The Squid's Ear
Recently @ Squidco:

Keith Rowe / Mark Wastell:
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Performing at The Printing House, in Dublin, Ireland, the duo of Keith Rowe on guitar & electronics and Mark Wastell on amplified textures & electronics are heard in their final set of the evening, louder and more gestural, taking the audience on a long musically referential journey of theme, statement and variations, seemingly traditional yet using unique strategies. ... Click to View


The Residents :
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Colored vinyl double LP Record Store Day release of the soundtrack to the eyeballed band's 2001 "Icky Flix" DVD, 20 re-worked classic Residents tracks, originally released as a 14-track soundtrack CD, here in an extended edition that includes 6 additional tracks, "reimaginings" not included on the original version of the album. ... Click to View


Daniel Carter / Matthew Shipp:
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A meeting in the studio of long-time friends and collaborators, pianist Matthew Shipp and Daniel Carter performing on alto, tenor & soprano saxes, clarinet & trumpet, having played together in many groupings this is only their first duo recording, in a thoughtful set of free improvisations with an innate lyricism and beautiful sense of pacing; masterful and evolved. ... Click to View


Jaap Blonk's Retirement Overdue (w/ Petruccelli / Stadhouders / Rosaly):
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The first working band for Dutch vocal improviser Jaap Blonk in 20 years, as he passes 65 years and is clearly NOT ready for retirement, assembling Miguel Petruccelli (Native Aliens Ensemble) on guitar, Jasper Stadhouders (Cactus Truck) on bass, and Chicago ex-pat Frank Rosaly on drums for a double CD of new work, collective improvisation and reworked Blonk classics. ... Click to View


Antonin Artaud (Jaap Blonk):
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Vocal performer & musician Jaap Blonk presents a rendering of French dramatist, poet and theatre director Antonin Artaud's "Pour en Finir avec le Jugement de Dieu" (To Have Done With the Judgment of God), a work shelved by the French Radio in 1948 without broadcast as 'too scatological, political, anti-religious, random, and cacophonous through xylophonic and percussive sounds'. ... Click to View


Eric Brochard / Fabrice Favriou:
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Improvised and heavy forms of experimental rock from the French duo of piccol bassist Eric Brochard and drummer Fabrice Favriou, their music dramatic, ritualistic and urgent as they reference Maya Deren and mythological experience, their music hypnotically mesmerizing and sonically rich, slowly whirling dervishes in five varying sequences that growl and transfix. ... Click to View


What Happens In A Year (SInton / Neufeld / Merega):
Ceremonie / Musique (FiP recordings)

The 1st release of NY baritone saxophonist & bass clarinetist Josh Sinton's FiP label (Form is Possibility) is the debut of the "What Happens in a Year" trio with Todd Neufeld on electric guitar and Giacomo Merega on electric bass, an album of free collective improvisation fueled by a patiently ethereal and authoritative ethic through subtle dialog of tone, texture and pulse. ... Click to View


Dan Clucas / Jeb Bishop / Damon Smith / Matt Crane:
Universal or Directional (Balance Point Acoustics)

Three quartet improvisations and six duo combinations between Dan Clucas on cornet, Jeb Bishop on trombone, Damon Smith on double bass, and Matt Crane on drums, recording in the studio in Rhode Island, 2018, the various permutations of each player elucidating the full group interactions through focused and captivating investigations of instrumental combinations. ... Click to View


Otomo Yoshihide / Chris Pitsiokos:
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Performing live at the Tempo Reale Festival in Florence, Italy in 2018, the duo of Japanese improviser Otomo Yoshihide on turntables & guitars and NY saxophonist Chris Pitsiokos fascinate with seven free dialogs, from extreme techniques of fragmented sound to jazz-oriented reference, a well-matched pair for both splintering collision and accomplished statement. ... Click to View


Iannis Xenakis:
GRM Works 1957-1962 [VINYL] (Recollection GRM)

Back in Stock: Recollection GRM assembles Greek experimental composer Iannis Xenakis' works for Groupe de Recherches Musicales circa 1957-1962: "Concret PH" (1958); "Orient-Occident" (1960); "Diamorphoses" (1957-58); "Bohor" (1962). ... Click to View


The Thing (Gustafsson / McPhee / Haker Flaten / Nilssen-Love):
She Knows... (ezz-thetics by Hat Hut Records Ltd)

Named for a Don Cherry composition included on this album, the core trio of The Thing--Mats Gustafsson on reeds, Ingebrigt Haker Flaten on bass, and Paal Nilssen-Love on drums--is joined by saxophonist and pocket trumpter Joe McPhee, recording classic free jazz and harmolodic pieces by Don Cherry, Ornette Coleman, James Blood Ulmer, Frank Lowe, & Joe McPhee. ... Click to View


