordion band. The overall sound of the band remains with me today. The sound was powerful and resonated throughout the Coliseum. That was the first experience that turned my attention to the timbre of the instrument and especially of many instruments sounding together simultaneously.

The accordion is rich in overtones. Subtly varying key/button and air pressures bring out different overtone structures for each pitch. The use of registers to open and close ranks of reeds increases the richness of possibilities. Unison reed sets tuned a few cents apart cause even more commotion with the overtones and beat frequencies.

After about a year of instruction from a rather limited teacher, I began to lose interest. I needed more stimulation and challenge. In 1945 my new teacher returned from serving in the Army. Dr. Willard Palmer (Bill) rekindled the fire of passion for the accordion and challenged me in many new ways. I began to progress again.

According to the Web site Mr. Smarty Pants Knows: "Professor Willard Palmer is credited with having the longest continuous master's degree program in accordion ever (it was at the University of Houston). Palmer also appeared on the television show, "America's Funniest Videos" playing the "Beer Barrel Polka" on the accordion. It fell apart in the middle of the song."

http://www.auschron.com/mrpants/accordion.html

My teacher showed two sides with his accordion playing: the serious musician seeking to elevate the accordion into the Classical canon and the commercial comedic musician seeking to make some money to support his family. Eventually Bill took up the harpsichord, got a PhD in musicology and became an expert on baroque and classical ornamentation. He edited Bach and Mozart for Alfred Publications and wrote the Palmer-Hughes accordion method books with his former student and partner Bill Hughes. These books were formulated while I was studying with him and have served thousands of students through the years.

http://trfn.clpgh.org/free-reed/essays/palmer.html

I entered the University of Houston as an accordion major In Palmer's program. During that time I learned to play baroque and classical solo pieces. I also participated in an accordion quartet playing Haydn string quartets. Sometimes I filled in for the lack of string players in the University orchestra. I also played popular music, folk and jazz to earn my living. I began teaching accordion privately when I was fifteen years old.

One special thing Palmer taught me was to listen for difference tones. (The difference between two frequencies sounding simultaneously). Difference tones fascinated me and later became the basis of my early electronic music I of IV - 1966, which was released in 1968 by Odyssey, Bye Bye Butterfly (1965) was released in 1975 by Arch Records. These have been reissued on cd along with other titles that are just now being released after thirty years on the shelf.

http://www.sfu.ca/sca/Manuals/ZAAPf/c/com_difftones.html

My awareness of timbre increased as I joined my high school concert band as a French Horn player. No accordions were allowed in traditional musical ensembles. The accordion is an outsider instrument invented after the Baroque and Classical periods so there is no repertoire except for transcriptions from the Western classical canon. I tried to imitate the timbres I perceived in band and orchestra with my accordion. I could do this through air pressure and touch.

My interest in composition increased with Palmer's encouragement. I left the University of Houston to seek a composition mentor after three years of study and went to San Francisco. There I met and studied with the composer Robert Erickson. I realized that composition was my path. Performing took second place for a while as I plunged into writing music and making electronic music.

In the '60s I helped to found the San Francisco Tape Music Center with Ramon Sender Barayon and Morton Subotnik. We made our taped electronic music there and also created a concert series. Soon we were creating many pieces that involved performers with tape or live electronics. Additionally we engaged in group improvisation.

I began to improvise with my accordion and to perform again. Ramon wrote a solo accordion piece with tape accompaniment for me called Desert Ambulance. I wrote Duo for Accordion and Bandoneon with Possible Mynah Bird Obligato for David Tudor and me. Desert Ambulance had about twenty-five performances with visuals by light artist Anthony Martin.

David and I performed the "See Saw" version of the Duo with the see saw conceived and constructed by Elizabeth Harris. She also constructed a mobile suspended above the center of the see saw for Ahmed the mynah bird and created choreography for the movement of the see saw. The see saw went up and down, clockwise and counterclockwise and had seats that spun around as well. The varieties of motion effectively distributed the sounds of our instruments spatially. Anthony Martin created a light score for the Duo as well.

