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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


Large Unit: Selected Tracks 2013-2017 (PNL)

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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)

The remarkable European Free Jazz quintet Die Enttauschung, crossing bop forms with modern creative approaches to jazz for over 20 years, take a new drummer--Michael Griener--and adds trombonist Christof Thewes, to join Rudi Mahall on clarinets, Axel Dorner on trumpet, and Jan Roder on bass, for an exciting and upbeat album of succinct tunes that both revere and abuse jazz history in wonderful ways. ... Click to View


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

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)

Cuban pianist Aruan Ortiz explores a range of musical idioms and styles, drawing on experiences from many phases of Ortiz' life in Cuba, Spain, France and the US, exploring cubist principles, faceting, and multiple perspectives with folkloric elements, as he presents 10 original compositions of passionate and playful music, performed with virtuosic skill. ... Click to View


Aki Takase / Paul Ayumi : Hotel Zauberberg (Intakt)

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

Swiss accordionist Hans Hassler stands above the (small) crowd of improvising accordionist in the breadth of his career, his ability to balance both lyrical, abstract, serious, and humorous aspects in his approach to the instrument, a true original in intent and ability to engage his listeners, in 15 original and diverse compositions recorded in 2017. ... Click to View


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

"Pan-Scan" refers to pan-Scandinavian, and the nine players on this thrilling and joyful recordings are all of that origin, performing live at Blow Out in Mir, Oslo, Norway in 2016, including both Lotte Anker and Ann Hogberg on sax, Thomas Johansson, Emil Stranberg and Goran Kajfes on trumpet, Sten Sandell on piano, and Paal Nilssen-Love and Stale Liavik on drums. ... Click to View


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)

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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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The Best Kept Secret in the East

Tom Rainey Sits Behind the Kit for Tim Berne, Mark Helias and Tony Malaby. Surely You've Noticed

By Matt Rand


Drummer Tom Rainey and saxophonist Tony Malaby looked like opposites performing at Brooklyn's Barbes with bassist Mark Helias' Open Loose. Malaby was turning back and forth at his waist, letting the bell of his horn project its sound waves left and right and left again. He shook his left elbow on occasion, showing his excitement at the notes he was fingering. Sometimes, his eyes opened wide, either exasperated or surprised.

But Rainey was another story entirely. His facial muscles seemed deadened, and his limbs only moved to play the drums. His movements looked heavy and deliberate. His overall affect seemed one almost of boredom. ("Don't take it personally," joked Tim Berne, a saxophonist and composer with whom Rainey has worked in various ensembles since the early 1980s, of Rainey's flat facial expression.)

And yet, with improvised music, the appearance of exertion is generally important. If music is being played for the first (and only) time, is not just a reordering of memorized licks, then we expect that we will see musicians stretching to the edge of their abilities. And, stretching to the edge of one's abilities usually inspires telltale visual cues: pained or rapturous expressions, sweat, oddly-timed laughs, uncontrolled body movements.

That's what we've come to expect at improvised shows, in addition, of course, to great music. Rainey doesn't make strange facial expressions when he plays. He doesn't grunt or shake. He just plays great music.

"He's gotta be the most underrated musician I've ever seen," said Berne. "I don't know anybody who's on as many records, plays with as many different, really great people, who doesn't get any attention."

Berne is a bandleader who has his own record label, Screwgun Records, and he knows a thing or two about getting attention. But, he said, Rainey doesn't have the instinct for it. "I think it's 'cause he doesn't have any aspirations as a bandleader. And he doesn't come off the bandstand and start selling his shit; he's just really into the gig and that's it. He doesn't have that much patience for the bullshit that you have to do to get attention."

Born and raised in Santa Barbara, California, Rainey said he started playing the drums before he can remember. In junior high and high school, he studied standard school percussion instruments like timpani, marimba and vibraphone, but he also played drums to rock music.

"My first professional experience was playing with a dance band," Rainey said. "At the time I loved it. Top 40 music at that time was very interesting. There was such a variety of stuff that was musically at the risk of sounding like some old fogey a lot more interesting than the stuff they're dancing to today. They were real bands; now I guess you'd have to go out and do, I don't know, Britney Spears covers or something. But back then you were playing Steely Dan, Chicago, Santana; it was really a variety of bands, some of which I still really like."

In 1975, he headed east for Boston to go to the Berklee College of Music. He was eager to get better at playing the drums, but "dropped out after my first semester. The drum teacher I had I think he was probably just out of Berklee himself he had me play for him, and he said, 'Yeah that sounds good; we'll come in once a week and talk about drumming.' I thought, 'I don't need to pay tuition for this; I mean, I do that with my friends.'"