Albert Ayler Quartet With Don Cherry:
European Recordings Autumn 1964 (Revisited) [2 CDs] (ezz-thetics by Hat Hut Records Ltd)

Essential radio and live recordings from saxophonist Albert Ayler's European tour in 1964 with Don Cherry on cornet, Gary Peacock on double bass and Sunny Murray on drums, a quintessential grouping for Ayler's compositions, here in outstanding renditions of classic works including "Spirits", "Ghosts", "Vibrations", "Mothers", "Childrens", plus Don Cherry's "Infant Happiness". ... Click to View


Joel Futterman :
Intervals (Fundacja Sluchaj!)

Each of the three parts of NY pianist Joel Futterman's "Intervals" is an unedited first take, a referendum on 40 years of playing and evolving his powers at free jazz that embraces tradition and future, alway engaging his listeners through fully formed figures, phrase and motifs, a great combination of familiar jazz elements and imaginative free invention. ... Click to View


Frode Gjerstad / Fred Lonberg Holm / Steve Swell / William Parker:
Tales From (Fundacja Sluchaj!)

After on a tour through upstate New York State with Chicago cellist and electronic artist Fred Lonberg-Holm, saxophonist Frode Gjerstad headed to New York City for a planned trio recording which evolved into this informed quartet with Steve Swell on trombone and William Parker on bass, tuba, cornet & flutes, an outstanding example of Transatlanic collective improvisation. ... Click to View


Cooper-Moore & Stephen Gauci:
Conversations Vol. 1 [VINYL] (577)

The first of two volumes from legendary Downtown NY pianist Cooper-Moore and saxophonist Stephen Gauci, recorded after a seven-month residency at Happylucky No. 1 Gallery in Brooklyn, allowing the two players to develop a natural dialog of unique and idiosyncratic approaches to their instruments, resulting in these 6 commanding recordings freely improvised in the studio. ... Click to View


Gadt / Osborne / Zakrocki / Olak:
Spontaneous Chamber Music Vol.3 (Fundacja Sluchaj!)

The third volume in this Polish free improvising series, starting with the collaboration of violinist Patryk Zakrocki and guitarist Marcin Olak, varying the additional players as they explore chamber-oriented free improvisation, here with the impressive vocal improvisation of Anna Gadt and cellist Annemie Osborne, as they rip apart the calendar in 14 monthly machinations. ... Click to View


Przemyslaw Chmiel Quartet:
Witchcraft (Fundacja Sluchaj!)

Led by Polish multi-reedist and composer Przemyslaw Chmiel and his quartet of Mateusz Gramburg on piano, Piotr Narajowski on double bass, and Michał Szeligowski on drums, this is their debut album, presenting a sophisticated set of structured compositions that allow for great spontaneity and lyricism, a strong start for this expressive young band. ... Click to View


Sun Ra And His Solar-Myth Arkestra:
The Solar-Myth Approach (Vol. 1 & 2) [2 CDs] (Corbett vs. Dempsey)

Originally issued on the BYG label as a 2 volume set, these albums present a variety of tracks from various undocumented sessions in New York and Philadelphia in the 1960s, with similar personnel in the makeup of the Arkestra during this time, here fully remastered and presented as a 2-CD set including a bonus track correcting an original mastering problem; essential Ra! ... Click to View


David Myers Lee:
That Which Is It (pulsewidth)

Using electronic and digital tools similar to those that fuel his Arcane Device project, New York sound artist David Lee Myers presents an accessibly engaging set of compositions using modular electronics, feedback matrices, guitar textures, voices, and frogs in 11 polyrhythmic adventures; quirky yet non-chaotic, sublime experimental works of tone and texture. ... Click to View


Julius Gabriel:
Geminga (Creative Sources)

Using the natural resonance of the chapel of Oficinas do Convento, in Montemor-o-Novo, Portugal, saxophonist Julius Gabriel recorded these ten diverse solo improvisations, performing on soprano saxophone, tenor saxophone, baritone saxophone, applying unusual and extended techniques to his playing in a mixture of technical prowess and implicit wit & melodicism. ... Click to View


Icepick (Nate Wooley / Ingebrigt Haker-Flaten / Chris Corsano):
Hellraiser [VINYL] (Astral Spirits)

The 3rd album from the improvising trio of Nate Wooley on trumpet, Ingebrigt Haker Flaten on bass, and Chris Corsano on drums, is a live recording at the 2018 Experimental Sound Studio's Option Series, a smoldering session of collective improvisation that builds tension through impressive rhythmic texture and releases it in cathartic and passionate passages. ... Click to View