The Duo had only two performances until it was revived in the late 80s for a show in San Francisco. I performed the piece with Gordon Mumma without the mynah bird (much to my chagrin) and without the light score. The Duo seems to have a long life in memory as people continue to mention it to me after almost forty years since the premiere performances. Toru Takemitsu, Toshi Ichianagi, Kuni Haru Akiyama and John Cage were in the audience.

One highlight of the San Francisco Tape Music Center performances was the premiere of Terry Riley's In C for Instruments at our 321 Divisadero concert hall. Terry had intended In C as a piece for his friends to play together. I played accordion, Mort played clarinet, Terry played flute. Steve Reich played as well. None of us could keep together so the piano pulse was added. All of us felt that Terry had created something very special even though we didn't play the piece very well. Alfred Frankenstein of the San Francisco Chronicle hailed In C as a 20th Century masterpiece. From the perspective of almost forty years and innumerable performances later, Frankenstein was right! I played in many of those performances with my accordion through the years. Actually I would like to hear it with a 100-piece accordion band - what a sound that would make.

When I left my teaching position at the University of California, San Diego, I was considered a composer of electronic music rather than a performer. I kept my hand in with an improvisation ensemble I organized outside of the University.

Leaving a full professorship with tenure in 1981 was a leap of faith. I moved from San Diego to upstate New York to live in back of Zen Mountain Center in Mt. Tremper. I lived in an A-frame in a meadow that looked at the mountain. There was no running water and just enough electricity to run my first computer, which I bought in 1983. I sent out a postcard with a picture of me playing the accordion noting that I was available for concerts, lectures, workshops and consultations.

It was important for me to assert my identity as an accordion player at the time. For me the accordion is a symbol of the outsider. Accordion music is associated with the working class and had no place in the establishment musical organizations representing the Western musical canon. As a composer I also felt like an outsider. I realized that to earn a living outside of the university I would have to perform. I embraced my old friend the accordion.

I played many solo concerts in the meditative style of Horse Sings From Cloud. My first solo album was Pauline Oliveros: Accordion and Voice released on Lovely Music in 1983 including Horse Sings From Cloud and Rattlesnake Mountain.

I also began to play duos and trios with other musicians including Stuart Dempster (trombone), Malcolm Goldstein (violin), Guy Klusevcek (accordion), Fritz Hauser (drum set) and Karl Berger (vibraphone).

In 1967 I wrote a piece called Accordion and played it using a tape delay system. I had worked extensively with tape delay to create my electronic music since 1960. In 1982 I returned to this delay concept with my accordion using two Lexicon PCM42 delay processors – one for each hand. The digital delays allowed me to process the accordion more flexibly than the tape delays. I could layer and modulate and also pitch bend the delayed sound with foot pedals. This was the beginning of what I have continually elaborated as the Expanded Instrument System (EIS).

http://www.pofinc.org/EIShome.html

I recorded The Roots of the Moment in Switzerland for hatArt as the first example of my solo work with EIS. Panaiotis worked with me on this recording assisting the distribution and mixing of delays and reverberation. Two years later I recorded Crone Music for Lovely Music.

In 1984 I recorded a solo for an album called Vor Der Flut, released by Eigelstein in 1985, in a cistern in Cologne Germany. The reverberation time of the cistern was 45 seconds. I treated the cistern as a huge delay processor though all the sound was acoustic. Later, in 1988, Stuart Dempster invited me to play with him in the cistern at Ft. Worden in Washington State. The reverberation time was also 45 seconds. Panaiotis joined us and we recorded what became the Deep Listening CD. 1989 (New Albion NA 022 CD). This was the beginning of the Deep Listening Band and many more recordings including one in a cave. Currently I use an Apple G4 laptop running MAX/MSP to create the delays with modulation, looping, layering and spatialization in a multi-channel sound system.

(See discography http://www.deeplistening.org/pauline).

My accordion playing informed my electronic music and my electronic music informed my accordion playing. This relationship continues today as I perform acoustically. Time after time people tell me after concerts that they didn't know the accordion could sound like that. This is because I don’t play like an accordion player. I have found my own voice and send it through the instrument. I am not replicating a tradition of accordion playing but inventing a new one.