When Rainey finally ended up in New York, he was just in time for the loft scene to end. His first gig in New York was with Mike Nock, which Rainey said impressed him because "he had an album out." He also played with Ratzo Harris and Tom Harrell, and then Kenny Werner. In the early '90s, he started doing gigs with Fred Hersch.

By the mid '90s, Rainey was playing steadily with the two bandleaders that would come to be his most valuable musical associations, Tim Berne and Mark Helias.

Berne said that, "With Paraphrase in 1995, I think, that was the first time that [Rainey] really had an equal part in what was going on musically. And from that point on, I think his playing really grew amazingly. He became a lot more confident about imposing his ideas on the situation, even when we were playing written music, and he stopped acting like a sideman."

As a sideman, Rainey said he can get bored. No matter how good a soloist is, if he feels like it's the third solo in a row after two other solos, Rainey said, he's lost interest. "I hate being on a gig and thinking this tune should have ended 5 minutes ago."

Both Berne and Helias, instead, offer Rainey opportunities for his ideas to become integral parts of the music when it is performed or recorded. Plus there's a great deal of comfort involved for Rainey. "All those bands, they're all my best friends. It's a lot more than just playing music; we've got our rapport on the bandstand but also socially," he said. "As a creative improvising musician, I couldn't be in a better situation in the world. If I'm going to get bored with these guys, then I should look for another line of work."

In Berne's and Helias' bands, sections of a song are composed and sections are improvised. But even with the composed sections, Berne and Helias generally leave the drum part blank, letting Rainey develop his own part. Helias said that Rainey is "great at processing a piece, sometimes a very complex piece, and just orchestrating his playing. And as we learn it and get more deeply involved in it, then we can start deconstructing it, and really superimposing he really gets oblique after a while."

Berne described the process similarly. "In the beginning, it's the densest because he's playing everything, because he's such a good reader. Then he'll strip it away. Once he internalizes it and finds an approach, he really varies it."

Berne added that he felt that Rainey's playing on 2003's The sublime and. (Thirsty Ear) was as good as he's ever heard Rainey recorded. The disc is a live recording of Berne's Science Friction band, which includes longtime collaborators Craig Taborn on keyboards and Marc Ducret on guitar. On it, among several other tracks, is a song called "The Shell Game," which was the title of Berne's previous release (with Taborn and Rainey), though not the title of any of the tracks on that release.

The piece incorporates elements from a few of the songs on The Shell Game (most closely approximating "Twisted/Straight Jacket"), but there's a lot more going on explicitly in terms of harmony than there was on the disc of the same name, mainly because of the addition of another harmonic instrument in the guitar. But Rainey's reactions to the differences could have been simplistic. He could have just sat back and outlined where the music was going, or went on its original versions, trying not to crowd out the sound with too much playing. And at some points this is what he does. He lets Taborn and Ducret play off of Berne's melodies with only the slightest of rhythmic accents behind them. But then Ducret takes off on a pyrotechnic solo and Rainey grooves hard with Taborn behind it. As the solo evolves, Rainey takes a more active role, varying his beats to keep Ducret's playing sounding like it's unfolding, as opposed to stagnating, as it might have had Rainey just sat in the same groove.

And then Rainey's solo, which follows a return, more or less, to the head, accomplishes in its evolution precisely what Berne said makes Rainey's solos so good: "His solos are always very transitional, from what's happening before to what's happening next. It sounds easy, but with most people, the solo's the shit and maybe the last ten seconds or so are setting up what's happening next."

Taking that one step further, Rainey doesn't just have a mastery of transitions of time; he also is adept at transitioning between any one part of the drum set and another. On Tony Malaby's recent release Apparitions (Songlines, 2003), Rainey is one of two drummers. Rather than antagonizing each other or getting bogged down in headcutting, however, he and Michael Sarin begin to sound like one drumset. A shared solo finds them following each other around their two drum sets, moving with a rare sympathy, even though Rainey said that he was at first skeptical about the idea of doing an album with two drummers.

It is this kind of adaptability that makes Rainey so good. He can internalize a piece of music in any situation and leave his mark on it.

"Everybody I've ever worked with, there's been areas that I've avoided just 'cause it wasn't the best situation for that person or for the combination or whatever," Berne said. "But I can't say with Tom that there's anything I really avoid."






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Recent Selections @ Squidco:


Thanos Chrysakis /
Kurt Liedwart /
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Ernesto Rodrigues :
Skiagraphia
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Fluku
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