Das Rad (Archer / Robinson / Dinsdale):
Adios Al Futuro (Discus)

The 2nd release from the UK instrumental rock band Das Rad of Nick Robinson on guitars, keyboards & electronics, Martin Archer on woodwind, keyboards, synth bass & electronics, and Steve Dinsdale on drums, keyboards & electronics, expand their sound and referenes as they tug on the heartstrings of prog, krautrock and other advanced rock forms with modern and mellotron-fueled orchestration. ... Click to View


Kaze (Fujii / Tamura / Pruvost / Orins) w/ Ikue Mori:
Sand Storm (Libra/ Circum-Disc)

The cooperative quartet Kaze of Satoko Fujii on piano, Peter Orins on drums, Christian Pruvost on trumpet, Natsuki Tamura on trumpet, joins with elextroacoustic improviser Ikue Mori for seven exploratory pieces recorded in the studio after a one-week tour in Austria, France, and Russia, their enthusiasm for their extraordinarily unique group sound clearly evident. ... Click to View


Gato Libre (Tamura / Fjuii / Kaneko):
Koneko (Libra)

The 8th album from Gato Libre with compositions from trumpeter Natsuki Tamura in a trio with Yasuko Kaneko on trombone and pianist Satoko Fujii here on accordion, Koneko translating to "Kitten", as Tamura explores 8 new cats from strays to shop cats through deceptively simple pieces of melodic appeal of warm color, tone & texture; absolutely charming. ... Click to View


Phil Wachsmann :
Writing In Water (Corbett vs. Dempsey)

UK-based violinist Phillip Wachsmann, an essential player bringing contemporary approaches of indeterminacy, conceptualism and electroacoustics to the early community of improvisers and experimentalists, in a reissue of his 1984 Bead Records album, presenting his astute and sophisticated live solo performance for violin and electronics at the Actual Festival in July 1984, London. ... Click to View


Francesco Gregoretti :
Solid Layers, Deafening Shapes (Toxo Records)

A solo percussion album from Francesco Gregoretti, employing traditional instruments and unusual object to create unique audio environment that use predictable rhythmic elements against capricious approaches, giving his playing a personal style fueled by resonance and natural feedback; an album that balances chaotic and structured environments in riveting ways. ... Click to View


Musicworks:
#137 Fall 2020 [MAGAZINE + CD] (Musicworks)

Fall 2020 issue of Canada's finest new music magazine, focusing on guitars--hollow, heavy, bowed, cracked, pedalled, flung, trusty companions & feedback demons; Plus articles on Casey Koyczan, Susan Alcorn, Amy Brandon, Aidan Baker, Eliza Kavtion, C. Diab, Markus Lake, Catherine Debard, Cloud Chamber, &c; and an 11-track CD with music from the aforementioned. ... Click to View


Milford Graves / Don Pullen:
The Complete Yale Concert, 1966 (Corbett vs. Dempsey)

Originally issued in two volumes on their own SRP Records in 1966 & 67 as In Concert At Yale University and Nommo, the duo of drummer/percussionist Milford Graves and pianist Don Pullen are heard live in in this excitingly energetic and revelatory concert at Yale University, redefining the roles of their instruments during the most exploratory period of free jazz. ... Click to View


Schlippenbach Quartet:
Three Nails Left (Corbett vs. Dempsey)

Remastered and with the original cover, the expanded Schlippenbach Trio of pianist Alexander Von Schlippenbach, saxophonist Evan Parker on soprano & tenor, drummer/percussionist Paul Lovens, and German double bassist Peter Kowald, a stellar group captured in two incredibly inventive concerts at Third New Jazz Festival Moers and at Quartier Latin in 1974 & 1975. ... Click to View


Peter Kowald Quintet:
Peter Kowald Quintet (Corbett vs. Dempsey)

First ever CD reissue of the only band under bassist Peter Kowald's own name, remastered; originally released by FMP in 1972, this is exemplary European Free Jazz from one of the orignal innovators in a quartet with Peter Kowald on tuba, bass, & alphorn, Gunter Christmann and Paul Rutherford on trombones, Peter van der Locht on alto saxophone, and Paul Lovens on drums. ... Click to View


Evan Parker / Agusti Fernandez:
Tempranillo (Fundacja Sluchaj!)