I enjoy each opportunity to play – solo or with others. There is always the challenge to sound authentically.

The accordion is younger than the city where I live - Kingston NY (founded 1661). It was invented in Vienna around 1830 and is now played on all continents throughout the world. The accordion is a messenger. Inside there are little metal reeds that vibrate freely when air is blown across them. This idea of the free reed is 4000 years old and comes to us from China in a mouth organ called the Sheng. The Sheng is the ancestor of the accordion. Thus the East and West have met and a 4,000-year-old idea – the free reed carries music to people in community throughout the planet!




Previous Instrumental Articles:
The Guitar (& Why) - Derek Bailey
The Banjo (& guitarist Johnny PayCheck) - Eugene Chadbourne
The Violin (& The Infidel) - Jon Rose


The Squid's Ear presents
reviews about releases
sold at Squidco.com
written by
independent writers.

Squidco

Recent Selections @ Squidco:


Ollie Brice (
w /
Challenger /
Glaser /
Yarde /
Musson /
Crowley /
Bonney /
Macari /
Roberts /
Hunter):
Trio /
Octet: Fire Hills
[2 CDs]
(West Hill Records)



Henry Kaiser /
Anthony Pirog:
Figure /
Ground
(Ramble Records)



Allen Moore /
Ishmael Ali /
Bill Harris:
Hearsay
(Amalgam)



Fire! w/
Stephen O'Malley /
David Sandstrom:
Requies
[VINYL 1-SIDED EP w/
SCREEN PRINT on B-SIDE]
(Rune Grammofon)



Kirk Knuffke Trio (
w/ Bisio /
Shipp):
Gravity Without Airs
[VINYL 2 LPs + DOWNLOAD]
(Tao Forms)



The Flying Luttenbachers:
Imminent Death
[VINYL 2 LPs]
(God Records)



Heroes Are Gang Leaders:
LeAutoRoiOgraphy
[BLACK VINYL]
(577 Records)



Zorn /
Chadbourrne /
Bradfield /
Baker /
Hutton:
John Zorn's OIympiad -
Vol. 2
Fencing 1978
(Tzadik)



AAVD Trio (
Alexander Adams /
Danny Andrade /
Daniel Van Duerm):
Anti Glow
(Amalgam)



Yaroslav Likhachev Quartet:
Occasional Sketches
(Clean Feed)



Ziv Taubenfeld's
Full Sun:
Out Of The Beast
Came Honey
(Clean Feed)



Albert Ayler Quintet:
At Slugs' Saloon
1966,
Revisited
(ezz-thetics by
Hat Hut Records
Ltd)



Daniel Carter /
Watson Jennison /
William Parker /
Federico Ughi:
Live! Volume 1:
Erie
(577 Records)



Kelley Hurt /
Chad Fowler /
Christopher Parker /
Bernard Santacruz /
Anders Griffen:
Nothing But Love,
the Music of Frank Lowe
(Mahakala Music)



Jessica Ackerley /
Patrick Shiroishi /
Chris Williams /
Luke Stewart /
Jason Nazary:
SSWAN:
Invisibility is an
Unnatural Disaster
(577 Records)



Eddie Prevost:
Collider-Scope:
Or,
Whose Drum is it,
Anyway?
(Matchless)



Landaeus Trio (
Nilsson /
Landaeus /
Aman):
A Crisis
Of Perception
(Clean Feed)



Hydra Ensemble (
Almeida /
Hitz /
Gregov /
Zuydervelt):
Vistas
(A New Wave of Jazz)



Joe McPhee /
Evan Parker:
Sweet Nothings (
For Milford Graves)
(Corbett vs. Dempsey)



Kirk Knuffke Trio (
w/ Bisio /
Shipp):
Gravity Without Airs
[2 CDs]
(Tao Forms)







Squidco
Click here to
advertise with
The Squid's Ear






The Squid's Ear pays its writers.
Interested in becoming a reviewer?




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


  Copyright © Squidco. All rights reserved. Trademarks. (16636)