Reissuing this astonishing 1995 studio recording, capturing the first encounter between two legendary free jazz performers--UK saxophonist Evan Parker on tenor and soprano saxophones and pianist Augustí Fernández--in an 8-part dialog of mercurial speed balanced with moments of passionate introspection, resissued with new mastering, restoring this essential meeting. ... Click to View


Ivo Perelman / Arcado String Trio:
Deep Resonance (Fundacja Sluchaj!)

Saxophonist Ivo Perelman declares that he "metamorphosed into a string instrument" himself while playing with the dynamic string trio drawn of NY Downtown luminaries--cellist Hank Roberts, violinist Mark Feldman and bassist Mark Dresser--blending technical mastery with profound creative impulse as the quartet weaves a tapestry of free jazz and instant composition. ... Click to View



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  The Manhattan Listening Tour  

A guide to galleries that aren't for the eyes.


By Nirav Soni 2002-12-07

Poking around Manhattan for any period of time will soon yield a steady stream of tourists, eyes welded heavenwards, cameras in hand, relentlessly scanning left and right for the next spectacle. One should have caution when around such birds; an errant digit poses a significant threat to eyeballs. Rarely, however, do you find out-of-towners armed with a minidisc recorder, or a DAT machine. Surely our fair city is as much an auditory all-you-care-to-eat as it is it is an ocular one!

Apocryphally, John Cage said that when he moved into a loft on 18th St. and 6th Ave, he never bought records again. Whenever he wanted to hear music, he just opened his window. What can compare to the subtle symphony of pedestrian and road traffic? How many composers harmonies subtle as that of a screaming baby and a fire engine or rhythms as complex as squealing breaks and car alarms? The ears reel at the wealth of such sonic stimuli!

Of course, the nuances of street sounds can be somewhat unwelcome in an undercaffinated morning. But the shock always subsides and the hum of traffic blends with howling winds, underscoring the subtle interplay of rustling leaves and grumbling pedestrians.

Noise pollution?! How can you even think a phrase like that? I'll fight to the death to hear the Long Island Rail Road every morning; there are few sounds as life-affirming as the 7 train rattling over Roosevelt Avenue in Queens at the break of dawn. The sweet sounds of this fair city are in my book nowhere paralleled. Sure, New Delhi is louder and more brash and les rues of Paris perhaps more refined, but how can you compare it to the delicate clinking of change in indigent cups, the idle chatter of trust-funded youth, sizzling kebabs, clomping boots and clicking heels? Give me street performers like Kalaparusha Maurice McIntryre, Kenta Nagai and a free-jazz subway combo like Test over whatever else another city's got any day.

With su ch a rich ambiance to work in, NYC has a number of galleries and spaces devoted to the creation and presentation of sound art, in its installed and performed incarnations. These galleries present an excitingly diverse range of work, from the rigorously formal and conceptual to the more spontaneous and organic. With this in mind, I present to you "The Squid's Ear Sound Art Tour of Manhattan"

A few preliminary remarks:

  1. Get a Metrocard Funpass. $4 will have you cruising the subways and buses all day.
  2. Sound art galleries are not available in the way that visual art galleries in Chelsea and Soho are. As they are not dedicated to the marketing of commodities, galleries like Engine27 and Diapason are generally not as accessible as "traditional" art galleries are. You'd be well advised to check ahead of time to see which days and times they are open.
  3. Turn off your cell phone.
  4. Leave your headphones at home.

Engine27

Whatever you hear at the Engine 27 sound art gallery, it is likely to be perceptually overwhelming. Housed in an ex-firehouse in Tribeca, the gallery is home to the most sophisticated and awe-inspiring multichannel sound playback system I've ever witnessed.

Engine27 is generally open to the public on Saturdays and Sundays, exhibiting sound installations and, on occasion, live performances. The rest of the week, the gallery becomes a studio for artists to work. The overarching majority of what is exhibited is created on commission, specifically for the space. As part the commission, each artist is given 30-40 hours of time with an engineer to create a work to be exhibited in the environment.

I stopped into Engine27 early on a weekday, and had the pleasure of seeing the gallery without it's dress shoes on.Fragments of Leopanar Witlarge's composition-in-the-working hovered in the space as I took a slow walk through the gallery. It's d isconcerting enough to walk through an ex-firehouse filled with speakers that are at least half your size suspended from the ceiling; imagine the cognitive dissonance you feel when you see two people amiably chatting while shards of a disembodied voice moves from one side of the space to the other.

http://www.engine27.org/
Address: 173 Franklin St., between Hudson and Greenwich
Directions: 1, 9 train to Franklin St. Walk 1 and 1/2 blocks west on Franklin.

The Dream House

La Monte Young and Marian Zazeela's Dream House has been a fixture of the New York creative community for 8 years. Since its creation, it has been employed in the realization of their collaborative project "The Base 9:7:4 Symmetry in Prime Time...." (Go to the website if you want to see the entire title), which ostensibly becomes an immersive sound and light environment.

What's most amazing about the Dream House is how the meticulously structured and calculated, para-scientific study sensory input is deployed in a space is so gentle and warm. Fans of drone based music will be taken by the complex webs of sum and difference tones that are synthesized in real-time, and the corollary light sculptures at once suggest 19th century retinal psychology, and 60's minimalism.

There are a few pillows alongside the walls, and the carpeting is plush, but aside from a small shrine to Pandit Pran Nath and the sound and light producers, the main space of the Dream House is bare. There's no one ideal location to experience the piece, and you're tacitly invited to create the composition for yourself by walking around and turning your head. Every time I go, I end up slumped up against the wall, gently nodding my head and thoroughly losing myself. There aren't really audible indicators of time, so if you don't have a watch, it becomes tough to tell whether you've been si tting down for 15 or 50 minutes.

The Dream House is a wonderful place to go in the wintertime, as it's much warmer than it's surroundings. There's a $4 donation requested at the door and shoe removal is mandatory (wear clean socks.)

http://melafoundation.org/main.htm
Address: 275 Church Street between Franklin & White Streets in Tribeca
Directions: 1,9 to Franklin St. Walk east to Church, cross the street, turn left, and walk 1/2 block.
From Canal St. Station (N, R, Q, W, J, M, Z, 6) Walk west to Church Street and head south.

Diapason

Diapason resides in the midst of office buildings and the financial mutterings. You'd hardly guess that this narrow entranceway in midtown would be home to some of NYC's most innovative sound art. Michael Schumacher and Liz Gerring continue Diapason in the tradition of their Studio Five Beekman, and present installations and performances in the galleries. Often you'll see video projected on the 3 screens in the galleries, adding an interesting visual component to the music.

You'll have to plan your trip around this visit. The gallery is open on Saturdays and Sundays from 6-12 pm, and since it's so far removed from the other stops on the tour, it's recommended that you leave plenty of time for it.

Diapason is comprised of two separate galleries: a large chamber that you enter when you walk through the door and a smaller room towards the far end of the room. The second room is easy to overlook, but is always worth spending time in.

Fred Szymanski presented his "Friction Sticky Rough" in the larger chamber in October, filling the space with dense clouds of sound particles, ebbing and flowing. On the wall were undulating, synthetic structures, a visual analogue to the tactile effervescence of the music. Bernard Gunter's installation in the smaller room wa smu ch more spare, a single red bulb illuminating the room, with speakers pushed against the wall almost sculpturally. The music was haunting, so quiet at times that the sound from the Szymanski piece became a very real presence.

http://www.diapasongallery.com/
Address: 1026 Sixth Avenue, between 38th and 39th
Subway: Subway: 1, 2, 3, 7, 9, B, D, F, Q, N, R, W to 42nd Street. Walk 3 and 1/2 blocks south on 6th Ave.

Sonic Garden at the World Financial Center

I applaud the curators of the Sonic Garden for their curatorial acumen and progressive tastes. It's not often that one can hear innovative sound art from the likes of Laurie Anderson, Marina Rosenfeld, David Byrne and Ben Rubin in as public an arena as the World Financial Center, where hundreds and hundreds of people pass every day.

However, these works are in an uncomfortable space. The Winter Garden, of which the Sonic Garden is a component, is located within the World Financial Center in lower Manhattan. For whatever reason, that didn't trigger enough bells for me, and I didn't mentally prepare myself for walking right next to the site of the World Trade Center last November in order to get to the Winter Garden.

Context is so important to the reception of artwork, and the Sonic Garden, while admirably presented, can't escape the larger shadow it stands beneath. It makes David Byrne's collection of jokes and one-liners seem a little trivial. Taken on their own merit, the works are nice enough. Ben Rubin incorporates market economics in his work, while Marina Rosenfeld's echoing sound particles evoke an image of a large, quiet imaginary dream garden. Laurie Anderson's work alone seemed appropriately elegiac, it's single processed violin, which feels delicate and reverent.

http://www.creativetime.org/sonicgarden/map.html

Subway: Take the 4/5/6 to Fulton Street, the N/R to Rector Street, or the 1/9 to Wall Street. Walk to Church and Liberty Streets and cross the South Bridge to 1 WFC. Follow signs within complex to the Winter Garden.



The Squid's Ear presents
reviews about releases
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written by
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Squidco

Recent Selections @ Squidco:


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